Posts Tagged ‘The Illustrated Weekly of India’

Salman Rushdie, Satanic Verses & India Today

22 September 2012

The launch of Salman Rushdie‘s memoirs, Joseph Anton, written in third person, has seen a flurry of TV interviews, and profiles, reviews and soft stories in the newspapers.

Hindustan Times runs this short excerpt from the book which chronicles how The Satanic Verses ended up getting banned in India:

On the day he received the bound proofs of The Satanic Verses he was visited at home on St Peter’s Street by a journalist he thought of as a friend, Madhu Jain of India Today.

When she saw the thick, dark blue cover with the large red title she grew extremely excited, and pleaded to be given a copy so that she could read it while on holiday in England with her husband. And once she had read it she demanded that she be allowed to interview him and that India Today be allowed to publish an extract.

Again, he agreed.

For many years afterwards he thought of this publication as the match that lit the fire.

And certainly the magazine highlighted what came to be seen as the book’s ‘controversial’ aspects, using the headline AN UNEQUIVOCAL ATTACK ON RELIGIOUS FUNDAMENTALISM, which was the first of innumerable inaccurate descriptions of the book’s contents, and, in another headline, ascribing a quote to him – MY THEME IS FANATICISM – that further misrepresented the work.

The last sentence of the article, ‘The Satanic Verses is bound to trigger an avalanche of protests…’ was an open invitation for those protests to begin.

Madhu Jain offers an explanation in Open magazine:

When I returned to Delhi my editor in India Today asked me to write a review before anybody else did. Since the book was yet to be launched, I called Salman in London for permission to publish a review. He said yes….

Unfortunately, the editor of the books pages of the magazine at the time, who later went on to edit a national daily, plucked some of the more volatile extracts from the novel—those about the Prophet’s wives—and inserted them into the book review.

Not too long after the IFS bureaucrat-turned-politician Syed Shahabuddin read the excerpts (not the book as he admitted ) and demanded that The Satanic Verses be banned. Protests erupted in India and Pakistan.

In Karachi, a few protesters died when they were fired upon. It is believed that Ayatollah Khomeini watched this on television and ordered the fatwa.

Madhu Jain writes that Rushdie stopped talking to her after the review and even snubbed her when she offered an explanation of what had happened.

But in Joseph Anton (pages 112-13), Rushdie writes:

“With the passage of time came forgiveness. Rereading the India Today piece many years later, in a calmer time, he would concede the piece was fairer than the magazine’s headline writer had made it look, more balanced than its last sentence. Those who wished to be offended would have been offended anyway. Those who were looking to be inflamed would have found the necessary spark.

“Perhaps the magazine’s most damaging act was to break the traditional publishing embargo and print its piece nine days before the book’s publication, at a time when not a single copy had arrived in India. This allowed Mr Shahabuddin and his ally, another opposition MP named Khurshid Alam Khan, free rein. They could say whatever they pleased about the book, but it could not be read and therefore could not be defended.

“One man who had read an advance copy, the journalist Khushwant Singh, called for a ban in the Illustrated Weekly of India as a measure to prevent trouble. He thus became the first member of the small group of world writers who joined the censorship lobby. Khushwant Singh further claimed that he had been asked for his advice by Penguin and had warned the author and publishers of the consequences of publication.

“The author was unaware of any such warning. if it was ever given, it was never received.”

Read the HT review: Joseph Anton

Madhu Jain: The deadly review

And so, India’s three best cartoonists are…

3 July 2012

It isn’t often that Indian cartoonists talk about their craft—or their colleagues and compatriots.

There is, for instance, a famous incident of the doyen of Indian cartooning, R.K. Laxman, being asked in the course of an interview with The Illustrated Weekly of India, about a younger cartoonist then working for the Indian Express.

Ravi Shankar? Fantastic sitarist,” was Laxman’s put-down, sotto voce.

***

Ajit Ninan, the former cartoonist of India Today and Outlook now a consultant with The Times of India, speaks about Laxman, in an interview in Star of Mysore:

Q: How would you differentiate yourself from R.K. Laxman?

A: I am a man of details and I think India is a country of details. Look at our architecture, the temples, fashion—everything has a lot of details. There is no school of cartooning and it is my seniors who helped me. I learnt by observing their works and have slept over their styles. Mario Miranda‘s details, Abu Abraham‘s simplicity of thought and Laxman’s works—something of everybody is there in my work.

However, Laxman’s cartoons had lengthy captions. I try to finish it within 10 words or even less. Almost 70% of my time goes into drafting captions.

When your drawing is so detailed, why burden it with words?

Q: Who would rank as the best Indian cartoonist?

