Showing posts with label winner. Show all posts
Showing posts with label winner. Show all posts

Sunday, November 22, 2015

2015 DNA-OUT OF PRINT Short Fiction Special: Links to the winning and shortlisted stories



Zui Kumar-Reddy


Indu Suryanarayan
Farah Ahamed
Tanuj Solanki
Suresh S


Sowmya Aji
Pravin Vemuri
Meghna Pant
Kanchana Doraiswamy
Abha Iyengar
Trisha Bora
bhavani
Devika Rajan
Mathangi Subramanian
Dipika Mukherjee
Nabina Das
Prashila Naik

2015 DNA-OUT OF PRINT Short Fiction Winner: Zui Kumar-Reddy

Anagrams and Barbed Wire Jesus

Zui Kumar-Reddy

Sit here, the nurse said, pointing to the granite bench in front of a desert backdrop; the painting was like something out of the foxes mind from the Little Prince, I thought. This was a mandated appointment, there were thousands of us who moved in and out like conveyer belt kings. The painting was blank, I thought, as I was placed in the foreground of nothingness. ‘Android’s ran ‘em. Android’s ran ‘em,’ the nurse laughed in a shrill witchy way as she strapped me into place. I was held there by the weight of my bones that stuck hard to the granite below me. And all I could see were queues of bones and sagging skin and all I could think was Android’s ran ‘em.
She had a light pointed at me, must have been a zillion watts, I smelled the burning of my skin and I saw it bubble and blister but I felt an early morning breeze, a rainy day coolness, and it came as if I had summoned it. A tray with eight identical glasses of electric blue liquid was placed on a table beside me. I was made to drink it all before the army of identical men dressed in white tore the clothes of my back and placed my burning body horizontal on the granite. This is an exorcism, the nurse screamed as she prodded at my pus filled blisters. And as they had us all like this, our naked skin melting into our insides, that is when they began. It wasn’t slow like we were warned it would be, the crucial moment, it was fast, like an industrial scale mass purging. I was made to sit upright again, and found myself and a thousand other pathetic excuses for humans lined up before a multitude of enormous turbines aimed and ready to blow away all that was left clinging to our now loose skin.
See, you can purge the devil out of someone quite easily, I hear that can be done with a bottle of beer and some sorpottel, but memories, that’s a whole other story and it took a while for these guys to figure out just what the fuck they were going to do. Three years they wasted cutting heads open and waterboarding people’s brains with acetone, but everyone just ended up dead and so that was deemed unsuccessful. This new thing they had come up with, this industrial scale mass purging, it was cost effective and it worked. But a few of us had been reading about it, months before the appointment, and we trained ourselves like nobody’s business, to remember. They had fried our brains already, last year and the year before that, but memories they stick to your skin.
So as they turned on the turbines. I felt what seemed like a frantic plastic bag inside of me, looking for the nearest exit. This was number one, I said to myself and I had to hold on tight because after the first one they speed up like motherfuckers.
There were three ways one could find Mrs D'Cunha’s house. The most roundabout and my favourite by far, was the ‘Mail Route’; this required one to be small in size and fairly malleable. Your starting point was the big post office just off Museum road. Across the street you would see a house with a gabled roof and a bright blue door. This was the residence of Mr Ranatunga that was later gifted to the family of his prostitute. If you were to knock on this bright blue door you would be greeted by Shanti, a twenty something year old girl with chocolate skin and jasmine hair. She would take you by the hand, very firmly and with no real interest in coddling or baby talk, and walk you to the compound wall. It was here that the exchange took place. A grey haired Daniel would be waiting on the other side of the wall, for a laddoo shaped human package who an old lady was expecting for tea. And it would now be time for you to dutifully curl up so you could be passed through the two lines of barbed wire that were strung above the granite wall.
I lost it. The frantic plastic bag. My bones felt lighter. ‘Android’s ran ‘em,’ the nurse shrieked like a maniac from behind the turbines. The next few went fast, and I was relieved. I didn’t know what they were, just that they were leaving the innermost fibres of my body and taking with them whatever it was that made me feel so heavy. The men in white stood along the periphery of the oval room that we were in. Each of us, positioned on a bench in front of a backdrop, looking like we were set up for mini photo shoots. The bag of bones on my right, he sat in front of a beach as he writhed in pain like a worm under a magnified sun. They filmed it all, each of us, the cleansing, so that it could be screened at the tenth year anniversary of the new republic of whatever we were heading towards. I didn't know what I was losing until number three thousand and fifty four.
On Sunday mornings, as my mother would paint blue pin stripes down the walls of the courtyard, Mrs D'Cunha would have the Ave Maria on repeat as she sat in her front room and swayed back and forth to the sweetness of the song.
