Tag Archives: writing

The Lines We Draw

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I am beyond excited to announce that my longform nonfiction narrative story “The Lines We Draw” has been published as a short ebook by Hen Press, the new digital publishing arm of Our Hen House. I can’t thank Our Hen House enough for their support, keen insights and feedback on this piece. About this story:

“This is story about boundaries — physical, biological, and ethical — it evolved out of a conversation with the late Dr. Alfred Prince, a hepatitis researcher, about the use of chimpanzees in medical research, and expanded into a larger discussion about ethics. Prince left New York University’s Laboratory for Experimental Medicine and Surgery in Primates (LEMSIP) in the 1970s to establish New York Blood Center’s chimpanzee research colony in Liberia. The story weaves various threads and makes connections among logging, the Liberian Civil War, and vivisection. Chimpanzees are slowly being phased out of research in the United States, and the New York Blood Center has ceased testing in Liberia, but questions remain about the fate of laboratory chimpanzees.”

You can purchase and download the eBook, The Lines We Draw, on Amazon, iBooks, and Barnes & Noble.

Would love to hear your thoughts.

MEDIA

  • On February 22, 2014, on episode 215 of Our Hen House podcast, I spoke with Jasmin Singer and Mariann Sullivan about the piece and read a short excerpt.
  • Pickles & Honey reviewed the story as part of their End of Week Reading.
  • Viva La Vegan featured an short interview with me about the piece.
  • One Green Planet features my story on the status of Chimpanzees in Laboratories.
  • Mark Hawthorne, Author of Bleating Hearts: The Hidden World of Animal Suffering & Striking At the Roots discusses the ebook with me here. We had a lovely chat about writing about animals.

“Sangu’s resulting narrative offers a heady dialogue—the animal activist and the animal exploiter—but Sangu handles it with aplomb, and her writing is sometimes more poetry than prose.”

For more of my primate memoir writing, check out Sister Species: Women, Animals and Social Justice (University of Illinois Press) and Primate People: Saving Nonhuman Primates through Education, Advocacy and Sanctuary (University of Utah Press).

See more of my work here:

Same/Not Same

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“The impulse to write a book appears to run like a fever through those of us who’ve lived with apes,” declares Rosemary Cooke, the narrator of Karen Joy Fowler’s recent novel We are all Completely Besides Ourselves. Rosemary goes on to list those who came before her: “The Ape and the Child is about the Kellogs. Next of Kin is about Washoe. Viki is The Ape in Our House. The Chimp Who Would be Human is Nim.”

I’m no stranger to the genre of primate memoir, particular the stories of chimpanzees who were cross fostered and raised as human children to participate in language studies. I read Roger Fouts’ Next of Kin in college. It inspired me to learn American Sign Language and spend a summer with Washoe, Moja, Tatu, Dar and Loulis in Ellensburg Washington. It was at the Chimpanzee and Human Communication Institute that I was then introduced to others who had spent their lives among apes. Like Rosemary, I discovered Leakey’s women: “…I checked out every book, I could find on the monkey girls‑Jane Goodall (Chimps), Dian Fossey (gorillas), and Birute Galdikas (orangutans)”

Years later, I read In the Kingdom of Gorillas, before a trip to Rwanda. When discussing primate memoirs, I cannot forget to mention Robert Sapolsky’s A Primate’s Memoir, which opens with the  line: “I had never planned to become a savanna baboon when I grew up; instead, I had always assumed I would become a mountain gorilla.”

Fowler’s novel is a fictional primate memoir, but hers is not the story of a researcher and his/her subject, but rather about the fate of the human children of researchers who were raised, briefly, with a chimpanzee. There’s not too much known about the human siblings of these cross-fostering experiments. Donald Kellogg was raised with the chimpanzee Gua for the first 19 months of his life. His parents terminated the experiment when Donald started picking up chimpanzee vocalizations rather than Gua picking up human ones. Later in life, Donald committed suicide in his early 40s.

Fowler’s story is loosely based on the Kellogg’s experiment, but also draws from other chimpanzees’ stories. The Cooke Family is based in Bloomington Indiana, where the Kelloggs did their research several decades earlier. At the time of writing the book, Fowler didn’t know the Kellogg’s had another child. Their daughter contacted Fowler after the reading the book. In an interview with BookSlut, Fowler notes “She was born about the time the experiment ended, so she has no memory of it herself, nor would her brother, who was only nineteen months old when the experiment ended. But she feels strongly that it completely deformed her family.”

