On July 26 2006, my friend Sathyu Sarangi called me in tears from Bhopal to tell me that our mutual friend, Sunil Kumar, had taken his life. Sathyu said that when they lifted Sunil down from the ceiling fan from which he had hanged himself, he was wearing a T-shirt that said, “No More Bhopals”.

Sunil was an orphan of the Union Carbide mass-gassing of Bhopal, losing his parents and three siblings on that night of terror. Aged 12, he began doing two jobs a day to bring up his surviving sister and baby brother Sanjay. He became a leader of the survivors’ struggle for justice and was one of the people I loved most in Bhopal.

The BBC reported, wrongly, that Sunil was the inspiration for Animal in my novel Animal’s People, but Animal certainly benefited from Sunil’s courage, sense of humour and ability to live on 4 rupees (£0.05) a day. Like Animal, Sunil heard voices in his head, and suffered nightmarish visions. You can read his story here.

Sunil in happier times

On the day that Sunil died, Dow Chemical’s CEO Andrew Liveris visited the UN to deliver a much-publicised speech. Fireboats hired by Dow’s public relations agency jetted huge sprays aloft over the Hudson River as Liveris told the assembled diplomats “Lack of clean water is the single largest cause of disease in the world and more than 4,500 children die each day because of it … We are determined to win a victory over the problem of access to clean water for every person on earth … we need to bring to the fight the kinds of things companies like Dow do best.”

Stirring words. But when asked if he would clean up Bhopal, where the drinking wells of 20,000 people have been poisoned by chemicals abandoned by Dow’s subsidiary Union Carbide, causing an epidemic of cancers and hundreds of children to be born malformed and with brain damage, Liveris replied, “We don’t feel this is our responsibility”.

Liveris couldn’t be more wrong. Under the “polluter pays” principle enshrined in both Indian and US law, Union Carbide is responsible for cleaning up the contamination and compensating the thousands whose lives have been ruined. In buying Union Carbide’s assets, Dow also acquired its liabilities. Dow set aside $2.3bn to settle Union Carbide’s US asbestos liabilities. How then can it refuse to accept Union Carbide’s Indian liabilities?

The hard answer is that Indians are not quite as human as Americans. Dow paid $10m to settle out-of-court with an American child damaged by Dursban, a pesticide so dangerous that it has been banned for domestic use in the US. But Dow employees were found to have bribed Indian Ministry of Agriculture officials to license Dursban as safe for home use in India. If an Indian child dies I doubt if there’ll be $10m or even $10,000. As a Dow public affairs chief famously remarked of the paltry compensation paid to Union Carbide’s victims, “$500 is plenty good for an Indian”.

Why doesn’t the Indian government force Dow to clean up Bhopal? The Indian law ministry has advised Prime Minister Manmohan Singh that Dow is indeed liable for Union Carbide’s misdeeds in Bhopal. It’s exactly what he doesn’t wish to hear. He and his ministers are in contortions to appease Dow, which has offered to invest $1bn in India if freed from its Bhopal liabilities. When news broke of this sordid backroom hustling, 280 legal professionals, among them retired judges and eminent lawyers, said the attempts to exculpate Dow were unconstitutional and illegal.

Earlier this year, 50 Bhopali survivors, many old and sick, walked 500 miles to Delhi to ask the prime minister for safe drinking water and to make Dow clean the factory. For two months Manmohan Singh left them camped on a sweltering pavement without a reply. When Bhopali women brought their damaged children to his house and chained themselves to his railings, he had them arrested. The policewomen who led them away wept.

When India’s prime minister finally gave a reply, it was all prevarication, no substance. The Bhopalis then declared that they would launch an indefinite hunger strike until their demand for justice was met.

On the eve of the fast, police beat up women and children as young as six years old who had gone to protest outside the prime minister’s office. The police said they’d been told to get tough. Many of us around the world rang to protest and I asked a Mr Muthukumaran of the prime minister’s office if Manmohan Singh had ordered the beatings. “Are you joking?” he replied. On the contrary, I had rarely been more serious.

As I write this the Bhopalis are still in jail, and we hear that Dow Chemical is sponsoring an exhibition called The Gallery of Good at the Cannes advertising festival. Next Monday, Dow will present The Chemistry of Socially Responsible Marketing, which is presumably the exquisite but staggeringly meaningless advertising campaign on which it has lavished upwards of $100m. Telling lies beautifully does not make them true. Wouldn’t it have been more socially responsible to use the money for cleaning up Bhopal?