The blue pin stripes, the Sunday mornings, they were political, the men in white made it that way as they leaned into us from the corners of the oval room. I couldn’t see their eyes through the darkness that shadowed their faces and I wondered if their memories were monitored like ours. There was some sort of a clause for sure, some memories were alright, some people didn’t need to go through this, but we were picked out, in the thousands, and burned till we bled out all that we had known.
One Christmas, many years after I stopped being able to fit through the barbed wire, Mrs D'Cunha called me and my family to her house, it was a matter of urgency she said. She brought us to a corner of the garden, right by the compound wall and pointed a little into the distance. ‘Do you see that?’ she asked us. She meant the barbed wire Jesus whose shadow was plastered onto a neighbouring white wall. I barely saw it but thought it was the most exciting thing that had happened all year.
And then HE stepped out, from behind the men in white. They called him the Android. He was dressed like a ringmaster with a whip in hand and a detached smile that was both born from and held on to nothing. He wore an orange suit and swayed from side to side as he walked to each one of us, stroking his chin and cracking his whip. The men in white fired into the room a grey smoke that cemented itself onto the parts of us that were left cut open and bare. We had only heard about him before, and hadn’t really known how to prepare ourselves for whatever it was he was going to do.
By the time I finished school, Mrs D'Cunha’s house looked like a different place. It wasn’t as grand as I remembered. There was nothing on the roof but dried leaves and plastic sheets to prevent the rain from getting through the leaks. I dropped in on her once with cake and tea and she was the same, just sad that the lace curtains on her windows had started to turn grey, because of the pollution, she said. The avocados had started to fall to the ground as no one was collecting them and the family of monkeys that used to frequent the tree hadn’t been seen for nearly three years.
The Android had me shivering on my side and whipped me till the skin on my fingers started to peel away. Now you won’t remember shit, he said. I smiled at him, and the sides of my face stung as I did, but I knew where this was going. If the body isn’t good for shit, if everything it does essentially means fuck all, the one thing you can count on till the point where you’re completely cut apart and then re-assembled is that your mind is capable of seeing the desert fox from the Little Prince in the midst of a full-on mental massacre.
My father would say to everyone who ever visited the street that we lived on, that only Marquez could do it justice in description; the gabled roofs and the dead geraniums brought all the way from Ooty that sat outside the front doors for days in the hope that they would somehow find the will to live again. My childhood, in and out of Mrs D'Cunha’s house was full of grasshopper cakes and old powder tin kaleidoscopes. The last time I visited her was to express concern for a dog that was being beaten by one of the servants. It seemed useless telling her all this, as she lived in a world outside of the big one that was becoming less and less familiar. Not that she wanted to, and not that it was even a choice, but it’s like she had been forgotten, sitting in her front room, listening to the Ave Maria and watching her avocados fall to the ground. Incidentally, if you had visited the house forty something years ago, in the morning around seven or eight, you would most likely find Mr D’Cunha himself. He would probably have been walking up and down the terrace singing the very same song his wife had listened to until her death. This was the city I had known in the very beginning of my life; avocado trees and early morning opera singers, but the changes came faster than many could keep up with; a gush of grey smoke swept in and picked up whatever it could and all those who couldn’t keep up were just left behind. So, when years later I found Mrs D’Cunha’s body rotting in the same position in the same chair that she had sat and swayed in for most of her life, I wasn’t surprised in the least. She had just slipped all our minds, I thought, amidst all this grey smoke it was too hard to see through her lace-curtain windows anyway….
As they switch off the turbines I peel the remaining skin off of me and all that had melted into the bench beneath me. I’m a clean slate ready for business. Grateful to be perfectly moulded into the new world. And made aware of the dangers of the old one. We step up in unison, all of us who have been stripped down to cells, preferred building blocks for a new race, we make our way out into a new world that is also subject to this contrived erosion. In front of us stands the ringmaster who repeats in an unchanging voice: you’re all mine, bitches.

Zui Kumar-Reddy is a 21-year-old Biology student who loves to write. She has had her works published in Out of Print Magazine, The Peal and Down Dirty Word - The Legendary. This year she was one of the selected participants for Max Mueller Bhavan and Sandbox Collective’s: Project Gender Bender, where she screened her music video ‘Goef Josef’ on the subject of female desire. Currently she is making pots and pots of guava jam, guava jelly and peanut butter thanks to an abundant harvest!


2015 DNA-OUT OF PRINT Short Fiction: Winner and 4 Finalists

We are immensely pleased to announce the winner and 4 finalists of the DNA-OUT OF PRINT Short Fiction Special.

