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Sunday, December 30, 2007
I Spy
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Monday, September 24, 2007
Telling Write From Wrong (Part 9)
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It's always great to know that your work is appreciated by others, so it was very heartening to see the review of my novel Vegemite Vindaloo by Canadian boook reviewer Lotus Reads. There was some interesting feedback too, with comments from readers who said they liked the title.
Radha said: "Love the name of the novel Vegemite Vindaloo". Asha wrote: "This book interests me very much, funny name too!" Tara said: ``You've made me want to read this book. I also love learning about different cultures through reading and this sounds great." Tanabata commented: "Great title! I always enjoy learning about different cultures so another one to add to the wishlist!" Booklogged said: "I definitely want to read Vegemite Vindaloo even though I don't have a clue what either word means" and Framed wrote: "I will certainly be adding this one to my TBR list. Love the title."
I guess that brings me to today's question.
What is the significance of the title Vegemite Vindaloo?
The choice of title has an interesting background. When I first started writing the novel, I had no specific title in mind. The plot was just a story playing out in my head. It was only when I was more than halfway through it that I began trying to think of a short title that would accurately encapsulate two cultures and two countries, for the book is set in India and Australia.
I honestly cannot tell you the exact moment the title Vegemite Vindaloo occurred to me, but I did run it past some of my journalism colleagues and they thought it was great. And I figured it would be very hard to find a two-word title that would immediately signify Indian and Australian cultures respectively.
Vindaloo is a curry-like Indian dish that comes from Goa and has strong Portuguese origins. In its original form, it is made from pork, but it can be made from chicken or beef. It is distinctive for its vinegar content and for the absence of potatoes.
Vegemite is a dark-brown paste made from yeast extract. A quintessentially Australian product, it was first produced by Fred Walker and Cyril Callister and arrived in shops around Australia in 1923 - in jars shaped like lighthouses!
I guess it was a bit of a gamble to call a debut novel Vegemite Vindaloo, but I can honestly say that at no stage was I asked to change it, or to even consider changing it. There was no pressure from Penguin, or from their managing editor, Ravi Singh, to go for something safer. In many ways, I thought it would be an intriguing title, even for readers who were not familiar with Vegemite or vindaloo – or both!
FICTION
1. The Inheritance Of Loss: A Novel Kiran Desai, Rs. 395.00
2. The Innocent Man John Grisham, Rs. 268.00
3. Vegemite Vindaloo David McMahon, Rs. 295.00
4. The Afghan Frederick Forsyth, Rs. 268.00
5. Cat O'Nine Tales Jeffrey Archer, Rs. 276.00
Wednesday, September 05, 2007
Owls Of Protest? Not 'Ere, Guv
Photographs copyright: DAVID McMAHON
There’s an owl in our house. That’s right – IN our house. He’s a bit squat. He’s a bit nondescript. He’s almost thirty years old. He doesn’t belong to any recognized breed. And he lives on one of the shelves in my study, with hundreds of books. Dunno what breed he is. Barn owl? Nope. Screech owl? Naaaaah. Despite all that, he has impeccable genes.
You see, the unique owl was created by the late naturalist and bestselling author, Gerald Durrell. The British conservationist, a man ahead of his time, was born in Jamshedpur, India, in 1925 and died in 1995. When he was three, the Durrell family returned to England and between 1933 and 1939, they lived on the Greek island of Corfu.
As someone who spent part of my own Indian childhood chuckling over his books `My Family and Other Animals’, `A Zoo in my Luggage’ and `The Overloaded Ark’ among others, I could scarcely believe my luck when I first joined the workforce. As a cadet journalist in Calcutta in early 1978, I was told that Durrell was to be the subject of my first published interview. It was the only time in my life I did not have to do any research on a subject. Having read his books so keenly, I already felt as though I were a part of the extended Durrell family. There was also an interesting coincidence or two, as it turned out.
The first coincidence is that Durrell’s older brother, Lawrence (1912-1990) was born in Darjeeling, the stunning Himalayan town where I was educated. The elder Durrell even spent his early school years at St Joseph’s College in the Darjeeling outpost of North Point, where I was also educated – albeit many decades later. A novelist and playwright, Lawrence Durrell’s most famous work was (and still is) `The Alexandria Quartet (1957-60) which was considered his best shot at a Nobel Prize for literature.
The second coincidence is that I would not have dared to dream that one day I would also be a bestselling novelist. Nor could I have imagined that Penguin - publishers of `My Family And Other Animals' - would publish my own work one day.
During Gerald Durrell’s 1978 India trip, the naturalist had attracted some negative publicity as a politician churlishly questioned his motive for a planned expedition into the country’s interior. It was either a very bad time or a very good time to be seeking him out for an interview. My childhood friend Nirmal Ghosh probably doesn’t even remember this, but his father, on the board of what was then the World Wildlife Fund, rubber-stamped my request for an interview. After a high-profile press conference, a car whisked Durrell and me back to his rambling guest house in Alipore.
He was a pleasure to talk to. Modestly, he played down any hint of a comparison between him and his brother. ``Larry writes for posterity,’’ he told me, without a trace of irony, ``while I write to fund my expeditions and projects.’’ He was completely at ease, happy to talk about character portrayal in `My Family and Other Animals’ and quick to point out that the multi-skilled family retainer, Spiro, was still alive.
At the end of the interview, Durrell complimented me on the fact that I had done my homework before speaking to him. When I pointed out that I had read most of his books as a child, he clapped his hands in glee. This was a good time, I thought, to ask him if he would mind autographing my copy of his most famous book.
No problem at all, he said. He signed the book with a flourish. Then, just before he handed it back to me, he swiftly sketched the owl.
I still have the book. And the unique owl. You know, the one with the shelf esteem.