2. Khu, Josephine M.T., ed. Cultural Curiosity: Thirteen Stories about the Search for Chinese Roots. Berkeley and Los Angeles, California: University of California Press, 2001.
3. Ozihel, Harding. Street Dentistry. Frac Press, 2012.
4. Seccombe, Karen and Hoffman, Kim. Just Don’t Get Sick: Access to Health Care in the Aftermath of Welfare Reform. New Brunswick, New Jersey: Rutgers University Press, 2007.
5. Sircar, D.C. Studies in the Geography of Ancient and Medieval India. New Delhi: Motilal Banarsidass Publishers, 1990.
6. Woodforde, John. The Strange Story of False Teeth. New York: Universe Books, 1968.
Chapter 7: The Urdu Scribes of Delhi
1. Asher, Frederick M. and Gai, Govind Swamirao. Indian Epigraphy: Its Bearing on the History of Art. New Delhi: Oxford and IBH Publishing Company and the American Institute of Indian Studies, 1985.
2. Bhutta, Muhammad Iqbal. ‘Muslim Calligraphy in the Subcontinent’. Nazaria-i-Pakistan Trust. Website: http://www.nazariapak.info/Research-corner/Calligraphy-sub.php.
3. Hamker, Susan Miyagi. Kakizome: The First Writing of the New Year’. JapanCulture.NYC (4 January 2013). Website: http://www.japanculture-nyc.com/2013/01/04/japanculture%E2%80%A2nycs-kakizome-the-first-writing-of-the-new-year/.
4. Madhu, Manjusha. ‘The Art of Devotion and a Devotion to Art’. Sunday Guardian, 20 May 2012. Website: http://www.sunday-guardian.com/artbeat/the-art-of-devotion-a-a-devotion-to-art.
5. Rahman, Mustafizur. Islamic Calligraphy in Medieval India. Bangladesh: University Press Ltd, 1979.
6. Srivastava, R.P. Art and Archaeology of Punjab. New Delhi: Sundeep Parkashan, 1990.
7. Website of the Urdu Academy: http://urduacademydelhi.com/.
Chapter 8: The Boat Makers of Balagarh
1. Behera, K.S., ed. Maritime Heritage of India. New Delhi: Aryan Books International, 1999.
2. Bera, Gautam Kumar et al., eds. In the Lagoons of the Gangetic Delta. New Delhi: Mittal Publications, 2010.
3. Bhattacharyya, Swarup. ‘Balagarhi Dinghi’. In Connected by the Sea: Proceedings of the Tenth International Symposium on Boat and Ship Archaeology, Denmark 2003, edited Lucy Blue et al. Oxford: Oxbow Books, 2006.
4. Datta, Rangan. ‘Sripur: Temples and Boats’ (19 February 2012). Website: https://rangandatta.wordpress.com/2012/02/19/sripur-temples-boats/.
5. Deloche, Jean. ‘Boats and Ships in Bengal Terracotta Art’. Bulletin de l’Ecole française d’Extrême-Orient 78, no. 2 (1991).
6. Eaton, Richard M. The Rise of Islam and the Bengal Frontier, 1204–1760. California: University of California Press, 1993.
7. Eaton, Richard Maxwell. The Rise of Islam and the Bengal Frontier, 1204–1760. California: University of California Press, 1996.
8. Hornell, James. ‘The Origin and Ethnological Significance of Indian Boat Designs’ in Memoirs of the Asiatic Society of Bengal. Calcutta, 1920.
9. James, Renell. Memoirs of a Map of Hindoostan. London, 1792.
10. Mohaka, Payal. The Shadow: Unknown Craftsmen of Bengal. New Delhi: Niyogi Books, 2007.
Chapter 9: The Ittar Wallahs of Hyderabad
1. Beveridge, Henry, ed. The Tuzuk-i-Jahangiri; or Memoirs of Jahangir. Translated by Alexander Rogers. London: London Royal Asiatic Society, 1909.
2. Kapoor, J.N. ‘Attars of India: A Unique Aroma’. Perfumer & Flavorist (January/February 1991): pp. 21–24.
3. Kaviratna, Avinash Chunder, trans. Samhita: Handbook on Ayurveda Part 1. 1896.
4. Krishnamurthy, R. ‘Perfumery in Ancient India’. Indian J Hist Sci. 22, no. 1 (January 1987): pp. 71–79.
5. McHugh, James. Sandalwood and Carrion: Smell in Indian Religion and Culture. New York: Oxford University Press USA, 2012.
6. Mcmohan, Christopher. ‘Indian Attars’. International Journal of Aromatherapy 7, no. 4 (1996): pp. 10–13.
7. RVS. ‘Quaint Corner: The Scents of ‘Ind’ and Their Fragrance’. Statesman. 1 August 2013. Website: http://www.thestatesman.com/news/8307-quaint-corner-the-scents-of-ind-160-and-their-fragrance.html.
8. Smith, R.V. ‘The scent in the wind!’ The Hindu. 13 February 2012. Website: http://www.thehindu.com/todays-paper/tp-features/tp-metroplus/the-scent-in-the-wind/article2886872.ece.
