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M J Akbar: BIOGRAPHY |
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BLOOD
BROTHERS: A FAMILY SAGA
BY M J AKBAR |
Blood Brothers is M.J. Akbar’s amazing story of three generations of a Muslim family – based on his own – in Telinipara and how they deal with the fluctuating contours
of Hindu-Muslim relations.
Telinipara, a small jute mill town some 30 miles north of Kolkata along the Hooghly, is a complex Rubik's Cube of migrant Bihari workers, Hindus and Muslims; Bengalis, poor and 'bhadralok'; and Sahibs who live in the safe, 'foreign' world of Victoria Jute Mill. Into this scattered inhabitation enters a child on the verge of starvation, Prayaag, who is saved and adopted by a Muslim family, converts to Islam and takes on the name of Rahmatullah. As Rahmatullah knits Telinipara into a community, friendship, love, trust and faith are continually tested by the cancer of riots. Incidents - conversion, circumcision, the arrival of plague or electricity - and a fascinating array of characters - the ultimate Brahmin, Rahmatullah's friend Girija Maharaj, the workers' leader Bauna Sardar, the storyteller Talat Mian, the poet-teacher Syed Ashfaque, the smiling mendicant, Burha Deewana, the sincere Sahib, Simon Hogg, and then the questioning, demanding third generation of the author and his friend Kamala - interlink into a narrative of social history as well as a powerful memoir.
Blood Brothers is a chronicle of its age, its canvas as enchanting as its narrative, a personal journey through change as tensions build, stretching the bonds of a lifetime to breaking point and demanding,
in the end, the greatest sacrifice. Its last chapters, written in a bare-bones, unemotional style are the most moving, as the author searches for hope amid raw wounds with a surgeon's
scalpel.
- The Asian Age |
“A
skilfully crafted family saga down
three generations packed with
information of events in the
country and the world,
particularly changing Hindu-Muslim
relations. It could be a textbook
on how to write, mix fact, fiction
and history. It is beautifully
written; it deserves to be in
Category A1.” |
Khushwant
Singh
Author & Historian |
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“I
enjoyed M.J.Akbar’s
Blood
Brothers
[as though it were] my own
biography... It is an exquisitely
written narrative of truth
disguised in fiction and ends on a
note that is deeply moving and
unforgettable.” |
Sunil
Gangopadhyay
Pre-eminent Bengali novelist |
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| “M.J.
Akbar’s Blood
Brothers
is a marvellous work of history in
the form of a deeply engaging
story of a Muslim family in
Bengal. The exploration of the
complex interface between Muslims
and Hindus over the last 150 years
has the freshness of a
first-person experience which it
actually is. A work of
considerable charm, grace and
insight. A worthy companion to his
earlier book shade of swords on
the Islam/West encounter.” |
Shyam
Benegal
Renowned film-maker |
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E-mail the
Author : mjakbar@mjakbar.org
E-mail your Reviews
:ilaxi@mjakbar.org
|
COVER2COVER:
DNA
Journalism is a moving camera of the mind, says M J Akbar
- Anindita Sengupta
Saturday, April 15, 2006
Veteran journalist and author MJ Akbar spoke to DNA about his new book Blood
Brothers: A Family Saga
Why the title Blood Brothers?
‘Blood Brothers’ is the theme of the book. We Hindus and Muslims are of the same
blood and that is what lends pathos to the relationship. If we were not so close,
the tragedy would not have been so great.
How long did it take from the time you conceived the book till the actual
execution?
With me, the idea or a concept germinates for a long time. There are false
pregnancies and imaginary pregnancies. It is only when I am convinced of a
genuine pregnancy that I actually plan the baby, in other words, structure the
book. With this book, it was after the death of my parents that I realised an
important story was getting lost. And that’s when I decided to pour my thoughts
into the warmth of print.
In the book, your grandfather converts to Islam after he moves from Bihar to
Bengal to escape famine. Was there a specific incident that led to the conversion?
The book has a chapter called ‘Conversion’ which discusses the impulses and
motives behind the conversion.
Cultural tourism, politics, people — which of these affects your writing the most?
Life is interesting. It cannot be segregated into jagged pieces. My writing is an
amalgamation of all these factors. It is also dependant on the context of what I
am writing. There is no text without context. Journalism is a moving camera of the
mind. It has an eye which is sharper than any camera.
The book explores fluctuating contours of Hindu-Muslim relations. Do you think
Hindu-Muslim unity has a future or are we chasing an Utopian dream?
