Showing posts with label India. Show all posts
Showing posts with label India. Show all posts

Friday, June 10, 2022

VASEEM KHAN WEBINAR: June 15: Friends of the Alameda Free Library

FRIENDS OF THE ALAMEDA FREE LIBRARY: Author Webinar

 

Vaseem Khan Discusses the Malabar House Novels

June 15, 2022 - 7:00 pm – 8:00 pm PDT
Please note: Registration for this event is required and is available here:
https://us06web.zoom.us/webinar/register/WN_rXD1qdQxTaGOFG6JSuDAhw

Killing Gandhi, Dante’s Divine Comedy, & India at the Crossroads: Bestselling crime fiction author Vaseem Khan takes us on an exhilarating journey from the last days of the Raj to the heart of modern India. Vaseem’s Malabar House series is set in 1950s Bombay. This was just a few years after Indian independence, the assassination of Gandhi, and the horrors of Partition, events which Mr. Khan will examine in this illuminating talk. He will also reveal Dante’s unique connection to the city of Bombay…

The first book in the series, Midnight at Malabar House, won the United Kingdom’s Crime Writers Association Historical Dagger award for 2021. The book introduced Inspector Persis Wadia, India’s first female police detective, and her co-investigator, English forensic scientist, Archie Blackfinch. The second book in the series, The Dying Day, was published in July 2021.

Vaseem Khan is also known for his first series, the Baby Ganesh Agency novels, in which a retired Indian policeman inherits a one-year-old baby elephant. He lives in London and has kindly agreed to join us at 7:00 PM Pacific Time in spite of the time zone difference.

Vaseem Khan will be interviewed by our own Joe Mallon! Don't miss this great webinar!



Wednesday, June 17, 2020

Researching for Dharma: A Rekha Rao Mystery

Vee Kumari:
Researching for Dharma: A Rekha Rao Mystery

I had to do quite a bit of research about archeology as well as Indian and Hindu idols to ensure the facts presented are accurate. I hope I haven’t erred by omission. As a former neuroscientist, I was used to research.

EXCAVATION IN INDIA

The story of the discovery of microliths, 35,000-year-old stone tools in Jwalapuram in the state of Andhra Pradesh in central India, is true and comes from an article I came across in the journal, Antiquity (Volume 83, Issue 320, June 2009, pp. 326-348), written by first author Chris Clarkson.

Its abstract:

The Jwalapuram Locality 9 rockshelter in southern India dates back to 35000 years ago and it is emerging as one of the key sites for documenting human activity and behaviour in South Asia. The excavated assemblage includes a proliferation of lithic artifacts, beads, worked bone, and fragments of a human cranium. The industry is microlithic in character, establishing Jwalapuram 9 as one of the oldest and most important sites of its kind in South Asia.

The excavation plays a minor role only in the novel. I wanted to connect archeologists Faust and Davidson with an excavation in India where the Durga could potentially be discovered. Certainly, no idol was reported to have been unearthed among the Jwalapuram finds, but I used my creative license to invent that. I wrote and obtained permission from the first author to do this. Any reader who notices the discrepancy in the timeline–excavation of the microliths published in 2009 and the beginning of my story in 2017, will hopefully forgive me.

THE DURGA AS THE MAHISHASURA MARDINI

Having grown up in the south of India, I knew the basics about how Goddess Durga was created from parts of the Trinity: Brahma, Vishnu and Shiva. I also knew that the Mahishasura Mardini was one of her incarnations created with the specific purpose of destroying the buffalo-demon, Mahishasura. However, I was unaware of the folklore about their relationship that ends in a battle in which the Goddess kills the demon.

Durga, (Sanskrit: “the Inaccessible”) is the most powerful Hindu Goddess in the Hindu pantheon. The word Durga literally means "impassable", "invincible, unassailable." It is related to the word Durg which means "fortress, something difficult to defeat or pass."

Mahishasura Mardini (sometimes written as one word) means the killer (maradini) of Mahishasura (the great Asura*, one of a class of beings defined by their opposition to the devas or suras, the Gods. From: https://www.britannica.com/topic/avatar-Hinduism).

