Sowmya Rajendran and Satwik Gade, Bhimrao Ambedkar: The Boy Who Asked Why
This was one of the picture books on the Hindu/Goodbooks shortlist, and has text by Sowmya Rajendran, who’s generally reliable.
I think, considering the title, that it’s interesting that at no point during the book is Ambedkar shown to ask “why”. In fact, apart from asking his parents when he can go to school, at the beginning of the book, and telling a station master that he and his siblings are Mahars somewhere in the middle, he doesn’t speak at all. I don’t (I think) mean to suggest that the book silences him—no one else speaks either, and the whole thing feels more reported than anything else. I don’t know what the effects of this might be. But if Ambedkar isn’t shown asking the question, the book itself does—at various points as the text and art (by Gade) depicts a bad situation in its protagonist’s life, there’s a big “WHY?” across the page. I wonder if, going by the title, you could make a case that the book’s identification with Ambedkar is so complete that its whys are his own. (I’m reasonably sure you could not.)
I like to think of children who are learning to read being exposed early on to an abridged life of Ambedkar, but I’m not sure this is the best or most artistically interesting of those I’ve seen. But then, I don’t really know how to talk about picture books, so it’s possible that I’m missing obvious, wonderful things.
Shabnam Minwalla, The Strange Haunting of Model High School (illustrations by Svabhu Kohli)
[Full disclosure: the publishers are my former employers; I don't know who the editors were but it's possible that they're friends and former colleagues.]
I had a gleeful yay school story! moment when I started reading this one. I know Jai liked it, and I mostly do too—it’s set in a well-regarded girls’ school in Bombay, and features a production of Annie, ghosts, attractive boys from the school next door, and an evil teacher scheming to take over from the current principal. There are annoyances—one of the protagonists tends to burst into song at random (like Lord of the Rings, it’s usually best to skip over these moments); there’s a class Fat Girl; some of the prose is questionable (emotions “slosh” around the insides of the characters; and why is everyone wearing multiple leotards?). But then there’s Mrs Rangachari.
Mrs Rangachari is both fantastic in her own right and a general symbol of what this book does particularly well. She’s larger than life and evil, in the way that, say, Dahl’s Miss Trunchbull is evil (and without the underlying gendered badness of that depiction). She hates happiness, she’s greedy and vindictive and power hungry, she’s willing to scheme and indulge in ridiculous, over the top plots to get what she wants (power). And yet, her evil is expressed in familiar, knowable ways—the excuses she finds for her anger are based in class (how dare Lara be poor and clever and successful) and Indian Culture (the delighted horror at the girls she wants to get in trouble befriending boys). (Tangentially, you should read Amulya Gopalakrishnan on auntyhood.) And the (or one) result of this is to remind you that this is a school where, as is true of so many well-regarded schools in Indian metropolises, skirts and tunics “must be worn three fingers below the knee” (true of my own old school, before it was decided that skirts of any length were too dangerous to our morals) , fraternising with boys is strictly discouraged, and everyone but Lara is rich.
There’s a moment early on, immediately after we’ve learnt about the skirt length rule, when we learn that “Monitors can conduct the finger test at all times”. Probably any connection between this three finger test and the much more notorious two finger test is a bit of a stretch, and I don’t (entirely) mean to suggest that the book is a scathing indictment of the ways in which culture and tradition and class are used in schools to target girls and systemically harass, slut shame, and generally make the world a lot worse, but more than in most books set in schools I think those ideas are present.
Geeta Dharmarajan and Ludmilla Chakrabarty, On the tip of a pin was …
Not really that recent—the first edition of this picture book was published in 2009. But it describes itself on the back as “sci-fi”, and I was never not going to read it. Like How to Weigh an Elephant (also by Dharmarajan, also published by Katha) it ends with a child-friendly description of the science involved.
The plot is rather incoherent—there‘s a village on the tip of a pin (Pintipur, obviously), populated by children, and also by a group of animals. All of the animals have their faults, but worm, for reasons that are unclear, is the worst. She “had races with herself to see if she could dig the deepest, the longest, the straightest holes … across the village and over the moon and the stars and the sun and the clouds”. And so she keeps disappearing in space and time and annoying everyone. Until they discover the village on the head of the pin (Pintopur), and learn that wormholes mean travel to other worlds, which is cool. Then everyone has space adventures.
I don’t know if any scientists were involved in the making of On the tip of a pin was …, and I don’t know that it’s so much SF as it is surreal. Which is fine, probably—adventures in time and space should be weird and incoherent and fractured and disproportionately sized (Goat, one of the animals, seems to cause solar and lunar eclipses on a regular basis because he’s so large) and it all feels perfectly reasonable and a far better explanation for wormholes than the explanation at the end.