How (My) Fiction in my Novellas Works

 The protagonist of the third novella - We Don't Love Here Anymore - feels suffocated in his relationship though he still loves his partner Yolanda, who is white, and her daughter from a previous relationship. As a result of the suffocation he feels, he allows himself to be distracted by other women. He has been flirting with an immigrant woman from one of the African countries, but as luck would have it, he also ends up having an unfulfilled, embarrassing sexual encounter with a close friend of his partner. In his despondent and lonely moments, he re-enacts the exact moment where he made the fateful decision to go home with the woman he is now living with after they left a party they'd just met at. 

A few days ago, as I staffed the Weavers Press table beside my friend Patrick Marks of Green Arcade and Ithuriel's Spear Press at the Litquake book festival, my ex-colleague Peter Warhit showed up with his husband whom he introduced to me. I told both that I could never forget that more than twenty years ago, just as I had switched from being a Page (a term we at SFPL use for shelvers) to a librarian after my MLIS and job interview, Peter had stood up for me. Peter's eyes widened as he seemed to say, Me? How? When? I was at the Info Desk and a rude patron had approached us and begun abusing me. Peter, scheduled at the desk with me and was mentoring me, not only scolded the patron by telling him to back off but that he could not talk to his colleague in that manner, refusing help. The lesson I learned was that I would have to stand up for my colleagues as well. Both Peter and his partner chuckled. As we exchanged surprises at having run into each other twice in a week and other pleasantries, he first congratulated me at having been at the library for 30+ years. Then he spotted my books and wanted to buy one of the novellas. He asked for my suggestion/preference. I explained that the three novellas were independent of the others and the only reason they fell under the canopy of San Francisco Quarterly was not because of the same characters propelling the story of their lives but because San Francisco itself was the main character, the San Francisco of my time, say, from 1985 to roughly early 2000, a time when the city's artsy, bohemian, intellectual, non-capitalist culture full of bookstores and cafes and art openings and readings and Small Press Traffic and ATA and Roxie and Red Vic and a dozen film festivals and weekend parties and people showing up unannounced to crash at friends' couches for weeks would come under threat by the techie world invasion, rising rents, corrupt Democrats and Starbucks' corporate onslaught on family owned rickety, grungy, casual, rich in character cafes. In the last 80s, the Mission District of San Francisco alone had 17 bookstores! So I told him that he should buy the third novella, which in reality was the first one I had written. I joked that he might recognize people in it, but then I clarified that the characters were composites. Instead of recognizing people, he might recognize a habit or event or behavior. As he walked away, I joked again, Hey, you might recognize yourself in it too. 

And then I remembered. The source of the protagonist's ballooning discomfort and sadness lie in the memory of how Yolanda had stood up for him at the party. The scene was based on a real-life incident. I was at a neighborhood party at the flat of a friend Mary Kinderman, who I have lost contact with though I keep searching for her because she was a wonderful, loving person. She had two roommates, Peter and David, both of whom were like friends. I'd often run into David in and around the neighborhood. He worked in photo journalism. Back then, we were all friends. Everyone knew everyone else, especially in the Mission District (and even beyond). During the party, the entire flat was abuzz, every room filled with people chatting, smoking, laughing, hugging, music blaring, couples kissing and so on. I along with a close friend crouched in David's room, on the floor along with several other people. All of a sudden, I don't know what got into David's head, he started ordering everyone to clear out of his room, clicking his fingers, like his mood had soured for a reason no one knew. Perhaps he was drunk. But whatever the reason, he picked me of the people, reaching for my collar and yanking me up and we all exited his room. I was angry with him, silently, for treating me like that, but I was also angry at my friend for not saying anything. But perhaps he, my anonymous friend, too was stunned and didn't know David because I had invited him to come along. My friend felt offended at the treatment meted out to me and yet because he couldn't stand up for me, left a little scar in me. 

So down the road, many years later, in the novella, I replicated that scene. Tufail shows up at a party and quickly befriends the only non-white person at the party, an African American woman. They both seem to hit it off, but then he is distracted by another woman, a white woman, who ends up attracting, stealing him unknowingly as the African American woman goes to the bathroom, and Yolanda steps in, fills the vacuum, and soon she and Tufail are enjoying getting to know each other as they distractedly move to another part of the house, sharing booze and toke, to end up in a room, where one of the hosts, a stand in for David, tells everyone to leave his room and go elsewhere, and ordering such, he grabs hold of Tufail's collar, but to his surprise, Yolanda scolds the host and tells him to stop it because Tufail is not his dog. This turn of event triggers the next move made by the two as they exit the party to end up at Yolanda's apartment and the rest is history. 