On the left, the stock photo used as the cover of my book, showing the figure of Mahishasura being impaled by Durga’s trident. Out of the buffalo’s cut neck, a human head emerges, that of Mahishasura. The lion that she rides on can be seen on the left, trying to do his share of damage to the demon.

On the right, Durga Ma (Mother), a more benevolent and nurturing version of the Durga, on her tiger, without the Mahishasura. (By multiple authors - Konkani vishwakosh, Goa University, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=31111758).

She is usually depicted riding a lion or tiger and with 8 or 10 arms, each holding the special weapon of one of the gods, who gave them to her for her battle against the buffalo demon.

Durga-puja, or pooja, is a prayer ritual performed by Hindus to offer devotional worship to one or more deities. It is held annually in her honor and is one of the great Hindu festivals of northeastern India. In 2020, Durga Puja dates are: October 22-26.

The Divine and The Demoniac, Mahisha’s Heroic Struggle with Durga by Carmel Berkson, published in in India by the Oxford University Press in 1995, is a wonderful resource for the Mahishasura Mardini story. In small font and 318 pages, it offered a true challenge for me. It covers in detail the birth and growth of Mahisha in as much detail as it describes the encounter between him and the Goddess. The story goes that he falls in love with the Goddess and offers his hand in marriage, which Durga rejects. Enraged, Mahishasura declares war and dies in the battle. I, like my protagonist, focused on Chapter Nine The Life Stages of the Hero: Depictions in Stone, and Conclusion, pp. 220-232. For anyone interested in the details, it is a vital resource.

***

Author Vee Kumari, author of Dharma, A Rekha Rao Mystery, grew up in India. She loved to read, and often used it to avoid her mother, who might want her to do a chore or two. It was her mother who directed her to use the dictionary to learn the meanings of new words and construct sentences with them. Vee wanted to become an English professor but went to medical school instead. 



Tuesday, March 19, 2019

Why I Write What I Write: Guest Post by Manjiri Prabhu

Today I welcome Manjiri Prabhu. Dr. Manjiri Prabhu is an award-winning Writer/ Novelist of mystery fiction, an independent short-filmmaker,  and also the Founder/ Director of two Festivals. She has directed over 200 children’s TV programmes,  more than 50 short fiction and travel films and has authored 15 books. Her latest mystery is Voice of the Runes.

Manjiri Prabhu:
Why I Write What I Write

When the stream skips by 
and the peaks seem shy, 
When twilight drapes 
the golden landscapes, 
The words and the verse 
light a path to the Universe… 
That’s when I take flight, 
That is why I write…. 

It was really early on in life when I discovered that I had a direct connection with the Universe’s creative energy. It was a unique relationship with the Universe, which revealed to me in a swoop that I had a job to do – I had to write. I was a writer at age seven and I have been a writer all my life.

But here is a simple answer to the question – Why do I write?

Because I can’t help writing! 

And why do I write what I write?

Because the mystery genre has found me and stayed with me and sought its expression through me. And I enjoy being the chosen one to represent this genre and discover newer ways to explore and experiment with the mystery, suspense and thriller format.

I write because I am self-absorbed, even self-obsessed, a universal entity in connect with the Universe. Because I am selfish and in deep love with what my imagination conspires, and love the spring of ‘surprise’ and because I connect more with fiction than reality. Fiction is my world, my characters are my companions and my ordained role is to narrate a story that would entertain, engross, engage and educate – in that specific order.

“Either write something worth reading or do something worth writing.” 

This quote by Benjamin Franklin features prominently on my website and has dominated my world of creation.

15 books to date, hopefully more to come…..what am I really proud of in this journey?

I write because I don’t feel the need to prove anything to anyone. I do not wish to prove that I am a woman in a man’s world. I do not wish to prove that I am better than another man or another woman or for that matter another writer. I don’t wish to prove anything.

And that is why I write what I write - Pure creative energy that stems from a prosperous source. Still. Non-turbulent. Undisturbed and happy. Stories that uncoil from an unadulterated love of the art, adventures and plots that my inventive energy attracts. I write because I think like a human being, not like a woman but like a person without gender. Being labeled as ‘Desi Agatha Christie’ and then compared to Dan Brown, is proof of this state of my mind and my writing.

