Anton Chekhov is revered as a boldly innovative playwright and short story writer - but he wrote more than just plays and stories. In "Alive in the Writing" - an intriguing hybrid of writing guide, biography, and literary analysis - anthropologist and novelist Kirin Narayan introduces readers to some other sides of Chekhov: his pithy, witty observations on the writing process; his life as a writer through accounts by his friends, family, and lovers; and his venture into nonfiction through his book "Sakhalin Island". By closely attending to the people who lived under the appalling conditions of the Russian penal colony on Sakhalin, Chekhov showed how empirical details combined with a literary flair can bring readers face to face with distant, different lives, enlarging a sense of human responsibility. Highlighting this balance of the empirical and the literary, Narayan uses Chekhov to bring new energy to the writing of ethnography and creative nonfiction alike. Weaving together selections from writing by and about him with examples from other talented ethnographers and memoirists, she offers practical exercises and advice on topics such as story, theory, place, person, voice, and self. A new and lively exploration of ethnography, "Alive in the Writing" shows how the genre's attentive, sustained connection with the lives of others can become a powerful tool for any writer.

Creativity and play erupt in the most solemn of everyday worlds as individuals reshape traditional forms in the light of changing historical circumstances. In this lively volume, fourteen distinguished anthropologists explore the life of creativity in social life across the globe and within the study of ethnography itself. Contributors include Barbara A. Babcock, Edward M. Bruner, James W. Fernandez, Don Handelman, Smadar Lavie, Jose E. Limon, Barbara Myerhoff, Kirin Narayan, Renato Rosaldo, Richard Schechner, Edward L. Schieffelin, Marjorie Shostak, Anna Lowenhaupt Tsing, and Edith Turner.

In 1969, young Kirin Narayan's older brother, Rahoul, announced that he was quitting school and leaving home to seek enlightenment with a guru. From boyhood, his restless creativity had continually surprised his family, but his departure shook up everyone-- especially Kirin, who adored her high-spirited, charismatic brother.
A touching, funny, and always affectionate memoir, "My Family and Other Saints" traces the reverberations of Rahoul's spiritual journey through the entire family. As their beachside Bombay home becomes a crossroads for Westerners seeking Eastern enlightenment, Kirin's sari-wearing American mother wholeheartedly embraces ashrams and gurus, adopting her son's spiritual quest as her own. Her Indian father, however, coins the term "urug"--guru spelled backward--to mock these seekers, while young Kirin, surrounded by radiant holy men, parents drifting apart, and a motley of young, often eccentric Westerners, is left to find her own answers. Deftly recreating the turbulent emotional world of her bicultural adolescence, but overlaying it with the hard-won understanding of adulthood, Narayan presents a large, rambunctious cast of quirky characters. Throughout, she brings to life not just a family but also a time when just about everyone, it seemed, was consumed by some sort of spiritual quest.
"A lovely book about the author's youth in Bombay, India. . . . The family home becomes a magnet for truth-seekers, and Narayan is there to affectionately document all of it."--"Body + Soul""" "Gods, gurus and eccentric relatives compete for primacy in Kirin Narayan's enchanting memoir of her childhood in Bombay."--William Grimes, "New York Times"

Swamiji, a Hindu holy man, is the central character of Storytellers, Saints, and Scoundrels. He reclines in a deck chair in his modern apartment in western India, telling subtle and entertaining folk narratives to his assorted gatherings. Among the listeners is Kirin Narayan, who knew Swamiji when she was a child in India and who has returned from America as an anthropologist. In her book Narayan builds on Swamiji's tales and his audiences' interpretations to ask why religious teachings the world over are so often couched in stories. For centuries, religious teachers from many traditions have used stories to instruct their followers. When Swamiji tells a story, the local barber rocks in helpless laughter, and a sari-wearing French nurse looks on enrapt. Farmers make decisions based on the tales, and American psychotherapists take notes that link the storytelling to their own practices. Narayan herself is a key character in this ethnography. As both a local woman and a foreign academic, she is somewhere between participant and observer, reacting to the nuances of fieldwork with a sensitivity that only such a position can bring. Each story s reproduced in its evocative performance setting. Narayan supplements eight folk narratives with discussions of audience participation and response as well as relevant Hindu themes. All these stories focus on the complex figure of the Hindu ascetic and so sharpen our understanding of renunciation and gurus in South Asia. While Storytellers, Saints, and Scoundrels raises provocative theoretical issues, it is also a moving human document. Swamiji, with his droll characterizations, inventive mind, and generous spirit, is a memorable character. The book contributes to a growing interdisciplinary literature on narrative. It will be particularly valuable to students and scholars of anthropology, folklore, performance studies, religions, and South Asian studies.

A collection of folk tales from India's fairyland where rajas, ranis, rakshas, jackals, magicians, and cobras prevail.

Kirin Narayan's imagination was captured the very first time, as a girl visiting the region, that she heard Kangra women join their voices together in song. Returning as an anthropologist, she became fascinated by how they spoke of singing as a form of enrichment, bringing feelings of accomplishment, companionship, happiness, and even good health all benefits of the "everyday creativity" she explores in this book. Part ethnography, part musical discovery, part poetry, part memoir, and part unforgettable portraits of creative individuals, this unique work draws on an association across forty years, and brings the Himalayan foothill region of Kangra in North India alive in sight and sound while celebrating the incredible powers of music in our lives. With rare and captivating eloquence, Narayan portrays Kangra songs about difficulties on the lives of goddesses and female saints as a path to well-being. Like the intricate geometries of mandalu patterns drawn in courtyards or the subtle balance of flavors in a meal, well-crafted songs offer a variety of deeply meaningful benefits: as a way of making something of value, as a means of establishing a community of shared pleasure and skill, as a path through hardships and limitations, and as an arena of renewed possibility. Everyday Creativity makes big the small world of Kangra song and opens up new ways of thinking about what creativity is to us and why we are so compelled to engage it.

