Tag Archives: Abdullah Khan – Indian Author

‘Pathan, Muslim, Bihari: these identities intrigued me’ | Interview with author Abdullah Khan

Motihari, BIHAR :

The author talks about how identity and politics play a huge role in his writing.

Abdullah Khan will be at The Hindu Lit Fest 2024 in Chennai on January 26-27. 

Abdullah Khan’s journey with literature began with a discovery — that he shared his place of birth, Motihari in Bihar, with one of the most prominent authors of the 20th century, George Orwell. Since then, the written word has remained Khan’s constant companion. From his debut novel Patna Blues (2018) to his latest, A Man From Motihari (2023), Khan employs a deft handling of sensitive subjects and hot-button issues to tell stories of everyday characters in Indian society. A speaker at The Hindu Lit Fest 2024 in Chennai on January 26-27, Khan discusses his thoughts on identity, desire and aspiration.

Edited excerpts:

How much of what you write is influenced by your own story?

During my school days in Bihar, my history teacher once asked, “Are you Muslim first or Indian first?” I confidently replied, borrowing the answer from my grand uncle: “I am both, born to Muslim parents, I’m Muslim; born in India, I’m Indian. Both identities came to me at birth.” As a boy, I didn’t fully grasp the complexities of identity.

During college, I pondered over how identity shapes thoughts, realising we’re not always aware of every facet of our identity. Sub-identities and super-identities emerge, revealed by others’ prejudices. In my village, I was Pathan; in school, a Muslim. Beyond Bihar, a Bihari. These identities intrigued me.

As I ventured into fiction writing, my reflections on identity seamlessly became woven into my stories. And, conflict between circumstances and desire is integral to human existence and is a vital element in crafting engaging narratives. I found inspiration in Bihari IAS/ civil services aspirants, news, historical incidents, real-life characters, beautiful places, and even SMS/ WhatsApp forwards for plot ideas.

What comes first — the plot or the point it makes? And in the case of ‘A Man from Motihari’, what was the genesis of the story?

Plots and characters naturally come to me without any preconceived plan. As I create the story, some significant points or messages often emerge organically.

Take, for instance, the inspiration behind A Man from Motihari. A few years ago, a Bangladeshi newspaper asked me to write about the house in Motihari where Orwell was born. While standing in front of that house, I had an idea: what if a boy from Motihari is born in the same room where Orwell was born many years ago? How would the boy react when he finds out, and how would it change his life? That’s how I came up with the character of the protagonist, Aslam Sher Khan, who is born in the same house as Orwell.

Tell us about your journey — from writing to publication.

Fresh out of completing my Master’s in chemistry, when I began writing Patna Blues, I had no knowledge of the technicalities of fiction writing and no background in literature. So, writing Patna Blues served as a kind of training for me, a sort of MFA, where I learned everything from scratch through trial and error. It took almost 10 years to write and nearly 9 years to get it published. I didn’t have a peer group then for beta reading or sharing comments. The journey to publication was challenging, enduring more than 200 rejections before it was published.

For my second novel, it took no more than a year to write, and finding a publisher was comparatively easier. Style-wise, I have improved significantly and gained more confidence in my writing.

There are strong political notes in your stories. What kind of responsibility do you feel towards your readers in terms of what you write about?

I believe no story exists in a vacuum. I allow the politics of the time to become a part of the narrative as I believe it is the only way to tell authentic stories.

While writing about politics, I do not shirk my responsibility as a writer and chronicler of the truth. I strive to be as impartial as possible. I generally don’t allow my personal beliefs or political ideology to creep into the story. Instead, I focus on the characters’ take on the politics of that time and keep myself a bit distant from those events.

What’s your take on literature festivals? What can they do for writers, and their readers?

Literature festivals offer writers a chance to share ideas. They gain inspiration and build a community, while readers enjoy insights into the creative process. As writers, we also get a chance to meet authors from all over the world, and learn from each other.

I think we should do more at these festivals for aspiring authors, like arranging pitching events or conducting writing masterclasses.

I have also observed a disturbing trend at many literature fests, where organisers invite celebrities such as film stars or cricketers to boost attendance. This often shifts the entire limelight to them, sidelining writers.

Gsquare Group presents The Hindu Lit Fest 2024 in Association with NITTE Education Trust & Christ University. Bookstore partner: Higginbothams

swati.daftuar@thehindu.co.in

source: http://www.thehindu.com / The Hindu / Home> Litfest> The Hindu Litfest 2024 / by Swati Daftuar / January 05th, 2024

‘It is the story of India itself’: Abdullah Khan on a debut novel that was 20 years in the making

Patna, BIHAR :

An interview with the author of ‘Patna Blues’, a novel about a lower-middle class Muslim family in small-town Bihar.

AbdullahKhanMPOs30jun2019

Abdullah Khan is a banker by profession and a poet-storyteller at heart. Born and raised in Bihar, Khan’s fiction carries evocative descriptions of his roots. His debut novel Patna Blues is a coming-of-age story set in Patna and other places in Bihar in the 1990s. In an interview with Scroll.in Khan talks about his first novel, his inspirations, his poetry, and Bihar.

