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The Hindu
12 hours ago
- Entertainment
- The Hindu
Interview with Aria Aber, author of Good Girl, shortlisted for Women's Prize for Fiction 2025
Nila, 19, is in all respects a 'bad girl'. She is rebellious, she drinks, engages in substance abuse, and she dates a charismatic American novelist, Marlowe Woods, who is several years her senior. But the ironically titled Good Girl by Aria Aber (published by Bloomsbury), shortlisted for the Women's Prize for Fiction 2025, is much more than a coming-of-age story. Aber explores broader themes such as immigrant experiences, racism, violence, desire, shame, and self-discovery in a powerful debut novel. Over a Zoom call, she speaks about her love for Berlin, and the characters she was forced to keep and kill. Edited excerpts: Q: Like Nila in the book, your parents are from Afghanistan and you were born and brought up in Germany. Is there anything of you in this book? A: Any work of fiction or art is autobiographical. I can give you an example of how I am every character in the book, not just Nila. When I started writing the book in 2020, I lived in North California and was working as a guest lecturer at Oakland University. I didn't have health insurance and I had to move back to Berlin to a small district, which was close to a club. Both these topographies ended up influencing the narrative of the book — specifically the biography of Marlowe Woods. So, there were things I took from my life that ended up in the book in unexpected ways. Q: This book is as much about Nila as it is about Berlin. What do you love about Berlin and what aspects of the city did you want to bring into this book? A: I love Berlin; it's one of the only places in the world, but specifically in Germany, where I have felt at home. It's diverse, alive, chaotic, and beautiful — and also a little rough, which is I think is aesthetically what I'm drawn to. When I was first there in 2012, I noticed that a lot of English-speaking expats were moving into the city. Berlin had already been populated by a new wave of voluntary migrants — not Turkish workers from the 1980s, or refugees from the Arab and Muslim world, but young creatives with degrees. They had come from Italy or Spain or Greece because the economy had collapsed after the financial crisis and Germany was one of the last stable economies. And then suddenly, there was this new influx of creatives, of Americans and British people. Something shifted around that time. I heard for the first time the person behind the counter at a bar not speaking German, but English. I wanted to capture the period before that happened, when expats were still in the city, but they were not as visible. I also really wanted to bring out the idea of parallel societies. Nila is ashamed of her heritage because she grows up in this post 9/11 world. She oscillates between two very intense worlds. One is her refugee community, which is not assimilated into the majority society properly, and the other is the underworld of the club kids, which is also not assimilated into the majority society properly. Both of these worlds are parallel and are being critiqued by common German citizens for not leading their lives according to the production and generation of capital. Q: A lot of your characters have conversations when they are drunk or when they are engaged in substance abuse. How did you research those portions? Did you watch films, read, interact with people? A: Dialogue comes pretty naturally to me, even though I do pay attention to it, probably subconsciously, when I watch films. I remember rewatching Lena Dunham's TV series Girls and just marvelling at how good and funny the dialogues were, and how realistic each character was. There are some writers I'm drawn to, such as Don DeLillo and Sally Rooney, who write great dialogue. So I think I look to other writers for dialogue. But for atmosphere and plot, I draw inspiration from films. Q: Given the age gap between Marlowe and Nila and the occasional violence that occurs within their relationship, this is tricky terrain to write about. It seems predatory at first glance, but when you look at it, Nila does have agency. How do you navigate this relationship without giving the reader the impression that this is okay? A: I wanted to explore the nuances and complications of a young person who believes they have full agency and control and then later on understand that the predatory aspects (of the relationship) that were not witnessed. So, what does that do to a person who is not a victim necessarily, but may have experienced some things within a relationship that were victimising her? Nila was looking for something exciting and she didn't know what it was. She didn't have the language for it, a way to articulate it, or draw a boundary. I wanted to write about juvenile confusion and self-destruction. Often, people who have self-destructive streaks seek them out in their relationships. I tried to go into the depths of that relationship and in order for that to feel human and realistic, I also had to understand Marlowe, so that he's not just a caricature. So I wrote some chapters from his perspective [which did not make it to the