In the beginning of Fowler’s novel, the reader learns only that our narrator, Rosemary Cooke, has a mysterious sister named Fern who disappeared when Rosemary was 5 years old and an older brother named Lowell who left home when she was 12. Rosemary only reveals the fact that Fern is a chimpanzee about a third of the way into the book. She has her reasons for withholding.

“I wanted you to see how it really was. I tell you Fern is a chimp and, already you aren’t thinking of her as my sister. You’re thinking instead that we loved her as if she were some kind of pet.”

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Next Big Thing

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The Next Big Thing Project is traveling post where writers answer questions about their works in progress and tag others to do the same.   Thank you Sunil Yapa for inviting me to participate. I look forward to your book.

So here goes. This is my next big thing:

2004 02 India - 034What is the working title of your book?


Divining Water.

What genre does your book fall under?


Literary nonfiction. I often describe the book as blending memoir, history and reportage. I’m interested in the nexus of the personal and the political, what the fabulous Minal Hajratwala calls “intimate history.”

The work aspires to employ the language of a poet, the skills of a journalist/scholar, and the insights of personal experience. Two other writers I recently discovered whose work  falls in this realm are Susan Griffin and Rebecca Solnit.

In A Chorus of Stones, Griffin argues:

“We are not used to associating our private lives with public events. Yet the histories of families cannot be separated from the histories of nations. To divide them is part of our denial.”

And in the introduction of the essay collection: Storming at the Gates of Paradise, Solnit writes::

“I needed to describe, to analyze, to connect, to critique and to report on both international politics and personal experience. That is, I needed to write as a memoirist or diarist, and as a journalist , and a critic—and these three voices were one voice in everything except the conventions that sort our experience out and censor what doesn’t belong… Since then, I have been fascinated by trying to map the ways that we think and talk, the unsorted experience where in one can start by complaining about politics and end by confessing about passions, the ease with which we can get to any point from any other point. Such conversation is sometimes described as being “all over the place,” which is another way to say that it connects everything back up.”

My work in progress often seems “all over the place,” but the  writing is rooted in these intersections of form and content.

What is the one sentence synopsis of your book?


As a writer, this is the question I dread the most. This reluctance to answer has several components. Part of it is the fear that reducing the work into a single sentence reduces the work—that it cheapens and commodifies it. Another part is just the difficulty of the task- to summarize years of work that is seemingly “all over the place.”  Rather than provide clarity and insight, the fear is that I’ll be misunderstood. And the last part of it has to do with the unknown. Many assume that in writing nonfiction, the story is already there, but I’m constantly discovering new things that complicate and drive the story into unchartered terrain. It is one of the joys of writing, but it can be difficult to summarize whenI’m still finding my way.

So with that I’m going to allow myself to ramble here for a bit. Divining Water is a story about three generations reconciling violence and disparity and their search for nonviolence in the modern world. I am researching the life of my paternal grandfather, who was stationed as a civil engineer in Burma from 1919 to 1934, when he had a radical shift, and decided to quit the British, give up all worldly possessions and join the Freedom Movement in India. He moved his family to the rural town of Kallakurichi, where my father, the youngest of thirteen children, was born. There, my grandfather became a water diviner and developed wells in the surrounding villages.I never met my grandfather, but like him, I studied civil engineering, worked on water supply projects and pursued social activism. I left my engineering job to work for a magazine called Satya, which was inspired by the Satyagraha movement that influenced my grandfather.

As an engineer, I studied hydrology and geology. I wanted to understand how the earth responds to human pressures. My stories here are set around rivers: Ganga, Gaumukhi, Yamuna and the Irrawaddy. Understanding the history and fate of these rivers also serves as a lens through which to examine larger social and environmental issues— both in my forbearers’ time and mine. The book is about losses (personal, political, environmental) and if/how we can recover from them. It is about the linkages between sanitation and social justice. It also examines the tension in the choices we make between family responsibilities and social activism.

DSC_5782Where did the idea come from for the book?

The first fragments of this book were written long before I knew I would be writing a book. “Our journey began in North India, but this story really begins in South India, in a place called Kallakurichi, where my father was born…” began a letter I sent to friends after immersing my father’s ashes in the River Ganga.

