By Aditya Desai
How she paraded about, blistering with longing pouty cheeks when Danger was off on an adventure. “Just need to quell these blasted dacoits uprising in the Northwestern Provinces, dear love!”
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Aditya Desai
On The Storms
Aditya & Sarah
I think I realized anew how much a strong emotion, like female rage, can supply an cohesive emotional texture to a story. People who know me are surprised at my stories sometimes, because they know me as this sort of gentle, even-keeled person, and then they'll read something absolutely biting or furious and seem confused or wonder if it's some sort of cathartic outlet. It's not, for me. It's craft.
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Feroz & Aditya
I often do feel like the mark of a quality story in the West is often an interesting use of form, genre, or structural integrity, whereas South Asian literature is regarded primarily on emotional reaction. You don't often hear South Asian fiction being discussed with concepts like three-act structure or the New Yorker-style short story? There are probably several half-baked theories I could make about why this is culturally so—why we're less concerned with the various planes of reality that can exist in a fiction (or at least, using them as an opportunity for invention).
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