Anosh Irani was born and brought up in Bombay, India and moved to Vancouver in 1998. He is the author of the acclaimed novels The Cripple and His Talismans and The Song of Kahunsha, which was a finalist for CBC Radio’s Canada Reads and the Ethel Wilson Fiction Prize, was published in thirteen countries, and was a bestseller in Canada, China, and Italy. His play Bombay Black was a Dora Award winner for Outstanding New Play. Irani was nominated for the Governor General’s Award for Drama for his anthology The Bombay Plays: The Matka King & Bombay Black. His latest novel Dahanu Road was longlisted for the 2010 Man Asian Literary Prize. He is currently working on a film for director Irena Salina (Flow) and producer Leslie Holleran (Chocolat, The Cider House Rules).
I sat down with Irani in a bagel café to talk about books and Bombay. Over the course of an hour, we talked about what one needs to be a writer, what Bombay means to Irani, immigrant woes, and how important alcohol is in making someone a writer.
How does a story come to you?
Most stories start in the form of an image. With my first novel, The Cripple and His Talismans, it was an image of amputated limbs hanging from the ceiling in a very dark, dungeon-esque sort of place. You realize that the image doesn’t leave, and you’re compelled to explore it. When that happens, it’s both a curse and a blessing because the more you try to shake it off the deeper you end up going into it. Every story has a different starting point—some have images, some have stories that have been told to me by my family, so when I began my novel Dahanu Road, it was based on my great-grandfather digging holes in the ground on his farm to hide whiskey bottles: it was Prohibition in India at that time. So the beginnings are different, but in the end we always end up exploring character, that becomes your centre, especially in fiction.