Claudia Hyles

Don’t judge a book by its cover? There is no problem with this book. The cover and artist’s note, declaring inspiration from such diverse art forms as traditional Indian miniature painting, Indian matchbox design, and a ‘harmonious blend of Indian and Australian flora’, encapsulate the intertwining narratives and cultural crossovers of the stories within.

The deadline for this review was 15 August, India’s Independence Day, freedom at midnight in 1947 for India and Pakistan (whose independence is celebrated on 14 August). The British euphemistically called it a ‘transfer of power’. The subsequent division was termed Partition, an anodyne definition of the act of severing ...

Ruins is the impressive début novel of Rajith Savanadasa, born in Sri Lanka and now living in Melbourne. He is founder and primary contributor to Open City Stories, a website ...

Two government acts shaped Tina Faulk’s life: Ceylon’s 1956 Official Language Policy Act, known as the Sinhala Only Act, and Australia’s Immigration Restriction Act of 1901, better known as the White Australia policy. The first virtually disenfranchised not only Faulk’s Burgher community, but also Sinhalese and Tamil middle-class élites, whose primary language, outside the family circle, was English. Countless Burghers were civil servants and, even if multilingual, were now unable to compete with Sinhalese-educated people for post-Independence public service positions. Similar selection criteria applied to military and commercial jobs.

In 515 bce, Scylax, explorer and storyteller, sets sail from Caspatyrus in King Darius’s empire. Eclipsing time, this antique glimpse shifts to an archaeological dig in Turkey in 1914, one that is abandoned when war breaks out.In the service of ‘king and country’, lives change immeasurably. Vivian Rose Spencer exchanges archaeology for nursing wounded soldiers in London hospitals. Qayyum Gul is a non-commissioned officer in a British Army regiment, the 40th Pathans. He loses an eye at Ypres and is invalided home to Peshawar, Caspatyrus’s modern incarnation.

‘Six lives, six loves and a precious garment that binds them all’ are words on the cover of expatriate Sri Lankan Su Dharmapala’s second novel. The book’s six sections follow the sequence of tying a saree – knot, first drape, pleats, second drape, the fall, and the finishing. Six lives are cleverly connected by a precious silken saree in Sri Lanka, India, and Melbourne. Initially, one imagines that the characters will be drawn from the young aspirants selected to compete for apprenticeships at a progressive saree mill in south-west Sri Lanka. Several, with their tutors, will reappear, sometimes surprisingly; others will vanish.

The voices of Subhash Jaireth’s three fictional autobiographies within To Silence are those of historical figures. Kabir (1440–1518) was a mystic poet associated with the reformist Bhakti or Devotional Movement in medieval India. An illiterate weaver, he rejected idolatry and caste, and his principally Hindu philosophy showed significant Islamic influence. Maria Chekhova (1863–1957), the clever and well-educated sister of Anton Chekhov, selflessly devoted more than half her long life to running the Chekhov House–Museum at Yalta. The third voice is that of Tommaso Campanella (1568–1639), an Italian philosopher, theologian, astrologer, and poet whose brave, unorthodox views earned him almost thirty years in prison.