I called Peter back and explained to him that he might not be able to recognize himself in that scene but  he is Yolanda, the white woman. Peter and his husband chuckled once again before saying goodbye. Wasn't that Ghalib who said آتے ہیں غیب سے مضامیں خیال میں ?

The Launch of a Dream - Weavers Literary Review

I knew I'd start a literary magazine dedicated to promoting and showcasing South Asian American writing one day. I just didn't know when it would happen. I have always admired the dedication and grit exhibited by my friend Syed Afzal Haider and team (English), Ajmal Kamal from Karachi (Urdu), and Maqsood Saqib  and Faiza Rana in Lahore (Punjabi).

I learned the ropes over the years and I like to believe that I have earned the respect of my fellow writers to be trusted with their work under my custodianship to be treated fairly and with love. I have also been lucky to have been invited to put together two important collections: A Letter from India; contemporary Short Stories from Pakistan (Penguin, India) and Chicago Quarterly Review's The South Asian American Issue.

My wife and artist, Amna Ali, has been a constant presence in this endeavor, from designing to proofreading to creating the order in which poetry and prose jostled for space. With mutual agreement, we decided that we didn't want Weavers Literary Review to be a platform of exclusivity but rather of inclusivity. That's why we wrote on the inside page A Home for Writings by South Asian Americans and Others. The Others are more than welcome! That is our message. We are writers and our roles is to teach empathy and build bridges and challenge status quo and hatred which politicians and foolish think tanks and lobbyists throw in our path. It was my honor to be able to set the inaugural reading at my favorite bookstore Adobe Books in San Francisco on June 5. The readers who graced the occasion were in the following order: Naia Chien, Sophia Naz, Mira Pasikov, Shikha Malaviya and a surprise appearance by Brian Ang, whose work will appear in the next issue. Unfortunately Ujjagar and Monica Mody couldn't make it to the reading. We missed you. It turned out to be a jam-packed session, from fellow writers to close friends to new friends I had met recently at cafes and book fairs. After a brief session of Q&A, wine flowed and strawberries crunched, a conversation among friends and acquaintances, old and new, enriched the music Ryan, an excellent host, had put on.

A Poem by Ujjagar

   Nation’s Lost

Learned men talk of the news

What’s happening away from their views

The things they don’t need to see

Because they’ve got their degrees

The rockets launched by a group

The marching of military boots

But not the bodies lying in the mosque

Hush Hush

Their voices cry

If we speak too loud They’ll pass us by

So we quietly whisper

I don’t think it was justified

There are too many children trapped inside

How long has this been going on

Why do they talk only to decry the violence of one side

Hush Hush

You’re being too loud the learned men say

The cameras will go away

Our shackles are rattling, roaring now we wonder how long will they drown them out

The stones children throw have prayers written within

But no learned men seem to have read the prayers or seen sin

HUSH HUSH

No

These learned men talk

And they talk so loud that we fear the world won’t be able to hear the planes and bombs