Why must it be an Utopian dream? If in a year, there are 10 days of violence,
there are 355 days of peace. Those 355 days of peace are equally real.
As a global
traveller, would you say Indians living abroad are more tolerant and
appreciative of one another?
Sometimes it’s quite the opposite. Some of the worst fundamentalists within the
country get their money from outside.
What is it about socio-political conflict at a macrocosmic level that directly
impacts the dynamics of human relationships at a microcosmic level?
This is best explained through John Dunne, “No man is an island”.
Do you think humour makes it easier for readers to digest human tragedy?
Not humour, as in ha-ha, but gentle wit, perhaps. It helps you treat the heaviness
of knowledge lightly.
Do you have a favourite character in the book?
It is not important who I like. What is important is who you like in the book.
Between fact and fiction, which one will survive eternity?
Fiction is fact improved by the mind. The truth is untidy. Fiction is the essential truth.
Can we expect another book from you in the near future?
Is it wise to ask a mother who has just given birth about the next baby? Let me
relax.
Do you have a message that you would like to share with readers?
Yes. Buy the book.
AUTHOR
OF BLOOD BROTHERS : M J AKBAR
The Book is Launched in
Delhi on Friday, 14th April by Roli
Books.

Interview
of MJ Akbar as appeared in Today (High 5):
1.
One living person you admire the most?
MJ: Actually, its a
person whose work has often left me dismayed, but who in his
senses could be anything but dazzled by the quality of his mind
: Henry Kissinger
2.
What is the quality you admire most in a
woman?
MJ: Her selflessness,
which no man can even begin to comprehend.
3. Who
are your favorite writers?
MJ: P.G.Woodhouse,
Agatha Christie, Shakespeare, conan Doyle and Rumi : all of them
have this extraordinary genius of being, in every sentence,
reader friendly.
4. What
prompted you to write Blood Brothers, which is outside your
normal genre?
MJ: It isn't just one
thing. I have been living with this story for a lifetime. If you
had asked who among the dead I admired most, I might have
mentioned my Grandfather, who nearly died of starvation before
he entered his teens and lived to create a family and community.
My parents passed away a few years ago. Their story had to be
told, if only because they lived by a unique commitment through
porous walls of pain...but mainly because I decided that the
time had come to tell it the way it was - frankly, truthfully -
the experience of the Indian Muslim through three
generations.
5. How
would you like to die?
MJ: Suddenly.
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BLOOD
BROTHERS BY M J AKBAR: INTERVIEWS & EXCERPTS |
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My
grandfather Prayaag : Excerpts
My grandfather died while I was playing on his chest, that was
my first stroke of luck. My elder aunt, dark, wise, hunched
against her corner of the courtyard, promptly declared that his
soul, seething with miracles, had passed into me.
My younger aunt, widowed, and a flitting presence at home
because she was often possessed by raving spirits, promptly
agreed. The motion, having been moved and affirmed, became
established family fact.
I was about a year old, fat and indeterminate of face in the
manner of babies with enough to eat. My grandfather was fond of
me, possibly because I was not yet old enough to ask for money.
He was a miser. The thought of parting with cash wrought great
misery upon his soul, now possibly transmigrated to me. He had
his reasons. The most important one was that he nearly died of
hunger when he was eleven.
Starvation is a slow fire that sucks life out in little bursts,
leaving pockets of unlinked vacuum inside. Death comes when the
points of emptiness suddenly coalesce; there is a silent
implosion. The worst is in the beginning, when the body still
has the energy to rebel and the mind enough hope to fear. When
hope fades, fear evolves into a dazed weariness.
You turn numb, and it no longer matters whether you are alive or
dead. Dadu, our affectionate term for grandfather, had drifted
into that zone when a short bald man in a vest and a sarong,
known locally as a lungi, shook his lifeless shoulders and
offered him a thick home-baked biscuit softened in tea.
The escape from death began three days earlier in the Bihar
village where he was born, near the squalid town of Buxar. The
great moment in Buxar’s history had come about a hundred years
earlier, when the splendidly colourful soldiers of the East
India Company, led by Major Hector Munro, defeated the joint
forces of the Emperor Shah Alam of Delhi, Nawab Mir Qasim of
Bengal and Nawab Shuja ud Daulah of avadh on 16 August 1765.
Till that point, the East India Company was known as the English
company. After Buxar, admirers renamed it Company Bahadur, or
the Heroic Company. It was extraordinary how Indians became
transformed when they switched sides: disciplined, unwavering
under the command of the white man, and pathetic buffoons under
the green and black-and-white standards of Muslim dynasties in
decline.