A glimpse behind the mask of Dow

See Paul Phare’s counter-campaign, A Glimpse Behind The Mask of Dow and please spread it far and wide.

I have spent much of the last five years writing a novel in which victims of a chemical disaster caused by a rogue corporation are sold out by their own politicians, triggering a desperate hunger strike. Animal’s People is set in the fictional city of Khaufpur, but whatever success it has had, it owes to the inspiring courage and spirit of the Bhopalis, and the descriptions of the hunger strike were drawn directly from the experiences of my friends.

Sunil is dead, but on their small stretch of pavement in Delhi, now battered by monsoon rain, nine others have sat down to begin an indefinite fast for justice. Among them are my old friend Sathyu and – grown up into a fine young man – Sunil’s baby brother, Sanjay.

How can I not join them? How can we all not support them?

• To join the fast for a period, or to register your support, please visit www.bhopal.net. Donations for medical care in Bhopal may be made at www.bhopal.org/donations
Various YouTube responses to Dow’s bid to buy itself some humanity

Abil, 14 years old

Adil, 14, is one of hundreds born malformed or with brain damage near Union Carbide’s factory

Dear Prime Minister Manmohan Singh,

Nearly a quarter of a century after the Union Carbide gas disaster in Bhopal, the company’s factory remains uncleaned while chemicals leaking from the site continue to poison the drinking water of tens of thousands. Children in the affected communities are being born with deformities so severe that their pictures could not be published in the media. The Union Carbide Corporation, now wholly owned by Dow Chemical, disclaims responsibility for the factory and for the last 16 years has refused to appear in the Indian court where it faces serious criminal charges. In these circumstances, we urge you and your ministers to honour your promises made two years ago in relation to proper health care and monitoring for those affected by the gas and poisoned water, to obey the Indian Supreme Court’s 2004 order to provide safe drinking water for communities whose water is poisoned and not to have business dealings with Union Carbide Corporation or its legal owners while the contempt of court continues.

Yours faithfully,

Indra Sinha, writer
John Aitken, playwright
Terry Allan, multimedia artist
Tahmima Anam, writer
aladin, performer
Meena Alexander, poet
Deepa Anappara, journalist
Michael Anderson, filmmaker
Wayne Ashton, writer
Paul Beavis, musician
John Berendt, writer
Chris Beresford, film editor
Lucy Beresford, writer
Kankana Basu, writer
Peter Bonas, musician
Kavita Bhanot, writer
David Bronze, musician
Margo Buchanan, singer/songwriter
Ken Burnett, writer
Saffron Burrows, actress
Urvashi Butalia, writer
Gabriel Byrne, actor
Paul Carrack, singer/songwriter
Sudeep Chakravarti, writer
Neel Chaudhuri, playwright
Dilip Chitre, poet
Chandrahas Choudhury, writer
Simon Clarke, musician
Matthew D’Ancona, writer
Martin Ditcham, musician
Martin Donald, musician
Libby Doughlas, producer
Anne Enright, writer
Andy Fairweather Low, musician/singer
Sonia Faleiro, writer
Neil French, writer
Pablo Ganguli, producer
Anna George, actress
Rajni George, editor
Alan Glen, musician
Vijaya Ghose, writer
Chandrachoodan Gopalakrishnan, writer
Andrew Goss, writer
Mike Gould, actor
Peter Griffin, writer
Niall Griffiths, writer
Mohsin Hamid, writer
Githa Hariharan, writer
Nöelle Harrison, writer
Gordon Haskell, singer/songwriter
Phil Hilborne, musician
Tim Huskisson, musician
Lloyd Jones, writer
Advaita Kala, writer
John Kalinowsky, designer
Himali Kapil, filmmaker
Sriram Karri, writer
Aruni Kashyap, writer
Tabish Khair, writer
Lajwanti Khemlani writer
Sarwar Hussain Khan, musician
Pradeep Krishen, writer
Hari Kunzru, writer
Dominique Lapierre, writer
Denis Locorriere, singer
Gautam Malkani, writer
Sharanya Manivannan, writer
Sharanya Manivannan, writer
Mahesh Matthai, director
Seamus Martin, writer
Suketu Mehta, writer
Rohinton Mistry, writer
Monica Mody, poet
Amitabha Mukerjee, professor
Arka Mukhopadhyay, poet
Batul Mukhtiar, filmmaker
Andy Newmark, musician
Lisa O’Kane, singer/songwriter
Kristina Olsen, singer/songwriter
Anand Patwardhan, filmmaker
Meher Pestonji, playwright
Josh Philips, musician/composer
Mike Piggot, musician
Jerry Pinto, writer
Sunil Poolani, writer
Tim Renwick , musician/composer
Arundhati Roy, writer
Kamila Shamsie, writer
Siddharth Dhanvant Shanghvi, writer
Holger Schneider, musician
Heather Simmons, singer
Anna Sleptsova, concert pianist
Chris Stainton, musician
Alexis Stamatis, writer
Eleanor Stride, sculptor
Jeffrey & Sally Stride, painters
Rosa Stride, actress
Arundhati Subramaniam, poet
Samanth Subramaniam, writer
Sridala Swami, poet
Anand Thakore, singer, poet
Brian Turner, poet
Magnus Westerberg, screenwriter
Paul (Wix) Wickens, musician
X-8, painter
Annie Zaidi, writer
William Zappa, actor
Meno Zeissen, producer

