From Roja to Thug Life - bass guitarist Keith Peters on working with A.R. Rahman
Presentation: Meera Srinivasan
Production: Shivaraj S and Thamodharan B
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Scroll.in
an hour ago
- Scroll.in
This book is an alternative account of literary beginnings in modern India through women's writings
'If an unskilled potter makes a lovely pot of his imagination, and if it becomes crooked while drying or heating in the kiln, he still puts it for sale in the market. Similarly, I have written this book to the best of my insufficient ability and placed it before you.' In this foreword to her first novel, Kashibai Kanitkar (1861–1948) dons the unassuming persona of 'an unskilled potter' to highlight two interconnected challenges – the toil of turning the manuscript into a book, and the trial of new authorship. The novel, Rangarao, began to appear in instalments in the Marathi magazine Manoranjanani Nibandha-chandrika in 1886 and stayed incomplete when the magazine closed down. Kanitkar managed to complete the novel over a decade later in 1898, but would not be able to publish it till 1903. The author explains the delay: 'Both the author and the owners of the printing press have suffered severe domestic problems, which is why the book is being placed before readers in this form. I am sorry about this but am unable to make amends.' Kashibai Kanitkar laces her apology about the unexplained domestic troubles with humour, submitting that any reader who takes upon the task of criticising her book or finding errors would find themselves with 'errata that would make a book of 800 pages, while the original [Kanitkar's novel] has only 400'. Kashibai Kanitkar actively worked towards building a body of work that included a posthumous biography of a contemporary, a collection of short stories, several essays as well as translations. In other words, we have a literary enterprise: an oeuvre that represents one author's strivings and vision but also extends a claim to a collective output – other writers, other women. At hand is thus a literary-historical moment of authors who are not isolated voices but remain interconnected in their reflexivity, in their measure and (uneven) participatory engagement with each other, as well as their purported audience – predominantly female – both within the diegetic space of the text and beyond. The growing presence and consistent influence of print culture in India induced a significant output of printed texts in English and native Indian languages in the 19th century. The proliferation of printers and printed material took place in simultaneous engagement with a growing literate audience, and the corpus of printed material continued to be predominantly religious or polemical in nature (driven by social reform motivations, such as pamphlets propagating widow remarriage). This ensured the centrality of print for public debates around the 'women's question' even as literary texts by women began to receive increasing public attention and appreciation from the mid-19th century. Around the 1890s, a noticeable acceleration and close succession of publications by women can be said to form distinctive literary constellations. Over the next four decades, a combination of factors contributed to a growing literary tradition, 'a feminist inheritance more powerful and complex, but at the same time more troubling, than narratives of suppression and release might allow us to suspect'. In fact, an elucidation could be offered for the inauguration of a distinct clustering of literary creativity, with its most delineated enunciation in the autobiographical frame – the 'I' that speaks to/of its literariness (of voice, structure, device, subtext) and demonstrates its confidence in the immediacy and reliability of the life narrative. The writers and texts studied in this book attempt varied formulations of the experiential first-person voice, either through shorter compositions (essays, letters, speeches), biographical studies, book-length autobiographies or even autobiographical fiction. The disparate backgrounds and inclinations of these writers defy easy classifications, offering instead a tapestry of revelations: an ardent student of both biomedicine and English literature (Krupabai Satthianadhan), a woman in her seventies who sets off to travel the world (Dosebai Cowasjee Jessawalla), the daughter of a social reformer who becomes a princess (Sunity Devee), a celebrated stage actress in Calcutta (Binodini Dasi), the first woman from India to complete her law education in England (Cornelia Sorabjee), a writer who strives for literary visibility in a celebrated family of writers (Swarnakumari Debi Ghosal), a young woman whose travelogues carry an unsaid tale of passion and failure (Atiya Fyzee), an educator of unprecedented social insurgency whose also seeks reform in poetry (Savitribai Phule) and so on. Several of these writers are self-taught, while others benefited from structured institutional education, but the shared commitment was to the written and the published word. Publishing meant the inevitability of public response, though this was more likely to invite censure rather than celebration for the author. The texts selected for study here offer two explicit assertions about narrative voice: firstly, a claim to writing as an act and an identity, and secondly, the gendering of both act and identity by the reflexive references to the author being a woman. For the first time, both personae – I am a writer and I am a woman – were being claimed in the Indian public sphere in a manner that was desirable and exciting, in that it had almost no precedence.
