Ace southern cinematographer Ashok Kumar Agarwal, who was battling for life here for over the last six months with “health-related issues”, passed away Wednesday.
“Cinematographer-director Ashok Kumar Agarwal passed away due to health problems this morning. He was undergoing treatment in hospitals in Chennai and Hyderabad over the last six months,” a family source told IANS.
“His family recently brought him back home after his condition had deteriorated,” the source added.
Ashok Kumar worked as a lensman in over 100 films across several languages. Some of his best works include films such as “Jeans, “Nadigan” and “Johnny”.
He received a National Award for his work in 1980 Tamil film “Nenjathai Killathe”. He also worked as a cinematographer in Hindi and English films such as “Sacha Pyaar” and “Backwaters”, respectively.
He also directed award winning films like “Andru Peitha Mazhayil” (Tamil), “Abhi Nandana” (Telugu), and “Kaamagini” (Hindi) as well and has worked with several stalwarts of the Indian film industry.
source: http://www.indianexpress.com / The Indian Express / Home> Entertainment> Entertainment-Others / Indo-Asian News Service / Chennai – October 22nd, 2014
Silverscreen goes to the launch of the Alisha Abdullah Racing Academy for Women
We walked into the venue of Alisha Abdullah’s racing academy launch on a wet, wet day. An older gentleman in a bright blue shirt was on the piano, playing a song that obviously held deep meaning for him. Before we could get closer to investigate, a bold dash of colour grabbed our attention.
There was no evidence of the biker chick in the Alisha Abdullah we saw yesterday. In a neat pink blazer and with her hair in an intricate braid, she looked like your average fashion conscious Chennai-ite. Albeit one with a higher purpose. After ushering us inside, she went away to pose for the photographers. Hashtag pretty in pink .
When Alisha’s father arrived with one of the guests of the evening – Akbar Ebrahim, the father of Indian Moto Sports – the event began. Akbar has literally seen Alisha grow – from that of a child obsessed with racing to a woman who has raced with the best of them. The fact that she has never considered her gender a ‘restriction’ and has excelled in what is essentially a man’s sport is an immense source of pride to both Akbar and Abdullah. “Motor sports is not the easiest place for anybody, much less a young girl. She could have thrown a fit about many things, but she bore it all stoically and it is this strength that will help her with this new initiative of hers,” said a beaming Akbar on stage.
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When it was Alisha’s time to speak, she used it wisely. She spoke of the time when she felt intimidated at the races in Thailand; a ‘smaller’ country than India. “I thought I would easily finish in the top three, but I was beaten by eight very powerful women racers. I couldn’t compete on the same level and it got me thinking. What do they have that we Indian girls don’t?”
It was with this aim – to provide talented racers in India the guidance needed to survive in races abroad – that the academy was started. “I have been thinking about this for over three years. After a lot of brainstorming sessions with dad and mom, it was only this year that I could finally set up something concrete.” Alisha plans to recruit a hundred students for the academy and provide free training for them. And she will be doing this while juggling her successful and ‘satisfying’ racing career and the cinema opportunities too. “I want to use my stardom for the betterment and empowerment of women. When my film released, many women got in touch with me and asked me to help them drive super-bikes. It’s this need that I want to satisfy.”
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The academy was then duly launched by Renuka David, Bruce Schwack and Ashok Verghese.
Alisha hopes to begin the school soon and if all goes well, she will also embark on an extensive promotional tour to publicise it.
Indian-origin Singaporean poet and writer K.T.M. Iqbal will be awarded Cultural Medallion, the country’s highest cultural award by President Tony Tan Keng Yam on Thursday night in Singapore.
It is the highest recognition for the 74-year-old Tamil poet whose achievements include more than 200 children’s songs written for Radio Singapore in the 1970s and 1980s, as well as seven collections of poetry.
Mr. Iqbal said he was “delighted” to receive the award which was “an incredible honour”.
“My first love is poetry. We have been together for 60 years. I never imagined this would bring me the Cultural Medallion award,” The Straits Times quoted Mr. Iqbal as saying.
Mr. Iqbal learned the basics of Venpa, a form of classical Tamil poetry from a poetry-writing workshop. “I would sit on the street in the evening to write or an idea might come when I was on the bus,” said Mr. Iqbal.
The poet, also a retired bank executive, has received recognition in the education system of Singapore also.
Mr. Iqbal’s compositions are studied in schools and some of them have appeared in the subway stations as part of efforts to bring the arts close to the community.
