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Showing posts with label long-form journalism. Show all posts
Showing posts with label long-form journalism. Show all posts

Wednesday, February 22, 2012

Why long-form narrative journalism is important for all of us

A work of non-fiction about a slum in Mumbai is a leading contender for best book of the year. But you are unlikely to read it, says Prashant Agrawal, writing in today's Mint.

The book in question is Behind the Beautiful Forevers by American journalist Katherine Boo. Agrawal writes:

[It] has won praise from India’s leading historian Ramachandra Guha, as “Without question the best book yet written on contemporary India. Also, the best work of narrative non-fiction I’ve read in 25 years.” Shashi Tharoor, an MP and best-selling author, has sung similar praises. The New York Times, The Wall Street Journal and others have also been effusive in praise. East or West, Katherine Boo’s India book has emerged as the best.

But Agrawal also says that statistics point to the fact that not many of us are going to pick up this book and Boo will be lucky to sell 50,000 copies in India.

Agrawal does not actually give us any statistical data; he does give his reasons, though, for his concerns and I share those concerns. Long-form journalism (Boo's book is a good example) is not for the faint of heart, Agrawal writes. It takes time and effort to read long-form journalism, and we in India are just awakening to its power.

Agrawal explains why we should not underestimate narrative non-fiction books or long-form journalism:

The stories illuminate the world around us, make us think and feel about the issues in a relatable human manner. And often the stories impact and influence public policy. ... Atul Gawande, the best-selling author, wrote a piece in The New Yorker on the rising cost of healthcare costs in the US and how to control them. President Barack Obama had his entire healthcare team read the piece and some of the outcomes were adopted in his landmark healthcare reform.

 We also get some encouraging news:

Today, in India, we are witnessing the birth of non-fiction. Meenal Baghel wrote Death in Mumbai about the Neeraj Grover murder. Beautiful Thing by Sonia Faleiro explores the dance bars of Mumbai; the book has been praised in the pages of Vanity Fair and The Economist.

Every Saturday, our paper [Mint] puts out among the best pieces of narrative journalism in India. Last Saturday, readers were led into the workings and prospects of India’s female boxing team.

Mint’s partner publication, The Wall Street Journal, recently ran an in-depth five-part series on the heinous murder of a nun in Chhattisgarh.

The Caravan magazine is trying to fill the gap of long-form journalism in India and become The New Yorker of India; The New Yorker, along with the Atlantic, are institutions of long-form journalism in the US.

As we grow as a democracy, we will see more long-form journalism — for there are many stories to tell.

Agrawal's article is a good trend story that helps us to understand how long-form narrative journalism can impact our lives. Read the piece in its entirety here: "Birth of long-form journalism".
  • Also, visit Longreads for the best long-form stories on the web.
  • ADDITIONAL READING: "MATTER styles itself as "the new home for in-depth, independent journalism about the ideas that are shaping our future". The founders say it isn't quite a website, it's not really a magazine, and it's not exactly a book publisher either: "Instead, MATTER is something else — a new model for high-quality journalism...." For details, check out "Heart of the MATTER".
UPDATE (June 30, 2013): I have just placed a copy of Behind the Beautiful Forevers in the Commits library.

UPDATE (July 25, 2013): Natasha Rego (Class of 2013) loved the book so much, she has bought a copy for herself so she can read it again.

UPDATE (June 25, 2014): Read up on the latest journalism cooperative, whose aim is to produce in-depth stories, here: "Deca".

Wednesday, May 5, 2010

All hail The Caravan for giving us...

...some marvellous reads in the latest issue. There's hardly any magazine in India that opens up its pages wholeheartedly to long-form journalism, so those looking for something substantial to sink their teeth into, in a manner of speaking, will gladly devour the May issue.

Look at the treasures on offer:

1. Who the Foucault Stole My Cheez?
A brief but wildly satirical and clever piece by "Timothy Paperphadkar" on the dead-end nature of academic seminars.

2. Paperback Messiah
Who doesn't know (about) Chetan Bhagat? And which young person hasn't read at least one of his books? No hands going up? That's not at all surprising considering India's most popular author in terms of sales has become a youth icon in less time than you can say 2 States: The Story of My Marriage. 

Here Srinath Perur immerses himself in Bhagat's world to learn what it is exactly that the banker-turned-writer has done to get millions looking up to him as their role model.