A: R.K. Laxman—because he was a typical South Indian genius. He was a big crowd-puller and by nature he was funny, sharp and witty. Next is Mario because he brought out Indian architecture and humour, food, language, fashion through his drawings. He was a complete cartoonist and very versatile. The third would be Sudhir Tailang.

Image: courtesy Shafali

Did R.K. Laxman subtly stifle Mario’s growth?

12 December 2011

MARIO, BY KESHAV

The passing away of  the legendary Illustrated Weekly of India, Economic Times and Femina cartoonist and illustrator Mario Miranda in Goa on Sunday, has prompted plenty of warm reminiscences from friends, colleagues and co-linesmen, along with a vicious doosra.

Bachi Karkaria recalls her colleague from the third floor of The Times of India building in Bombay:

What can I say about Mario? That he was one of India’s most distinctive cartoonists? That he was arguably an even better serious artist in the detail and spirit with which he captured the places he lived in and visited? That he, along with Frank Simoes, gave Goa to the world?

That he was to the magazines of The Times of India what R.K. Laxman was to the daily paper? And, dare I say it, that Laxman was the Lata Mangeshkar who subtly ensured that the pedestal was not for sharing?

***

Pritish Nandy in the Economic Times:

Mario had a room on the same floor where I sat. And when I moved into the editor’s corner room at The Illustrated Weekly of India, a few months later, his room was next to mine. But that didn’t mean anything because Mario rarely came to office.

He worked on his cartoon strips mostly at home in Colaba and was awful with deadlines. This was largely because every afternoon, or almost, he would go for lunch or a long walk and would end up in a movie hall, all by himself.  There was no movie he didn’t see. It was the idea of slipping into a dark theatre and watching the moving picture that excited him.

***

MARIO, BY UNNY

E.P. Unny, the chief political cartoonist of The Indian Express, has a page one anchor:

To call Mario a cartoonist would be like seeing no more than the elegant living room he entertained you from, through a long warm Goan evening. “Take a break and be my guest,” he said. “Come and sketch the whole of this house. Should take a week or so if I keep a close eye on you to make sure you don’t run off to do the day’s cartoon.”

***

Ditto the cartoonist Manjul in DNA:

“Mario was the one and only ‘celebrity’ Indian cartoonist. He endorsed a reputed clothing brand in TV & print commercials in the 1980s. In 1979, Basu Chatterjee, director of the Hindi film Baaton Baaton Mein, based the looks of the hero, a reel-life cartoonist played by Amol Palekar, on Mario.

One can see his house in Shyam Benegal’s film Trikaal. Benegal shot the film in and around Mario’s house in Goa, a heritage building known for its Portuguese past and architecture. And no one can forget the iconic visual of a Sardarji sitting inside a bulb with books, which has graced Khushwant Singh’s column in almost every Indian newspaper for many years.

***

Ajit Ninan in The Times of India:

“We grew up in a time when all things worthy of awe or admiration came in pairs – Tata-Birla, Ambassador-Fiat, Coke-Pepsi, and so on. In the world of cartooning, Laxman-Mario was such a pair. All my lines I have learnt from studying the two titans of those times.

“Just as Bollywood brought India to the world, Mario brought Bombay to India. His mastery of architecture and of fashion trends was one of the keys to this. Mario’s ornate illustrations of the colonial structures of Mumbai wouldn’t have been possible for anyone with a weaker grasp of architecture.”

***

The cartoonist Jayanto Banerjee pays an illustrated tribute in the Hindustan Times:

As does the cartoonist Jayachandran Nanu in Mint:

***

Deccan Herald has an editorial:

With Mario Miranda’s death, the country has lost an eye that looked at it with understanding, compassion and irony for many decades and saw what was most often unseen and lost to most of us…. Everything was grist to his mocking eye and subtle lines—politics, society, business, attitudes, fashions and all that was part of life. His world was peopled with things and characters everyone recognised and lived with. The world he created out of them became the obverse one familiar to us and helped us to look at our own world with greater comprehension.

***

Austin Coutinho in Mid-Day:

Back in the ’60s, for me, Mario Miranda was ‘God’! I would lie in bed, incapacitated by asthma – wondering where my next breath would come from – and live in the make believe world of Mario’s cartoons. There was this little book titled ‘Goa with Love’ in which he had drawn cartoons of village life in Goa. The book would be by my bedside and it was as if I knew each of those characters on a first name basis…. My greatest regret in life will be not having ever met the ‘God’ of my schooldays. May his noble soul rest in peace!

Cartoons: courtesyThe Indian Express, The Hindu, Hindustan Times, Mint

Also read: Has R.K. Laxman drawn his last cartoon?

