Skip to content
Search

Latest Stories

Nazneen Ahmed Pathak: Telling ‘stories of a history we need to know and talk about’

The writer to discuss her debut novel City of Stolen Magic, which beautifully blends history, magic, and culture

Nazneen Ahmed Pathak: Telling ‘stories of a history we need to know and talk about’

A LOVE for reading and seeing books as a dream-like escape inspired Nazneen Ahmed Pathak to write, but that stopped in her twenties because there wasn’t a story she wanted to tell.

Things changed after her son Roshan was born in 2013. She was reading a children’s book to him and realised there weren’t any stories about his heritage as a British-Indian-Bangladeshi child. Her young son reconnected Pathak to that writing passion and inspired her dynamic debut novel City of Stolen Magic.


The beautifully written book mixing up magic with history, and a 19th century multicultural Victorian London, revolves around a young Indian girl with mystical powers on a rescue mission in new surroundings. One of the most unique books of the year introduces a new type of literary hero and great British writing talent, who has offered up something unique.

Eastern Eye caught up with the writer to discuss her book, which beautifully blends history, magic, and culture.

Tell us about City of Stolen Magic?

The story follows Chompa, the fierce, impulsive, ever-curious heroine, and her mother, Ammi, who are both witches. Chompa’s not allowed to do her magic because Ammi says she’s not old enough to control it. Instead, Ammi’s tries teaching her writing magic, which is intricate, precise and takes time. Chompa finds it boring and decides to take matters into her own hands, which ends in disaster when Ammi’s abducted by a sinister group called the Company, who Chompa later finds out are selling magical people for profit. To get Ammi back, Chompa travels to London on a ship, powered by a djinn, making friends and enemies along the way.

What made you want to combine history and magic in the story?

I see my writing as the ‘embroidering of untold stories’, so wanted to bring to life untold histories and lesser-known forms of magic in this story. Until I worked on a research project on the history of East London, I didn’t know that the reason Brick Lane is now ‘Banglatown’ stems from the lodging houses run in the area by South Asian sailors, known then as ‘lascars,’ in the Victorian period. So, until I was well into my thirties, I had no idea how colonialism had been responsible for establishing the migrant community I am part of. When I learnt that, it made something in me click.

Tell us more about that?

It made my identity and sense of belonging as a British Bangladeshi person make sense. I wished I had known it when I had been a child, whenever anyone used to ask me where I was ‘really’ from. So, I really wanted to weave a story around it, and make it come to life for children like Roshan and Khushi, my daughter.

Lead inset city of stolen magic 7487 3

What about the fantasy element of your book?

I’ve always loved fantasy stories about magic, witches, and wizards, but grew up with a very different idea of magic than the pointy-hat and magic-wand variety we see in most children’s books. I wanted to weave in the stories I grew up with when I visited Bangladesh as a child - stories of bhoot, djinn and amulets. At the same time, I have always been fascinated by the taviz, Islamic amulets members of my family used to wear; capsules containing slivers of paper featuring Quranic verses, because they really show the protective power of the written word.

Did it help or make it more challenging that you are venturing into new territory with this book?

I think the fact that the story is new and different is definitely a strength, but it’s also a risk, and that’s a little daunting, I suppose. But no one wants to read the same story over and over again, and it’s a great time right now for readers of children’s books – there’s something out there for everyone.

Who are you hoping connects with City of Stolen Magic?

Everyone, really. The history and legacy of colonialism is important for us all to know and understand. But I really hope it connects with children who have South Asian heritage, because I wove so much of my love of India and Bangladesh into this story, from languages to food to dress, that I hope it really finds a home with them.

Do you have a favourite part or chapter in the book?

I love the scene where Chompa and Leeza take a cycle rickshaw to explore the chowk market in Dacca and discover the printing press. My grandfather had a printing press and bookshop and the whole scene really comes from my own love of Old Dhaka, which is a unique and historic place. I feel really homesick whenever I read it.

Did you learn anything new while writing this book?

I had no idea how to write a book when I began, so, absolutely I did. I learned so much about how to tell a story that’s exciting and will connect with young readers from my Puffin editors Natalie Doherty and India Chambers, and my agent, Louise Lamont, but I also learned from reading amazing authors such as Catherine Johnson, Philip Pullman, Nizrana Farook, Jonathan Stroud and Patrice Lawrence.

How do you feel ahead of the book’s publication?

I feel very excited – it’s been a 10-year journey to this point. It feels like I am in one of my vivid daydreams. I am so thrilled that Puffin have taken me and the story under their wing, and done us such justice. I just can’t wait for the book to get into the hands of young readers and their parents and teachers. I just hope they like it.

How much has all the praise meant to you for this book?

It’s been extraordinary – the praise from authors I love has been so humbling. And those children, who have read it so far, loving it has meant the absolute world to me. I am quite the crier and have cried every time someone has written to me and told me they liked the story. It never gets old.

What kind of books do you enjoy reading the most?

I love reading children’s stories – I think they’re the best writing, full stop. You can’t have a character staring out of a window for two pages in a children’s story. There’s no indulgence – just story, character and setting in their leanest and best form. I love mysteries such as Sharna Jackson’s Hi-Rise Mystery, historical adventures such as JT Williams’ Lizzie and Belle series, and I recently adored The Swifts by Beth Lincoln.

What can we expect next from you?