I write not to deliberately break any glass ceilings, because I have encountered none in my life and believe in none. And yet I have broken moulds, opened paths to others by being the first Indian woman to write mysteries, suspense, and destination thrillers in main stream Indian fiction. My characters are strong, fierce, wise and empowered and in the journey of the book, become even more so - Inspiring and aspirational characters which lead you through life in the most amazing manner possible. I write because imagination is my focal point where ideas germinate, flourish and become reality.

I have given myself full freedom and permission to write what I wish, without the pressure of clichéd expectations and societal stereotypes, the pressure of womanhood and the sense of responsibility frequently and inevitably thrust on women writers, without being answerable to mental conditioning of decades, or entrapped into pleasing the dictates of sexist inhibitions.….Perhaps I have risked an emotional bonding with some readers by not adhering to the ready template of women’s fiction. My fiction stems from my need to be me, carefree and adventurous. And in that sense, I have remained true to myself and my creative energy.

Whether it is my destination mystery/thriller series with Re Parkar, or the Astro-Detective series with Sonia Samarth, both trend-setters and unique concepts in India or the dystopian Super-Dome Chronicles – another less-explored genre in India – I have always been different in the study of subjects. Perhaps it has more to do with what I wish to read and cannot find out there or simply that I am ahead of my times. Whatever it is, the bottom line is that I write what pleases me and what I please. Fortunately for me I have found support from many Publishers who were kind enough to help me find space in the world of publishing.

I realized early on that I am trying to play God, not a Saint. Trying to be a Creator, not a Reformer. I look at change as that which moves from one emotion to another emotion, from one moment to another moment like a slow delicious stirring of thought. An unconscious shedding of set notions, like the erosion of the soil or the melting of metal in heat. And I think mystery fiction has the capacity to do this, in its ability to encompass myriad issues within its genre. In the guise of a good plot, can hide the streams of political ideologies, socio-psychological upheavals, relationship and societal issues and you-name-it, thus initiating rather unobtrusively and intelligently, a pleasant excitement in the reader. I find this rather challenging, fascinating and inspiring – the subtle art of deception stirring a sense of contentment.

Mystery fiction to me is also Motivational Fiction. Where else would you learn that no matter what life throws at you – conflict, hassles, ups and downs – in the end, all is well. It redefines courage and encourages optimism and independent thinking. It demotes the evil in beings and uplifts compassion, love and what is good in humans. Mystery fiction tickles interest, perks the reader’s brain, inspires him or her to prod on against adversities, and offers hope as an eternal serving.

However, at no point in this writing journey, do I wish to take full credit for what I have written. Artists, I believe, are mere channels for the creative energy to flow through them. What you create is a gift from the Muse, from the Universe and you are an instrument in the process. Albeit an important instrument. But neither can you separate the creator from the created. Thank God for that!

When I am at the age to look back and question my choices, I hope that I can respond with candour and honesty, that the work I put out in the world, was the true expression of my beliefs and acts. That it was a genuine effort to fulfill the role assigned to me. That I did justice to the task undertaken – the task to entertain, engross, engage and educate through the art of telling stories that stimulated imagination and thought and created magic, memories and motivation. And in the process allowed myself the pleasure of being entertained! I hope that when I look back, I feel a complete sense of accomplishment and pride.

Friday, September 21, 2018

2018 WILBUR SMITH ADVENTURE WRITING PRIZE

I enjoyed meeting Abir Mukherjee at Bouchercon and love his books, and here's a piece of exciting news! Congratulations, Abir.

From the Bookseller:

Abir Mukherjee has won the 2018 Wilbur Smith Adventure Writing Prize (£15,000) with his second novel, A Necessary Evil (Vintage). The historical crime tale, set in India in 1920, sees Captain Wyndham and Sergeant Banerjee of the Calcutta Police Force investigate the assassination of a Maharajah's son.