Mr. Iqbal migrated to Singapore at the age of 11 with his father from Kadayanallur in South India in 1951.
A Tamil newspaper Malaya Nanban, which is now defunct, introduced him to the simple but evocative compositions of Tamil poet Mathithasan. The poet’s vivid depiction of people and values in society inspired the young Iqbal to start penning poems.
The retired bank executive continues to pen poems and hopes to produce an edited collection of his best Tamil poems and an English translation of it.
Along with the award, Mr. Iqbal will get 80,000 Singapore Dollar grant, which can be used to fund artistic endeavours over their lifetime, according to The Straits Times.
“The money once spent is gone. But to have the nation recognise your contribution is great and it will encourage people to keep writing poetry,” said Mr. Iqbal.
The award will also be given to sculptor Chong Fah Cheong, 68, and 51-year old Alvin Tan, the artistic director of a theatre company, The Necessary Stage. Recipients are each eligible for a 80,000 Singapore Dollar grant.
The award, instituted 35 years ago, has been presented to 115 artists to date, including Mr. Iqbal, Mr. Chong and Mr. Tan.
source: http://www.thehindu.com / The Hindu / Home> News> National / by PTI / Singapore , October 16th, 2014
Poet-activist Salma on her experiences at the Writers of India Festival, Paris
On May 26, this year, poet Salma received a letter inviting her to be a guest of honour at the Writers of India Festival, Paris, in September. The festival, a new collaboration between Columbia University, New York, and the Bibliothèque nationale de France, featured a series of lectures and discussions with more than 12 Indian writers at Reid Hall, Columbia and BnF in Paris. Salma talks about her journey as a poet, her experiences in Paris and how poetry can make an impact.
You used to write secretly when you were young as you were confined to the house from the age of 13. Did you ever think at that time that you would be an established writer?
(Laughs) I was very confident my words would reach the world. I still remember this scene vividly. I was 16. I was standing with my sister in the kitchen and she was rolling out chapatis. ‘You had better learn to cook,’ my sister said. Otherwise, people will say we did not bring you up properly. I told my sister — I’m going to be a famous writer. I’ll go to many countries and attend many conferences. I don’t need to learn to cook!
And now, you have just attended the Writers of India festival. How was the experience?
There were several readings and discussions every day and at least five events were happening at the same time. Everything was well organised. They had French translators. I was the only one to have a screening of my film Salma! It was followed by an interview with senior journalist, Judith Oriol — she came prepared with an in-depth questionnaire.
What was the audience reaction to your film, which documents the story of your life?
Many of them got very emotional. It was hard for people to believe that so many women do not have even the basic rights and that it is a struggle.
Is poetry part of our everyday culture?
Thirukkural
What made you write poems, not stories?
Like many girls in a Muslim community, I was not allowed to leave the house in my small town Thuvarankurichi. I had many conflicting feelings and I wanted the freedom to live life, do many things. A poem can be a powerful expression and all my pent-up emotions came through in verse.
Can you read from one of your poems presented at the festival?
A few lines from Naan Illadha Avan Ulagam (His world beyond me). It is about a mother and son.
He, who had asked me
on a night of the moon’s full retreat
if the sun too would be gone someday,
has no more answers to seek from me.
How have your experiences impacted your writing?
It is an unbelievable life, to be a writer. My poems are for everyone, but I especially wanted to reach out to women, and make a difference for them. They must realise their lives. They must understand their identity.
Your family’s resistance to your writing – did that change?
There were many changes that happened over time, but the big shift happened when I entered politics. At that point, my family had no choice but to accept it.
(Salma won a seat reserved for women in Thuvarankurichi in the 2001 panchayat elections and was elected MLA in 2006).
Your writing got acceptance when it was connected with a larger purpose — political and social. Can writing by itself bring about social change?
Writing alone cannot bring change. We need political will to usher in change.
The theme of the festival in Paris was on the impact of globalisation on cultural creation and consumption. Did the festival address these ideas?
I got the chance to be on the same platform as award-winning writers Jeet Thayil, Vikram Chandra and Kiran Desai and there were stimulating exchanges. All participants had to contribute essays on globalisation, which will be published in the form of a booklet.
In India, many do not consider storytelling and poetry real professions. How did you find it in other countries?
