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35053668-Empire-of-the-Soul-Paul-William-Roberts

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‘THERE’S FAR TOO MUCH MUCK TO RAKE HERE!’<br />

Bhargava & Bhargava Printers (P) Ltd, Allahabad, arrived in <strong>the</strong><br />

middle <strong>of</strong> February.<br />

Fantasy was not <strong>the</strong> only sign <strong>of</strong> changing attitudes toward sex in India.<br />

Rahul Singh and his fa<strong>the</strong>r, Khushwant, were also not <strong>the</strong> only<br />

contributors listed on <strong>the</strong> magazine’s cover I knew personally. David<br />

Davidar, <strong>the</strong> young and brilliant publisher <strong>of</strong> Penguin Books in India,<br />

a writer <strong>of</strong> considerable talent himself, was also an acquaintance. Fast<br />

becoming something <strong>of</strong> a legend in Indian publishing, Davidar had<br />

heard a new voice in ‘Indlish’ – Indian writing in English – and was<br />

busy discovering and promoting <strong>the</strong> best <strong>of</strong> it. Singlehandedly<br />

responsible for overseeing <strong>the</strong> publication <strong>of</strong> some hundred titles a<br />

year, he had managed to acquire <strong>the</strong> cream <strong>of</strong> India’s literary talent<br />

as well as launch new authors by <strong>the</strong> score. The greatest compliment<br />

paid to Davidar’s achievements on behalf <strong>of</strong> a nation’s literature so<br />

far was when Vikram Seth took <strong>the</strong> unprecedented step <strong>of</strong> insisting<br />

that his epic novel A Suitable Boy be typeset, printed, and published<br />

first in India, by Penguin. This was a statement <strong>of</strong> faith as much as<br />

anything else. Seth wanted to show <strong>the</strong> world that India could produce<br />

books whose quality matched that <strong>of</strong> any o<strong>the</strong>r country. Davidar had<br />

proved that Indian books did not have to be poorly designed and<br />

bound, and did not have to contain any typographical errors, let alone<br />

a dozen per page.<br />

But Davidar’s major commercial coup had been publishing a<br />

first novel by a woman dealing with <strong>the</strong> lifestyles <strong>of</strong> Bombay’s rich<br />

and famous – in graphic detail. Shobha Dé’s Socialite Evenings received<br />

probably <strong>the</strong> first American-style promotion campaign in <strong>the</strong> history<br />

<strong>of</strong> Indian publishing. Advance propaganda hinted at <strong>the</strong> truth thinly<br />

veiled by <strong>the</strong> fiction; gossip columnists speculated about which jetset<br />

fast-trackers would recognise <strong>the</strong>mselves in <strong>the</strong> novel. And a<br />

frenzy <strong>of</strong> prurient interest was generated by rumours <strong>of</strong> <strong>the</strong> raw sex<br />

that this book, written by a woman (an Indian woman!) allegedly<br />

contained in superabundance.<br />

Davidar had spent enough time in <strong>the</strong> West to know that sex sells<br />

and sells anything – but it was a gamble all <strong>the</strong> same to invest megarupees<br />

in duplicating <strong>the</strong> process in India. Sex certainly sold Bombay<br />

films, but would it sell books written in a language only a small<br />

315

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