Narayan presents 21 stories learned and told orally by one woman, Urmila Devi, in Kangra, North India. Included are stories told for worship and stories told for entertainment. In the process of recounting the stories, Narayan brings to life her friendship with the storyteller, and also offers important arguments about oral traditions and performance, as well as about North Indian families and folklore.

In 1969, young Kirin Narayan's older brother, Rahoul, announced that he was quitting school and leaving home to seek enlightenment with a guru. From boyhood, his restless creativity had continually surprised his family, but his departure shook up everyone-- especially Kirin, who adored her high-spirited, charismatic brother.
A touching, funny, and always affectionate memoir, "My Family and Other Saints" traces the reverberations of Rahoul's spiritual journey through the entire family. As their beachside Bombay home becomes a crossroads for Westerners seeking Eastern enlightenment, Kirin's sari-wearing American mother wholeheartedly embraces ashrams and gurus, adopting her son's spiritual quest as her own. Her Indian father, however, coins the term "urug"--guru spelled backward--to mock these seekers, while young Kirin, surrounded by radiant holy men, parents drifting apart, and a motley of young, often eccentric Westerners, is left to find her own answers. Deftly recreating the turbulent emotional world of her bicultural adolescence, but overlaying it with the hard-won understanding of adulthood, Narayan presents a large, rambunctious cast of quirky characters. Throughout, she brings to life not just a family but also a time when just about everyone, it seemed, was consumed by some sort of spiritual quest.
"A lovely book about the author's youth in Bombay, India. . . . The family home becomes a magnet for truth-seekers, and Narayan is there to affectionately document all of it."--"Body + Soul""" "Gods, gurus and eccentric relatives compete for primacy in Kirin Narayan's enchanting memoir of her childhood in Bombay."--William Grimes, "New York Times"

Oral tales establish relationships between storytellers and their listeners. Yet most printed collections of folktales contain only stories, stripped of the human contexts in which they are told. If storytellers are mentioned at all, they are rarely consulted about what meanings they see in their tales. In this innovative book, Indian-American anthropologist Kirin Narayan reproduces twenty-one folktales narrated in a mountain dialect by a middle-aged Indian village woman, Urmila Devi Sood, or "Urmilaji." The tales are set within the larger story of Kirin Narayan's research in the Himalayan foothill region of Kangra, and of her growing friendship with Urmilaji Sood. In turn, Urmilaji Sood supplements her tales with interpretations of the wisdom that she discerns in their plots. At a moment when the mass-media is flooding through rural India, Urmilaji Sood asserts the value of her tales which have been told and retold across generations. As she says, "Television can't teach you these things."
These tales serve as both moral instruction and as beguiling entertainment. The first set of tales, focussing on women's domestic rituals, lays out guidelines for female devotion and virtue. Here are tales of a pious washerwoman who brings the dead to life, a female weevil observing fasts for a better rebirth, a barren woman who adopts a frog and lights ritual oil lamps, and a queen who remains with her husband through twelve arduous years of affliction. The women performing these rituals and listening to the accompanying stories are thought to bring good fortune to their marriages, and long life to their relatives. The second set of tales, associated with passing the time around the fire through long winter nights, are magical adventure tales. Urmilaji Sood tells of a matchmaker who marries a princess off to a lion, God splitting a boy claimed by two families into two selves, a prince's journey to the land of the demons, and a girl transformed into a bird by her stepmother.
In an increasingly interconnected world, anthropologists' authority to depict and theorize about distant people's lives is under fire. Kirin Narayan seeks solutions to this crisis in anthropology by locating the exchange of knowledge in a respectful, affectionate collaboration. Through the medium of oral narratives, Urmilaji Sood describes her own life and lives around her, and through the medium of ethnography Kirin Narayan shows how broader conclusions emerge from specific, spirited interactions. Set evocatively amid the changing seasons in a Himalayan foothill village, this pathbreaking book draws a moving portrait of an accomplished woman storyteller. Mondays on the Dark Night of the Moon offers a window into the joys and sorrows of women's changing lives in rural India, and reveals the significance of oral storytelling in nurturing human ties.

Anton Chekhov is revered as a boldly innovative playwright and short story writer - but he wrote more than just plays and stories. In "Alive in the Writing" - an intriguing hybrid of writing guide, biography, and literary analysis - anthropologist and novelist Kirin Narayan introduces readers to some other sides of Chekhov: his pithy, witty observations on the writing process; his life as a writer through accounts by his friends, family, and lovers; and, his venture into nonfiction through his book "Sakhalin Island". By closely attending to the people who lived under the appalling conditions of the Russian penal colony on "Sakhalin", Chekhov showed how empirical details combined with a literary flair can bring readers face to face with distant, different lives, enlarging a sense of human responsibility. Highlighting this balance of the empirical and the literary, Narayan uses Chekhov to bring new energy to the writing of ethnography and creative nonfiction alike. Weaving together selections from writing by and about him with examples from other talented ethnographers and memoirists, she offers practical exercises and advice on topics such as story, theory, place, person, voice, and self. A new and lively exploration of ethnography, Alive in the Writing shows how the genre's attentive, sustained connection with the lives of others can become a powerful tool for any writer.