The Balloon Thief: Tackling realities of identity and friendship in a world of fantasy
By MITA MISTRY Mar 03, 2022
NEWLY RELEASED novel The Balloon Thief cleverly combines a fantasy world and real life to tell an intriguing story of a girl’s literal and metaphorical journey towards friendship, freedom and finding a safe place in the world.
The dynamic debut book from Aneesa Marufu also tackles important themes that include terrorism, extremism and racism in a unique way, with writing that draws inspiration from her heritage and contemporary literature. The young adult (YA) adventure story of a girl finding escape in a hot-air balloon is the beginning of a literary journey for the prize-winning young author from Manchester.
Eastern Eye caught up with her to discuss her book, the key message she wants to convey, writing and inspirations.
What would you say first connected you to creative writing?
Definitely the escapism. Creative writing gives you an ability to construct a whole new world with just a pen and paper, and the power of your mind. There really are no rules or limits to what you can create, and that’s why it’s so much fun.
What inspired the story of your book?
My own experiences with racism and Islamophobic bullying as a teenager are what inspired the themes of racism, extremism and terrorism in the book. Growing up as a British Pakistani and a Muslim, I often felt like I never quite fitted in. I didn’t know where I belonged and didn’t feel wholly accepted by society. I wanted to write a book that tackled these issues in a fantasy world, where I would be free to explore these themes without the constraints of the real world.
Her new book
Tell us about the book?
The Balloon Thief is a south Asian-inspired YA fantasy that focuses on main characters – Khadija and Jacob – from two opposing races and their battle for friendship in a racially segregated society. The book would be suited to fans of Noughts and Crosses, The City of Brass and We Hunt the Flame.
Are any elements or emotions in it based on real life?
Two key elements in the book are identity and loneliness. The Balloon Thief is about finding one’s place in the world and discovering the power of an individual to spark change. It is also about finding acceptance and companionship. Feeling like you belong within your environment and among your peers is very important.
What is your favourite part of the book?
It would have to be the point where both characters realise they are more than just what society expects of them. They claim their own power and take charge of their own destinies, and in doing so, discover more about themselves.
Who are you hoping will connect with this book?
I imagine it will connect with readers who may feel a bit lost. They may feel like they don’t know where they belong or what their purpose is in the world. They might feel they are too small and insignificant to make a difference, and I hope The Balloon Thief can be the inspiration that proves this is not the case.
Is there a key message you want to convey with this story?
As the story unfolds, the characters learn to put their differences aside to tackle a greater threat, and in doing so learn the power of friendship and forgiveness. That really is the key message. I wanted to show that the world is not so black and white, that people are often the product of their environment and life experiences. However, I wanted to show with this story that love and friendship can, and do, prevail.
Did you learn anything new while writing it?
Writing a book is a lot like constructing a building. There is no point feeling upset that the scaffolding looks ugly (and I have produced some ugly first drafts). Editing is where the polishing and refining takes place, and that is what produces the final result.
Have you flown in a hot-air balloon yet?
No, I haven’t, but it is definitely a bucket list dream of mine.
What do you enjoy reading and do you have a favourite book?
I don’t think I can commit to just one favorite book. There are so many that hold a special place in my heart, whether they have made me laugh, cry or both. Books that have stayed with me are The Kite Runner, Eragon and The Inkheart series. I read very widely across fiction and non-fiction, adult, and YA, though fantasy will always be my favourite genre to read.
What can we expect next from you?
There may or may not be a sequel to The Balloon Thief in the works. I am working on another fantasy standalone, which I can’t say too much about. The only thing to expect is that similar to The Balloon Thief, it’s another YA fantasy drawing from the myths and magic of another culture.
What inspires you?
So many things – books, movies, dreams, people I see in the street, the weather, a smell, a colour. It can be literally anything that can cause inspiration to strike. That’s why I’m always pulling up my notes app on my phone and jotting down random ideas as they come to my mind. You never know what might spark the idea of a whole new world.
What were you feeling before the publication of the book?
Equal parts excited and nervous. It is a lot like the feeling of riding a rollercoaster. For me, the build-up to publication seems to have been going on for years, from when I signed with my agent to learning that my book was going to be published. It has been a long journey, and all those years of hard work is what will make seeing the book finally published and out on the shelves that much more rewarding.
Why should we pick up the book?
If you like reading fantasy and you want to be transported to a new world of jinn, magic and hot-air balloons, with characters that you can’t help rooting for, even the bad ones and ones who have been led astray, then I would definitely give The Balloon Thief a try.
Twitter: @aneesamarufu and Instagram: @aneesa.marufu
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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