Niso Smith, founder of The Wilbur & Niso Smith Foundation, which makes the awards, described the book as "an exciting example of how adventure writing can transport you to a different time and place, teach you something new, and truly allow you to lose yourself in a story."

Mukherjee said of his win: “I’m thrilled to have been awarded the Wilbur Smith Adventure Writing Prize. It’s an honour for me to have had my work selected from a shortlist of such wonderful and talented authors. The Wilbur and Niso Smith Foundation do so much to support young writers and further the promotion of literacy around the world, and I hope to work closely with the Foundation to help further these goals and advance adventure writing as a genre.”

HT: Erin Mitchell

Friday, June 1, 2018

Murder at the Grand Raj Palace: Why Crime Writers Love a Good Hotel: Guest post by Vaseem Khan

Vaseem Khan:
Murder at the Grand Raj Palace: Why Crime Writers Love a Good Hotel 

Agatha Christie, the unrivalled Queen of Crime, loved hotels. Many of her novels were written in, inspired by, or featured hotels. The Old Cataract Hotel in Death on the Nile; The Burgh Island Hotel of Evil Under the Sun; The Imperial Hotel in Sleeping Murder. The grand dame herself once vanished only to turn up eleven days later at the Old Swan Hotel in Harrogate, now the site of one of the world’s largest crime festivals.

For the fourth novel in my Baby Ganesh Detective Agency series – featuring Inspector Ashwin Chopra, formerly of the Mumbai police, and his one-year-old baby elephant sidekick – I chose to follow in Christie’s footsteps and set the novel in a hotel, one with a long and storied history on the subcontinent.

In Murder at the Grand Raj Palace, American billionaire Hollis Burbank dies under mysterious circumstances in his suite inside Mumbai’s finest hotel, the Grand Raj Palace. The senior investigating officer is being pressured to label the death a suicide, for the sake of political expediency. He invites old friend Chopra in to do some discreet digging. As Chopra works his way around the grand old hotel he discovers numerous suspects who may have wished the American ill. He also stumbles across a particularly dark chapter from India’s past that may have had a bearing on the case. To complicate matters, the evening before he was killed, Hollis Burbank purchased India’s most expensive painting at an art auction held in the hotel…

As with the other books in my series, I weave the crime narrative with a dissection of the realities of life in modern India. Indeed, my aim with these books is to take readers on a journey to the heart of the subcontinent, to place you on the streets of Mumbai, amidst the choking traffic, the heat and dust, the chaos of street vendors, beggars, lepers, eunuchs, stray dogs, cows, goats … and elephants. India is poised on the cusp of becoming a global superpower. Globalisation, wealth, and westernisation have transformed the country. Yet historical problems remain. Nowhere is this more apparent than Mumbai – once Bombay – India’s ‘city of dreams’, a place where glamour and wealth sit side by side with vast slums, caste prejudice, and inequality on a scale unseen in the west. In the best traditions of Christie, I use my books as a vehicle to comment on this changing society. Chopra himself is a serious man, one who cares deeply about the social ills that he sees around him. The fact that he has inherited a baby elephant and finds himself cast in the role of its impromptu guardian serves only to highlight his dogged commitment to ‘old-fashioned’ values of decency, morality, and a desire to enact justice in an often unjust world.


In writing this fourth book (the first, for those new to the series, was The Unexpected Inheritance of Inspector Chopra, a Times bestseller in the UK and an Amazon Best Debut; the series has since won a Shamus Award in the States) I called upon the ten years that I lived in India where I worked as a management consultant to the hotel industry.

At the tip of Mumbai is the Taj Palace Hotel – the hotel that the Grand Raj Palace is based on. It was whilst wandering around this incredible building that the idea for this story first came to me. The Taj is India’s most iconic hotel. It was built a century ago by Indian industrialist Jamsetji Tata when he was refused entry to the nearby Watson’s hotel because of its ‘whites only’ policy. Tata vowed there and then to build a hotel more opulent than anything the British had ever seen. And that’s exactly what he did. For more than a hundred years now the Taj is where anyone who is anyone stays when they visit Mumbai. From screen sirens of the Twenties, to the Beatles, to the Obamas. The hotel is steeped in tradition and history and so I thought it would make the perfect setting for an Agatha Christie style murder mystery – with an elephant!

