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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


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  • Amitava Kumar
    Perumal Murugan → Writer has been recommended via Amitava Kumar.
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    Perumal Murugan → Novelist has been recommended via Amitava Kumar.
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    Amitava Kumar
    Author of several works of fiction and two novels, Amitava Kumar speaks about the writing life at #JaipurLitFest2020. Visit https://jaipurliteraturefestival....
    • December 29, 2019
  • Amitava Kumar
    A video was posted re Amitava Kumar:
    JLF at Boulder 2018: Immigrant, Montana I #JLFatBoulder #Immigration #GenreBending #TravelWriting
    Amitava Kumar in conversation with Suketu Mehta: Amitava Kumar’s new book, Immigrant, Montana, is part novel, part memoir. In conversation with Suketu Mehta,...
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Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

From Harlem to Bahia



  • Amitava Kumar
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Amitava Kumar
  • City/Place: Poughkeepsie, New York
  • Country: United States
  • Hometown: Patna, India

Life & Work

  • Bio: Amitava Kumar is a writer and journalist. He was born in Ara, and grew up in the nearby town of Patna, famous for its corruption, crushing poverty and delicious mangoes. Kumar is the author of several books of non-fiction and two novels. He lives in Poughkeepsie, in upstate New York, where he is the Helen D. Lockwood Professor of English at Vassar College. In 2016, Amitava Kumar was awarded a Guggenheim Fellowship (General Nonfiction) as well as a Ford Fellowship in Literature from United States Artists.

    Kumar’s latest book is Immigrant, Montana: A Novel, published by Faber in the UK, Knopf in the US, and in translation by other publishers worldwide. It was named a notable book of the year by The New York Times, a book of the year by The New Yorker, and listed by Barack Obama as one of his favorite books of 2018. The book came out in India under the title The Lovers: A Novel.

    Kumar is the author of Lunch With a Bigot (Duke University Press, 2015, and Picador India, 2015); A Matter of Rats (Duke University Press, 2014 and Aleph Book Company, 2013), A Foreigner Carrying in the Crook of His Arm A Tiny Bomb (Duke University Press, 2010; also published as Evidence of Suspicion, Picador India, 2010); Nobody Does the Right Thing (Duke University Press, 2010; also published as Home Products, Picador India, 2007); Husband of a Fanatic(The New Press, 2005 and Penguin-India, 2004), Bombay-London-New York (Routledge and Penguin-India, 2002), and Passport Photos (University of California Press and Penguin-India, 2000). His forthcoming nonfiction is entitled Every Day I Write the Book, also appearing in the Indian subcontinent as Writing Badly Is Easy.

    Lunch with a Bigot was included in a list of “ten best books of 2015 published by university presses”; A Foreigner Carrying in the Crook of His Arm A Tiny Bomb was adjudged the best nonfiction book of the year by the Page Turner Awards in 2011; in 2007, Home Products was short-listed for India’s premier literary award, the Crossword Award; Husband of a Fanatic was an “Editors’ Choice” book at the New York Times; Bombay-London-New York was on the list of “Books of the Year” in The New Statesman (UK); and Passport Photos won an “Outstanding Book of the Year” award from the Myers Program for the Study of Bigotry and Human Rights in North America.

    Kumar has edited five books: Class Issues (New York University Press, 1997), Poetics/Politics (St Martin’s Press, 1999), World Bank Literature (University of Minnesota Press, 2002), The Humour and the Pity: Essays on V.S. Naipaul (Buffalo Books and British Council, 2002), and Away: The Indian Writer as an Expatriate (Routledge and Penguin-India, 2003).

    Amitava Kumar’s non-fiction and poetry has been published in The New York Times, Granta, NPR, The Nation, New Yorker.com, Harper’s, Bookforum, The Guardian, Kenyon Review, Vanity Fair, Guernica, New Statesman, Transition, American Prospect, The Chronicle of Higher Education, Toronto Review, Colorlines, Biblio, Outlook, Frontline, India Today, The Hindu, Himal, Herald, The Friday Times, The Times of India and a variety of other venues. He is the script-writer and narrator of the prize-winning documentary film, Pure Chutney (1997). In 2013, Amitava Kumar collaborated with Teju Cole on an ekphrastic project entitled “Who’s Got the Address?”

    Kumar’s academic writing has appeared, among other places, in the following journals: Critical Inquiry, Cultural Studies, Critical Quarterly, College Literature, Race and Class, American Quarterly, Rethinking Marxism, Minnesota Review, Journal of Advanced Composition, Amerasia Journal and Modern Fiction Studies.

