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Writer's pictureAjiva Talks

Interview with Prayaag Akbar

Updated: 5 days ago

Prayaag Akbar

Prayaag Akbar is a distinguished Indian author known for his insightful and thought-provoking narratives that delve into contemporary Indian society. His latest novel, *Mother India*, tells the compelling story of two young people navigating life in modern-day Delhi. Mayank, a young man with a middling education, works in a cramped basement studio creating content for a right-wing organization. Nisha, who has recently relocated from a small hill town, finds employment as a salesgirl for an upscale Japanese chocolate brand in a luxurious mall.

The novel takes a dramatic turn when Mayank, captivated by Nisha's vibrant Instagram presence, creates a video clip that significantly impacts both their lives. Akbar's storytelling is characterized by its vivid depiction of youth and the complexities of living in today's India, making *Mother India* a sparkling and unexpected read.

Akbar's literary journey began with his acclaimed debut novel, *Leila* (2017), which garnered the Crossword Jury Prize and the Tata Literature First Book Award. *Leila* has been translated into multiple languages, including Hindi, Marathi, and Turkish, and was adapted into a Netflix series, further cementing Akbar's reputation as a significant voice in contemporary Indian literature.

Beyond his work as an author, Prayaag Akbar is also dedicated to nurturing new talent in the field of creative writing. He teaches at Krea University, where he shares his expertise and passion for storytelling with aspiring writers. Through his teaching and his novels, Akbar continues to influence and inspire a new generation of readers and writers.

1. "Mother India" offers a vibrant portrayal of contemporary Delhi through the lives of Mayank and Nisha. What inspired you to set their stories in this bustling metropolis?


> I grew up in Delhi and it is a city that is close to my heart and somehow always on my mind. I went to school in a neighborhood called Vasant Kunj, very close to Mahipalpur, which is the urban village in which most of the novel's action takes place. I have seen Mahipalpur transform over the years, more than once, and I became fascinated by this change, what it meant for the people who called that place home. I felt it told us a story about the greater city and about our country.


2. Both Mayank and Nisha are navigating their careers with limited opportunities due to their middling education. How do you think their struggles reflect the broader socio-economic challenges faced by today's Indian youth?


> Technology has created a great deal of opportunity for people who in previous generations might otherwise have been excluded from the formal, aspirational job market. It has also enabled a culture where consumption, more precisely, performative consumption, is prized. It is not enough to own a Lamborghini. You have to put it on your Instagram feed or it doesn't exist. You might say that behaviour is crass, but honestly it is the rare person who can resist the allure. Who doesn't put up photos of a holiday trip abroad?


3. Mayank's work at a right-wing content creator's studio adds an intriguing dimension to the novel. How did you approach writing about the impact of media and politics on young minds?


> I've been thinking about it a lot. I read a great deal, did some academic research and -- much like Mayank -- much foraging online. I also get the chance to talk to the younger generation through my time teaching at Krea university, and in the South Asia Speaks mentorship program I participate in. Trying to understand how these people work and live with technology is fascinating to me.


4. Nisha's character transitions from a small-town girl to a city salesgirl. How did you craft her journey and the challenges she faces in adapting to urban life?


> I had to think about the challenges someone like that would face, whether in professional domains or personal ones. The movement of people into Delhi, Mumbai and the other metropoles for work is not new, but the people who feel empowered to do it -- young women alone, for instance, leaving behind the support of family -- is a newer phenomenon, and I wanted to try and capture it.


5. The video clip Mayank creates has significant consequences for both protagonists. Can you delve into the significance of this turning point in the narrative?


> It is certainly significant, because both Mayank and Nisha's sense of normalcy and perhaps even safety is thrown off kilter. Mayank is forced to think about what he has done, and how his actions affect his sense of self. Nisha has to reckon with a new public identity she did not ask for.


6. "Mother India" is described as sparkling and unexpected. What elements did you incorporate to ensure the story remains fresh and engaging for readers?


> It wasn't like I made a specific effort towards keeping the narrative "fresh", but I do feel it is important as a writer to keep the narrative engaging, to keep the reader wanting to know more, to keep them tuned in. I worked on many drafts and edited down the text a lot to achieve this final form. 


7. Your previous novel "Leila" was highly acclaimed and even adapted into a Netflix series. How did the success of "Leila" influence your approach to writing "Mother India"?


> I got feedback on Leila that I think has influenced my approach. Perhaps I am maturing as a writer. I do feel this work flows better. I have also read a great deal in this intervening period, everything from classics to contemporary fiction, and I try to learn from everything I read.


8. Teaching creative writing at Krea University, how do you balance your roles as a writer and an educator? Do your students influence your work in any way?


> My students are a big influence. They helped me understand, to whatever extent I did, what the mindset of that age group is like. They helped me think about what it might be like to grow up in this media-heavy world. And I came to understand where they get their information. Their world of social media is far different from my own.


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