***
Titles in the series:
The Unexpected Inheritance of Inspector Chopra
The Perplexing Theft of the Jewel in the Crown
The Strange Disappearance of a Bollywood Star
Murder at the Grand Raj Palace

Author contact details: 
Website: http://vaseemkhan.com
Facebook: https://www.facebook.com/VaseemKhanOfficial/
Twitter: https://twitter.com/VaseemKhanUK

Monday, January 15, 2018

Sujata Massey Literary Salon: January 29

Sujata Massey Literary Salon: 
An Evening in India
Monday, January 29, 7 p.m.  
Berkeley, CA

RSVP in a comment below for address and directions. Be sure and leave your email.

Join Mystery Readers NorCal for an evening with award winning mystery writer Sujata Massey in Berkeley.

Sujata Massey is the author of thirteen novels, two novellas, and numerous short stories. Her work is published in seventeen countries. Her novels have won the Agatha and Macavity awards and been finalists for the Edgar, Anthony, and Mary Higgins Clark prizes. Sujata writes a modern mystery series set in Japan starring the young female amateur sleuth Rei Shimura, and suspense and mystery fiction set in late British colonial India featuring different heroines. Her latest novel is The Widows of Malabar Hill.

Thursday, December 7, 2017

A Childhood Christmas in India: Guest Post by Sujata Massey

Sujata Massey is the Macavity and Agatha-winning author of many mystery novels. A childhood Christmas in India partially inspired her short mystery story in The Usual Santas: a Soho Collection of Soho Crime Christmas Capers. Sujata’s first historical mystery novel featuring Indian lawyer Perveen Mistry is titled The Widows of Malabar Hill and releases in January 2018.

Sujata Massey:
A Childhood Christmas in India

Just how far will Santa fly his sleigh? And will he cross borders of religion and nationality? I suspect this conversation goes on across the world in millions—if not billions--of homes. It happened for my sisters and me in 1973, when we were informed our upcoming holiday would be spent not in Minnesota but in Calcutta, India. Furthermore, we’d be staying in a Hindu monastery dedicated to disciples of Sri Ramakrishna, the patron saint of the Vedantic spiritual movement. Disclaimer: we were not going for reasons of religion, but for the reasonably priced guest rooms and a location within walking distance of our Indian relatives.

Calcutta, the base for my father’s family, was the first long stop on a three-month sabbatical trip to India. Missing Christmas wasn’t a huge deal for my father, who was a rational geophysicist and had grown up as a Hindu in India. My German mother, though, has Christmas in her DNA—and we’d inherited a love for chocolate, snow, decorated trees and the rest. My mother organized a small Christmas celebration before leaving for India, so we would be able to travel to India with new, unwrapped toys. I wasn’t quite a believer in Santa anymore, but I was trying hard for my sisters’ sake, and this early gifting just felt different.

I liked India right away—it was beautiful, warm, friendly. We hit it off with our relatives and were captivated by monkeys scampering through the streets, glittering stacks of bangles in the bazaar, and ice cream fantasies at the Kwality Café. However, our month-long stay at the Rama Krishna Mission, a monastery and learning center built in the 1930s, had its challenges.

First and foremost, this was a monastery dating from the waning years of the British Raj. It was meant as a peaceful home for devotees and scholars. Few children were staying on the premises, and there were constant calls for us to quiet our giggling and shouting. Of course there was no television; but I was an avid reader, and there was a small library onsite that we could use. We girls played independently throughout the mission’s courtyard and garden. The food wasn’t a hit: either plain Indian vegetarian fare or bland Anglo-Indian dishes. There were no holiday cookies, and certainly no Christmas trees.

A few days before Christmas, I took my sisters into the mission library and discovered an exciting-looking old book. It was printed in an elegant copperplate on delicate paper; I don’t remember the book’s theme, because I was quickly stopped from being allowed to check it out. A stern Canadian monk on duty chastised me for breaking the rules and leaving the children’s section.

From that point on, I was too humiliated to return to the library. All I had left to occupy myself was chasing after the monkeys who always jumped out of reach and recording the day’s events in my journal.

