In a literary phenomenon that captivates readers with its thrilling narrative and intellectual stimulation, Ayesha Manazir Siddiqi emerges as a prominent writer with her debut novel, “The Centre.” Reminiscent of the dystopian allure of the acclaimed series “Black Mirror,” Siddiqi delves deep into the intricate politics surrounding language. With a surprising and sinister plotline, this remarkable masterpiece has garnered the attention of none other than the renowned author of “Gone Girl,” Gillian Flynn, who has chosen to publish it under her prestigious imprint.
Siddiqi’s journey as a novelist took a remarkable turn during the pandemic when she penned her first novel and secured literary representation within a year. Her secret to success? Silencing her inner critic and immersing herself in the art of writing. Reflecting on her accomplishment, Siddiqi humbly shares, “I must acknowledge that I had previously experienced numerous failed attempts at novel writing. Therefore, depending on one’s perspective, the completion of ‘The Centre’ required either just one year or my entire lifetime.” Nevertheless, her perseverance has paid off, and the result is an enthralling and thought-provoking narrative that has caught the attention of Gillian Flynn’s publishing imprint, paving the way for the North American edition set to release this summer.
Beyond its meticulously constructed plot, “The Centre” offers a fresh perspective on South Asian themes, delving fearlessly into the examination of societal hierarchies and the nuances that differentiate various regions within South Asia. The novel introduces Anisa Ellahi, an unlikely protagonist residing in London, whose occupation involves translating Hindi film subtitles. Anisa yearns to delve into the realm of translating “real” literature and become part of London’s glamorous literary sphere. Her life takes an unexpected turn when her white boyfriend mysteriously acquires fluent Urdu overnight, just before their journey to meet her family in Karachi. This baffling revelation leads Anisa to uncover an exclusive, off-the-grid language school known as The Centre, enticing her with the allure of becoming a polyglot. Soon after, Anisa becomes the sought-after figure in the world of brown literature.
While Anisa grapples with her dual fascination and repulsion towards her place in the British literary circuits, Siddiqi herself is no stranger to the racial challenges prevalent within the literary community. Based in London, Siddiqi boasts over a decade of experience as a writer, editor, playwright, and occasional translator. It comes as no surprise, then, that Siddiqi weaves intricate layers of gatekeeping, encompassing elements of race, class, gender, and cultural appropriation within the novel. As the story unfolds, spanning from London to Karachi and New Delhi, the protagonist is consistently faced with the delicate balance between hospitality and hostility that she must navigate.
When discussing her connection to the three cities portrayed in the novel, Siddiqi reveals striking parallels between her personal background and that of her protagonist. “I spent my formative years in Pakistan. Similar to Anisa, I moved to England at the age of 18. Moreover, like her, my grandparents relocated from India to Pakistan during or shortly after Partition. Presently, I reside in London but make regular visits to Pakistan. Surprisingly, I also spent a brief period in my twenties living in India, organizing literature festivals and working as an editor. The complex relationship between India and Pakistan fascinated me, and I sought to capture some of those nuanced dynamics within the novel. It was a surprising revelation to me as well,” Siddiqi adds.
At the core of the novel lies an exploration of languages, as Anisa grapples with her identity, unsure whether English or Urdu is her true mother tongue. This linguistic preoccupation intertwines with the subtext of motherhood and the authenticity of certain forms of labor. Anisa contemplates, “Throughout my life, I’ve attempted to bridge the gap between various roles, such as editor and writer, print copier and painter, midwife, and mother. Yet, I find myself perpetually falling into the abyss.” Siddiqi, having pondered the gendered aspects of this metaphorical abyss in relation to her roles as an editor and writer, states, “During the initial stages of the pandemic, I published a poem centered around the notion of the mother/midwife dichotomy. As an editor primarily engaged in facilitating the work of others, I began experiencing a sense of frustration, longing to create my own. However, upon completing the novel, I realized that the mother/midwife binary could be deceptive. The boundaries between roles, such as writer, editor, and translator, are more fluid than we imagine. Simultaneously, I believe society continues to perceive ‘the writer’ as a heterosexual cisgender white man from a privileged background. Breaking free from this trope was a necessary step for me to embark on this novel. Yet, it’s crucial to recognize that dismantling this entire system of unconscious beliefs demands tremendous effort. At times, plunging into the abyss becomes not only necessary but inevitable.”
While translation may not have been Siddiqi’s primary occupation, she intriguingly explores the multifaceted nature of this art form within the novel. Siddiqi remarks, “The protagonist faces another form of translation—a compulsion to translate, to make herself understood, to explain her existence due to being marginalized. This translation is far more intricate, often non-consensual, and exhausting. In certain instances, it may even be preferable to resist.”
Addressing her deliberate choice to emphasize female friendship over romantic relationships, Siddiqi affirms, “Deep and profound connections among women can flourish when one exhibits bravery, honesty, vulnerability, and good fortune. Within the sanctuary of such friendships, a room can be built on a foundation of trust. This room may grow so profound and secure that one day, a friend may point out a hidden danger lurking in the darkness, prompting laughter or tears. At that moment, one dares to turn and face the threat because a trusted friend stands beside. This act becomes necessary, driven by the acknowledgment of causing pain. One can no longer postpone confronting the truth. My cherished female friends and relatives have bestowed this invaluable gift upon me.”
“The Centre” by Ayesha Manazir Siddiqi immerses readers in a world where linguistic politics intertwine with riveting storytelling. With its poignant exploration of cultural dynamics, gender roles, and the power of female bonds, Siddiqi’s novel stands as a remarkable literary achievement. As readers eagerly await its release, “The Centre” promises to be an immersive experience that challenges societal norms and offers a fresh perspective on the complexities of language and identity.