9. Yemul, Omprakash. ‘India Where Attars Originated’. India Perspectives (March 2004): p. 40.
Chapter 10: The Bhisti Wallahs of Calcutta
1. Durand, Ralph Anthony. A Handbook to the Poetry of Rudyard Kipling. New York: Doubleday, Page Company, 1914.
2. Ghosh, T. and Nath S. People of India: Delhi, Volume XX (Anthropological Survey of India). New Delhi: Manohar Publishers, 1996.
3. Kanher, Usha Shashikant. Women and Socialisation: A Study of Their Status and Role in Lower Castes. New Delhi: Mittal Publications, 1987.
4. Lal, Ananda. The Oxford Companion to Indian Theatre. New Delhi: Oxford University Press, 2004.
5. Limb, Sue and Cordingley, Patrick. Captain Oates: Soldier and Explorer. London: Batsford Ltd, 1982.
6. Russell, R.V. and Hiralal. The Tribes and Castes of the Central Provinces of India. London: Macmillan, 1916.
7. Tharoor, Shashi. The Great Indian Novel. New York: Arcade Publishing, 2011.
8. Wells, Jeremy. Romances of the White Man’s Burden: Race, Empire, and the Plantation in American Literature. Nashville, Tennessee: Vanderbilt University Press, 2011.
Acknowledgements
Writing this book has been a collaborative effort involving extraordinary people, but the biggest contribution is that of all the interviewees in this book, who let me in their lives, often, and let me be intrusive. These stories belong to them and I am but a mere narrator.
Through the course of writing these stories, I had to travel through the remote hinterlands of the country, conversing with my interviewees in many different languages. I am hugely indebted to many people for accompanying me, hosting me and helping me speak to them. Vinod Tiwari, Rakesh Kumar, T. Varaprasad, Satar Khan, Indrajeet Dasgupta, Abhay Bhadani, Ashok Bhati, Salim Ansari, my sister-in-law Prerna Kundalia, Thota Vinesh, and Fatik Khan and his grandmother, Kamerunissa Khan. A special mention must be made here to Laal Sahib of Ranchi for going out of his way to help me research one of the toughest stories in the book, that of the Godna artists. My biggest thanks would go to the selfless tribe of academics, professionals and authors who have given away their own knowledge and research for this book: Dr Saroj Rai, Dr Yash Patel, K. Mahender Reddy, Swarup Bhattacharya, Dr Vulli Dhanaraju, Rangan Dutta, Dr Hari Oraon and Muhammad Iqbal Bhutta. Also, a word for the librarians at the Asiatic Society Library, Kolkata, and the JNU Library, New Delhi, and their immense knowledge of archives.
Many were kind enough to read through my early drafts and/or offer their invaluable suggestions: Manu Chakraborty, Prateek Raja, Sriram Karri, Iftekhar Ehsan, Baradwaj Rangan, Sita Mamidipudi, Deepa Bhasthi, Damayanti Mukherjee, and my brothers, Devang and Soumil, who were always a call away. I would like to thank them and my mentors over the years—Namita Shrivastav, Pritha Kejriwal and Sayan Bhattacharya for widening my perspectives and building on my horizons. (Two of the eleven stories published in this book were first published in Kindle Magazine, in their earlier forms.)
My thanks to my editor, Gurveen Chaddha, for spotting my submission in a deluge of her emails and making this book happen. Her patience and care along with that of visionaries like Milee Ashwarya and Chiki Sarkar at Penguin Random House have taken this book far beyond what I thought it could be. A special mention to my copy editor, Rachita Raj; Vedanti Sikka, the cover designer of this exquisite cover; and the illustrator, Andrew Fairclough.
Through the journey of writing this book, the biggest lesson I have learnt is that humility is a mark of truly accomplished men and women. Both Shashi Tharoor and Gulzar Saab responded within hours of me approaching them for appraising my drafts and read through them patiently. My unbounded gratitude to them. Also, my heartfelt gratitude to K. Satchidanandan, Anees Salim and Kishwar Desai, for ratifying the st
ories in their nascent stages.
A huge thank you to my mother and father back in Hyderabad, for believing in my dreams much before I started dreaming them. My gratitude, also, to my other set of parents here in Calcutta, for their unflagging support and abiding faith in my decisions.
And lastly, to my rock and my favourite travel companion, my husband, Vivek. This book wouldn’t have been possible without you.
THE BEGINNING
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EBURY PRESS
Random House Publishers India Pvt. Ltd, 7th Floor, Infinity Tower C, DLF Cyber City, Gurgaon –122 002, Haryana, India
Random House Group Limited, 20 Vauxhall Bridge Road, London SW1V 2SA, United Kingdom
Published by Random House India in 2015
www.randomhouse.co.in
Text copyright © Nidhi Dugar Kundalia 2015
Photographs copyright © Indrajeet Dasgupta, Thota Vinesh, Anil Keswani and Raj Dabholkar 2015
Two stories, ‘The Boat Makers of Balagarh’ and ‘The Bhisti Wallahs of Calcutta’, first published in their earlier forms in Kindle Magazine in 2012, have been reproduced here.
Cover design by Vedanti Sikka
The views and opinions expressed in this book are the author’s own and the facts are as reported by her which have been verified to the extent possible, and the publishers are not in any way liable for the same.
This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.
ISBN: 978-8-184-00737-4
This digital edition published in 2015.
e-ISBN: 978-8-184-00776-3
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