The letter appeared in the UK’s Guardian newspaper on April 11, 2008. My thanks to all who joined me in signing it. Please circulate it widely via the internet, blogs and websites. If you would like to add your name to ours, please email me

Donations to the Bhopal Medical Appeal can be made at: http://www.bhopal.org/donations/

A moving message from Christine Jordis, an editor at Gallimard in Paris, about the unhappy situation in Tibet. Vickie and I met Christine at the Kitab Festival in Bombay at the end of February. English translation coming.

Tibet Support Groups worldwide
Support Free Tibet Campaign

Birds over the Lot

The exhibition is on Tuesday 8th April at the Galleria, Royal Opera Arcade, Pall Mall, London

Jeff writes: “These landscapes will provide an ambience for an evening conference organised by the French Tourist Board but until then I have the place to myself.

“Sally and I would be very happy to welcome you during the afternoon and show you the new paintings or, if this is inconvenient, you could try to gatecrash the evening session. If you’d like to know more please write to me at jeff(at)jeffstride.net.

“This may well be my last London show when I won’t have to add a gallery commission to the price tag.”

Preview the paintings online here.

Animal’s People has won the Commonwealth Writers’ Prize for Europe and South Asia in the Best Book category. (GUARDIAN REPORT) Thanks to all who supported the novel, which now goes to the final in South Africa in May.

Animal by Eleanor Stride

Animal, sculpture by Eleanor Stride, photographed in Vers, France. Read the Khaufpur Gazette’s interview with Animal here.

Animal’s People is a story about poor people coping with unimaginable tragedy and injustice. The book could have been set anywhere where the chemical industry has destroyed people’s lives. I had considered calling the city Receio and setting it in Brazil. It could just as easily have been set in central or south America, west Africa or the Philippines. In the end it was Khaufpur and India.

Bhopali woman

Bhopali woman at the free Sambhavna Clinic. I don’t know your name, but this prize is for you

Whether Receio or Khaufpur the background to Animal’s People is clearly based on Bhopal and I am pleased that the attention the novel has got has reminded people of the continuing double disaster in that all-too-real city – first the gas leak itself which has killed around 23,000 people directly and through lingering illness. The second disaster is the mass poisoning of the water supply of 30,000 more by chemicals leaking from the abandoned, never-cleaned factory. Babies are being born in affected communities with deformities and brain damage. The company responsible refuses to clean the factory or compensate those its chemicals are poisoning.

Injustice is itself a deadly poison: anger eats into the spirit and turns to despair and desperation. Why do we never learn this lesson? Our friends in Bhopal are dedicated to Gandhian non-violent resistance. We should not fail them.

2006 march

Walking to Delhi in 2006. Now they must do it again because the Prime Minister did not keep the promises he made them last time

2008 march

Leaving Agra before dawn, the 2008 march gains its first bovine member

For the second time in three years, Bhopali survivors are walking to Delhi to ask the Prime Minister to keep the promises he and his government made in 2006 and have failed to keep.They need our support, you can help by visiting bhopal.net, bhopal.org and www.studentsforbhopal.org

More than 100,000 in the city remain chronically ill. Our Sambhavna clinic has to date given free medical care to around 30,000 of them. We have had great success combining modern medicine with non-drug therapies like yoga, massage, yogic breathing and traditional Indian herbal medicine. The results are encouraging and we now want to share what we have learned with other communities around the world whose health has been destroyed by chemicals.