Won’t hear the cries of a mother losing their child

Won’t hear the howling kids who’ve lost limbs

Won’t hear the silence

The silence that screams loudest of all

The silence of a people killed off

A nation lost

Regarding Our Complicity! Part I

The issue of complicity often comes up when the US engages or allows its imperial outposts to engage, directly or indirectly, in violence. That could be when the US invades other countries or carries out long distance attacks, killing civilians, destroying infrastructure. But also when the US sends a green light to its partners who help her maintain political and economic hegemony to indulge in similar behavior. The simplest reason is that the US is often mistaken by its residents as a democracy, only. It does have a democratic make-up, but besides being a superpower, it's also an empire and for that logical reason alone, its mainstream media turns itself into an extended arm of the US foreign policy. Look no further than the lies made up by the neocons, our political and military ruling elite before we invaded Iraq. If it weren't for the extra efforts made by New York Times, Fox and CNN among other conservative and neoliberal media outlets and their foot soldiers to create a prowar consensus and/or neutralize a popular antiwar movement, we might not have the blood of millions of innocent Iraqis staining our fangs. Journalists had already looked at how outlets like PBS/KQED (pseudo public broadcasting enterprise) would have on their talk shows two conversative Republicans and one or two conservative Democrats to present a fair and politically balanced set up. And people were more than happy to be fooled. The charade of fair journalism has continued to work, albeit with destructive consequences for the global south and other disadvantaged people, not to mention our bruised, angry Mother Earth.
   Continuing with a similar tactic, recently, Fox network's intellectually infirm Sean Hannity had on his show Cornel West and Alan Dershowitz discussing the tragic loss of men, women and children at the beginning of the new cycle of violence between Israelis and Palestinians, the occupier and the occupied, while the host playing clearly on the side of the occupier and missing the point that victims are seldom passive, who can and will strike back and commit acts of violence, too, a la Nat Turner, to cite one example from the page of African American history. Many readers of the world history would, or should, know the watershed event often described by two names: 1857 War of Independence and Rebellion of 1857, depending on the points of view of the colonialists and the colonized. The uprising against the British was brutally crushed, but before that the natives, too, committed acts of brutality towards the British, including women and children. The great of poet of the time and resident of Delhi, Ghalib mourns and condemns as such in his letters. To assume that the colonized/occupied/brutalized will not retaliate or strike back or commit murder of civilian population stems from our racist tendencies to view the defeated as incapable of fighting or writing back.
   Now back to the pairing of Mr. West and Mr. Dershowitz. Both are religious, to begin with, but fair enough since they represent two opposing poles of American political landscape. Now, both academics, but Mr. Dershowitz has been accused of plagiarism by Norman Finkelstein in a very well-known encounter on Democracy Now. You can watch the entire exchange here.

Scholar Norman Finkelstein Calls Professor Alan Dershowitz’s New Book On Israel a “Hoax”.
   Let's backtrack a bit. Norman Finkelstein had discovered after a thorough reading  of Joan Peter's book
From Time Immemorial was a complete hoax. In a very informative article, Prof. Chomsky writes about it here:

The Fate of an Honest Intellectual The Chomsky article is also informative in that it fleshes the complicity of our academic culture with regards to perpetuating lies surrounding the Israeli occupation of Palestine. So, the question arises why Fox and Sean Hannity would invite a plagiarist!? For a simple reason, perhaps? Because he, the network, the system are complicit in the suffering and dispossession of an indigenous people. Having a gullible citizenry also helps.

   Mainstream media outlets are business enterprises and one can understand their moral bankruptcy. Now let's turn our attention to an institution that's revered by many, partly for its non-profit posture. Our public libraries! San Francisco Public Library carries 3 copies of Joan Peters From Time Immemorial, by and large seen as a hoax. One copy for the record's sake would've sufficed. Worldcat database shows over 1500 holdings across the US and beyond. Only one copy in SFPL of Norman Finkelstein's book Image and reality of the Israel-Palestine Conflict, which debunks the book by Peters. Worldcat shows arout 870 copies. Now look at the book that was plagiarized from a hoax: The Case of Israel by Dershowitz. SFPL has 3 copies, not including 1 copy for Large Print, whereas 1 would've sufficed, alas, for record's sake. Worldcat shows at least 1500. Many of the holdings are by academic libraries. Now let's turn out attention to a wonderful service most public libraries offer, Link+, serving public library users in California and, I believe, parts of Nevada. Peter's book: 15 copies. Finkelstein's book: 5 copies. Dershowitz's book: 30 copies.

What do you think?

Peace and justice!

Spanish Memories

 In August 2023, my wife, our two sons and I braved a two-week trip to Spain - Madrid to Seville to Granada to Barcelona to Madrid again - under the average temperature of 100-degree heatwave, which we survived. The excitement of being in Spain so rich in history worked as the invisible umbrella over our heads. For me personally, it's hard to pick a favorite, but if I were given a chance to go and live there, I'd choose Madrid and it's hard to explain why I say that. Whenever I travel, I'm always more drawn to speaking with people I meet whether they are travelers like me or native. A few interactions stood out. On our second day in Madrid, we ended up in a Pakistani restaurant near Gran Via. The food was good, but the most surprising part was to find the cook speaking to us in fluent Punjabi, but when I enquired what part of the Punjab he hailed from, his reply left me speechless: Nepal, I'm from Nepal. He blamed it on the people he'd been working with for several years. 

