Avik Gangopadhyay, Indian author of repute already has 30 published books in English and Bengali to his credits. His uncommon treatment and interdisciplinary approach to Aesthetics and Theories of Literature, Language and Criticism, Death of Languages, not-so-discussed historical issues, Philosophical and religious ‘ISMS’, Indological studies, Editorial endeavour in 6 books of poems and short stories – received wide and unique critical attention in India and abroad. He started showing early signs of a potential author from the age of just 8 years. Innumerable poems were written in late teens. His works started seeing esteemed publications since 1996. First book was published in the year 2000.
Criticspace: Welcome to Criticspace Journals, Avik. Many congratulations on your wonderful book Love in Siesta. What response are you getting on your work from the readers? Please share your experience with us.
Avik Gangopadhyay: Thank you so much. Very positive indeed. Readers who shared their views have praised most my handling of Time and characters and my exploration into the pre-civilization dystopia. The sheer beauty of the world unseen has tempted some to propose for their adaptation to short films. Some of the readers see the book to be a combination of success marked by respect, not only as a literary writer, but also having elements to teach would-be writers, specially in dealing with so little available elements. It is encouraging. With humility I accept all words of accolades.
Criticspace: There is a considerable amount of details related to many things in the background. How extensive was this and what was the most interesting aspect of your research?
Avik Gangopadhyay: Knowledge of psychology and narrative techniques helped me to weave situations. Study of cultural anthropology, archeology and gerontology made the situations realistic when themes are set in distant past. The sense of language and characterization comes from conscious reading and creative imagination, using mono and di-syllabic names, a supposed trend in the primitive ages, helped to create the mystery of gender or asexual identity. As science fiction or future-centric writings are ample at hands but not so many with Time past, it was a challenge that I consciously undertook. Visualization was vital, I think I have passed in that section, at least feedback from the readers and critics assure the same.
Criticspace: Which of the stories was the most difficult to write?
Avik Gangopadhyay: Obviously the stories set from 8000 BC to 1100 AD: The Lost Yearn from the Charnel House, On the Heels of Fortune, The Primeval Lust, The Amoral Incests and The Conscientious Epicurean. What do we actually know about these times? Do we know how people shared emotions, how instinct and intellect played their respective roles? Only guessing everything as “wild” is a poor conjecture. So realistic imagination, supported by the insight into the history of instinct, lust, love, possession, when woven intricately and are allowed to interact, the trick is done. I chose the situations, the characters and let them ripe. I didn’t interfere with my logical acumen into the happenings of those men and women of the distant past. I enjoyed the hindrances. It was more than an exploration. More of a sojourn I should say.
Criticspace: Did you find difficulty in mixing and matching various characters and their own back stories with the available subplots?
Avik Gangopadhyay: No, not really. As each of my stories is not peopled by numerous characters, and characterized by a focused theme, there are not much space for the concept of matching. Theoretically, these are short stories, with singleness of aim or purpose or intent, their own back stories or conventional flashbacks are represented through retrospective narration. Mixing too cannot be a calculated one, as I have already said, I chose the situations, the characters and let them ripe, and consciously I didn’t interfere.
Criticspace: Did you find any difficulty in mixing and matching various characters and their own back stories with the available subplots?
Avik Gangopadhyay: No, not really. As each of my stories is not peopled by numerous characters, and characterized by a focused theme, there are not much space for the concept of matching. Theoretically, these are short stories, with singleness of aim or purpose or intent, their own back stories or conventional flashbacks are represented through retrospective narration. Mixing too cannot be a calculated one, as I have already said, I chose the situations, the characters and let them ripe, and consciously I didn’t interfere.
Criticspace: Do you use story boarding or mapping processes to develop your plots and interactions, or do you go with the flow and follow your instinct?
Avik Gangopadhyay: Well, it is a mental mapping and following a psychological trajectory, usually I am used to. Brooding is a process I really enjoy. There is an emotional gratification from the very beginning whenever I am into it. I see my own literary instinct, likes and dislikes, test sense of artistry-as if rejoicing in creating a world, first of ideas, then images and then of words. I never used story boarding or mapping processes to develop plots and interactions. I haven’t tried yet.