These stories have stood out for the nuance and complexity with which they examine the theme of Erosion. They each stem intimately from the personal, and yet range in their scope from the closer to the wider. Memories ripped away so they cannot layer controlled realities; birth and death and old age, balance and imbalance; civility destroyed by the oppressiveness of entrapment and jealousy; a recognition of the inevitable, pointless and circular nature of existence; the shroud of societal prejudice and the violence it engenders – these are what the stories are about.

We are honoured to present them and hope the readers will enjoy reading them.

Out of Print editors: Indira Chandrasekhar, Leela Levitt, Ram Sadasiv


Winner and finalists of the 2015 DNA-OUT OF PRINT Short Fiction Special

Zui Kumar-Reddy
Indu Suryanarayan
Farah Ahamed
Tanuj Solanki
Suresh S




Links to the remaining stories on the shortlist may be found here.

Sunday, July 27, 2014

DNA-Out of Print Short Fiction: TANUJ SOLANKI

The Sad Unknowability of Dilip Singh
Tanuj Solanki

The never-to-be-famous writer Dilip Singh died of his own hand in the winter of two thousand and six. He was twenty-nine. His mother returned from her grocery rounds on the unfortunate day of his death and found him hanging from the ceiling fan, one of her plain widow’s saris wrapped tightly around his strained neck. In the hope that her son still had some life in him, she drew a chair (the same chair that Dilip had toppled earlier) beneath his feet and mounted another to untie the noose. Failing to do that, she noticed the loosened plaster around the hook that held the ceiling fan, and in her panic she began to pull the body downward. Some plaster and cement fell on her face, but the body could not be set free. It never occurred to her that had she managed to free it, the heavy ceiling fan, which was from an era when it was made of metal, would have crushed them both.

Dilip’s choice wasn’t something that the circumstances, or my understanding of them, added up to. To say that he was a writer is not to say much, for the label is a problematic one. He had started writing when he was twenty-three. He wrote poems initially, and the only people who ever read or heard these were his close friends, who did so only reluctantly, for the poems spoke of a coming apocalypse or a love long lost or the inescapable misery of life, and Dilip’s friends, all as young as he was, could not find in them anything to connect with. The more sensitive ones liked to point out that Dilip’s poems were dishonest, for he had himself never experienced anything traumatic, and so when he talked of ‘grey skies that gave out a grey piss’, or of ‘love’s half-life’, or of ‘a beggar’s prayers for no rains that season’, he sounded phony. I was a friend of Dilip’s, probably closer to him than the others, and I too had similar feelings about his early poetry. In one-to-one conversations I would ask him where he was getting his ideas from. His answers were never satisfactory. He would say that a poet’s primary condition is to be ever-sentient of death, or that a poet who doesn’t know love’s loss is not a poet, or that misery is the automobile that rams us into the wall of death, et cetera. With hindsight, I have come to understand that phase as one where he was struggling to find his feet in the quagmire that is literature. I also suspect that it was all under the duress of some broken love affair that none of his friends had ever been aware of.

But Dilip and his work changed. Between two thousand and one and four he was excited about writing prose poems of the sort where a collection of seemingly disparate paragraphs hint at an elusive core (these might be his words), and although he continued to write of death and misery and betrayal, his work now combined a sense of privacy with all that. The prose poems registered in one’s heart as having been written by a suffering individual. They had in them the scratches of defeat, a defeat not felt or read or imagined, but a defeat experienced in the real. Perhaps this is an effect that he created by simply turning to a first person voice that was more nuanced than his earlier voices. For example, the grey sky did not give out a grey piss any more. It went like this: ‘After it rained, I walked on the road looking down, but the vision didn’t change even if I looked up to the sky. Everything was the colour of my mind.’

The reasons of this apparent melancholy still escaped me. I tried to talk about it, which was easier now as Dilip was far less obnoxious than he had been earlier. We sat on the seafront at Marine Drive on many occasions, where he would read his latest work to me. Even though the subject of his writing was almost always too serious, I assumed he was happy, for he did give off a certain confidence that stemmed from the improvement in his writing. Conversely, he told me that the grave nature of what he wrote about surprised him as well, and might just be a by-product of the grave voices of the writers that he was reading in those days. I remember how this statement had calmed me, and also how honest it had seemed to me, simply because it had in it the elements of a confession. Whether his work of that time could be called original or not, I do not know. Although I do feel sad that no one will ever be able to give an authoritative answer. The little that I have quoted is from what I have remembered over the years.

And then, almost as if out of a perverse logic, Dilip was struck by real pain: his father died of a massive heart failure. I and other friends went to Dilip’s house to express our condolences. There I saw Dilip, standing in a corner of the living room where he would eventually end his life. He looked stunned rather than distraught. He did not utter a single word to any of us, and so we all considered it better to leave and allow the family to grieve for their loss.