Another hilarious moment presented itself when we went to a Pakistani restaurant in Barcelona where the waiter/owner tried to dissuade us from drinking tap water instead of the bottled one they sold. He said he would, and did bring us, tap water but added that he wouldn't drink it himself because Barcelona water was bad and would give your tummy a run for its money, adding that the reason being that the tap water came from the beach where all kinds of people swam. I freely drank tap water in Spain though being addicted to San Francisco water (courtesy of Hetch Hetchy reservoir) doesn't help and I was fine. 

One fine interaction occurred when my younger son and I went into a cafe where I engaged a young barista in a light conversation. I forget her name as I write this but she was a native of Madrid and though she had traveled to the South, she had never been to places such as Seville, Cordoba or Granada, so she was obviously very envious. She shared with us that most young Spaniards live with parents for extended period of time because the wages in several sectors are low. Once she heard we were visiting from San Francisco, she couldn't control her excitement and probably that's why she made an excellent single espresso, something which, sadly, most cafes in San Francisco can't crank out anymore. (Just today I ordered a single espresso at Earth's Cafe on Geary St. and got a loaded triple, but café owner insisted it was a single. Sigh! I drank one-third and left.)

In Barcelona, we met a group of very charming young Italian women (either late teens or early 20s), at the tail end of our visit to Sagrada Familia. Due to heat and a lot of walking, everybody was tired. The young women were sitting next to me and trying to take a selfie when I injected my presence into their life and offered to take their picture. In turn they took ours. And I began talking to one of them, the leader type. They were from Rome and all into foreign languages, and since then we have exchange a few emails. I asked the leader - Serena is her name - to share with me their favorite Italian writers and here's what she wrote back: 

After talking with the girls, we've agreed on some Italian authors who stole our hearts and whose works you might appreciate.

   We especially recommend Umberto Eco (his mystery book "The Name of the Rose" was a quite complex read but definitely worthy of mention), Italo Calvino (you might know who recommended this one), Luigi Pirandello (I personally find his philosophical reflections on the concept of identity quite brilliant, especially in "One, No One and One Hundred Thousand").

   Cesare Pavese, Michela Murgia and Marco Balzano are very interesting as well.

   We tried to be a bit general but if you're looking for something more specific, you might ask with no worries!

   Here's the picture you kindly took of us at the Sagrada Familia, we'd be happy to be in your blog!(As for our names, from left to right: Elisa, Chiara, Elisa, Sonia, Serena and Federica).

Needless to say, I plan on reading most of their recommendations. I have already placed a hold on One, No One and One Hundred Thousand, a novel by Luigi Pirandello. The women were amused when I told them that my eldest had studied Italian for three years at his high school.

As we completed our circle around the Iberian Peninsula and found ourselves staying at a hotel situated at the southern edge of Retiro Park, just a couple of blocks away from the great Atocha station, I walked into a small, independent bookstore, displaying both new and old books. By then, I had learned to begin every conversation with hola, habla español? and Oskar, who manned the cash register in Re-Read Libreria Lowcost, and I had a one of the loveliest conversations I have had in a very long time about books and Madrid and the US. I then told him that I would like to give my novella, A Footbridge to Hell Called Love to him/his store as a gift. Touched, he said he was deeply honored by my gesture. I said that was the least I could do to repay the kindness Madrid had showed me and my family, even when people saw me and my younger one playing baseball in the early hours at Retiro Park (by the way, we might have set a record by playing baseball in Madrid, Seville and Barcelona) and brought back our wayward throws or told their dogs to get out of the harm's way. I insisted on purchasing a book from his lovely store as a parting gesture and paid a small amount for Steinbeck's Of Mice and Men for my eldest son to read. Oskar explained the story behind Me Vuelves Lorca which was printed on the bookmark. Before saying my final goodbye, I asked Oskar to share a few of his favorite Spanish authors and he so very kindly wrote them down on a piece of paper. He highly stressed Patria by Aramburu, which I look forward laying my hands on. Gracias, Señor Oskar!

Let Me Touch Your Mind: an interview

The ever friendly and probing DJ Marilynn interviewed me on her radio show Let Me Touch Your Mind. It was brief, but she allowed the conversation to go beyond the issues contained in my novella, sort of the political mise en scene of A Footbridge to Hell Called Love. 

You can listen in here: 

Moazzam on air - 89.5 FM

Before I left to meet Marilynn at KPOO, the radio station on Divisadero, I had written a handful of notes, words and phrases that would describe the novella, but our conversation went in a different direction. I'd like to take this moment share them here with you. 