book]. Q: You're also a poet but your book doesn't read like a book by a poet, and that's not an insult! Was it a conscious choice to write differently? A: It is fascinating you say that. My intention was to not write a poet's novel. Not because I don't like reading them; I love reading them. I love an experimental plotless book that is linguistically interesting with sentences so delicious that I want to eat them. But I like the concept of a narrative having a beginning, a middle, and an end. A climax where the character experiences change to a point of no return, et cetera. That partly has to do with the fact that in Afghan culture — and this is probably true in Indian culture too — storytelling is very important. When you're in a social gathering, you can entice everyone with a story. Q: My favourite character in the book is Nila's mother. How attached were you to that character? A: She's actually one of my favourite characters too. I had to kill her because she was taking up too much space in the book. I had to kill my darling in order to write what I wanted to write about, which was Nila and Marlowe. My next book will be set in the 1980s in Afghanistan, and it will follow feminist revolutionaries [which Nila's mother was]. radhika.s@
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Business Standard
20 hours ago
- Politics
- Business Standard
Women see reversal of China's one-child policy as more state pressure
Private Revolutions: Coming of Age in a New China Published by Bloomsbury 320 pages ₹599 For anyone trying to understand China behind the headlines and the propaganda, Private Revolutions: Coming of Age in a New China is an important read. It provides a people's perspective of how Chinese society has evolved since economic reform and the manner in which the policies of the Chinese Communist Party (CCP) have impacted Chinese women in particular. The book is an attempt to present the story and idea of China beyond the CCP and through the lens of the Chinese people. The word revolution is also aptly used in the title underscoring how the word can mean different things to different sections of society and the Party. According to the author, 'This book is about revolutions in two senses. It is about China's economic revolution from the 1980s and 1990s onwards, after the Reform and Opening Up era…. It is also about the personal revolutions undertaken by four young women born in those decades as they came of age amid the inconsistent rise — and now stumble — of social mobility in China's capitalist era'. Women pay the highest price in any revolution and China is no different. Though Mao Zedong did famously proclaim, 'Women hold up half the sky', Chinese society does not reflect this outlook in any meaningful way. China is inherently patriarchal; for proof, one need look no further than the gender composition of the Chinese Politburo Standing Committee. Even initiatives such as the 'One-Child Policy' have been aimed at directing and controlling women's agency over their bodies. This coupled with the preference for a male child has consistently aggravated the intensity of inequality within Chinese society. The modification of the one-child policy to a two-child policy in 2016 and to a three-child policy in 2021 directly impacts the lives of Chinese women. These changes were driven primarily because of decreasing birth rates. She describes how Chinese women responded: 'Rather than being seen as a permission to have more children, everyone saw it as a sign of looming government pressure on women to rescue the country's plummeting birth rate'. There is no denying that Chinese society has seen enormous changes since economic reform. Large swathes of the population were lifted out of poverty, compulsory primary education ensured a high degree of literacy, urbanisation has been swift, and the country is an economic and military powerhouse. What gets lost in this big upbeat picture is the people. How have their lives been impacted? Can data be the only measure of success? For instance, the author shrewdly offers a take on how Chinese women approach the issue of using make-up. She highlights how using makeup is linked to the notions of being feudal and the 'fact that the party had later denounced wearing makeup as a bourgeois fashion'. But equally, a decision to apply makeup can also be considered revolutionary. The book skilfully juxtaposes the lives of four 'ordinary' women since their birth to their adult lives. It also paints a picture of how the policies adopted and implemented by the Party impacts each one of them differently and yet similarly, and underscores why the major challenges that the Chinese society faces today cannot be addressed by top-down policy changes. These policies primarily represent what the Party needs at any given point of time to survive and gain legitimacy. But these policies have also failed to address the real challenges. What China needs is a major revisit of the hukou system, the healthcare system, the insurance system, and child care and education system. The book details that, 'by the mid-2010s, government figures suggested that there were 13 million people without any kind of hukou, of whom 8 million had been children outside