People respect writers. A writer receives more adulation than a politician, in some ways. From the time I landed at the airport, people used to ask me to recite a poem in Tamil, just because they wanted to hear how it sounded!
source: http://www.thehindu.com / The Hindu / Home> Books> Author / by Sujatha Shankar Kumar / October 17th, 2014
Historian William Dalrymple was in the city to speak at the launch of ‘Return Of A King’ at Starmark bookstore and to deliver a lecture on the same at Stella Maris College. Photo: R. Ragu
William Dalrymple talks about his next book The Anarchy that traces the rise of the East India Company and why he still treasures the curiosity and surprise of the outsider perspective
It takes a William Dalrymple to fill malls and college halls with crowds that will wait hours for him to arrive, and hang on his every word while he launches a book that’s over a year old. “Imagine yourself far away from Chennai,” he whispers, “seated on a bleak, empty step in the borderlands between Iran and Afghanistan. It’s a cold, harsh winter in November, 1837. A war is about to break out, and what you are to witness will change the course of history, forever.” Through a rapid tale of pride and ambition, folly and misfortune, Dalrymple spins us through the narrow passes and cruel terrain of Afghanistan, alongside an 18,500-strong British army with Indian soldiers that forces new governance upon a conquered nation, only to be catastrophically overthrown and reduced to one surviving man. It’s the story of Dalrymple’s most recent work Return Of A King, and this is a lecture he’s delivered before numerous heads of State, the Indian Army, at the White House and to former Afghan President Hamid Karzai, himself.
Dalrymple is in Chennai though, for different reasons. The city stars in his next book, The Anarchy, which traces the rise of the East India Company from a private company “five-windows wide and run by 35 people” to a coloniser of nations.
The book opens amidst the drama of 1739, when the ‘Second Alexander’ Nadir Shah of Persia invades the Mughal empire, captures its ruler Mohammad Shah, plunders Delhi and loots the land of wagons of jewels and gold, all of which is shipped back to Persia. As the empire begins to crumble, the French and British East India companies creep into strength. Chapter two cuts to the Madras of the 1740s, to the rivalry between Robert Clive and Marquis Dupleix that unfolded here, and proceeds to trace the Company’s expansion henceforth.
Chronologically, The Anarchy prequels Dalrymple’s last three works White Mughals, The Last Mughaland Return Of A King, all of which unfold from 1790 and 1850, the relatively “unwritten time” between the fall of the Mughals and the rise of the British. As with Return Of A King, though, The Anarchy finds uncanny relevance in modern times. The Return release of Return Of A King coincided with the period of “regime change” the British foisted on Afghanistan, followed by the recent withdrawal of its forces, an event that Dalrymple notes almost exactly replicates the First Afghan War. “I’m most interested in how history echoes backwards and forwards into modern politics,” he says.
With The Anarchy, he examines the relationship between State powers and corporate power. “There’s much to be learned from how the Company infiltrated British Parliament and Parliament aided the Company. Moreover, when Clive and the Company were granted diwani powers , it was the most extreme example of privatisation in history, and when the Parliament finally gobbled up the Company, that was nationalisation right there. Because these events are locked in history, we cease to look at them in modern terms, which gives it a whole new perspective.”
The Anarchy also ties in with a project Dalrymple spent the last year on, writing a sweeping cultural history of the nation that he couldn’t ease a “coherent narrative” out of. The spoils of all that research will now seep into The Anarchy, in true Dalrymple style of soaking his stories in the music and art of their times. “All through the chaotic events of this book, where every small village has its own raja fighting insurgent wars against the raja next door, there was the decentralisation of art. When the Mughals ruled, great art flourished in Delhi, Agra, Jaipur and Lahore, but now, schools of painting grow out of the small towns of Rajasthan and the hill towns of the North.” This was the high point of the Jaipur and Jodhpur schools of miniature, and in architecture the mighty forts and palaces of Hyderabad and Lucknow grew in this age, he adds. It is the vastness of this book’s imagined canvas that, at this stage, enthuses and challenges, yet humbles Dalrymple. “Till you figure out the shape of the thing, it’s like a new relationship. You flirt with the subject initially, realise something interesting is going on, and then at some point, you’ve to make a commitment to it. I’m still haven’t gotten over this flame!”