One old man could still do a wondrous imitation, learnt from his
forefathers, of a Mughal champion who swung his heavy sword in
thin air so vigorously before battle that he was utterly
exhausted when actual fighting began. He was fortunate. He
survived. But why cast aspersions on a mere braggart? Most of
his compatriots preferred to disappear rather than die, after an
initial, very brief surge of heroics.
The white man passed into local legend: he stood his line
against the charge, and left it only to go forward. The Muslims
were high on bravado and short on bravery. They carried too much
baggage around the waist: their bellies sagged with curry and
sloth.
British rule was a welcome relief from gathering chaos. It took
one lifespan for optimism to change to apprehension: British
stability was soon interspersed with famine. The British were
individually more honest than the Mughals, but collectively more
greedy.
Taxes were too high, and their middlemen, the class known as
zamindars, took pleasure in adding insult to extortion. The
peasant did not have the surplus to resist a drought, so drought
degenerated into famine. Fighting hunger became a full-time job.
There was no much strength left to fight a government.
My grandfather lost his parents to a famine that started around
1870 and emptied his village within five years. Those who could,
migrated. Some were shipped out by British merchants to
plantations across the seven seas, in the West Indies or
Mauritius or Fiji.
They were not called slaves since slavery had been abolished by
Britain. They were given another name: Indentured labour. It was
a polite term invented for similar conditions.
My grandfather was born a Hindu and named, rather grandly,
Prayaag, after the confluence of the holy rivers, Ganga and
Jamuna. The grandeur reflected his caste, for he was a Kshatriya,
born of the arms of Brahma. His mother taught him his faith: the
universe was once a dark vacuum, which the Eternal Creator
injected with energy.
From energy emerged light, and then water. Water flowed from the
Lord’s body, and in it the Lord’s semen. That semen turned
into a golden egg brighter than the sun, from which, after one
year, emerged Brahma, the originator of mankind. With the power
of his thought, Brahma divided himself into two, and opposites
were born: earth and sky, and the four directions.
He meditated and the “I” evolved, both the self and the
senses. Brahma divided mankind into four castes to establish
order: the Brahmin from his mouth, the Kshatriya from his arms,
the Vaishyas from his thighs and the untouchable Sudras from his
feet.
Famine had no caste. Funnily enough, famine was kinder to the
Sudra than to the Brahmin, for the scum of the earth were
familiar with hunger while the salt of the earth were not.
Prayaag had heard stories of the jute mills of Bengal from his
father. The stories were told in driblets, as if to ease the
pain as they watched their land slowly become sterile. They
owned some four bighas; nothing substantial, but not worthless
either.
They once lived comfortably on an income of about seven rupees a
month, and he fondly remembered one year when the family income
crossed one hundred rupees. Drought had reduced that to two
rupees a month if not less, and that wretch of a rent-collector
had sunk so low that he demanded taxes even from caste-brothers
in a season of hunger.
Jute mills were the powerful engines of a new economy that
swelled along the banks of the Hooghly, a tributary of the
mighty Ganges that swung south and flowed through Calcutta on
its way to the Bay of Bengal and the Indian Ocean.
Prayaag had heard that a new mill, named after the Great Queen
of London, Victoria, had opened in a place called Telinipara. He
knew an important landmark. The nearest railway station was not
in British territory, but in Chandernagore, the French outpost
in the east, some thirty miles upstream from Calcutta.
After cremating his father, the last in the family to die,
Prayaag climbed onto a train and slept on the floor of the
compartment. The ticket collector left him alone. Sleep was
Prayaag’s only nourishment. It was dark when he got off at
Chandernagore. Determination took him to his destination.
A long journey ended in a scrawl of mud roads beyond which lay
the huge iron doors of the Victoria Jute Mill, a blur of green
paint between thick walls.
He collapsed against a tin sheet. He was fortunate that the
sheet was the door of a tea shop, and therefore opened at four
in the morning, when a blast from the high chimney told workers
to prepare for the first shift. He might or might not have
survived till sunrise.
The owner of the tea shop, Wali Mohammad, like the ticket
collector, was not demonstrative, but retained a stony sympathy
for the wrecks of famine. He gave Prayaag a couple of baked
biscuits, tea and a mat to sleep on before his wife, Diljan Bibi,
fed him a meal of rice and dal. Then he gave Prayaag work,
washing dishes.
Later, perhaps much later, whispers suggested that a street dog
had sat beside my grandfather as he lay unconscious that night ,
and then barked to wake up Wali Mohammad a bit earlier than
usual.