their parents' birth quotas'. It also highlights the challenges migrant workers face today, the same workers who have played a crucial role in China's economic revolution. This is not just a book about four lives; it is about how these women adapt to the changes around them. How they try to understand the lives of their parents and their children while understanding themselves. How they all define a purpose for themselves while making the most of the limitations and challenges. The book also shows how feudal, Marxist and capitalist structures coexist in China today. It provides a nuanced and novel context for what is a revolution in today's China. And that can be a small decision, something as simple as expressing your own opinions and deciding what kind of life you want to live. The reviewer is associate professor, O P Jindal Global University
Irish Times
7 days ago
- Business
- Irish Times
Moral Ambition by Rutger Bregman: An engaging attempt to get us to change the world
Moral Ambition: Stop Wasting Your Talent and Start Making a Difference Author : Rutger Bregman ISBN-13 : 978-1526680600 Publisher : Bloomsbury Guideline Price : £20 Rutger Bregman is one of the most refreshing thinkers to have appeared around the time of the global pandemic, when many of us were seeking new approaches to living after the seismic shock of seeing millions dying. Here was a new voice worth listening to; someone who looked at the rules of engagement honestly, whether he was slapping the barefaced cheeks of those at Davos by raising the subject of tax avoidance, or flummoxing Fox News's Tucker Carlson by calling him out during an interview as a millionaire funded by billionaires. [ A 'really subversive idea': Most people are pretty decent Opens in new window ] Bregman has never philosophised in fear, but rather in positivity, and now he wants us to stop wasting our time in life and use it instead to make lasting changes: to show 'moral ambition' so that we are not only on the right side of history, but make our own contribution, too. The Dutchman sets out that most people spend 80,000 hours of their lives working; time that, in the main, is meaningless if you exclude core services and essential jobs (he references David Graeber here, who conceptualised the idea of pointless, Sisyphean work in his essay Bullshit Jobs). READ MORE [ The Ultimate Hidden Truth of the World by David Graeber: Intense flares of thought from a brilliant mind Opens in new window ] 'Moral ambition is the will to make the world a wildly better place,' writes Bregman, 'to devote your working life to the great challenges of our time, whether that's climate change or corruption, gross inequality or the next pandemic. It's a longing to make a difference – and to build a legacy that truly matters.' Bregman won't tell you how to do this. But he does show you ways in which it has been done, by rummaging through history and academia and gathering data and a cast of activists, innovators and entrepreneurs who – with the required moral ambition – achieved tectonic changes in issues such as slavery, racism and rights, medicine and science, and so on. (He admits many of those featured, but not all, shared degrees of privilege.) It's an engaging, valid argument in the main, even if the book's own ambition can at times make it feel unwieldy, and some of the material may be overly familiar to some readers (Ralph Nader, Peter Singer, etc), whereas the moral ambition of someone such as Rosa Parks is a self-evident if necessary inclusion. The author's ambitious optimism for a better tomorrow will see you through to the end though, and he's right about the next moral hurdle that humans must overcome: eating animals and feeling fine about it.
Wall Street Journal
13-06-2025
- Lifestyle
- Wall Street Journal
This Interior Designer Is Kate Middleton's Go-To. You Can Shop His Boutique from Anywhere
Bored stiff with 'tasteful' neutrals? Get thee to Pentreath & Hall, the London emporium helmed by architect-decorator Ben Pentreath and his longtime friend, artist Bridie Hall. In the last decade and a half, Pentreath has emerged as a master of layered British interiors that cheekily blend tradition and eccentricity—amassing a devoted following that includes multiple generations of the royal family, and redefining modern English style along the way. Behind the glossy door of the Bloomsbury boutique (and online) shoppers encounter a stylish smorgasbord reflecting the duo's array of interests, from patterned papers inspired by the marble floors of St. Mark's Basilica to classical column table lamps crowned with silk shades. In 17 years of shopkeeping, Pentreath says his goal has remained the same: to create 'a sense of familiarity, as well as surprise.'
Irish Independent
13-06-2025
- Entertainment
- Irish Independent
Daria Lavelle: ‘There's just something about a character driven wholly by love that makes him indelible'
Born in Kyiv and raised near New York, Daria Lavelle is a writer of speculative fiction. Her short stories have been featured in various online publications, and her debut novel, Aftertaste – about a chef whose food brings spirits back for one last meal with their loved ones – has just been published by Bloomsbury.
