Kafka and Orwell on China: My first ebook of essays available online now

Last month, Amazon.com announced that for the first time in history, the sales of ebooks have surpassed the sales of printed copies of books at the world's largest online retail store. I knew this was going to happen but it would happen so soon, the scales would tip in favour of ebooks so soon, that was a surprise. And what a pleasant surprise it was. Because, like in most other areas, the web has changed the game and has pushed the gatekeepers to the margins. This does not mean the end of mainstream publishers and agents. The structure of market-oriented publisher-agent complex (like the military-industrial complex) would not die anytime soon. As long as there is media, there will be celebrity makers and spin doctors. Editors are always important in this process but they are mostly faceless.

In this new scenario, the opportunity for writers like me (in terms of expressing myself, and not dreaming of minting millions) is immense: I can publish any book at any time, and share it with those who would be interested in reading it. I can publish long essays as ebooks and make them available to readers (Who the hell wants to read you? Good question. Answer is, I don't care. When Friedrich Nietzsche self-published Thus Spoke Zarathustra, he published only 40 copies and had difficulty selling them). I don't have to wait for the approval of the Grantas and New Yorkers of the world. Of course, they will keep publishing prestigious writers, but in an age when education is democratic and everyone is a writer and filmmaker, the game isn't the same anymore. As of commercial writers, many are already going down the ebooks route and doing very well.

Beyond the issue of accessibility is the other factor of class. I don't have the Oxbridge or Ivy League background nor any support from a network of movers and shakers of the publishing world. So, I am on my own. The kind of work I am doing and I want to do will not appeal to most publishers (unless they are enlightened enough). I don't see myself as a commercial writer. I write because I see injustice in the world and I see people being pushed in the path of disaster. I write because I can't sleep if I don't. Money has nothing to do with it (That's why I have a day job).

While my novel is still looking for a home (thanks to my hardworking agent), I thought I would collect my long pieces and essays as ebooks and make them available online (no one publishes long pieces of journalism in Asia, right?). I am happy to share with you that the first of my ebooks is available online now. It's titled
Kafka and Orwell on China: Essays on India and China. Since this was my first try, there might be some formatting issues but so far my readers have not complained. The ebook sells for US$1.99 (If you really want to buy it, try this code AN62L to avail of a 30 per cent discount until June 10). If you want to read it for free, write to me. I plan to put out more ebooks at Smashwords in the coming months.

Here is the description of my ebook:

This book contains four well-researched original essays that deal with India and China. In the opening essay, "The unmaking of the East—India and China in the age of globalisation", journalist Zafar Anjum examines the high-octane economic growth of India and China in the light of the wisdom of Nobel Laureate Rabindranath Tagore. "The West would have us believe that post-globalisation, India and China are on a collision course in their race to develop themselves," writes Zafar. "Who should it bet on—that is the West’s dilemma. But the question for the East is this: whose race is it to lose?" In this essay, Zafar Anjum argues that the debate itself is wrongly framed and with some help from Nobel Laureate Rabindranath Tagore, whose 150th birth anniversary falls this year, argues that the race is deeper than it appears.

The second essay is about George Orwell’s reflections on the attitudes and interactions between the West and China over the centuries.

In the third essay, Zafar discusses Czech fabulist Franz Kafka who never set his foot in China, yet he wrote a masterpiece, The Great Wall of China. John Updike counts this story belonging at the summit of Kafka’s oeuvre. Zafar Anjum tries to examine what motivated the European genius and one of the most influential of 20th century writers to write a short story set in an unseen land.

In the fourth essay, Zafar wonders why India and China, two of the world’s oldest civilizations, are so near, yet so far from each other. Can Bollywood and other cinemas of India, ambassadors of India’s culture and emblems of our soft power, take India to the Chinese?

Richard Crasta

An interesting writer to explore at Smashwords is Richard Crasta (remember his famous novel, The Revised Kamasutra?). Please do look up both "Massage No Boom Boom" and "I Will Not Go The F**k to Sleep" on Smashwords. They seem to be absolutely fun, daring, original, and worth the money.

Crasta has been at Smashwords for a while now. He has some good advise to share with writers who want to try this route. "With both Smashwords and Amazon, you have to do your own publicity," he says. "Amazon is bigger and better organized, but Smashwords is much faster (uploads)."

Talking about your book is important too. "It is not enough if you just upload a book, it just sits there," he says. "A lot depends on such things as tags, reviews, keywords, and so on, and also on right book descriptions and categories, and also doing a lot of networking on the Net."

If you are a writer and you are planning such a move, let me know what you think. Any advice? If you are just a reader, tell me if you are going to read the sample chapters from ebooks or even buy them. Will be grateful. Thanks.

Reading Orwell in Singapore

Started this new blog today: Reading Orwell in Singapore.

Reading Orwell in Singapore is where I will keep posting my thoughts that will be triggered by reading and re-reading Orwell. A tribute to Orwell, it can also serve to like-minded writers as a manifesto, as a guiding post, as a lighthouse, and remind us how to live and ‘write without hope and without despair’ (that is from Isak Dinesen), and how to write ‘from within the whale’ (Orwell). This is not a political blog (that itself is a political attitude, Orwell will tell you that). If you have any thoughts on it or on Orwell or his works, you are welcome to broadcast them through this blog.

The Taste of Rejection

I was reading some articles on John Le Carre when I came across this piece in The Guardian by Robert McCrum: Dear Mr Orwell, we regret to say ….