Chompa, Tipu, Leeza and Laurie are going to have further adventures so I am currently working on the second book, which will feature rebel queens, bandits and an important quest to find a mysterious magical object.

Why do you love writing?

I love being immersed in imaginary worlds where anything and everything can happen and all the characters you end up meeting along the way. To me, it’s like being on a rollercoaster, only fun (I am a scaredy-cat).

Why should we pick up the book?

Because Chompa is the most dynamic and loveable heroine you could meet, because the adventure is thrilling and spans continents. Because the magic is unique and empowering, and it tells stories of a history we all need to know and talk more about.

City Of Stolen Magic will be published byPuffin next Thursday (29)

More For You

Piranhas’ police box

The piece was originally one of nine works that appeared across London in August 2024

Getty Images

Banksy’s ‘Piranhas’ police box heads to London Museum

Highlights:

  • Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
  • The piece was originally one of nine works that appeared across London in August 2024.
  • It will form part of the museum’s new Smithfield site, opening in 2026.
  • The City of London Corporation donated the artwork as part of its £222m museum relocation project.

Banksy’s police box artwork in storage

A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.

From Ludgate Hill to Guildhall Yard

The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.

Keep ReadingShow less
DDLJ director Aditya Chopra earns UK Stage Debut Awards nod for 'Come Fall in Love'

Aditya Chopra (right) with his father, Yash Chopra

YRF

DDLJ director Aditya Chopra earns UK Stage Debut Awards nod for 'Come Fall in Love'

BOLLYWOOD filmmaker Aditya Chopra was last Thursday (21) named among the nominees of the UK Stage Debut Awards for his Come Fall in LoveThe DDLJ Musical, performed at Manchester’s Opera House earlier this year.

Chopra delivered a blockbuster in 1995 with Dilwale Dulhania Le Jayenge, popular as DDLJ, with Kajol and Shah Rukh Khan in the lead roles. It was adapted to a theatrical production and had its UK premiere in May.

Keep ReadingShow less
viral qawwali group UK tour

The group have introduced fresh orchestral elements and added instruments to expand their live sound

Qawwal Group

Shahbaz Fayyaz Qawwal Group brings viral energy and rich heritage to UK tour

Highlights:

  • The Shahbaz Fayyaz Qawwal Group return to the UK with a nationwide tour after viral success online.
  • The ensemble of brothers blend centuries-old qawwali traditions with fresh improvisations that connect with young audiences.
  • From Pakistan to the USA and UK, their performances have won acclaim for their electrifying energy and spiritual depth.
  • Fans can expect new instruments, reimagined classics, and the same message of love and harmony at this year’s shows.

From viral sensation to global stages

When a performance goes viral, it can change an artist’s career overnight. For the Shahbaz Fayyaz Qawwal Group, their stirring renditions of Bhar Do Jholi and B Kafara propelled them from local fame in Pakistan to global recognition, amassing millions of views across platforms. What set them apart was not just the power of their voices, but the way their music resonated with younger listeners who were hearing qawwali with fresh ears.

That viral momentum soon carried them beyond borders, leading to major performances in the United States and the UK. “It wasn’t just one track,” the group explained. “We revived older gems like Kali Kali Zulfon and Dil Pukare Aaja in our own style, and those went viral again, showing that qawwali still speaks across generations.”

Keep ReadingShow less
Annie Jagannadham

Born in 1864 in Visakhapatnam, Annie began medical studies at Madras Medical College, one of the few institutions in India then open to women.

Royal College of Physicians of Edinburgh

How Dr Annie Jagannadham broke barriers in medicine

DR ANNIE WARDLAW JAGANNADHAM was the first Indian woman to gain a medical degree at a British university and have her name added to the UK medical register in 1890.

Her story has been revisited by the General Medical Council (GMC) as part of South Asian Heritage Month. Tista Chakravarty-Gannon, from the GMC Outreach team, explored her life with support from GMC archivist Courtney Brucato.

Keep ReadingShow less
Tarek Amin

A visual dialogue between flesh and spirit

Manzu Islam

Tarek Amin's 'Echoes of Existence' showcases bodies caught in time and reaching for escape

Manzu Islam

Highlights:

  • Woodcut prints that explore the fragile threshold between body, time, and transcendence
  • Inspired by Baul mystics like Lalon Shai and Shah Abdul Karim, as well as sculptural forms from Michelangelo to Rodin
  • Figures emerge from black holes and womb-like voids — trapped in time yet reaching for freedom
  • A visual dialogue between flesh and spirit, rootedness and flight
  • A bold continuation of South Asian metaphysical traditions in contemporary form
  • Paradox becomes the path: muscular bodies dream of escape through light, memory, and love
  • Expressionist in tone, haunting in imagery — a theatre of becoming


I imagine Tarek Amin (Ruhul Amin Tarek) has a singular vision as his hands work on his craft, his measuring eyes, the membranes of his fingers. They are mostly woodcut prints on the threshold of becoming, from darkened holes. A human figure dangling in space, yet not without gravitational pull, the backwards tilt of the head is like a modern-day high jumper in the fall position, the muscles and ribcage straining to keep the body's mass afloat. A clock is ticking away in the background of a darkened rectangle. Is it the black hole, the womb, or the nothingness from which the first murmurings of being, its tentative emergence into light, can be heard?

Keep ReadingShow less