Chandrahas Choudhury believes that the 'excitement' of writing fiction stems from the process of 'setting up' all the 'coordinates' of the character's history and environment. As a professional book reviewer and a voracious reader, he has on countless occasions dismantled the matrices that constitute myriad works of literature prior to debuting as a novelist with Arzee The Dwarf (HarperCollins, 2009). Choudhury in his new book, illustrates through the persona and perspective of Arzee, the unconventional hero of the story, a portrait of Mumbai by a unique vision of the city which is also home to the author. In an interview with Alokita Datta, Choudhury discusses the idea behind the novel, the thrill of foraying into the mind of his character(s) and communicating their perceptions through a congruent form of writing as well as the kind of writers he admires.
Did you choose Arzee, the dwarf, as your protagonist to highlight how he is outsized by people and the city? And moreover how his physical stature is a factor in surviving “where everyday in the world (is) a battle”?
Yes, I wanted to create a protagonist whose every breath and every step is a battle against "the fives and sixes of the world" of the larger world inhabited by these people. Of course, much of this struggle is only in Arzee's imagination, but this was one way of showing how we are all prisoners of our bodies in some way. Arzee's unusual point of view also allowed me to describe Mumbai in a new way, and at the same time the challenge of finding a language to express his mistrust of the world and his need for love was very exciting.
What was the basic idea/storyline you began with when drafting Arzee The Dwarf? In what ways did the plot or characterisation change during the process of writing?
I did have a storyline in mind very similar to the one you see in the book now. But a story is just a shape in your head, and the writing changes everything. How to coordinate the action, how to balance out the different characters, how to make it seem like time is passing slowly or quickly in the world of the novel -- all these are things which they affect the story. Over the six drafts I wrote, my own ideas of what makes for a good story slowly changed, and I think the storyline in the book is subtler and more interesting than the rough idea with which I began and which was only partially realised in the early drafts.
In the novel, Arzee views that world within Noor cinema (where he works as the head projectionist) almost as an urban utopia to which he holds the key. In contrast there is the chawl and his room where “it (is) like night” even during daytime. Arzee’s journey throughout the course of the novel revolves around reconciling the two spectrums?
The entire novel is structured as a play between patterns of darkness and light. Arzee's job as the projectionist of the Noor cinema allowed me to really explore these ideas, because what is the cinema after all but the magic of a beam of light in pitch darkness? Also, the cinema is a magical and comforting place for Arzee because it is the one place where he can forget his body, because nobody sees him while he is at work. Also, when he walks on the streets Arzee sees everything from below, but while he is at the cinema he is literally on top of the world, because the projection room is always on the top storey of the cinema. In Bombay every square foot of land is precious, so for Arzee to have such a big complex almost under his charge makes him feel extremely powerful and pleased. So Arzee is someone who loves both light and darkness. Even the plot shuttles back and forth between phases of darkness and bleakness and then patches of energy and illumination.
Even before beginning to read the novel, one is struck by the intriguing montage that serves as the book jacket? How did you want your story to be reflected in the cover design?
I wanted the book jacket to have a brooding, ominous feel — to suggest through a picture the atmosphere of Arzee's mind. The goat in the foreground gives a sense that we are viewing the world from the point of view of a very small man, and also suggests some of the funnier and more surreal elements in the book. The cover is designed by Pinaki De, who took the concept and brought it out with a series of excellent details, such as all the buildings that look like they are leaning over Arzee.
As a writer, do you find it challenging to not just create characters (and provide the necessary insight into their personality) but delineate the milieu they inhabit?
That's the pleasure of writing: to be able to switch back and forth between characters and their environments, and to show the relationship between the two. Each one of us has some place in the world where we feel most comfortable, where we are most ourselves. The excitement of fiction is in setting up, and sometimes inventing, all these coordinates for your protagonist, and then beginning again from zero the next time around.
Literary blogging is a phenomenon that co exists with the practice of reviewing books for journals and newspapers. Do you the former is likely to gain momentum in the near future in the Indian context?
I don't think blogs can replace serious reviews in journals and newspapers. But in India they allow for space to explore literary issues and individual books in depth, because newspapers rarely have much space for these things. Also, literary blogs are an expression of people's enthusiasm for books. I do think that blogs are already an essential part of the literary ecosystem. The best blogs are easily on par with -- sometimes even better than -- the literary coverage in newspapers and magazines.
Being a literary critic yourself, did you review your own work with a critical eye or prefer to maintain a sense of detachment on that front?
I looked at it with a critical eye! Only when I was absolutely satisfied with every scene in the book did I let it go. I think detachment is for later, once your work is done to your satisfaction. After that you shouldn't worry too much about its reception, or about what people are saying. I think the Gita is very wise on the subject of work and on detachment.
Have there been any authors who have influenced you in becoming a novelist? The works of which contemporary writer(s) have you found interesting/inspiring?
Every novelist has a hundred influences, and not just from writers but also from related arts like music and film and poetry. Among the authors I like best are Dostoevsky, Orhan Pamuk, Willa Cather, Bibhutibhushan Bandhopadhyay, Vikram Chandra, Yiyun Li, Isaac Bashevis Singer, and Naguib Mahfouz. Among my contemporaries in India, I admire the work of Anjum Hasan, Altaf Tyrewala, Jahnavi Barua, Nazir Mansuri, Mridula Koshy, and Sonia Faleiro.
Personalities 
Chandrahas Choudhury believes that the 'excitement' of writing fiction stems from the process of 'setting up' all the 'coordinates' of the character's history and environment. As a professional book reviewer and a voracious reader, he has on countless occasions dismantled the matrices that constitute myriad works of literature prior to debuting as a novelist with Arzee The Dwarf (HarperCollins, 2009). Choudhury in his new book, illustrates through the persona and perspective of Arzee, the unconventional hero of the story, a portrait of Mumbai by a unique vision of the city which is also home to the author. In an interview with Alokita Datta, Choudhury discusses the idea behind the novel, the thrill of foraying into the mind of his character(s) and communicating their perceptions through a congruent form of writing as well as the kind of writers he admires. 
In the novel, Arzee views that world within Noor cinema (where he works as the head projectionist) almost as an urban utopia to which he holds the key. In contrast there is the chawl and his room where “it (is) like night” even during daytime. Arzee’s journey throughout the course of the novel revolves around reconciling the two spectrums?