FHCL is a love letter to San Francisco - perhaps a certain kind of San Francisco. But it's also a critique and/or protest as well - a probe into the city's self-absorbed, narcissistic image as being liberal and/or progressive without questioning its silences. The narrative of FHCL may read as if it's only a love story or a story about a man in search for love, yet beneath that layer exist spaces which are political, spaces which, by and large, are not touched by American fiction. The novella also creates a road map to avoid falling into the habit of neo-orientalism, quite popular among South Asian American authors, by becoming a native informant - explaining the "complex" east, detailed India or Pakistan, as authentically, accurately, as possible with subconscious ease. 

Words of warning after reading A Footbridge to Hell Called Love

From novelist Thoreau Lovell, the author of Marco Polo Mother & Son, I met recently: 

What a pleasure to see your email after returning from a short trip. I finished your book just before we left. There's something wonderfully approachable about short novellas. A Footbridge to Hell Called Love really brought back a lot of memories for me, having lived in SF from 1982 to 2004, a fair amount of that time in or near the Mission. I appreciated your focus on the emotional side of the creative life in the book. There were quite a few moments that moved me deeply. I really enjoyed the book and am curious about the other volumes in the Quartet. Are they all currently available?

From a library patron Peter Young, who connected with me over a brief conversation about punk music, Mission District and literature:


I just want to let you know that I just finished your book, "A Footbridge to Hell Called Love." I found myself very absorbed in it and finished in 2 sittings. (picked up the 2nd time on page 47) It truly captured the essence of San Francisco and was very insightful. I was genuinely impressed how you developed the characters, captured their thoughts, moods & nuances.

As someone who has lived in the Bay Area for a while, you really nailed some parts well. I really enjoyed it and glad I read it. It really showed me a lot of work and thought went into it.
Bravo!
Sincerely,
Peter

From San Francisco-based indie rock musician Patrick O'Maley, and a film and literature enthusiast:



Speaking of new work, I enjoyed A Footbridge to Hell Called Love which I finished a few weeks ago. Congrats on that! The first movement, the extended party scene at the Victorian house, where Aslam is bouncing about, buffeted by sensations, desires (“hot-hot” Andrea), envy, , the musicians and readers, Shirin, seeking Debbie - all of it seemed a perfect encapsulation of that post-college age, that mixture of promise and pretension, hope and disappointment, awash in cultural theory, when a backyard party seems the turning point of an entire life story. This quotation came to mind when I was reading it . . .

“I was passing through one of those periods of our youth, unprovided with any one definite love, vacant, in which at all times and in all places—as a lover the woman by whose charms he is smitten—we desire, we seek, we see Beauty. Let but a single real feature—the little that one distinguishes of a woman seen from afar or from behind—enable us to project the form of beauty before our eyes, we imagine that we have seen her before, our heart beats, we hasten in pursuit, and will always remain half-persuaded that it was she, provided that the woman has vanished: it is only if we manage to overtake her that we realise our mistake.”Marcel Proust, Withing A Budding Grove (1918)

The second movement with Shirin at the park is really evocative and well written, wonderfully done. The last movement is very touching and really makes you think of the strangeness of time, the what-ifs and could-have-beens.
Great stuff!
Take care,
Patrick

From Lucy F., a published writer of creative nonfiction and a film and literature enthusiast, who's been living in San Francisco since 2010:

Moazzam Sheikh's novella, A Footbridge to Hell Called Love, is a rich read. The first part of the book describes a glorious time in San Francisco in the 1990s, when someone looking for cultural edification and lively conversation could wander the inner city and easily find like-minded souls looking for same – along with a side of sexual adventure.
  That first section of the book was a moment-by-moment recounting of a boisterous house party. The writing was similar to watching a hand-held camera following characters in and around a scene. The dialog part was colorful – to say the least! For me, it credibly reflected the quick banter of a very particular social set.
  For someone like me who didn't live in San Francisco during that era, I relished a glimpse of what I might have missed. Some pages in, though, I was relieved to be released from that opening party and move on.
  The second and third parts of the novella made more of an emotional impact on this reader. Once the action slowed down a bit, I could ease into the psychology of the protagonist, Aslam, and the other characters who made the cut. The changes in their lives that took place rather surprised me, which is a good thing.
  Thanks for letting us know about the novella, Moazzam, and good luck completing the rest of the series!