To all of these people, Bhopalis and others, I dedicate this Commonwealth Prize for Animal’s People.

Fink once, Fink twice, Fink bike. Yes it’s that man again. My old friend Graham Fink, nowadays creative director at M&C Saatchi, sent me this short film. Clever, clear, simple, powerful, it reminds me of what I used to enjoy most about advertising.

I met Graham back in 1984 on my first day at CDP (Collett Dickenson Pearce). It was a grey February day and Finky was walking round the creative department in a greatcoat and dark glasses. He gave me a tour of the department. “Over there’s Arthur Parsons. Then you. Next is me and Clarky, and God’s in the corner.” I thought, well of course, if God worked in an ad agency, it would have to be Colletts.

‘God’ turned out to be Neil Godfrey, at that time the most famous art director in British advertising history. Later I had the great pleasure of partnering him for seven years on campaigns for Amnesty International and the Metropolitan Police - the latter campaign having been kicked off by Graham and Jeremy Clarke before they deserted us for Saatchis.

The film is at http://youtube.com/watch?v=4xW-VAvQvSk if anyone would like to go there and give it the star rating it deserves.

Kathleen Ferrier sings Orfeo in Orfeo ed Euridice by Christoph Willibald Gluck. Sung in English with the London Symphony Orchestra conducted by Malcolm Sargent. Recorded at Kingsway Hall, London, 27 February 1946.

In February 1953, by this time seriously ill with cancer, she performed the role again at Covent Garden. The opening night was a triumph but on the second night a bone in her leg gave way. She completed the performance but left the stage on a stretcher. This opera, about the cruelty of death, was her own swansong.

Top novels in disguise rejected by publishers

JONATHAN CALVERT AND WILL IREDALE

THERE is no greater award for a writer than the Nobel prize for literature. Five years ago the accolade went to VS Naipaul in recognition of his 50-year writing career.

Naipaul, born in Trinidad, also won the 1971 Booker prize (now the Man Booker) in Britain, where he has lived since 1950. It was awarded for In a Free State, his novel about displaced colonials on different continents.

Dennis Potter, the TV dramatist, praised its “lucid complexity”. He wrote: “Do not miss the exhilaration of catching one of our most accomplished writers reaching towards the full stretch of his talent.”

Surely the special qualities of such timeless prose would be recognised by today’s publishing industry? Surely a first-time novelist who matched the standard of Naipaul at his best would be snapped up?

The Sunday Times sent out the opening chapter of In a Free State to 20 agents and publishers to find out. Only the names of the author and main characters were changed.

None of the agents or publishers spotted the book’s true pedigree. And instead of experiencing Potter’s exhilaration, they all sent back polite rejections.

Typical was the reply from PFD, a major London literary agency. “Having considered your material,” wrote a submissions department reader, “we do not feel, we are sorry to say, sufficiently enthusiastic or confident about it.”

The Blake Friedmann agency also sent its apologies: “In order to take on a new author, several of us here would need to be extremely enthusiastic about both the content and writing style. I’m sorry to say we don’t feel that strongly about your work.”

Earlier we had also submitted copies of Stanley Middleton’s 1974 joint Booker winner, Holiday, to the same agents and publishers. Middleton, well- regarded in the literary world, has produced 42 books. Ronald Blythe, the author, once wrote in The Sunday Times: “We need Stanley Middleton to remind us what the novel is all about.”

But Middleton’s Booker winner also received a less-than- enthusiastic response. Bloomsbury, the London publisher, read the book “with interest” but found it unsuited to its list. Time Warner said the manuscript contained “good ideas” but it was not its sort of book. Thirteen others gave similar replies. Only one literary agent, Barbara Levy, expressed an interest in reading further chapters.

So why were two such “great” literary works overlooked? David Taylor, the novelist and critic, thought Middleton’s novel may now be regarded as “old-fashioned” but could not explain why Naipaul’s “timeless” work was ignored.

But he was not entirely surprised. “The sort of books being rejected would really shock you,” he said.

Nicholas Clee, former editor of the Bookseller, said that publishers were no longer keen to take risks on untried authors because they faced fiercer competition as the supermarkets forced down prices. He said: “Publishers tend to go for newcomers who have something sensational to offer, or established names. They’re putting big promotional efforts behind just a few titles.”