Losing a parent leaves you with many questions. My father’s death in 2003 had set me on two parallel journeys, one that sought the unearth the past, and another that tried to understand the present. But it would be several years before I would revisit these pages. Nancy Rawlinson, a former writing instructor of mine,  suggested I consider writing a book.  I let that idea sink in and applied to the MFA program in nonfiction at Hunter College in 2008 with a proposal to work on this project. Prior to this, the various aspects of my life-—family, engineering, and activism were compartmentalized. It has been through writing that I’ve found ways to integrate them, and the idea for the book has since evolved.

How long did it take you to write the first draft of the manuscript?


Still working on it. I had a good start with my MFA thesis, “Earth, Water Animal.”  Since then, I’ve been slowly continuing on the journey of writing and research, while juggling a day job and other writing projects. Most of my writing these days occurs during my daily subway commute and vacation days. I recently received a Literature Travel Grant from the Jerome Foundation for this project to do so some  research in London and Burma, where I’ll be traveling soon.  (Thank you Jerome!)

What actors would you choose to play the part of your characters in a movie rendition?


Hmm…Good question. I’m working on how to do justice to my characters on the page, and I’m not sure yet who would serve them well on the big screen. Suggestions welcome.

Who or what inspires you?


I’m inspired by people who pursue their passions and live their truths. I am inspired by acts of compassion. I’m inspired by  the natural and the urban world, and the many creatures within them.

Who’s next?

I’m grateful and honored to have many wonderful writers in my life. Here’s a start. I can’t wait for your books and your interviews. Tell us about your next big thing Emily Bass, Laura May Hoopes, Amy Jo Kandathil, Parul Kapur Hinzen, Geeta Kothari, Anna Marrian, Cynthia Polutanovich and Krystal  Sital.

The Street Dogs of India

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Gardiner Harris, the South Asia Correspondent for the New York Times, recently offended many Indian Animal activists with his story ” Where the Streets are Thronged with Strays Bearing Fangs.”  A multimedia slideshow “A Snarling Menace in India,” accompanies the piece with portraits of seemingly threatening and vicious stray dogs in India

I subscribe to a listserv of Indian Animal Protection groups, and this week, my inbox was filled with comments of criticism and dissapointment in Harris’ article.   The consensus was that the reporting was sloppy and the language sensational.  Many wondered the source for Harris’s estimates of bites per year. (“Free-roaming dogs number in the tens of millions and bite millions of people annually, including vast numbers of children.”).   The overall tone of the piece was one that instilled fear:

“Packs of strays lurk in public parks, guard alleyways and street corners and howl nightly in neighborhoods and villages. Joggers carry bamboo rods to beat them away, and bicyclists fill their pockets with stones to throw at chasers. Walking a pet dog here can be akin to swimming with sharks.”

Many of the Indian Animal advocates who have been in the trenches working on this issue, felt the  threatening portrayal of the dogs to be a gross exaggeration. The article was perhaps  also a missed opportunity to acknowledge the progress that has been made with Animal Birth Control (ABC), Animal Rabies Vaccination (ARV), and spay/neuter return programs. Cities all over the country are exploring humane methods of population control and peaceful coexistence.

The piece  made me reflect on my own experiences with the street dogs of India.  Outside my grandmother’s home in Bangalore, a sweet brown and white dog  took comfort in finding a spot in the shade to rest and was grateful for the plates of rice neighbors often fed him.  On his ear was a U-shapep notch, indicating that he had been neutered.  I had the chance to visit Compassion Unlimited Plus Action, the local shelter,  which also ran a program for sterilizing and vaccinating such street dogs.

Any newcomer to India will take notice of the  street dogs–they are  everywhere.  (Here’s a slideshow of some of the street dogs I’ve encountered, in Bangalore, Varanasi, Gaya, Delhi and Solapur.)

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You can find them sleeping on the steps of train stations, curled up under a flower walla’s table, or waiting for prasadam outside a temple. Their street smarts are sharp  and they can weave in and out of traffic and have learned to cross the street.   What I had noticed,was that while they were in close proximity, most never directly approached humans, but rather found a way to subsist and survive among them.

