Sara Rai

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Sara Rai
Sara Rai.jpeg
Sara Rai in 2018
Born (1956-09-15) 15 September 1956 (age 68)
NationalityIndian
Education
Occupation(s)Writer, translator, editor
Relatives Munshi Premchand (grandfather)

Sara Rai (born 15 September 1956), is a contemporary Indian writer, translator and editor of modern Hindi and Urdu fiction. She lives in Prayagraj (formerly Allahabad), Uttar Pradesh, India. Rai mainly writes and publishes short stories in Hindi. Written in a reflective prose style, her stories explore the individual complexities in the lives of ordinary people and outsiders in contemporary India.

Contents

Biography

Sara Rai was born into a family of writers and artists based in Allahabad. Sara Rai's grandfather is the writer Dhanpat Rai Srivastava, better known by his pen name Munshi Premchand. His second wife, Shivrani Devi (DOB unknown-1976), was an active follower of Mahatma Gandhi. [1] Sara Rai's father, the literary critic and painter Sripat Rai (1916–1994), was the founding editor of Kahani (1937–39 and 1953–79), one of the leading literary journals of the Nayi Kahani [2] Movement. Her mother, Zahra Rai (1917–1993), also wrote and published short stories in Hindi. [3]

Sara Rai received a master's degree in Modern History from the Jawaharlal Nehru University, New Delhi, in 1978. Three years later, she accomplished her masters in English Literature at the University of Allahabad. Rai started writing at a young age. Her first story "Lucky Horace" was published in the Damn You magazine founded and edited by Arvind Krishna Mehrotra and Sara's cousins Alok and Amit Rai in the early 1960s. [4] Since 1990, she published four short story collections, a novel, several essays and a memoir in 2023. Besides, Rai has been working as an editor and translator of fiction by Vinod Kumar Shukla, [5] Munshi Premchand, Zahra Rai, Moghal Mahmood, Pankaj Bisht, Shaukat Hayat, Geetanjali Shree (International Booker Prize winner 2022) and others from Hindi and Urdu into English.

Rai has taken part in public activities of the national and international literary scene: In 2019, a reading tour took her to Germany, where she was invited, among other places, to the International Literature Festival Heidelberg. In 2021, she held the chair of jury for the JCB Prize for Literature.

Works

In her essay "You will be the Katherine Mansfield of Hindi", [6] Sara Rai reflects her struggle of becoming a writer and finding her own literary voice in the multilingual and -cultural backgrounds of both her family and her home town Allahabad. This essay, renamed into "On not Writing", became a part of Rai's memoir Raw Umber (2023) published in English. By recalling memories of her growing up as a child and author in an environment of intellectual inspiration and creative freedom, this autobiographical account also reveals the emotional shallows and strokes of fate happening to a family who is under the shadow of a famous ancestor. Each chapter is dedicated to a single family member, who is portrayed as an individual with unique talents, quirks and contradictions. Interwoven with these character studies, the book offers insights into the daily life of a middle-class family in urban India in the first decades after Independence, as well as into the history of the Rai family's feudal Muslim and rural Hindu heritage. In his praise, Pankaj Mishra points out: "Raw Umber is the rare memoir that doubles as social and emotional history." [7]

Rai's short stories depict the everyday lives and perceptions of individuals in contemporary India. They are mainly set in North Indian cities such as Delhi, Varanasi (Benares) or Allahabad. Her characters come from various social, economic and religious backgrounds. "On the brink" (Kagaar par), [8] for example, is told from the perspective of a middle aged gay artist in Delhi who falls in love with a young migrant worker. "Babu Devidins new world" (Babu Devidin ki Nayi Duniya) [9] depicts the daily struggles of a hypochondriac pensioner, and "Criminal on the run" (Mujrim Farar) [10] is a narration about a rapist who manages to escape after murdering a young woman but eventually loses his mind in the solitude of his hiding-place. [11]