From a loving friend, retired librarian Bill Lynch, an avid reader: 

I just finished your novella A Footbridge…
I loved it. I was delayed a bit before I could start it (another library book with an earlier due date), but once I got into it, I basically couldn’t put it down.
The entire book from the energy and confusion of the initial 20-30 somethings party scene, and onto his temporary almost accidental relationship with Amelie, then to the Stephen Daedalus trek through SF with Shirin Ghobadi (a Persian Holly Golightly?) through making peace without ever forgetting Debbie and finally arriving at Aslam’s deeper, mature connection with Barbara that literally bears fruit both in their writing and their progeny. A portrait of the artist, indeed.
Your compelling story that resonates with me as I see myself in many of the scenes and situations. You subtitled it “San Francisco Quartet, Novella I”. I excited to see what comes next.

From a loving friend, Spanish artist Maria Alvarez, and my roommate from the time the novella draws its inspiration: 

I haven't told you how much I enjoyed reading your book. Sometimes [it] was even painful to confront such a lively and intense sense of recovery/memory from a shared past there in San Francisco. Thank you so much for bringing it back. I love your writing. I love you!!!

From historian and anthropologist Karen Leonard:

I got it and have read it. A shift in South Asian American writing? To
multicultural American writing? It’s about a young man’s shift from a
preoccupation with sex to a preoccupation with love, and in San Francisco’s
youngish literary set, which I can only assume is realistically portrayed.
Not sure what is South Asian about it, and maybe that’s the shift, to a
broader entangled identity.

From a true San Franciscan, poet Lynne Barnes, the author of Falling into Flowers the author: 

congrats again on the new book . . . so steeped in SF . . . such fascinating characters… glad there is more ahead . . . 

disclaimer: Lynne Barnes and I met for coffee where I answered several questions she had about the book and the process behind writing the novella. Most satisfying conversation with a fellow writer ! 

From the brilliant author of Bright Parallel and Kala Pani, poet Monica Mody:

Sharing some quick thoughts:
First of all there is some lovely language here.

"their mouths turning into tropical caves"!
"voice splintered into tufts of dust"!

I wasn't initially sure what to make of the insight we are given into guy-mind, but then Aslam's character deepened into a sensitivity, self-awareness, and awareness of others beyond melancholic filters. Good for him! I am curious how he will continue to grow, and curious about the narrative development as we move through the series.

What an amazing sketch of SF in three movements. I have to say the party in the first movement reminded me a lot of parties in Delhi in the early 2000s. How interesting that young artists everywhere have the same patterns when they come together.

So glad Barb and Aslam refused to turn middle class. Finally, a beautiful ending. That last line!

From librarian, branch manager Doreen Horstin:

A short exchange - 

   I really enjoyed reading it! The book captured so well the San Francisco social scene, the parties, the coffee dates, and the chance meetings that can lead to so many things. The party scene was almost cringe-inducing, and yet so familiar! The various characters were spot on! And I loved the air of romantic possibility that was lurking throughout.
   I send a big round of applause to you both, for the writing, the proofing, the editing, and the fantastic cover art. Well done, and I look forward to the next one!
  -Doreen

Thank you for taking the time to read the book so thoughtfully. It was a risky endeavor to write such a book where almost every character is a composite of so many people I have known for the last 35+ years of my life in SF. One wrong move and I could've upset someone. I had to tread where angels wouldn't dare, so to speak. This book would not have been what it is now without Amna's help, with language and tone and other errors of judgement I'm prone to make.
   With your permission, may I share your comments with others on my blog?
p.s. we're working on the second volume currently.
-Moazzam


Yes, you can share my comments. Even though I don't know your friends (or maybe I do, SF is a small town), I also had moments of recognition! You really captured the characters in this town. Bravo!