The high population of strays, many sick and undernourished, is one of great concern, but human factors are largely responsible.  Harris does briefly acknowledge these human elements and ways to better manage the population:

“Nonetheless, India’s burgeoning middle class has begun to adopt Western notions of pet ownership, buying pedigreed dogs and bringing animals into their homes. But many pedigreed dogs end up on the street, the castoffs of unsuccessful breeders or owners who tire of the experiment.

…The first thing you need to start doing to reduce the stray population is manage your garbage better,” said Arpan Sharma, chief executive of the Federation of Indian Animal Protection Organizations. “And the second thing is very aggressive spaying, neutering and vaccinating of animals.”

When confronted with the outpouring of comments on this piece,  Harris responded via email to one of his critics, with this  reply:

“Millions of Indians — including untold numbers of children — are mauled every year by stray dogs. I guess I worry more about children than dogs. But that could be an American thing.”

His response only worsened the original offense, leaving the critic to wonder if Harris meant to imply “that Americans love their children more than Indians.”

Harris is a new foreign correspondent for the New York Times. His post in India began in May, and that was the first time he set foot in the subcontinent.  In a blog post on India Ink, the NYT India Blog, Harris indicated that his  “fresh eyes” could be an asset for the job.  But perhaps his vantage point and perspective  limited his reportage on this subject.

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The Situation and the Story- A week in Provincetown

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We started Amitava Kumar’s nonfiction workshop at the Norman Mailer Writers Colony in Provincetown with a bottle of Irony and Vivian Gornick:

Every work of literature has a situation and a story. The situation is the context or circumstance, sometimes the plot;the story is the emotional experience that preoccupies the writer: the insight, the wisdom, the thing one has come to say.

There were six of us- three New Yorkers, two Aussies and our trusted guide, Ami. We sat in Norman Mailer’s living room discussing voice on the page. That was the situation. Feminists in Mailer’s house. Perhaps that was the Irony.

Sometimes the situation changed, the setting changed, the sky changed. We’d walk along the beach and discuss each other’s work. Ami shared with us a practice Ken Chen, head of AAWW, adopted, taking the advice of his writing mentor: “If you run 10 minutes a day, you will become a poet.”

In Provincetown, I opted to swim. A body in motion leads to clarity in thought. In New York, I write on the subway. I’ve previously said, “Who needs a writing retreat, when you have the G train?” But as my feet pressed onto Provincetown sands (where the Pilgrims first did land), another argument could be made.

After a night of reading Janet Malcolm, Edwidge Danticat and James Baldwin, Ami sent us Kurt Vonnegut’s writing rules and asked each of us to write one rule based on something we’ve observed from these writers. Here’s what we came up with:

  1. Notice everything and then apply the crap detector- B.R
  2. Stand Back- E.C.
  3. Life is Messy. Admit contradictions- A.K.
  4. As a writer, remember your role is to entertain-A.K.
  5. Advance the story with not only what you know, but what you do not know-S.I.
  6. Give your readers a story they could hold as if they were in the trenches.-MBK

Our conversations were enriched by the great diversity that exists within nonfiction. As David Shields notes in Reality Hunger: “The roominess of the term nonfiction: an entire dresser labeled nonsocks”

So that was the situation. The story was a group of writers learning from each other, discovering their voice, their aesthetic, their lens, the thing they have come to say, and how they will come to say it.

Onwards with gratitude and excitement.

Wag Wag Wag.

Open City is Up!

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Photo by Wan ParkHey there! Asian American Writers Workshop just launched 3 new fantastic online magazines.  I’m super excited to be writing about vegan eats and stories about food, culture and community in NYC  for Open City.    Check out first post here about the Ganesha Temple Canteen in Flushing.

Do also check out The Margins and CultureStrike.

Congrats to AAWW!

Official Launch Party is June 28.  Also there’s a Twitter Photo Contest.  My entry here.

Tedx at Cooper Union and Primate People Anthology

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Primate People: Saving Nonhuman Primates through Education, Advocacy, and Sanctuary (University of Utah Press) comes out this month.  I am very excited to read this anthology edited by Lisa Kemmerer with a forward by Marc Bekoff.  My story “Soiled Hands” is the closing essay in the this collection.

I am adapting this into a Tedx talk at Cooper Union on April 24, 2012 which is themed “Found in Translation.”

 

April 24th, 2012 (5pm-9pm)
41 Cooper Square
Third Avenue between 6th & 7th Streets
New York
The Cooper Union, Rose Auditorium