However, such stories are always told about those who succeed.
But this much is true: There was always food at home for strays,
and they romped through our lane like free children when
grandfather was rich enough to build the first double-storied
brick house in Telinipara, ten yards from that tea shop.
Blood Brothers — A FAmily Saga by M J Akbar
Published by Lotus-Roli
Rs 395
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DREAMS |
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The
ascent from poverty is through
five cliffs: food, roof,
marriage, wealth, esteem. On the
first cliff, Prayaag kept his
head up and eyes down.
His
high cheekbones framed glowing,
deep eyes; he knew his stare
could be disconcerting, and
therefore disrespectful to
elders.
Wali
Mohammad’s kindness was
sustained by business instinct.
Prayaag was the solution to a
dilemma. Famine in Bihar had
brought job-seekers to
Telinipara, and with it the
prospect of more customers. He
did not have much to offer: tea,
home-made biscuits and, for
those with a taste for luxury,
boiled eggs. But food was a
sensitive matter to many Hindus.
Some upper castes treated
Muslims as yavana, or outsiders,
the term originally used for
Alexander’s Greeks when they
invaded a centre of Hindu
civilization, Taxila, and later
applied to Muslims. All
outsiders were mleccha, unclean.
Hindus might happily converse
with a Muslim, work with him,
conspire with him, but not eat
with him. But they might eat if
served by a Hindu Kshatriya boy.
Prayaag
was uninterested in reasons for
his good fortune. He had found
shelter, and a life. He did not
expect money. Wali Mohammad was
childless, and his wife, Diljan
Bibi, grew fond of this quiet,
intense boy. She had nursed him
when he was dying, and began to
believe that Prayaag was
Allah’s answer to her prayers
for a son. She would
occasionally slip him a few
cowrie shells to buy carrots or
a mango in an abundant season;
on some weekends she gave him as
much as an anna, a sixteenth of
a rupee. Life became comfortably
routine.
Victoria
Jute Mill sat heavily on the
western bank of the Hooghly,
some thirty miles north of
Calcutta, the political and
industrial heart of the British
Empire. On both sides of the
river Scottish entrepreneurs
were constructing massive
factories to spin rich jute from
Bengal’s fields into products
like gunny bags. Victoria, the
youngest child of Thomas Duff
and Company (headquarters,
Dundee), was protected by walls
one foot thick and eight feet
high on three sides, with the
river marking the fourth
boundary. The western gate
opened towards a huge field,
called the maidan, that
separated Victoria from its
sister, the Champdani Jute Mill.
Telinipara’s
mud and thatch huts were spread
randomly between the southern
and eastern gates. Facilities
were rudimentary. Water came
from wells, and light from the
sun. The jute mill continued
production beyond sunset with
the help of four-foot high
gas-lit lamps that shed a heavy,
white glow through the fluff of
jute that floated like smog.
Outside the factory, the
darkness was occasionally
disturbed by the flicker of a
pallid wick placed in a dibiya,
a small tin box filled with
kerosene. The workers went to
the further edge of the maidan,
called the bhagar math, for
their ablutions; and then to the
river for a bath if they wanted
to. Women needed the darkness.
In
winter the sun set by five; in
summer by six; by eight or nine
the day was over. It resumed at
four in the morning, with a
blast from the factory’s
siren, attached to a towering
brick chimney, so that sound and
smoke gushed out in atonal
harmony. Prayaag generally woke
up half an hour earlier to get
the shop ready for the first
customers. Workers sipped tea
from small earthen cups, and
sometimes slipped a thick
biscuit into the top knot of
their lungi, to eat later. Those
privileged enough to get credit
from Wali Mohammad chalked a
white mark on a slate to confirm
their purchase. Accounts were
settled every Saturday, on
payday. Occasionally disputes
arose, but Wali Mohammad’s
reputation for honesty was
rock-solid. He would not serve a
defaulter until accounts had
been settled, and he could sit
for hours outside a difficult
debtor’s home moaning for his
money.
Prayaag
got his one break for laughter
on Saturday evenings, when the
weekly fair, or haat, gathered
on the sprawling Victoria maidan.
The open expanse and cool river
breeze made this haat an
epicentre for workers from half
a dozen jute mill colonies on
either side of the river:
Shamnugur, Gondalpara, Angus,
Titaghur, Champdani, Kankinara.
Women gossiped around stalls
full of ribbons and bangles. Men
enjoyed the preening of
wrestlers as they challenged
known and unknown foes.