Back in his Mehrauli farmhouse on the outskirts of Delhi lie the fruit of many past flames. Three travelogues, the first written when he was 22, followed by three historical works and books of essays in between have perfected for Dalrymple an “anal system” of research and organisation, of physical index cards for every piece of information he unearths. All that he discovers about Dupleix, for instance, goes under the ‘D’ category of people cards, and under another label organised topic wise. “It’s the only way I don’t write myself down a blind alley and have to find my way back,” he says. It’s also these early times of research and travel in the average four-year birthing period of a book, before he’s “shackled to a desk”, which Dalrymple finds most exciting. In Chennai, for The Anarchy, he hopes to stumble upon records of the Carnatic kingdoms from the attic records of old families, besides spending months here holed up in archives. “Once all the material is well organised, my writing year can move quickly. You reach a point, eventually, where things seem to just write themselves, where wonderful phrases turn up that you haven’t particularly planned, where it’s all sort of pouring out, and that’s very rare.”
As a writer, Dalrymple firmly places himself as a narrative historian, in the traditions of those like Antony Beevor and Simon Schama. From his days of travel writing for In Xanadu, City of Djinns andFrom the Holy Mountain, he takes the tendency to now write “history books with a strong sense of place”, travelling between the library and the places he’s reading about. And from 30 years of living in India, he still brings to the table the “curiosity and surprise” of the outsider. In writing history, though, he sees it as a “sliding scale between the academic world of the social sciences on one end, and literature at the other end”, with him tilting toward the latter. “History can be wonderful literature, and no less scholarly or valuable for it being written in fine prose. I’ve learnt that there’s no shame in telling a good story.”
source: http://www.thehindu.com / The Hindu / Home> Books> Authors / by Esther Elias / October 17th, 2014
Arushi Nayar, Akshay Venkataraghavan, Aditi Balaji, Abinaya Raman and K S Adhithya Kumar of Padma Seshadri Bala Bhavan, K K Nagar, won the Debating Matters International Final 2014 held in London on October 18.
The debating championship was organised by British Council in partnership with the Institute of Ideas in the UK.
Student participants said the competition was known for its rigorous and intellectually challenging format that valued substance over style. The final round pitted students of PSBB Senior Secondary School, KK Nagar, against their peers from Franklin College of Grimsby, UK.
This year’s debate motion was, “We should be willing to compromise our privacy in the interests of national and international security.”
The Indian students spoke for the motion, while those from Franklin College in the UK spoke against the motion.
The PSBB students had to compete with the best in the country at the national level of the competition, after facing an online elimination round and zonal finals, before heading for the international final round in the UK.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Chennai / by M Ramya, TNN / October 20th, 2014
TNIE Editorial Director Prabhu Chawla was one among the dignitaries at IIA Southern Chapter’s golden jubilee event l ALBIN MATHEW
Chennai :
Eminent personalities from different fields gathered at the Indian Institute of Architects, Southern Chapter, to participate in the think-tank event organised by the Institute as part its golden jubilee celebrations recently. They discussed the link between society, environment and architecture.
Speaking of society’s perception on architecture, Prabhu Chawla, the Editorial Director of The New Indian Express Group, stressed the importance of architects in designing an aesthetic and calming environment. “Buildings are a mirror of society, and architecture needs to reflect an Indian identity. Everyone sells buildings by foreign names and prefer Italian marble, but we need to learn from our tradition,” he said.
“To me, a green building is one which has good ventilation, I should be able to see the sky from my building,” he said. Ashalatha Thampuran, an educationist and architect, Mili Majumdar, director of Sustainable Habitat, The Energy Research Institute, architects Sanjay Mohe and Dean D’Cruz spoke about striking a balance between nature and design. They also stressed the importance of going back to the traditions.
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Chennai / by Express News Service / October 21st, 2014
As promised last week, here are a couple of tales about the building of bridges in 19th Century Madras as related to me by civil engineer D.H. Rao who has made delving into the histories of the city’s bridges his hobby. These are stories arising out of Government’s practice of getting estimates for civil work and then finding the costs have been exceeded. Inquiries follow, then as now, but what happens next? Nothing seems to change.
In the case of the 1840 18-arch Elphinstone Bridge over the Adyar (now lying derelict but looking solid, while constant maintenance work goes on on its neighbour, the new Thiru Vi Ka Bridge), on its completion, the Military Board declared it a magnificent piece of work. But Governor Lord Elphinstone did not think so; he wanted to know from the Board why the cost had exceeded the estimate, particularly when it had been approved by the Court of Directors in London with the proviso that the approved amount should on no account be exceeded.
In his reply, the Superintending Engineer cited the costs of two other bridges he had built to show that the costs incurred in building the Elphinstone Bridge were on the same lines. The extra cost incurred was only because the river was always full of water and several persons had to be employed in constantly bailing out the water to keep the coffer dams dry while raising the foundation. This was totally unexpected. The arguments went on for months, but in the end the matter was happily resolved to the engineer’s satisfaction.
