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Controlled abundance: the art of long-form profiles

Controlled abundance: the art of long-form profiles
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This is no ordinary spying. Our most intimate selves are now exposed | India

‘The technology cannot be rolled back.’ Edward Snowden and Narendra Modi. Composite: Guardian/EPA/Getty
‘The technology cannot be rolled back.’ Edward Snowden and Narendra Modi. Composite: Guardian/EPA/Getty
Mon 26 Jul 2021 19.01 EDT
Here in India, the summer of dying is quickly morphing into what looks very much like a summer of spying.
The second wave of coronavirus has retreated, after leaving an estimated 4 million Indians dead. The official government figure for the number of deaths is a tenth of that – 400,000. In Narendra Modi’s dystopia, even as the smoke dwindled in crematoriums and the earth settled in graveyards, gigantic hoardings appeared on our streets saying “Thank you Modiji”. (An expression of the people’s gratitude-in-advance for the “free vaccine” that remains largely unavailable, and which 95% of the population is yet to receive.) As far as Modi’s government is concerned, any attempt to tabulate the true death toll is a c ....

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Arundhati Roy Sees Delhi as a Novel

The renowned author and activist discusses the many landscapes political, environmental, and architectural that give shape to the city's story. ....

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The Paris Review - Announcing Our Summer Issue

The Summer 2021 issue features interviews with Arundhati Roy and Roz Chast, the first English translation of a monologue by Vladimir Nabokov, and much more. ....

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Paris Review - The Art of Fiction No. 249

After her first novel,
The God of Small Things (1997), Arundhati Roy did not publish another for twenty years, when
The Ministry of Utmost Happiness was released in 2017. The intervening decades were nonetheless filled with writing: essays on dams, displacement, and democracy, which appeared in newspapers and magazines such as
Outlook,
Frontline, and the
Guardian, and were collected in volumes that quickly came to outnumber the novels. Most of these essays were compiled in 2019 in
My Seditious Heart, which, with footnotes, comes to nearly a thousand pages; less than a year later she published nine new essays in
Azadi.

To see that two-decade period as a gap, or the nonfiction as separate from the fiction, would be to misunderstand Roy’s project; when finding herself described as “what is known in twenty-first-century vernacular as a ‘writer-activist,’ ” she confessed that term made her flinch (and feel “like a ....

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