India.com
2 hours ago
- India.com
Happy Birthday Hasan Ali: A Look at His Cross-Border Love Story With Indian Wife Samiya Arzoo
photoDetails english Pakistani cricketer Hasan Ali's love story with Indian flight engineer Samiya Arzoo is a heartwarming tale of cross-border romance. The couple met through mutual friends and got married in 2019. Samiya, originally from Haryana, India, holds a in Aeronautical Engineering and works as a flight engineer in Dubai. They welcomed their daughter, Helena, in 2021. Despite travel restrictions keeping Samiya from visiting India since marriage, her emotional connection to home remains strong. Their relationship gained attention during the 2023 ICC World Cup, highlighting themes of unity, love beyond borders, and resilience amidst social media rumors and political divides. Updated:Jul 02, 2025, 07:40 AM IST 1. Hasan Ali's Cross-Border Love Story Captivates Millions 1 / 18 Pakistan pacer Hasan Ali's marriage to Indian flight engineer Samiya Arzoo continues to trend globally, reflecting the power of love across India-Pakistan borders—a hot topic during every Indo-Pak cricket clash. 2. From Haryana to Dubai: Samiya Arzoo's Inspirational Journey 2 / 18 Born in Haryana, Samiya pursued aeronautical engineering before becoming a flight engineer in Dubai—making her one of the most searched cricket WAGs in South Asia. 3. Their Romance Began Through Mutual Friends in 2019 3 / 18 The couple met through mutual friends and dated for two years before tying the knot, a detail fans often search when exploring cricketer wives love stories. 4. Samiya Is a Proud Fan of Virat Kohli—And She Owns It 4 / 18 Despite being married to a Pakistani cricketer, Samiya publicly expressed her admiration for Indian icon Virat Kohli, earning praise for her honesty amid Indo-Pak rivalries. 5. They Welcomed Baby Helena in 2021—Family Goals Activated! 5 / 18 The couple's daughter, Helena Hasan Ali, often features in their social posts, showcasing adorable family moments that attract high engagement on Instagram and cricket WAG fan pages. 6. Hasan Ali's Return to 2023 World Cup Sparked Social Buzz 6 / 18 His last-minute call-up for the ICC Cricket World Cup 2023 became a top-searched cricket update, and his "Generator is back" post quickly went viral. 7. Why Samiya Hasn't Visited India Since Her 2019 Wedding 7 / 18 Due to post-marriage travel restrictions, Samiya hasn't visited India, though she often shares throwback pictures and her longing for Delhi's famous street food. 8. Her Father Awaits His Granddaughter's First Visit to India 8 / 18 Samiya's father, Liyakat Khan, eagerly awaits meeting his granddaughter—highlighting emotional family moments that strike a chord with audiences during India vs Pakistan hype. 9. Online Rumors Debunked: Samiya Spoke Out With Grace 9 / 18 Amid false reports of threats after a World Cup defeat, Samiya clarified the truth and received overwhelming support from fans—a case study in managing digital hate with dignity. 10. Their Story Embodies Rumi's Philosophy: 'Listen to Your Heart' 10 / 18 Liyakat Khan's quote, inspired by Rumi, sums it up: 'Listen to your heart, not to the crowd'—a timeless message that resonates across borders and generations. 11 / 18 12 / 18 13 / 18 14 / 18 15 / 18 16 / 18 17 / 18 18 / 18
Mint
2 hours ago
- Mint
F1 Box Office Collection Day 5: Brad Pitt's racing drama accelerates past ₹28 crore in India
Brad Pitt's adrenaline-fueled racing film F1 is back on track after a brief slowdown, gaining momentum at the Indian box office. According to early estimates by industry tracker Sacnilk, the movie earned ₹ 4.18 crore on Tuesday, bringing its five-day total to approximately ₹ 28.93 crore. Released on June 27, the film opened to a roaring start with a ₹ 21.4 crore weekend collection despite facing competition from domestic titles like Maa and Kannappa. While Monday saw a dip to ₹ 3.35 crore, Tuesday's improved performance signals strong weekday retention, likely driven by word-of-mouth and motorsport fans returning for repeat viewings. The movie recorded a solid 28.25% English occupancy across India on Tuesday, July 1, with footfalls peaking during the night shows. Morning Shows: 11.32% Afternoon Shows: 26.10% Evening Shows: 32.88% Night Shows: 42.68% Major metros such as Mumbai, Bengaluru, Delhi NCR, and Hyderabad continue to register the highest turnout. On the global front, F1: The Movie raced ahead with an impressive $140 million worldwide in its opening weekend, including $55.6 million from the United States — $25 million of which came on Day 1 alone, according to data from The Numbers. Directed by Top Gun: Maverick filmmaker Joseph Kosinski, F1 stars Brad Pitt, Damson Idris, Kerry Condon, Javier Bardem, and Tobias Menzies. F1 champion Lewis Hamilton, who also co-produces, makes a special cameo appearance. The film was made on a budget of $250 million and had its world premiere at New York's Radio City Music Hall on June 16. Produced by Plan B Entertainment, Jerry Bruckheimer Films, Apple Studios, and Dawn Apollo Films, F1 is being praised for its intense racing sequences and authentic depiction of the sport. Producer Jerry Bruckheimer recently revealed that Pitt and Idris underwent extensive training over four months to learn race car driving for the film. With two days left in its first week, F1 is expected to cross the ₹ 30 crore mark in India, and if current trends hold, it may target the ₹ 50 crore milestone in the coming weeks.