On Christmas Eve, my mother produced the same Christmas stockings from home and hung tinsel around the rooms that she’d found at a bazaar. My parents told us that in England, children hung stockings at the foot of their beds. India was occupied by the British until just a quarter century before our trip. Father Christmas—as they called him here--would find his way past the mission’s bougainvillea covered walls and through the tall shutters on the bedroom windows. But it would only happen if we went to bed, closed our eyes, and didn’t open them! 


I was already skeptical, and when I heard rustling in the darkness, I tried to see what was going on. But it was very dark, and the long mosquito net tucked around the bed barred me from getting out to investigate. Christmas morning, my stocking did hold something—a Five Star chocolate bar, wooden animals, colored pens and pencils, and some colorful bangles. At the breakfast table, my mother broke out a jar of Skippy Peanut Butter we didn’t know she’d brought, and we spread that thickly on toast. There were a few more gifts bought in India: pretty Indian clothes and Enid Blyton children’s novels. The monks wished us Happy Christmas and produced a fruitcake at tea time. Also, to our surprise, a family with two daughters in our age range checked in!

Decades later, I spent Christmas in Calcutta again, staying with relatives and with my six-month old daughter. This time, I saw more evidence of Christmas decoration in shops, though most people worked that day. On my walk to St. Paul’s cathedral, scores of beggars greeted me, for Christmas was known as the most generous day for giving. I wondered what Christmas was like during the British rule of India, and how people of various faiths—Hindu, Muslim, Zoroastrian, Jewish, Sikh—felt about the conquerer’s holiday.

 I revisited the idea of an old-fashioned Indian Christmas in my story, “Hairpin Holiday,” that appears in The Usual Santas, an anthology of stories by 18 Soho Press authors. My short mystery story is set in Bombay, which like Calcutta, had a grand, British department store. In Calcutta, that venue was Whiteaway’s, which is now Cottage Industries, a government-sponsored handicrafts store. In Mumbai, the former Army-Navy Store is now occupied over by an Indian retailer, Westside.

Last year, as I gazed at a family of mannequins dressed in trendy Indian clothing in the Army-Navy/Westside window last year, I imagined what the displays would have been like in 1921, when the department stores were mostly shopped in by the British and Anglo-Indians. I imagined a red-suited Father Christmas surrounded by glittering gifts. The lavish display would have satisfied nostalgic Britishers and intrigued Indian children, too. From there, my story was launched.

The story’s heroine is a 23-year-old Indian woman named Perveen Mistry with a giant challenge: she is the city’s first female lawyer, and she only has her job because her father hired her to join his practice. The Mistrys are Parsis, Indian-born followers of an ancient Persian religion known as Zoroastrians. While Parsis are a tiny minority within India, they make up one third of Bombay’s lawyers and served clients of all faiths. In Hairpin Holiday, she assists a Jewish hotel owner who’s frantic about a controversial spiritual leader staying in the hotel. The Widows of Malabar Hill, the first full-length Perveen Mistry novel, gives Perveen an opportunity to help three Muslim widows she thinks are at risk of losing everything. But while Perveen knows plenty about the law and how it affects women of all faiths, it turns out the widows teach her a lot about herself.

When I was spending my first months in India, I journaled almost every day. It was my first experience regularly writing. It seems sweetly ironic now that the child prohibited from reading old books about India wound up writing many such books later on.

Monday, September 16, 2013

Sujata Massey: The Sleeping Dictionary

Today I welcome Sujata Massey. Sujata Massey was born in England to parents from India and Germany and grew up mostly in St. Paul, Minnesota. She holds a BA in Writing Seminars from Johns Hopkins University and started her working life as a features reporter for the Baltimore Evening Sun. After leaving the newspaper, she moved to Japan, where she studied Japanese, taught English and began writing her first novel, The Salaryman’s Wife. This novel became the first of many in the Rei Shimura mystery series, which has won Agatha and Macavity awards and been nominated for the Edgar, Anthony, and Mary Higgins Clark awards. Her August 2013 release, The Sleeping Dictionary, is a trade paperback with Simon & Schuster’s Gallery line, and also an audiobook published by Dreamscape. It’s the first in a series of historical suspense novels featuring Bengali women who each play a role in making modern India.