This has led to a growth in celebrity novels. For example Katie Price, the model known as Jordan, secured a deal to write two novels with Random House earlier this year.

Today’s authors have to be marketable. Taylor said: “Being 29, blonde, good-looking and vaguely famous should be enough to get you a book published nowadays.” Although there are still middle-aged novelists who buck the trend, our rejected version of Holiday was purportedly written by a 53-year-old man.

According to Doris Lessing, the author, publishers have become less willing to nurture talent. “The whole industry has changed so much,” she said. “They used to make an effort to keep first-time novelists in print. Maybe it took till the fourth book for the writer to take off. Now, if the first novel doesn’t attract any attention, they don’t take another one.”

There has also been an explosion in the number of aspiring novelists. Many are attracted by stories of huge advances even though, according to Taylor, no more than 20 writers of literary novels earn enough to survive on without another source of income.

Most of the major publishers have stopped operating a “slush pile” — their name for unsolicited submissions. Instead the work is passed on to the literary agencies, who themselves find it difficult to read everything. Many manuscripts are discarded after a few pages.

Carole Blake, of Blake Friedmann, receives up to 50 novels a day but takes on just six new authors a year. “We have two book agents and we’re pretty full,” she said. “So unless something leaps off the page as amazingly commercial or literary, it is very unlikely we will take new clients on.”

Bloomsbury, Time Warner and PFD were unavailable for comment last week. Barbara Levy said her agency was deluged with 1,500 manuscripts a year. Patrick Janson-Smith, of the Christopher Little agency, said: “We get masses, and it would be a foolish person who pretended they read every sentence.”

Mark Lucas, of the Lucas Alexander Whitley agency, said: “We would love to claim that absolutely everything that came in got extensively cross-examined. But successful agencies have rather full client lists . . . when you guys do things like this, it’s time for us all to celebrate. It shows there isn’t an absolute scale of values and nor should there be.”

This article was first published in The Sunday Times on Jan 1, 2006

Binding: Lester Capon for ‘Animal’s People’
by Indra Sinha (Simon & Schuster)

From the V&A website:

“Designer Bookbinders, founded over fifty years ago, is one of the foremost societies devoted to the craft of fine bookbinding. By means of exhibitions and publications, it has helped to establish the reputation of British bookbinding worldwide. Its membership is drawn from the fields of fine bookbinding, book arts and artists’ books, and includes some of the most highly regarded makers, each with a passion for presenting the bound text as a unique art object.

Designer Bookbinders has been associated with the Man Booker Prize for fiction since 1991, when the Booker Prize Foundation first invited Fellows of the society to design and bind copies of the six shortlisted novels.

The six Fellows are chosen in advance, and when the shortlist is announced they are allocated one title each. The binder then has only four to five weeks to read, design and bind their book (with a container). The books must be ready in time for the night of the final prize announcement, when each bound novel is presented to its author at the famous ‘Booker dinner’. This means a very concentrated period of work with little time for rethinking, but the results are as varied as the books themselves.

Materials range from the traditional leather and gold leaf in a contemporary context, to wood, perspex, fabric and embroidery, metal and found objects”

This year’s books are on exhibition at the V&A.

Binding: Rachel Ward-Sale for ‘Darkmans’
by Nicola Barker (Fourth Estate)

Binding: Faith Shannon for ‘The Gathering’
by Anne Enright (Jonathan Cape)

Binding : Stephen Conway for ‘The Reluctant Fundamentalist’
by Mohsin Hamid (Hamish Hamilton)

Binding: Christopher Shaw for ‘Mister Pip’
by Lloyd Jones (John Murray)

Binding: Peter Jones for ‘On Chesil Beach’
by Ian McEwan (Jonathan Cape)

An unforgettable night at the Guildhall: the memory I take away isn’t disappointment that I didn’t win but the great pleasure of getting to know my fellow nominees, all of whose books I shall be reading and reviewing on this site over the next few weeks. Meanwhile here’s the family at the reception before dinner. I wasn’t really glugging the champagne two at a time, the empty glass belongs to son Dan, who was taking the picture. During the dinner the kids went off to a restaurant but returned for the announcement and gatecrashed the main event.

Booker reception
Sam, Tara, Vickie, Indra, (Dan taking the pic)


Dan appraising the Man group’s champagne (photo by Sam)

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