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

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316<br />

EMPIRE OF THE SOUL<br />

percentage <strong>of</strong> Indians could read? The answer was a resounding<br />

yes, however. Perhaps too resounding, though. Amid <strong>the</strong> hullabaloo<br />

<strong>of</strong> <strong>the</strong> promotional blitz <strong>the</strong> novel itself got somewhat lost. On a<br />

slow news week, presumably, a correspondent for Time magazine<br />

managed to sell his editor on <strong>the</strong> concept <strong>of</strong> an ‘Indian Jackie Collins,’<br />

filing copy that soon made Shobha Dé, on <strong>the</strong> strength <strong>of</strong> one novel,<br />

an Indian writer known around <strong>the</strong> world – a rarity – but known for<br />

all <strong>the</strong> wrong reasons.<br />

The furor surrounding Socialite Evenings blinded almost everyone<br />

to <strong>the</strong> fact that Davidar had published possibly <strong>the</strong> first truly modern<br />

Indian novel in English and by a woman, a novel that had far more <strong>of</strong><br />

Erica Jong about it than it did Jackie Collins. The Indian hack pack<br />

makes Fleet Street’s tabloid muckmeisters seem positively scholarly<br />

and altruistic. The scent <strong>of</strong> blood, not a sense <strong>of</strong> responsibility, let<br />

alone a literary sensibility, motivated most <strong>of</strong> India’s literati as <strong>the</strong>y<br />

jumped on Time’s bandwagon, pronouncing Ms Dé’s work Indo-<br />

Californian pulp: Jackie Does Juhu.<br />

Socialite Evenings concerns <strong>the</strong> odyssey <strong>of</strong> a young Everywoman<br />

through <strong>the</strong> shallow, brittle world <strong>of</strong> Bombay’s super rich. Ms. Dé’s<br />

second novel, Starry Nights, tells <strong>the</strong> cautionary tale <strong>of</strong> a young girl’s<br />

rise to fame and fortune as an actress in Bollywood, <strong>the</strong> Bombay<br />

film factories that churn out more celluloid than any film industry<br />

on earth. Nei<strong>the</strong>r book pulled many punches, but Starry Nights<br />

rained blows <strong>of</strong> prose so visceral and raw that it was swiftly branded<br />

pornography. Shobha Dé did not just write about sex, she wrote about<br />

fucking. There were stains on bedsheets, anal lubricants on fingers,<br />

toy boys and sugar daddies. But most <strong>of</strong> all <strong>the</strong>re was <strong>the</strong> shattering<br />

<strong>of</strong> two great Indian myths: Bollywood, which competes with <strong>the</strong><br />

paradise <strong>of</strong> gods on an average Indian’s wish list, was portrayed as a<br />

corrupt and seedy Nighttown <strong>of</strong> desperate prima donnas, ambitious<br />

sluts, and psychopathic billionaires enslaved by perversion and greed;<br />

and men, those little deities pampered from womb to tomb in<br />

traditional Indian society, were given <strong>the</strong> shocking news that <strong>the</strong> wives<br />

<strong>the</strong>y had assumed adored <strong>the</strong>m as unconditionally as <strong>the</strong>ir mo<strong>the</strong>rs<br />

did in fact despised <strong>the</strong>m. This latter act <strong>of</strong> iconoclastic terrorism<br />

had male egos across <strong>the</strong> length and breadth <strong>of</strong> <strong>the</strong> subcontinent<br />

popping like great waterlogged balloons. For Ms. Dé told <strong>the</strong>m in

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