You started writing Patna Blues as “The Remains of a Dream”. I had the opportunity to read parts of this novel when you posted some chapters on your blog, way back in 2010. How was the journey from 2010 till 2018, from starting to write the novel as “The Remains of the Dream” to seeing it published as Patna Blues?
Actually, I started writing this novel in 1997 just after Arundhati Roy won the Booker Prize. And the excerpts you read in 2010 were from probably the third draft of my novel. Initially, it was a romantic drama mostly focussing on Arif’s love life. Then, on the basis of the feedback I received from my writer friends and a couple of literary agents to whom I had submitted my manuscript for possible representation, I rewrote the entire thing making a lot of changes in the plot and in the characters.

Once the final draft was ready, I started sending my queries to British and American literary agents. And, after collecting more than 200 rejection slips, I decided to submit the manuscript to Indian publishers. I was lucky that my novel landed first on Renu Agal’s table at Juggernaut Books and she could connect with the story. Renu asked me to make certain changes in my manuscript which I immediately did. Then she recommended Patna Blues to senior editor Sivapriya who also liked this story about a small town and, finally, my book found a home.

Now, in its present avatar, Patna Blues is a culturally insightful coming-of-age novel with political undertones. It is actually three stories in one. One is simply the story of a boy: Arif, the central character, who deals with love, lust, and ambitions as he goes through the painful process of growing up. The second too is Arif’s story, but it is also the story of a Muslim boy in particular, and this flows into a larger narrative of being a Muslim in post-Babri India, with its own challenges and anxieties. The third is the story of India itself, not the India that exists in the cities, but the India of villages and small towns.

Who or what inspired the character of Arif Khan and how much of Abdullah Khan is there in Arif Khan?
Arif is a fictional character and is not inspired by anyone in particular. Unlike Arif, I was never interested in the civil services. But, yes, the moral values of Arif are quite similar to those of mine. And, like Arif, I also lived in police colonies in Patna and Darbhanga.

The story of Arif Khan’s family seems to be a story of several families in Bihar and Jharkhand, not only Muslim families. Was it one particular family that gave you the insights to create this one or was it what you observed in several families? Is there an issue (or many issues) you wish to highlight through your portrayal of Arif Khan’s family?
Arif’s family is a typical lower middle class Bihari family and their problems are not different from the other families of the same class. Since I also come from a similar background, it was easy for me to create such a fictional family. Some of the incidents portrayed in my novel, however, are inspired by real life stories. For example, Arif’s sister’s marriage to a man double her age was inspired by a real event. It had happened in Darbhanga. I was barely 12-13 years old at that time. In my neighbourhood, a girl was married off to a man who was no match for her only because her father was not willing to spend too much money on her wedding.

The characters of Arif’s mother and grandmother are inspired by my own mother and grandmother.

The whole novel is very atmospheric. Be it the description of Patna city or the villages in north Bihar or the description of the 1990s – the time period in which a major part of your novel is set – or the politics of the time (and place), you have given a no holds barred description of everything, even of the film magazine Priya. Thank you for re-igniting our memories. Is there a particular memory from those times that made your writing so evocative? Something you would like to share?
Thank you very much for your kind words. I didn’t plan it. Since the story is mostly set in Bihar of the 1990s, I just tried to evoke a sense of time and place by mentioning the things which signify Bihar of the 1990s. And, it appears that, to an extent, I have succeeded in doing so.

One important feature of Patna Blues is the poetry/ghazals in Urdu that Arif and Sumitra compose. You yourself are a poet and the poetry and ghazals you have featured in Patna Blues are your original works. You have also written the screenplay and lyrics for a Hindi film, Viraam. What made you use your poetry in the novel? How do you think the book would have turned out had this poetry not been there?
The main characters of this novel, Arif and Sumitra, are interested in Urdu poetry, so it is obvious that they will use poetry in their conversations. Additionally, the use of poetry in my novel is not only for ornamental purposes but they have also been used as a narrative tool.

Since Arif and Sumitra are amateur poets, it would not have been appropriate if I had used the poetry of well-known poets. So I decided to use my own poems, for both Arif and Sumitra. I believe that this novel couldn’t have been written without using Urdu poetry.

My favourite character is Zakir, Arif Khan’s younger brother. But you have not really given him closure. Similarly, the character Maya Banerjee, Sumitra’s friend, too has not been given closure. Why? Can we expect to see their stories somewhere else? Are you planning a sequel to Patna Blues?
Zakir is one of my favourite characters too and his story is too big to be covered in this book. It needs a separate book. In fact, I have plans to write two sequels to Patna Blues. In Zakir’s Dilemma, I will give closure to Zakir’s story, which is going to be more intriguing and suspenseful than Patna Blues. The third book in the trilogy will be Sumitra’s Choice, which will be told from Sumitra’s POV.

As far as Maya Banerjee is concerned, as of now, I don’t know much about her except that she used to be Sumitra’s friend. But, in future, I’d certainly like to explore this character.

What are you writing right now? Is there a new book from you that we can look forward to
Right now, I am working on a novel titled Aslam, Orwell and a PornstarIt is about a man called Aslam who was born in the same house in Motihari, India, where George Orwell was born. The story is set in Motihari, India, and Los Angeles, USA, against the backdrop of contemporary political events.

Simultaneously, I am also working on a couple of story ideas for television and web.

source: http://www.scroll.in / Scroll.in / Home> Meet The Writer / by Hansa Sowvendra Shekhar / September 22nd, 2018