Criticspace: The readers might be interested to know about your taste in literature. What kind of books do you like? Apart from fiction, do you also like to write motivational books or other genres?
Avik Gangopadhyay: I am an avid reader of books and treatises on interdisciplinary studies, Aesthetics and Theories of Literature, Language and Criticism, not-so-discussed historical issues, Philosophy and religious ‘ISMS’, Indological studies, cultural anthropology. In literature alone I venture a lot: from classics to poetic drama, through short stories and poetry of varied genres.I am an avid reader of books and treatises on interdisciplinary studies, Aesthetics and Theories of Literature, Language and Criticism, not-so-discussed historical issues, Philosophy and religious ‘ISMS’, Indological studies, cultural anthropology. In literature alone I venture a lot: from classics to poetic drama, through short stories and poetry of varied genres.
Well, I am an author of 30 published books in English and Bengali. My first book “Quest for Uncertainty” was published in the year 2000. I have contributed on topics like Language Death, Diaspora and Trauma Literature, The Transcreative Psyche, Demystifying the Aryan Invasion Myth, Evolution of Aestheticism, which have earned me appreciation from Edinburgh University (Scotland, UK), Henrich Heine University (Germany), Sorbonne University (France), Indo Canadian Diaspora Confederation (Canada), Centre for Revitalization of Endangered Languages (NY, Canada), Asia-Europe Foundation (Singapore), Library of Poetry (USA), Raad O Barendra Bhasha Shongskriti Chorcha Porishad (Bangladesh), Varendra Research Society (Bangladesh) & Varada Sidhhi Peetham (India).
I also take additional interest in Sanskrit, French and German Languages and translate topics of interests from and into them from English, Bengali and Hindi. It has been interdisciplinary studies that consumed my focus. My long association with psychology, cultural anthropology, philosophy, history, popular science, comparative religion, treasures of antiquity, photography and documentation had shaped both my creative and critical psyche; newspaper write ups on art and literature, book reviews are flavoured by my interest in the fields mentioned above, surface in Daily Observer, Daily Mail, The Japan Times, The Connexion, Le Visage, Pembroke Observer, National Post, The Bangladesh Post & The India Observer. My post and opinion editorials address dire global and regional issues.
Criticspace: How much time do you spend on writing compared to promoting your books?
Avik Gangopadhyay: Sorry, I have devoted least time for Promoting. Lately I realised, I need it badly. I am just into it. But 2 to 3 hours I spend on writing every alternate day, if not daily.
Criticspace: What authors have you most admired and have had an influence on you?
Avik Gangopadhyay: Bengal, my part of the world, has produced a galaxy of class writers in world literature. I am very much born out of it All the ancient epics of the world, selected Greco-Roman drama, works during the Italian and European Renaissance, late Victorian, modern and postmodern poets, novelists and dramatists across the globe including Asian literature have had immense influence on my creative and critical bent. My father, late Manab Gangopadhyay, a novelist extraordinaire, known for creating “an idiom of mind”, has shaped all that I am and will be.
Criticspace: We found your writing skills are of international level. It is lucid and content is rich. How you look Indian way of writing in the 21st century? What changes do you see in the modern way of writing? Do you feel it has been changed by the time?
Avik Gangopadhyay: Humbled. So nice of you to say so.
Indians have their identifiable narrative style. Own choice of themes too. 21st century themes and linguistic trends will naturally dominate. Conventional plots will wither; themes will be more particular than universal. Modern thinking, feeling, willing will make way. New life styles will bring new treatments and understanding. These have already started happening.
Yes, there is a sea change in approaching art and literature as a whole. It is bound to happen. One cannot arrest changes. Indian literature is less literary these days, as western critics echo.
Criticspace: Are there other books being worked by you? What after the Love in Siesta? Please tell me about your future projects.
Avik Gangopadhyay: O yes, presently I am nearing completion of a book on the Glimpses of Indian Languages. I am also completing a novel set on two thousand years before Christian era.
Criticspace: All the best for your future and this book too! Thanks for answering my questions, Avik!
Avik Gangopadhyay: Thank you. Most welcome. Hope to talk to you again sometime in future.