Two weeks later I received a phone call from him. He sounded excited, which confused me. He told me that he had written a large prose poem that a magazine of national circulation had decided to publish in their upcoming issue. The impropriety of such a reaction only two weeks after losing a father bothered me, but I nevertheless congratulated Dilip wholeheartedly. He wanted me to meet him at Marine Drive the next day, so that he could read this poem to me. I agreed.

The poem was about a ten year old boy who had a world of his own, a lush strange world full of the most esoteric notions. It was difficult to understand, not merely because of the complexities of language. Then there came a revelatory passage, in which the child watches his father hit his mother with a rod, and then a sequence where the mother shows the mark of that violence to the child. The details of the mother baring her thigh to the child to show him the mark were unnerving. Without a doubt, this was a personal experience, although the end, where the child buries that rod under a tree, might have been fabricated. Initially, after Dilip had finished reading, I was hesitant to show any reaction at all. But then I told him that what he had written seemed to me like something that had happened to him. Dilip grew silent and stared at the horizon for what seemed a long time. When we resumed talking it was on an entirely different topic, and then we got up and went to a nearby café to have some cold coffee. The poem was deliberately forgotten. Although I remember how in the taxi ride back home that day, I had thought of it as a veritable masterpiece.

Dilip called me a couple of days later. It was quite late in the night, and I could only hear an incoherent blabbering from the other side. It was as if he was heavily intoxicated, which was strange because I knew that Dilip never drank. I could not think of anything better to do than to cut the call and reach out to him later. Next morning, when I visited Dilip’s house on my way to work, his mother told me that he had left the previous night. He has gone to the Himalayas for some time, she said, and also added something about how disturbed he had been since his father’s demise. I was confused, but then I shrugged my shoulders and got on with my life. What else could I do?

I did, of course, retain some interest in my friend, and so the next month I got a copy of the magazine where his work should have been published. It was not there! My confusion regarding him was now mixed with guilt, for I thought that maybe he chose not to publish the poem because I had found it to be so personal. I rang his house, but his mother told me that he had still not returned. She had no contact number or address, and had no clue about the poem due to be published in the magazine. For a while I wondered if Dilip had lied to me about being accepted for publication. But why would he do that? To make me view his poem with respect, with approval? It made me ask questions of myself: had I thought of the poem as a masterpiece because it was due for publication? This would mean that Dilip had conned me, and that I had conned myself too. Now I wasn’t even sure if his father had really hit his mother with an iron rod. And if that wasn’t true, was the poem then a masterpiece because it had appeared so real and personal?

It was six more months before Dilip finally returned to Bombay – with a large beard and webby eyes. He had decided to be jobless, he told me on our first meeting; apparently his father had left behind a large sum of insurance money. We got into the habit of meeting at Marine Drive every Saturday evening, where he would read some of his writings to me. I kept my distance emotionally and never broached the topic of the unpublished poem. He was writing short stories now, short stories that seldom had more than two characters who met each other for the first and the last time inside the story. Either he never sought publication or was never accepted by anyone. I felt that he didn’t have anything substantial to write about, and was therefore writing about the transitory nature of human encounters, how we grow intimate with strangers and then part without much ado. While this template persisted in general, the settings and the tones and the timelines changed dramatically from story to story, and the intensity of the connection that the two characters felt for each other also varied substantially. Sometimes there would be a third party, or an object or an idea that was important to both the characters. As weeks passed, as those weeks became months, September October November, as life settled into a routine for me and probably also for Dilip, I began to enjoy these weekly rendezvous and came to be excited about knowing the identities of the two strangers that my friend would set in a story next. And then that Friday morning in late December – I was at work, probably toiling on a presentation or a spreadsheet. There was a tiny suicide note, in which he blamed himself and nobody else. In the days that followed, I took it upon myself to comfort his mother as much as I could. I would visit her every other day. It was in one of these meetings that she narrated her struggle with Dilip’s strangulated body. She eventually came to tell me that Dilip had burnt all his writing before hanging himself. She told me that she had noticed flakes of ash drifting on the living room floor before she had looked up to find her son. Then she cried, and then I cried, and the crying went on till it exhausted itself, at which point the silence became so oppressive that I ran out of the house.

Tanuj Solanki is a fiction writer based in Bombay, India. His work has been published in large and small magazine, such as The CaravanOut of Print, netherelimae, and others. He has been nominated for the Pushcart Prize, and one of his stories featured in wigleaf magazine's list of best online fiction 2012. You can write to him at tanuj.solanki@gmail.com . His twitter handle is @tanujsolanki .