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BENGALURU: Sabyn Javeri is an award-winning short story writer and novelist, whose latest book, Hijabistan, looks at how politics uses women’s bodies to promote their own motives. Excerpts from an interview:

What was your triger for writing the book Hijabistan?

A sense of injustice. Whether it’s the invasion of Afghanistan, the ‘liberation’ of Iraq, the burkini ban in France or the compulsory veil in Iran, it fascinates me how the idea of freedom and of oppression is linked to a woman’s dress code. For far too long, patriarchy and politics have used women’s bodies to promote their own agenda and I wanted to write a book like Hijabistan, which focuses

on stories and issues which are veiled, to bring this out in the open.

Have any of your books been inspired by vernacular books?

My writing style is deeply influenced by the vernacular. I love the wit of Ismat Chugtai, the sarcasm of Manto, the directness of Rasheed Jahan. Unfortunately, being a postcolonial society we often don’t promote our own regional languages amongst the young. I myself discovered these writers in translation while studying at Oxford! I’ve since found that Urdu, Sindhi, Punjabi, Baluchi and Gujrait literature are often much more experimental and creative than English literature and have greatly influenced me. I find the visual sensibility of Malayalam literature very appealing.

Do you go back to your old writings?

It is fascinating to see my journey as a writer because it shows how I have grown as a person too. I used to speak for myself, now I want to become the voice of others.

Have you always seen yourself as a writer? What has been your inspiration as a writer?

I used to think I would be an artist as I love painting. But when I couldn’t go to art school because it was in ‘another’ city and I was ‘an akeli larki’ I stopped thinking of pursuing it as a profession. It remained a passion but when I got married and moved abroad I realised canvases were expenses, big and bulky. Paper and pen seemed more affordable and so I took to writing. When my first published story got a lot of acclaim and I was invited to India by Ritu Menon of Women Unlimited who became a mentor of sorts, is when I thought, I can do this! My inspiration to write has been a misplaced sense of certainty that I speak for many other women and that our story matters.

ALSO READ| 'The real hijab is that of patriarchy' - Sabyn Javeri on the veiled world in Hijabistan

What is your writing process like?

I always free write for at least 15 minutes before I try to attempt any creative writing. I give myself permission to write junk as it eases the pressure to produce a masterpiece. Once I have done that my mind is in a state of relaxation and I trick it into writing the creative piece. By the time my mind catches up with me and the internal critic kicks in, I’m usually half way through. That way I avoid writers block.

To be honest, I hardly ever get writers block. Unlike writers who are privileged enough not to have a day job, I don’t have the luxury to sit around and wait for the muse. I work 8 to 6 and then come home to my parenting job. When I do get the time to write I don’t want to fritter it away with the notion of writer’s block.

ALSO READ| Hijabistan: Stories tucked away under the all-encompassing veil

How difficult or easy is it to get published? Have you had to modify your books for it to get published?

I think it is difficult to get published in the West because there is a certain kind of expectation from South Asian writers. However I think Indian publishers are much more open to experimentation. It doesn’t matter if you are a man or a women or transgender, Indian or Pakistani, Muslim or Hindu, if your writing is powerful you will find a publisher. Like any writer, I too have had to make some compromises. My first book Nobody Killed Her had to be almost rewritten because of fear of a lawsuit. However, I realised that the story I wanted to tell was a completely different one so in a sense I’m grateful for that. But for Hijabistan a western publisher wanted me to exoticise the stories because they did not feel it was an authentic portrayal of oriental/Muslim women- in short it did not fit the stereotype. This was a compromise I was not willing to make and so I backed out of our talks.

Who’s your first reader? And who are your biggest critics?

Myself and myself. I know instinctively if a story is working and don’t need other people’s validation.

Do you think marketing has played a role in the success of your books?

Being a full time working academic and a parent to young children I don’t have the time to do that. I’m not very active on social media but I am grateful to my publishers and agent for promoting my book. I don’t think marketing alone is responsible for the success of any book. It has to appeal to the reader.