Here are some excerpts:
Bhagat has said he thinks of himself as 90 percent entertainer, ten percent reformer. This mix ensures that his novels occupy a strange literary register, one in which stories dealing with social concerns are written using the conventions of pulp fiction. In the tradition of pulp, Bhagat’s books employ linear plotlines, simple language and short sentences. Readers speak fondly about how quick-paced Bhagat’s books are and how they never get boring, something achieved by never requiring the reader to pause. Characters do not aspire to the complexities of realism, but are constituted of a few clearly defined characteristics in rough accordance with which they behave. They often behave in disjointed fashion, hurtling along from one mood to the next before the reader’s attention can wander. And they never respond to situations in nuanced ways which might require the reader to pause and reflect; their responses are clearly communicated through word, gesture or expression. To whatever extent possible, plausible stereotypes are employed over fresh and telling detail, freeing the reader from having to rely too heavily on the text. Events in the books can sometimes take melodramatic turns, and depending on what one is used to, this can require a significant ability to suspend disbelief.

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Interestingly, none of the Chetan Bhagat readers I interviewed seemed particularly aware of any larger message or intention in the books. Kavitha Gopinath, an ardent Bhagat fan, works for a telecom company in Bengaluru and was an enthusiastic audience member at the launch of 2 States. She says about Bhagat, “For me he’s the ultimate entertainer. His books are effortless to read.” Asked about the larger significance of his books, she says, “Honestly, I didn’t realise there was any. It was only when he spoke about it during the launch that I went, ‘Oh. Okay.’”

Read the article in full here.

3. Tales from the Indian Fish Trail
A detailed investigation by well-known journalist Samanth Subramanian into the controversial Hyderabad fish cure. In the great tradition of the old New Journalists, Subramanian also volunteers to swallow the "miracle" fish live so that he can write about the whole experience:
And then, suddenly, it was my turn.

The most disconcerting moment of the entire process was a few seconds of stasis, when Harinath held the fish up, medicine gleaming in its mouth, and I stood with my mouth open as if it were the Eucharist wafer, dimly aware that I could still twist away and run. Then the stasis broke, and Harinath’s hand, full of fish, was in my mouth.

From all the first-hand observation that evening, I must have somehow learned how to swallow right, because the fish went down, tail first, much easier than I expected. It was slippery and small, and although I felt an initial tickle, I think it had expired by the time it was a third of the way down my throat. Right away, though, I realized that it wasn’t the fish that was making people retch; it was the asafoetida, so strong and vicious that tears started in your eyes in that very first second. Then, as it slid down, it burned such a trail of further pungency down your throat that your hair stood on end and your fingers clenched involuntarily. Eyes still streaming, I grabbed at a bottle of water behind Harinath, although somehow, my mind had inscrutably fixed on its own preferred solution to the asafoetida’s pungency: fresh-cut mangoes.

These paragraphs appear towards the end of the article, but the whole piece is bursting with lustrous writing.

4. His Personal World of Sound 
An entertaining profile of Vijay Iyer, the jazz musician from India who's galvanising the New York music scene. I love jazz and I play it often in my car and at work but I would be stumped if I were asked to talk about what makes jazz "jazz". So I am grateful that the author, Akshay Ahuja, has helpfully given me a few pointers:
Today ... many no longer perceive modern jazz as a part of vernacular culture. As Iyer acknowledges, the music has become freighted, for whatever reason, with various anxieties. “There’s a certain kind of guilt factor that comes into play with jazz. People will be like ‘I don’t know anything about jazz...therefore I don’t listen to it, or therefore I don’t want to pay attention to it.’ And part of it is that people feel obliged to be experts on it in order to listen to it.”

Part of the challenge of being a jazz musician today—or a painter or a poet, for that matter—is simply getting people to actively engage with the work and trust their response. “There’s no great mystery,” Iyer says. “It’s just about letting people in the door."

Like most improvisational arts, jazz gains immeasurably from being experienced live. Every musician produces sound not just with an instrument or a set of vocal cords, but with the entire body. A melodic phrase can be formed with the motions of a pair of hands, its rhythms accented by the slide of a foot. As Amiri Baraka wrote of Thelonious Monk, “The quick dips, half-whirls, and deep pivoting jerks that Monk gets into behind that piano are part of the music, too. Many musicians have mentioned how they could get further into the music by watching Monk dance, following the jerks and starts.”

Brilliant! Do read the article in full.

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Media students will also benefit from reading about NREGA, India's landmark welfare scheme, which is the cover story in this issue. 

Also, there is a highly educational feature on the latest game the big boys (and girls) play: carbon trading.

Sadly, the computer screen is not the ideal medium in which to enjoy long-form journalism. So if you can, buy this month's issue of The Caravan to savour the goodies. (For those at Commits, a copy has been placed in the college library.)

LONG-FORM JOURNALISM SITE
If you are looking for more in the way of long-form reads, here is a site that's right up your alley. The editor, Aaron Lammer, sent me an email this morning after he came across The Reading Room while, he says, he was looking for Indian long-form journalism pieces. 

At Longform.org, the editors "post articles, past and present, that we think are too long and too interesting to be read on a web browser. We started this site to bring together our enthusiasm for both great longform reads and the excellent Instapaper reader".

Check it out here and see for yourself what the Instapaper reader is all about.