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Author traces roots of Hindu-Muslim ties |
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The
Pioneer
New
Delhi, 17 April 2006
History can disappear in a paragraph’
- Shana
Maria Verghis
A
state of neither elation, nor anger is a
good base to write a book. Because you
need calm to see beyond prejudices, says
MJ Akbar, editor and author. ?After my
parents died years ago, I thought it
important to put the story down. And wrote
it drained of all passion?
His
novel Blood Brothers is a family saga
based loosely on the life of Prayaag, his
paternal grandfather, a Bihari Hindu, who
migrated to Bengal, fleeing the famine.
Prayaag
was taken in by a Muslim family. He
converted, was circumcised, married a
Muslim girl and became a successful
businessman. The book splices fragments
from history pre and post-1857. Wajid Ali
Shah's excesses, selling out to the
British, growth of Deoband Muslims,
cholera epidemics to Partition,
discussions on Urdu, Jawaharlal Nehru's
death.
Concluding
in the late 60s, the book covers three
generations of a Muslim family living in a
jute mill town called Telinipara.
Akbar
says, I’ve known this story all my life.
.rom tales told by aunts, myths and
memories.?
Your
choice of language is very lucid...
The
merit of narrative fiction is craft and
enables you to communicate through the use
of right words. Rather than write for
yourself. It's alright for James Joyce,
but my objective is to include the reader
in the story. There is a line from Ghalib
in the book explaining this credo.The poet
does not discover truth on my behalf. He
deftly draws strokes on a page and leaves
me to complete the portrait, for in the
unwritten lies the reader's freedom.
The
chapters are a series of vignettes...
The
anecdotes are a metaphor for larger
stories of Indian Muslims in a kasbah.
About causes and consequences of how in
the same street, history forces itself. A
street where people want to observe Id,
work, draw salaries, get out of poverty
and don't want history.
Were
you close to your grandfather?
He established a sense of memory in the
family through friendship. The only
distinction we had with Hindus was of
faith. This was true for everyone in those
days. Now with ghettoism, we live
separately and have stopped understanding
joys and pleasures of others. A festival
like Muharram used to be a common pageant.
It was meant to remind us of injustice
which affects both Hindus and Muslims. Of
course women would walk under tazias.
What
was the inherited legacy?
A belief system passed on to my father.
Attachment to soil.
Since the book looks at Indian Muslims, we
are going to ask a cliche question about
?clash of civilisations?
No such thing exists. In fact, Huntingdon
quoted me in the original essay, where I
spoke of a clash of colonisation, as
opposed to clash of civilisation. At
moments of change, a familiar metaphor
used is the image of a storm. Leaves
flying in the breeze. That was how Gandhi
described communal violence. We measure
history in timespans. But it can disappear
in paragraphs. We are in the process of
evolution. Of creating a modern state. The
notion of this ideal is in conflict with
reality. To find solutions is the search
of a lifetime.
You
constantly revert to history...
I had to go back to see where to depart
from. .or reference points on human
behaviour. Its dignity, joys, brief
timespans. Instead of moving towards
elimination of what was necessary in the
1950s. Not at the same point of what
happened to Dalits. That was horrible,
though some termed it positive
discrimination. Good is ending
discrimination, not institutionalising it.
What
is the role of Muslim leaders?
What is a Muslim leader? A leader of
Muslims does not become a Muslim leader.
Lalu will serve anyone of interest to him.
Bengalis voted in favour of CP(M), the
godless believers. Kerala for the Left.
These are healthy signs. As for Hindutva,
each idea peaks, lasts itself, then
strengthens or weakness.
What
is your writing method?
I let an idea germinate, then get
confidence to write if I like it. I knew
the beginning and end of Blood Brothers
before I started.
What
language do you think in?
In weaker moments, Hindustani and English.
Writers
you admire?
My professor at Presidency College. I
refer to him in the book. I admire the
sibilants and sounds of Milton. I have
read Book II of Paradise Lost. I also
enjoy Shakespeare and Urdu poetry. You
can?t use it in book-keeping though. Or it
may have been the language for commerce
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INDIAN
TOP 10 BESTSELLERS:NON-FICTION
3. Delhi: A Thousand Years of Building By Lucy
Peck Lotus Roli, Rs 500
6. Blood Brothers: A Family Saga By M.J. Akbar
Lotus Roli,
Rs 395
First Week of its launch
1. Blood Brothers: A Family Saga by M J Akbar
First & second week of May 2006
(Source: Bahri Sons, New Delhi) |
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M J AKBAR'S
POWERFUL AND COMPELLING HISTORY
AS FAMILY NARRATIVE |
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