This is a good piece for new writers who are looking for some hope. Read it and you will stay optimistic about getting published (of course, after you have done all that needs to be done to write a good book, that is exhausted yourself in the process).

Here it goes:

Spotting new and original literary talent is not as easy as it can look with the benefit of hindsight. I can think of several well-known contemporary names whose work drifted hopelessly round literary London before finding happy homes.

There are some famous examples of books that were misunderstood or overlooked. One reader for JG Ballard's Crash wrote: "The author of this book is beyond psychiatric help." Someone else wrote that Norman Mailer's novel, The Deer Park, "will set publishing back by 25 years".

A classic is often a new tune and new tunes can be difficult to pick up. After a first reading of Lolita, one in-house reader wrote, in some perplexity: "The whole thing is an unsure cross between hideous reality and improbable fantasy ... I recommend that it be buried under a stone for a thousand years."

Sometimes it is the authors who get buried by rejection. John Kennedy Toole committed suicide before A Confederacy of Dunces saw the light of day, in a massive launch (slightly helped by the manuscript's backstory) in 1980. Many other celebrated writers, including Beatrix Potter, Joseph Heller, George Orwell, Stephen King, John le Carré and James Joyce, have all experienced the bitter taste of rejection at some point in their literary careers.

This game is not, and never has been, for softies. Thirteen publishers rejected ee cummings's No Thanks, until it was finally published by his mother. On the dedication page, cummings wrote: "WITH NO THANKS TO ..." and then listed the publishers who'd turned it down.

From time to time, literary journalists have fun anonymously submitting badly typed copies of first chapters by Jane Austen or Virginia Woolf, invariably scoring a near universal rejection. According to one biographer, Samuel Beckett kept a neat, handwritten list of the 42 publishers who rejected Murphy in his wallet for years. Beckett said that he kept the list because it comforted him to know that so many people were wrong about his writing. In Worstward Ho, he coined the perfect credo for the literary world: "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better."

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George Orwell's 'Animal Farm': Not 'Just for Laughs'

George Orwell’s two seminal works of fiction, Animal Farm and 1984, were written in a tumultuous time. Animal Farm, published in 1945, was written as a Stalinist era dystopian allegory which made Orwell famous in the post-war world. 1984, published in 1949, another dystopian work of fiction, documented totalitarianism and its methods of controlling people—perpetual war, government surveillance and mind control.

Today, these two works of Orwell are more relevant than they ever were. If you take the Chomskyian view, not much has changed—only the Stalinist regime has changed to late capitalism, where the rule of the pigs has transmogrified into the rule of the corporate oligarchs—the war on terror is perpetual, technology is enabling the government to track their citizens with ever greater ease and corporate media plays as the mind controlling arm of the rulers. Democratic socialism (that Orwell subscribed to) is dead.

At such a time, when W!ld Rice chose to stage Animal Farm (adapted by Ian Wooldridge) to kick off its 10th anniversary celebrations, the expectations ran high. Would it echo the siege of our times? Would it mirror the globalised utopia that we live in today—trapped in our consumerism and relative powerlessness?

The good news is that the production lives up to the expectations. The adaptation has been well localized and it leaves the audience in no doubt that the play speaks to them about their own everyday reality (work hard, pay the rent-seekers, and work harder—a slippery slope of never making enough, never having enough). To establish this connection, there are hints galore and you don’t have to be too discerning to spot them.

The writer (Orwell and Wooldridge) and director (Ivan Heng) make us take ample note of the fact that tyranny is the fate of human beings. No matter how many times they overthrow a tyrant, there will always be a new tyrant who will rise from their ranks. Revolutions spring in our breasts the hope for a new future and every time, after the war has been won, blood has been shed, sacrifices have been made, this optimism is crushed by a new tyrant, rising like a phoenix in a new avatar, necessitating another revolution. There is no escape from this human fate—the cycle of revolution and tyranny.

There is also a comment on the role of organized religion (which is ironically so Marxist): Moses the Raven keeps referring to the Sugarcandy Mountain. I wish this oblique reference to a life of perpetual happiness in the heaven could have been made more direct and contemporary. Like in the scene where Squealer distributes the apples among the sheep (audience) and calls them organic produce. That is contemporization and it is wholesome.

The plot, as it were, is faithful to the book and the characters are selfsame—Old Major, Napoleon, Snowball, Squealer and so on. The actors have played their part so convincingly that you forget they are playing animals and that they are talking about things that are familiar to your bone. Pam Oei as Squealer gets the most laughs but then at times the play falls in the danger of skidding into the realm of comedy (as in a skit—in satire, we must remember, the desire for social change remains underlined). Lim Yu-Beng as the sinister Napoleon is impressive. Gani Abdul Karim as Boxer is believable but it is Benjamin (sorry, missed the actor’s name but the guy who plays the donkey) who takes the cake for me.

The static set of the Manor Farm is a bit simple, even boring. However, the music by the man in white Jenson Koh nicely complements it. In a particular scene, I like it when he walks on to the stage and creates a storm with his drum sticks. Bravo! I also like the ‘Who let the dogs out’ part—it gives the play a cool contemporary feel, sutures it to our present times (why did I think of Abu Gharaib when that song played on?).

As David Hare has said recently, in Stalinist Russia, the most powerful protest you could make was to stage Hamlet. In our globalised land, it could well be George Orwell’s Animal Farm.

Full marks to the cast and crew of Animal Farm for this powerful and timely production. It’s a must see for anyone who has a taste for reality.

When: 21 APRIL – 08 MAY 2010

Where: DRAMA CENTRE THEATRE, SINGAPORE