The author is especially interested in how the clashes and conflicts of modern India surface in the daily life of her protagonists. Many topics of her stories are universal – the struggles of getting old in a quickly transforming world, the search for identity in turbulent times, and the experience of being socially excluded in terms of belonging to a ‘different’ class, gender, religion, or socio-economical background. By calling herself a "Hindustani writer", [12] Rai positions herself in the shared linguistic and cultural tradition of South Asian Hindus and Muslims. This choice is reflected in the fact that many of her characters display distinctive idioms or different registers of Hindustani. For example, the old Muslim woman in "Labyrinth" (Bhulbhulaiyan) is strongly influenced by Perso-Arabic vocabulary referring to the Nawabi culture of the 19th century. In other stories, such as in "Criminal on the run" (Mujrim Faraar), Rai uses a colloquial style to imitate a mix of illiterate local dialect and urban Bollywood slang as spoken in contemporary Mumbai. [13]

The Hindi scholar Thomas de Bruijn states that "Rai's work shows the evocative power of a literary idiom in which the heritage of many premodernities are accumulated. Its dialogic nature, refusing to be fixed to a single, monologic identity, makes it a perfect idiom for expressing the conundrum of modernity in a contemporary Indian context." [14] In order to narrate each story from a subjective perspective, Rai frequently applies the narrative device of the stream-of-consciousness. This focus on individual perspectives in her writing draws a connection to the Nayi Kahani of the 1950s and 60s. [15] Rai's interest in depicting the nuances of human feelings and interactions not only establishes a literary affinity to the Nayi Kahani in Hindi literature, but also to other modern and contemporary writers such as Anton Chekhov, Marcel Proust and Alice Munro. [16]

Rai's first novel, Cheelvali Kothi (The House of Kites) came out in 2010. The novel narrates the story of a formerly wealthy, educated and secular lineage of Hindu Banias, traders and accountants, and its gradual decay. The novel, which is set in the ancestral mansion (kothi) of the family in Varanasi (Benaras), is told from the perspectives of its members, among them the orphan Meena, who comes to the mansion as a companion to the family's daughter as a teenager. Meena and the eldest son of the house, Vikram, secretly fall in love with each other. Vikram, who holds a University degree but has no job, engages as social activist and fights for the rights of the poor. However, when the question of marriage arises, he agrees to marry a woman chosen by his parents instead of taking side for his true love (but presumably low-caste) Meena – which turns out a fatal decision.

Reception

In India, Sara Rai's work has been receiving growing attention among writers, critics and readers alike. [17] [18] Nirmal Verma states in the preface of Rai's first book Abaabeel ki Udaan: „If the secret of art is concealed in [E. M.] Forster’s "Only Connect" comment, it is Sara Rai's extraordinary talent of searching for a connection between most unrelated things and bringing to light an astonishing truth." [19]

Her stories have been translated into Urdu, English, [20] German, [21] French [22] and Italian [23] language.

Bibliography

Fiction and Memoir

Edited Books (selection)