Making all of us smile can make one of us cry

Look who inspired R.K. Laxman‘s common man!

EXCLUSIVE: The unpublished doodles of R.K. Laxman

The 25-paise mag where R.K. Laxman began

The ‘sardar in the lightbulb’ signs out suddenly

17 October 2011

Seventy years after he started needling readers and 42 years after he wrote his first column, the “sardar in the lightbulb” will shine no more. Khushwant Singh, the dirty old man of Indian journalism, says he is now too old (and maybe just a little less dirty) to dish out malice towards one and all any more.

“I’m 97, I may die any day now… I’ll miss the money, and the people fawning over me to write about them in my columns,” Singh says in on his self-imposed exile into silence, in Outlook* magaqzine.

Singh began his career as a journalist in1940, writing for The Tribune, contributing book reviews and profiles under the byline ‘KS’. His first regular column appeared in the planning commission journal Yojana.

Editor’s Page, in the Illustrated Weekly of India under his now famous sardar-in-lightbulb logo, first appeared in 1969. The column migrated with Singh to National Herald, and in 1980, to the Hindustan Times. The now-defunct Sunday Observer was the first to buy the rights to it in 1981.

After he left Hindustan Times in the mid-’80s, Khushwant began syndicating his column. His two columns appeared every week without fail for the last 30 years in a dozen national dailies and translated into 17 languages.

* Disclosures apply

Also read: Khushwant Singh on his last day at Weekly

Why Khushwant Singh fell out with Arun Shourie

Barkha Dutt tarred by pure malice: Khushwant

Khushwant Singh stands up for Barkha Dutt, again

‘The most prolific journalist of our times’

11 June 2011

Khushwant Singh on his Illustrated Weekly of India protege M.J. Akbar, in The Telegraph, Calcutta, the “unputdownable” Calcutta paper founded by Akbar in 1982:

M.J. Akbar must be the most prolific journalist of our times. He heads the editorial board of India Today, edits The Sunday Guardian financed by Ram Jethmalani, and writes for many other papers including The Times of India. He frequently appears on television channels and has over a dozen books to his credit. His latest is Tinderbox: The Past and Future of Pakistan. He is tireless and highly readable.

“I take credit for some of Akbar’s achievements, like a father would of his son’s successes. Akbar started his journalistic career as a trainee picked by me. He met his wife-to-be in my office and nominated me the godfather of his daughter. Few people could be closer than he and I.

“Despite our closeness, I went woefully wrong on one important issue. I had assumed that, like me, he was an agnostic. He is a devout Muslim. He fasts throughout the month of Ramzan but celebrates Id-ul Fitr in my home. He has performed the Haj pilgrimage to Mecca and Medina.

“He has many years to go before he retires. By the time of his retirement, I expect him to have done much by which posterity will remember him.”

For the record, Akbar’s name also appears as editor of the Indian edition of the International Herald Tribune, published by Deccan Chronicle from Hyderabad, in an arrangement with the New York Times.

Photograph: courtesy The Telegraph

Also read: ‘Never let your head stoop as a journalist’

‘News is the subtlest form of advertising’

‘In fractured media, the word is the common fact’

Look, who inspired R.K. Laxman‘s common man!

Do “anonymous people” not count for media?

23 May 2010

Death—ordinary, unglamourous, “smalltown” death—increasingly catches the glitzy, big-city English media on the wrong foot.

Unlike the “26/11″ siege of Bombay, in which almost as many people were killed as in the Mangalore air crash, you do not find TV and print journalists falling over each other to catch the “first flight” to the spot.

Or, crawling on all fours to shoot a piece to camera, or to provide what used to be known simply as copy but is now fancifully called “narrative”.

As if death by any cause other than “terror” is no death.

As if death in any city other than Bombay and Delhi is no death.

As if death outside of a five-star hotel or two is no death.

The wisecrack of the day comes from Pritish Nandy, former editor of the now-defunct The Illustrated Weekly of India, as if the media did “anonymous people” a favour by giving them airtime on a day like 22 May 2010. Otherwise, they might as well not have existed as far as the media was concerned.

As if, otherwise, the media’s mandate is to merely bring home celebrities and “people like us”? PLUs like the food writer killed in 26/11? The banking executive who had a narrow escape? The board of directors who were smuggled out of the chimney?

Is making people “famous”—manufacturing fame—the media’s sole business?

Also read: ToI food writer Sabina Sehgal Saikia is dead: RIP

Legendary photojournalist T.S. Satyan dead

13 December 2009

sans serif records with deep and profound regret the passing away of the legendary photo-journalist Tamabarahalli Subramanya Satyanarayana Iyer better known as T.S. Satyan in Mysore this afternoon.