It was in another instance too, but in this case it caused the builder of the 1805 St. George’s Bridge (now the Periyar Bridge) considerable more concern for months. Lt. Thomas Fraser was not only censured for the cost over-run but also had his commission and other benefits withheld. In this case, Fraser justified the excess expenditure by pointing out that after the foundation work was completed, he was asked by the Council to re-align the bridge. So, he once again had to sink wells for the foundation, piers and abutments. Further changes were ordered by the Council from time to time and he carried out the Council’s orders every time. He was therefore not responsible for the final cost — which was entirely due to his only having carried out the orders of the Council. In this case too, the arguments continued for long, but eventually Governor Lord William Bentinck accepted Fraser’s appeal and restored all his benefits.
On a third occasion, a bridge on South Beach Road needed substantial repairs. These were carried out, but a couple of years later the Military Board sought further funds to carry out additional repairs to the bridge. The Governor was not ready to sanction the amount until he was told why the bridge had not been regularly inspected for maintenance, who was responsible for such inspection, and “why he had not carried out his work sincerely.” What eventually happened in this instance is not known, but what is clear is that, at one time, heads of government kept a sharp eye on even comparatively minor expenditures. But then those were more leisurely times, weren’t they, and heads of government had time on their hands.
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A reluctant sale
Some time ago I had mentioned in this column that the land on which the handsome Egmore Railway Station (then of the South Indian Railway) was built had belonged to Dr. Pulney Andy (Miscellany, September 20, 2010) and that he had sold it for Rs.1,00,000 to the SIR in 1904. It wasn’t a particularly happy sale, I now learn from a copy of Dr. Pulney Andy’s letter to the Deputy Collector of Madras, J.R. Coombes, which was sent to me by a reader from ‘Trichinopoly’, N.C. Martens. The land in question was 1.83 acres in extent and had several buildings on it. It was his attachment to those buildings that were the cause for the reluctance of ‘S. Pulney Andy M.D., M.R.C.S. (Eng.), F.L.S.’ to sell the property, the letter of ‘15th February 1904’ makes clear.
Reacting to a letter from the Deputy Collector citing ‘Act I of 1894’ requesting his property for “the remodeling of the S.I.R. Egmore Station”, and asking whether he had any objections to handing it over to the S.I.R., Pulney Andy writes, “I have very strong reasons for not wishing to part with my property…” He goes to state those reasons.
He writes that he had bought the property “mostly for the benefit of my health which was broken down after long service in the Travancore state… (and the environment proved itself over) about 30 years… not a case of any illness or death occurred among the dwellers on this estate.”
Secondly, the house was designed and built by his wife before she passed away in Travancore, after which he returned to Madras to spend the rest of his life in the house “which perpetuated her memory” and which he had improved by developing an orchard around it.
Then comes his most significant argument. “After retiring from Government service, I have turned my mind to the remodeling of the Indian Christian Church and am the founder and the President of the National Church of India. My residence in Egmore is the Head Quarters of the movement and I have utilized a building here for the purpose of worship and there have been already two ordinations of Ministers during the past year. It was also my intention to erect a substantial building as a Temple for public worship by members of the Christian Community on the land… (which) is centrally located.” With such extent of land not available in a central area, a move to a distant location where space might be available would inconvenience his congregation considerably, Pulney Andy goes on to explain at some length. He, however, concludes:
“But should it be considered that my property is absolutely required for the purpose of Railway construction and should Government desire to compel me to part with it, under the provisions of the Act, I beg to state that I may be granted a compensation of not less than one hundred thousand rupees (Rs.100,000) for it and sufficient time should be given me for removal.” His request was met with alacrity but not generosity, the ‘not less’ ignored, it would appear, for the handover was quick and the station was ready to flag out its first train, the Boat Mail, on June 11, 1908.
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Search for the Old Jail
Where is or was the Old Jail, wonders Jayanthi Selvam, saying she uses Old Jail Road quite often. The road is the central portion of a three-part road, from east to west being Ebrahim Sahib Street, Old Jail Road and Basin Bridge Road in the southern shadow of what was the North, or Old Town, Wall, of which only the stretch preserved with the Maadi Poonga atop it is all that survives. It was south of a bastion of this wall that the Old Jail was established in 1804, though its roots go back to 1692.