From the author of After, a multi-faceted (re)telling of Ramayana, poet Vivek Narayanan:

In its ambition to provide a smoky, ineffable but thoroughly authentic taste of an era, of a scene (San Francisco in the 90s) with all its complications, self-importance, ironies and little delights, in the midst of gently encountering difference and other beings, its prose a delightfully heady cocktail of lightness and depth, Moazzam Sheikh's new novel instantly recalls other such serious and sublime trifles: Isherwood's Berlin and Pinckney's Berlin, Linklater's Austin in Slacker, Bolano's Mexico City. And Sheikh's prose, moreover, is also shot through with the melancholic, longing notes of a certain mode of South Asian poetics, and of fiction writers like Naiyer Masud and Nirmal Verma, making him a truly hybrid original American writer unlike any I know of. Mischievous, political, brimming with minutiae and the transitory, A Footbridge to Hell Called Love ultimately gathers up a true time-haunted power in its short one hundred pages, a novel as much about friendship and our undying obligations to each other as it is about love.


love
vivek

From future historian based at Princeton Meher Ali:


Dear Moazzam mus,

Greetings from Bombay! It's hot and muggy here but I'm eating delicious food and having the best time.

I wanted to write as I finally had the chance to read your novella this last weekend. I devoured it in one sitting on the flight from Kolkata to Mumbai and felt a stab of panic when I reached the end — I was totally hooked and unprepared to leave the story so suddenly. But then I remembered this is only the first of a quartet (is that correct?) and felt relieved. When will we get to read the next one?

I just think the character of Aslam was so finely drawn — he was infuriating and exasperating but I found myself strangely attached to him. I felt all his loneliness and his joy (and when he starts secretly meeting Debbie behind Barbara's back, I wanted to jump inside the pages and yell at him). You created a whole world inside his head — and amidst all the insecurities and anxieties and uncomfortable fixations that existed there (around women, sex, intellectual posturing, class difference, etc etc), there was this wonderful core of perceptiveness and vulnerability and humor. It kind of snuck up on me how genuinely funny Aslam is — and how he's kind of laughing at the world even as it bewilders and overwhelms him. I laughed out loud more than once on the plane. There were so many lines I loved — noted down a few favorites, which I'm just copying below.

Anyway, I just wanted to tell you how much I loved the book and am really looking forward to reading more.

With love,
- Mehru
--
"Eddie's eyes narrowed as if they were protecting a pleasurable memory."
"he suspected it could have been a man she followed only to either lose him to the fog or let go once she found her own footing on a rare bright day."
"If they had a conversation, its memory, he was sure, would flap its wings through the forest of their private thoughts for a long time as they'd just touched the wings of a dream."
"..it was not healthy to carry another person's grave in the heart. The heart was not a tomb."
"Suffocating thoughts swirled around in his head...revealing to him how the monster of unpredictability hovered so close to ones world..."
"But what if the ending didn't give a fuck?"

From a lover of literature and cineaste friend Francis Downing:

Moazzam,

Just finished your novel and much enjoyed it. Path dependency, private inner life and the unpredictability agency of others. Some nice turns of phrase and observations. Reminded me of Kierkegaard’s “life can only be understood backwards; but it must be lived forwards.”

From San Francisco based playwritght Mira Pasikov:

It was great to be able to read your fine complex novel. Please let Amna know how much I like her cover.

From poet Joseph Mihelarakis:

I was able to pick up your book the other day and read it for a second time, a bit at home and the rest on a plane trip to Boston.

So l guess you could say it’s so good l read it twice! And l am glad l did. Aslam is quite the character and l found myself thinking about him when not reading the book. I think that’s good.
   There is a time in most of our lives when we live almost exclusively for our lovers and friends. This is depicted beautifully as Aslam progresses along the path of love with Amelie, Barbara, Debbie. Along with a memorable interlude with Shirin. Other characters in his shifting friend group also held my interest. I wonder if l will ever find out whatever really happened to the bath-fearing David?
   But ultimately it was Aslam who held my attention. Socially principled yet sometimes a literary snob, self-aware yet impulsive, calculating yet ultimately simple in his desire to love and be loved. And funny! He made me laugh a lot.

   I look forward to the second novella!

From novelist John Goins:

I finished your novella, and enjoyed it very much! I'm looking forward to discussing it with you when we meet, and might email you a few thoughts that I have about it before then, if you don't mind. I'm also looking forward to book two of the quartet, which I hope will be coming soon.

   Very, very good writing, old friend!

From novelist Elizabeth McKenzie: 

I really enjoyed it, and was impressed.

From librarian Marina Bacchetti: 

Just finished reading A Footbridge to Hell Called Love. Very SF bohemian. Humorous and thought-provoking. It took me a bit to get into it at first but then it quickly drew in me wanting to find out how it all was going turn out for Aslam, Barbara and Debbie. Now the burning question is: when will novella #2 be published?