Mr Satyan was five days away from his 86th birthday.

He is survived by his wife Nagarathna, children, grandchildren and a City (and a profession) he dearly loved till his last breath.

Mr Satyan belonged to a golden generation of the Maharaja’s College in Mysore in the 1940s, from which almost everybody ascended to reach great heights in life. He took to photojournalism at a time when neither photography nor journalism was the first-choice profession and communicated with images the way another famous co-townsman of his (R.K. Narayan) did with words: simply and honestly, without any frills.

His work chiefly appeared in Deccan Herald and The Illustrated Weekly of India, and in Time, Life and Christian Science Monitor.

Fittingly, for someone who was full of zest, Mr Satyan titled his memoirs In love with life. In the last few years, the octagenarian developed a love for the wired world, and wrote several pieces for sans serif, whose friend, wellwisher and guide he remained from the day of its inception.

***

T.S. Satyan on churumuri.com:

Once upon a time, early in the morning

The R.K. Narayan only I knew

Once upon a time during the Quit India movement

Mysore’s shortest man was only in height

The Raja said, ‘Why don’t you go with Mohini?’

The cop who stopped the maharaja

T.S. Satyan on photography

The genius of the Indian villager

His Master’s Voice varies from his Man Friday’s

26 September 2009

Minister of state for external affairs, Shashi Tharoor, is a) the son of a journalist of The Statesman, Calcutta, b) a longtime columnist with The Illustrated Weekly of India, The Hindu and The Times of India, and c) a career diplomat who spent a good part of his life at the United Nations writing books and press notes.

But in his first 100 days in office, Tharoor’s core competency is what has deserted him as he puts both his feet in his mouth with increasing regularity.

First came the cattle-class comment on his Twitter feed, and now this. A comment on Mail Today, the tabloid newspaper owned by the India Today group, at sharp variance with his own officer on special duty Jacob Joseph‘s surmise of the paper a few days earlier.

The difference between 386 and 23 is 363 words

12 September 2009

How does the mainstream English media in India report the alleged transgressions of one of its own?

S.N.M. Abdi, the Calcutta-based journalist who broke the “Bhagalpur Blindings” story in 1979-80 (in which police blinded 31 undertrials by pouring acid into their eyes) for M.J. Akbar‘s Sunday magazine, and now works for the Rupert Murdoch-owned Hong Kong daily South China Morning Post, was arrested on Thursday on rape charges.

The incident got the most coverage in the Calcutta edition of The Times of India, and barely merited a paragraph in the eastern city’s older English dailies, The Telegraph and The Statesman.

Abdi, incidentally, was Calcutta bureau chief of  the now-defunct The Illustrated Weekly of India, the features magazine owned by The Times group, and was at the centre of the infamous J.B. Patnaik case in 1986 under the editorship of Pritish Nandy. “Shocking: The strange escapades of J.B. Patnaik,” the Weekly‘s cover story dealt with the deviant sexual life of the then Orissa chief minister. After a protracted legal battle, the Weekly apologised.

The Telegraph, Calcutta: 23 words; headline: “Rape arrest”

Deccan Herald, Bangalore: 49 words; “Journo held on rape charge”

The Hindu, Madras: 61 words; “Journalist held”

The Statesman, Calcutta: 67 words; “Journalist held”

The Hindustan Times, Delhi: 97 words; “Journalist arrested on rape charges”

DNA, Bombay: 231 words; “Senior journalist held for rape”

Indian Express, New Delhi: 346 words; “Senior scribe held for rape”

The Times of India, Calcutta: 386 words; headline: “Housewife lured with railway job, raped”

Newspaper facsimile: courtesy The Indian Express

Pranay Gupte on S.N.M. Abdi: ‘Marvelous young journalist’

How a Hindu-Muslim journo-couple live, let live

2 August 2009

Khushwant Singh in The Telegraph, Calcutta, introduces former Mid-Day deputy editor Pinki Virani‘s fourth book, Deaf Heaven:

“Pinki Virani is a Muslim. Her husband, V. Shankar Aiyar, a senior executive with India Today, is a Tamil-Brahmin. When I met Pinki for the first time, I asked her how the marriage was working out since both had stuck to their respective faiths.

“‘Fine! Just fine,’ she replied. ‘I say my namaz in one room, he tinkles bells to his deities in the other. No problems, whatsoever.’

“I was happy to hear it. The more Hindu-Muslim marriages, the better. I find conversions demeaning.”

Read the full article: The Virani saga

Also read: Khushwant Singh on his last day at The Illustrated Weekly

Weekly Forecast: ‘Lots of bylined stories for print journalists’

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