Selected Essays and Stories in English Translation

Awards and Honours

See also

Related Research Articles

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References

  1. ↑ Devi, Shivrani (2019). Rai, Sara (ed.). Premchand Ghar men (Premchand at home), ed. by Sara Rai. Nayee Kitab.
  2. ↑ Govind, Nikhil (9 May 2016). "Nayi Kahani". Routledge Encyclopedia of Modernism. Retrieved 12 October 2023.
  3. ↑ Rai, Zahra (2003) [1961]. Taking Leave, in: Hindi. Handpicked Fiction, ed. by Sara Rai. Delhi: Katha. pp. 30–37.
  4. ↑ Hahn, Johanna (2013). "In der Wildnis." Kommentierte Übersetzung und Interpretation moderner Hindi-Kurzgeschichten von Sara Rai (in German). Berlin: Regiospectra. p. 164.
  5. ↑ "Dreaming the World: Vinod Kumar Shukla's Extraordinary Sentences – The Georgia Review". thegeorgiareview.com. 25 August 2020. Retrieved 10 October 2023.
  6. ↑ Rai, Sara. "You'll be the Katherine Mansfield of Hindi". The Caravan. Retrieved 12 October 2023.
  7. ↑ see blurb of Raw Umber
  8. ↑ Rai, Sara (2005). Kagaar par (On the brink), in: Biyaabaan men. Rajkamal Prakashan. pp. 67–91.
  9. ↑ Rai, Sara (2005). Babu Devidin ki Nayi Duniya (Babu Devidin's New World), in: Biyabaan men. Rajkamal Prakashan. pp. 39–52.
  10. ↑ Rai, Sara (2014). "Mujrim Faraar". Lokmat Samachar Deepbhav. Annual Issue: 69–79.
  11. ↑ According to the author, this story is based on the real case of the Shakti Mills gang rape that happened in 2013.
  12. ↑ Hahn, Johanna (2013). "In der Wildnis". Kommentierte Übersetzung und Interpretation moderner Hindi-Kurzgeschichten von Sara Rai (in German). Regiospectra. p. 158.
  13. ↑ Rai, Sara (2019). Im Labyrinth. Erzählungen (in German). Ed. and transl. from Hindi by Johanna Hahn. Draupadi. p. 183.
  14. ↑ de Bruijn, Thomas (2010). "Lost Voices: The Creation of Images of India through Translation", in: India in Translation through Hindi Literature. A Plurality of Voices. Ed. by Maya Burger & Nicola Pozza. Bern/Berlin/Bruxelles: Peter Lang. pp. 77–102, here p. 97.
  15. ↑ de Bruijn, Thomas (2010). Lost Voices: The Creation of Images of India through Translation", in: India in Translation through Hindi Literature. A Plurality of Voices. Ed. by Maya Burger & Nicola Pozza. Peter Lang. pp. 77–102.
  16. ↑ Hahn, Johanna (2013). "In der Wildnis". Kommentierte Übersetzung und Interpretation moderner Hindi-Kurzgeschichten von Sara Rai (in German). Regiospectra. pp. 156–157.
  17. ↑ "Sara Rai's memoir 'Raw Umber' deconstructs the act of remembering". Vogue India. 25 February 2023. Retrieved 12 October 2023.
  18. ↑ Datta, Sudipta (24 March 2023). "Review of Sara Rai's Raw Umber — A Memoir: Remembrance of a lost world". The Hindu. ISSN   0971-751X . Retrieved 12 October 2023.
  19. ↑ Rai, Sara (1997). Abaabil ki Udaan (in Hindi). Preface by Nirmal Verma. Rajkamal Prakashan. p. 10. Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer. Only connect, and the beast and the monk, robbed of the isolation that is life to either, will die." (E.M. Forster: Howards End, 1910)
  20. ↑ Rai, Sara (2023). Vanita, Ruth (ed.). On the Edge. In: Ruth Vanita (ed. and transl. from Hindi): On the Edge: 100 Years of Hindi-Fiction on Same Sex Desire. Penguin. pp. 128–147.
  21. ↑ Rai, Sara (2019). Im Labyrinth. Erzählungen (in German). Ed. and transl. from Hindi by Johanna Hahn. Draupadi.
  22. ↑ Rai, Sara. Deewarein, Murs, In: Nouvelles de L'Inde du Nord (in French). Transl. from Hindi by Annie Montaut. Magellan & Cie.
  23. ↑ Rai, Sara (July 2014). Guardi, Jolanda (ed.). "Sull'orlo. Translation from Hindi by Alessandra Consolaro" (PDF). Deportate, Esuli, Profughe (DEP) (in Italian). 25: 92–105.
  24. ↑ "Vinod Kumar Shukla's short fiction captures our reactions to the mundane". Hindustan Times. 3 January 2020. Retrieved 10 October 2023.
  25. ↑ Shah, Toral (30 October 2023). "Tata Literature Live! Literary Awards for 2023 Announced". Tata Literature Live!. Retrieved 30 October 2023.
  26. ↑ PTI (2 February 2020). "Vinod Shukla bags first Mathrubhumi Book of the Year award". The Hindu. ISSN   0971-751X . Retrieved 13 October 2023.
  27. ↑ harperbroadcast (27 September 2019). "A Week in Translations: Blue Is Like Blue". HarperCollins Publishers India Books, Novels, Authors and Reviews. Retrieved 13 October 2023.
  28. ↑ "Coburger Rückert-Preis 2019 Sara Rai PR-Dossier - PDF Kostenfreier Download". docplayer.org. Retrieved 10 October 2023.
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