SUJATA MASSEY:

Right now, I’m traveling around launching my new book in five years: a 524-page historical fiction novel called The Sleeping Dictionary. And while I’m really happy to be in the position to finally sign the title page for whoever wants one, I’ve come up against an interesting moral question--where to have the booksignings.

After so many great experiences at independent mystery bookstores, launching with old friends is awfully tempting. But my new book is not a mystery. Would seeing this book on a store’s reading schedule, or finding it on a new books rack, perplex and annoy mystery readers?

Pat Frovarp and Gary Shulze at Once Upon a Crime in Minneapolis said: come back to us! Kathy and Tom at Mystery Loves Company Bookshop agreed: of course you’ll come down to Oxford. These bookstore friends reassured me that past readers would come to hear about the new book, which I like to call HER (History, Espionage and Romance). But that still leaves the larger question of whether mystery readers typically read fiction that doesn’t have crime in it.

I do see some overlap between history and mystery. Many of the best-loved books in the genre are set in the past. Usually these mysteries aren’t considered different enough to garner their own award categories, although the Malice Domestic mystery convention has created a new Agatha for historical fiction (the 2011 winner was Rhys Bowen for Naughty in Nice, set in 20s Europe). A delightful bookstore in Forest Park, IL, Centuries and Sleuths, carries books about history (fiction and non) as well as mystery. And the readers I’ve met there are among the knowledgeable you can find anywhere. Which reminds me of a crucial trait in mystery readers: we don’t like the books where we anticipate the outcome. We want to be surprised. And that’s probably why reading many different sources about one historical event fascinates me.

I’d always yearned to stretch my storytelling to India, a country I love every bit as much as Japan, but differently. My father is from India, and I’ve enjoyed five long visits there, my first occurring when I was nine years old and wrote in a travel diary.

Each time I’ve visited Calcutta over these three decades, the residential streets change, because a few 19th century buildings are felled for the sake of modern commerce. These places—the old bungalows of the British and the Indian intelligentsia—were elegant as palaces and the object of my endless fascination.

Of course my India book would be set in the past, to tell stories about the people who once lived within. I’d always wanted to delve deeper into the specifics of how the British felt losing the jewel in their crown, and to what lengths Indian freedom fighters would go despite the danger of their yearning for freedom. And what about the characters who rarely appeared in colonial novels—Indian women?

The setting of 1930s and ‘40s Bengal was so wide and grand—and actual events oof the time so compelling—to put one dead body in the middle of things was not compelling. There was so much death at that time, and with my story bracketed by a deadly cyclone, a rice famine and murderous riots, there were enough hurt people for me to worry about. Death was a part of life—yet I was intent on creating a story that was not a downer, but had the same kind of beauty and warmth that I feel whenever I’m in India.

 I still needed suspense, because I find it painful to read any book without an element of wonder or uncertainty—no matter what its genre. I strived to write a story that would make me breathless at the end of a chapter and ready to move onward. In the stacks of the British Library’s Asian and African Studies Reading Room, I was stunned to read recently declassified materials proving the existence of a secret spy unit within Calcutta’s Indian Civil Service branch. I’ll get revenge on you bastards, I thought, all the while taking careful notes.

Next I traveled to India, where after a great struggle I earned an admission card to the National Library of India’s newspaper archives in Calcutta. Here, in several newspaper articles in the Sunday ‘women’s pages,’ I found the voices of strong young Indian women breaking free from traditional roles to enter freedom fighting and politics. College girls raised money for the cause, smuggled arms, and even assassinated British officials. They even put on military uniforms and trained to fight the British-led Indian Army in World War II. It was much more than I’d imagined when I’d first dreamed up the project. But it was true.

This is why I like historical writing so much. The fabric of the past is often largely unknown. All that a writer needs to do is find a few sympathetic characters to bring a story to life. Like a good marriage, the two genres of mystery and history can coexist happily. For me, this is a real happy ending.