The Old Jail’s premises, at the corner of Popham’s Broadway and Old Jail Road, was cleared of prisoners shortly after Independence and the campus was given to the Congress Prachar Sabha which ran a cottage industries training centre in the numerous buildings there. When Kamaraj stepped down as Chief Minister in 1963, the enthusiasm for the training centre waned and the premises were handed over to the Central Polytechnic Institute and a new Arts College for Women in 1964. Four years later the last of the CPI’s constituent units moved to Adyar and the college expanded into the Bharathi Women’s Arts College. It was many years before the College got new buildings for its students, its early batches having used many a prison block, some of which survive, derelict, till today.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by S. Muthiah / October 19th, 2014
VJ Thapa arrived in Chennai only 10 years ago, but has become a household name — Photo: B. Jothi Ramalingam / The Hindu
Sharmila Thapa has been making waves with her work as a VJ and dance artiste
Her wacky dance moves and humour have won her quite a few fans among television audiences. But, what makes her stand out from your average video jockey is a surprising fluency in Tamil.
Meet Sharmila Thapa, or Thapa as she is known on screen, who has been making waves as a video jockey and dance artiste with Tamil comedy channel Adithya TV. A native of Nepal, the 26-year-old, who moved to the city just 10 years ago, has attained an almost celebrity-like status among Chennaiites, both young and old.
Born in Narayanghat, Nepal, Thapa was initially considered an unlikely candidate for compering in Tamil, mainly due to her accent.
“After my graduation, I auditioned to be an anchor for a show in a well-known news channel, but was rejected. Disappointed, I gave up and went on to work as a visa assistance executive,” says the jovial anchor, a graduate in Tourism and Travel Management from Anna Adarsh College for Women, Anna Nagar.
Interestingly, Thapa’s opportunity came during a brief visit to a therapy centre for weight loss in Vadapalani.
“I befriended Adithya TV VJ Archana at the centre who guided me towards an audition with the humour channel. Finally, I ended up at their studio for the audition by the end of 2012, extremely nervous. I performed a few funny skits and dance steps. Some months later, I got the call,” adds the VJ who went on air for the first time on April 14, 2013.
Thapa’s TV performances and celebrity status have had some unexpected consequences.
“People often stop me on the road and ask if my voice is dubbed or whether I can actually speak Tamil. I have been avoiding bus travel to escape such questions,” laughs Thapa, who dreams of shining on the big screen like her icon Kovai Sarala.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Chennai / by Petlee Peter / October 16th, 2014
When Anjum Khan received her PhD on Monday, it meant more than it does to most doctoral candidates-the 27-year-old lost her vision at the age of five after an attack of measles and has studied entirely in Braille.
Anjum is an assistant professor of English at Avinashilingam University. Her family moved from Gwalior in Madhya Pradesh to Coimbatore in 1993 for her treatment but doctors said she would never regain her vision.
“While my parents were thinking what next, the doctors told us about Avinashilingam school for girls,” says Anjum. She began learning Braille and use audio technology to help her read, write and study.
Her father, Mehmood Khan got a job at a private cement company in Madukkarai, 27km from Coimbatore. If Anjum had to continue her studies, Avinashilingam was among the few options as it had facilities and faculty to help her.
“I decided I would live in hostel and study. It is then that I realised that to gain something, one has to sacrifice something,” Anjum says. She lived in the hostel for 12 years from Class 6 till she finished her postgraduate degree.
After finishing school, Anjum joined the Avinashilingam University for Women to pursue a Bachelor of Arts in English Literature. “She finished her masters’ degree and applied for her doctoral studies in 2009,” says S Kalamani, Anjum’s guide and an associate professor in the department of English, Avinashilingam University. “Anjum had to leave thehostel after her MA, but, regularly visited me every Friday and told me how her research was progressing,” she says.
Anjum’s younger brother Abid Ali died in a road accident eight years ago while she was doing her masters’ degree. “My father had bought him a bike to make his commute between college and home easier,” says Anjum.
“It was a difficult time for the family. But, I have faced so much that I treat happiness and sorrow equally,” she says. Anjum has dedicated her PhD to her brother.
Anjum did her research on ‘Ethnic Silhouettes: An Interpretation Of The Community In Select Works Of M G Vassanji In The Light Of New Historicism’. She became an assistant professor in January 2013 in the university in which she studied.
Besides teaching at the university, Anjum also teaches blind children Braille and computer operations. “I consider teaching a means to reach people,” she says.’
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Coimbatore / by Adarsh Jain, TNN / October 14th, 2014
