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The CaravanThe Caravan

The Caravan August 2019

The Caravan is India’s first narrative journalism magazine. Stories are reported in a style that uses elements usually reserved for fiction—plot, characters, scenes and setting—to bring the subject to life. Like The New Yorker, The Atlantic and Granta, the context of a Caravan story is something more substantial. In India, this niche—one for the intellectually curious, the aesthetically inclined and the upwardly mobile, has remained vacant. That is, until The Caravan.

Country:
India
Language:
English
Publisher:
Delhi Press Patra Prakashan Pte LTD
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12 Issues

IN THIS ISSUE

access_time2 min.
true media needs true allies.

I think that there will come a time when people will ask of the Indian media: What were you doing in those five years when a government came to power that spread hate and poison, that controlled the media, what were you doing then? And very few in the Indian media will be able to hold their heads up and say that we were calling the powerful to account. I think Caravan is one of the few magazines that will be able to hold its head up, if it stays afloat. And I hope it stays afloat, which is why I’m saying, please read Caravan. ARUNDHATI ROY, Author I love reading The Caravan, because the kind of reportage it does, is away from the din of fast news, of something which is…

access_time1 min.
the caravan

EDITOR Anant Nath EXECUTIVE EDITOR Vinod K Jose POLITICAL EDITOR Hartosh Singh Bal SENIOR ASSOCIATE EDITOR Roman Gautam BOOKS EDITOR Maya Palit CREATIVE DIRECTOR Tanvi Mishra SENIOR ASSISTANT EDITORS Martand Kaushik and Puja Sen COPY EDITORS Ajachi Chakrabarti and Akash Poyam WEB EDITOR Surabhi Kanga ASSISTANT EDITORS (WEB) Arshu John and Tusha Mittal CONTRIBUTING EDITORS Deborah Baker, Fatima Bhutto, Chandrahas Choudhury, Siddhartha Deb, Sadanand Dhume, Siddharth Dube, Christophe Jaffrelot, Mira Kamdar, Miranda Kennedy, Amitava Kumar, Basharat Peer, Samanth Subramanian and Salil Tripathi STAFF WRITERS Praveen Donthi, Atul Dev, Nikita Saxena, Sagar, Kaushal Shroff and Dearton Thomas Hector REPORTING FELLOW (NORTH INDIA) Tushar Dhara REPORTING FELLOW (GOVERNMENT) Nileena MS REPORTING FELLOW (SOUTH INDIA) Aathira Konikkara EDITORIAL FELLOWS Amrita Singh and Mehak Mahajan MULTIMEDIA PRODUCER Shaheen Ahmed FACT CHECKING FELLOWS Ahan Penkar and Armanur Rahman SOCIAL-MEDIA MANAGEMENT AND ENGAGEMENT FELLOW Arunima Kar SENIOR SOFTWARE ENGINEER Anjaneya Sivan ASSISTANT PHOTO EDITOR Shahid Tantray GRAPHIC…

access_time2 min.
true media needs true allies.

Democracy just cannot survive without a free press. And certainly, a country like India, which is so diverse, can absolutely not survive without a free expression of facts and views. And because the mainstream media is now shutting its mouth, out of greed or out of fear, the role of magazines like Caravan becomes all-important. It is very important that all of us should subscribe to magazines like Caravan, so that they get an independent source of funds and can continue to be doing completely independent and fearless work. ARUN SHOURIE, Journalist and Politician My favourite literary genre is long nonfiction, and no one does a better job of it than Caravan magazine in India. I recall that the very best review that I read about my book The Difficulty of Being…

access_time5 min.
camera obscura

On the afternoon of 29 November, when I visited Jaykumar Shankar’s small office in Delhi’s Patel Nagar, his desk was strewn with hand-painted photographs and bottles of transparent photo colours. The photographs were for his upcoming exhibition with Vasantha Yogananthan, a photographer based in Paris who describes his work as “photographic practice that addresses the space between documentary and fiction.” The two began their collaboration in 2016, and Yogananthan’s work, A Myth of Two Souls—to which Shankar contributed—was released the following year. Shankar flipped through some of the hundreds of black-and-white photographs that he has painstakingly coloured by hand. “If someone who is not used to transparent photo colour uses it on the photograph, it will take only one dab for the photograph to be ruined,” he told me. “It is…

access_time7 min.
the sound of the fury

On a Sunday morning at the usually crowded Bandra Kurla Complex in Mumbai, the loud beating of drums began echoing through empty streets. It was a group of youths from Dharavi, the largest slum in Asia, who had gathered for their weekly practice of parai attam. The youths, part of a group called the Neelam Kalai Kuzhu—Blue Arts Collective—began by chanting a Tamil slogan: Parai ongi olikatum Idhu uzhaikum makkalin viduthalaikai Engal parai mulakam savukaga alla Uzhaikum makkalin valvukaga Onki adipathil kiliyatum Paraigal alla suya sathiya perumai pesuvor mugathiraigal Let the parai sound loudly For the freedom of the working people Our parai shouts not for death But for the life of the working people By beating loudly Let the veils of proud casteists be torn apart Parai attam refers to a performance of the parai—a hollow drum made…

access_time6 min.
king’s gambit

On 20 March, a Bangladeshi migrant working at a small eatery in the coastal Jordanian city of Aqaba complained to me about how little the jobs there paid, leaving “hardly anything to send home,” even as he conceded that “at home, I might not even get a job.” It was a sentiment echoed by not only the majority of migrant workers I spoke to—mostly Palestinians, Syrians, South Asians, Filipinos and Egyptians—but by the Jordanians themselves. There was palpable disappointment in the air because of the lack of jobs and meagre salaries. The government holds an ongoing refugee crisis partially responsible for the domestic situation, but the residents of Jordan no longer buy this explanation. During an interview at the World Economic Forum, on 24 January, the prime minister, Omar Razzaz, admitted…

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