    He has been awarded writing residences by Yaddo, MacDowell Colony, Norman Mailer Writing Center, Writers Omi at Ledig House, and the Lannan Foundation. He has also been a Barach Fellow at the Wesleyan Writers Festival; he has received awards from the South Asian Journalists Association for three consecutive years, and been the recipient of research fellowships from the NEH, Yale University, SUNY-Stony Brook, Dartmouth College, and University of California-Riverside.

Contact Information

  • Email: [email protected]
  • Management/Booking: Amitava Kumar is represented by the literary agency David Godwin Associates Ltd.

Media | Markets

  • ▶ Book Purchases: http://www.amitavakumar.com/books/
  • ▶ Twitter: amitavakumar
  • ▶ Website: http://www.amitavakumar.com
  • ▶ Articles: http://www.amitavakumar.com/articles/

More

  • Quotes, Notes & Etc. On Immigant, Montana

    “a bold and provocative counter-narrative… We live in a world of #MeToo; this novel fearlessly unmasks some great men, making political stalwarts and revolutionaries stumble down from their pedestals.”
    —The Guardian

    “As cerebral as it is sensual… Immigrant, Montana is intelligent, melancholy, quirky. At a time when feelings run high over which immigrants get to call themselves American, Kailash’s idiosyncratic voice adds a welcome tonic note to the debate.”
    —Boston Globe

    “… Immigrant, Montana is razor-sharp, told meditatively and youthfully, and is just as entertaining as it is serious.”
    —PEN America

    “…consistently surprising and hilarious… This novel is an inventive delight…”
    —Publisher’s Weekly (starred review.)

    “an intelligent and intimate novel”
    —The Millions

    “thought-provoking”
    —Entertainment Weekly

    “There is originality in Kumar’s use of the autofictional mode, a form which coheres nicely with the novel’s overarching message; in particular, the issue of how migrants are forced to fictionalize about, and to, themselves. This is not to mention, of course, the grotesquerie of state authorities demanding accounts of ‘sufficient’ depredation as a prerequisite for treating migrants with basic dignity… a rich, allusive exploration of immigration and selfhood.”
    —Totally Dublin

    “Amitava Kumar’s Immigrant, Montana is a beguiling meditation on memory and migration, sex and politics, ideas and art, and race and ambiguity. Part novel, part memoir, this book is as sly, charming, and deceptive as its passionate protagonist, a writer writing himself into being.”
    —Viet Thanh Nguyen, author of The Sympathizers, winner of the Pulitzer Prize

    “Amitava Kumar’s Immigrant, Montana is romantic, natural, gorgeously detailed, and painfully truthful about exile, grad school, sex and the South Asian man. Few novels have captured the mental texture of immigration so accurately.”
    —Karan Mahajan, author of The Association of Small Bombs

    Amitava Kumar’s new novel brings to mind W. G. Sebald’s work, but Kumar has a deeper curiosity in the borderless-ness of storytelling as a confrontation to all kinds of borders imposed upon his characters by the external and the artificial, as we see more and more in today’s world. Audacious in its scope yet with refreshing attention to detail, Immigrant, Montana is one of those novels that, with each rereading, a reader will unlock another treasure box of joy.
    —Yiyun Li, author of Dear Friend, From My Life I Write to You in Your Life

    There is a buoyant energy and hilarity to this account of an Indian student seeking the wide world through the women he meets, but one laughs with growing unease as a darker undercurrent is slowly revealed. An unusual, brave twist on the migrant’s tale.
    —Kiran Desai, winner of the Booker Prize for The Inheritance of Loss, winner of the Booker Prize

    Immigrant, Montana is a delight.
    —Hanif Kureishi, author of Intimacy and other novels

    In Immigrant, Montana, Amitava Kumar pushes at the boundaries of the novel in the best way— reminiscent of Ben Lerner and John Berger—to open up a completely new, thrilling exploration of a particular immigrant experience, one that is fearlessly cosmopolitan and witty in its natural appropriation of cultural materials.

    This is a deeply American novel, one that delves into the messiness of love (and sex!), and the meeting point between identity, character, place, and the constant cultural stuff floating around. I was reminded, strangely, reading it, not only of our contemporary explorers—Teju Cole and Ben Lerner and Lydia Davis—but also … Philip Roth, and so many others who had the skill and talent and, above all, the humor to do whatever was necessary to delve into the lives of their characters, even if it meant breaking with traditions and incorporating new ways of using the materials of the culture: we are, their work says, not only internal beings struggling for love and meaning in our lives, but also complex amalgamation of cultural and historical information. Above all, Kumar’s novel was uproariously funny and deeply moving.
    —David Means, author of Hystopia

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  • Amitava Kumar
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  • JLF at Boulder 2018: Immigrant, Montana I #JLFatBoulder #Immigration #GenreBending #TravelWriting
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