The Literature Times: Congratulations on the release of Postcards of Forgotten Murders! How are you feeling right now?
Dibyasree Nandy: Thank you so much, I’m truly indebted. At the moment, I feel really excited and can’t wait to get my hands on the author copies for my parents to read. I hope they’ll be proud of me.
The Literature Times: What inspired you to write this particular mystery novel?
Dibyasree Nandy: Well, I’ve always wanted to write murder mysteries, but hadn’t the confidence required. Then, I told myself, if I roughly draw a room in a notebook with all the important objects and furniture and the locations of windows and doors, it may make things easier. So, I sketched some rooms. Soon enough, matters became clearer. That’s what gave me the idea of including painted postcards in the novel, so that the sleuths (in this case, the old couple), like me, find it convenient to envision the circumstances from a bird’s eye perspective. Before penning down this novel, I did write a few short stories of this genre and upon their success (that is, upon acceptance into various anthologies), I found my courage. I wrote one titled ‘Murder in the Dining Car’, then ‘Murders at the Three Gables’, followed by ‘The Theft of the Harlequin Statue’, among others. I’ve arrived at the conclusion that procrastination isn’t an option at all. One just needs to sit down with a pen, a notebook, and a thesaurus. The words will definitely come. Inspiration is practically everywhere, but if one doesn’t find the incentive, one can’t ever begin. I’ve written inside restaurants and in vehicles, and I was surprised at how easily the solutions came to me once I started with wild abandon. It’s a valuable lesson I’ve gleaned.
The Literature Times: The book blends locked-room puzzles with Cold War intrigue—what drew you to this mix?
Dibyasree Nandy: There’s a particular theme I’ve thought of often- mob panic. It’s horrifying how swiftly and effortlessly it ripples and fans outwards. There’s a French phrase for this- ‘Folie à plusieurs’, which roughly translates to ‘insanity shared by many’. It’s a rather terrifying notion, once you stop to think about it. We hear of deaths by stampede, and the like. They all stem from this sentiment – ‘mass hysteria’. What happened near the Berlin Wall on the 13th of August, 1961, was something similar. As a result, the region became known as the ‘Death Strip’. Once a shooting begins, fear starts to invade the mind and consequently, all rational thoughts are driven out, leading to people running off in all directions, in a fit of madness.
In this book, I chose to highlight this incident to remind people, once more, of the after-effects of the Second World War and how it long persisted, even as late as the 80s. Fear catches traction like moths drawn to a flame, you cannot get rid of it once it takes root. And, as I read once, fear isn’t really an emotion, it’s a base human instinct. We live out our days keeping terror at bay. True, we’ve got work and other distractions, but what we effectively strive to do all the time is hope to keep fear at arm’s length for as long as we can.
I don’t wish to sound morbid, so I’ll stop rambling.
The Literature Times: How different was writing this detective novel compared to your earlier poetry and prose works?
Dibyasree Nandy: Most of my works are collections of poetry. As for prose, I’ve tackled genres such as tragedy, romance, and fantasy. This one, on the other hand, was difficult to write as I had to constantly create scenarios where it’d be nigh-impossible for the culprit to commit the crimes. At the same time, I had to consider various options to solve these ‘impossible’ murders. It was mind-boggling, to tell you the truth. Additionally, I had eight such cases, not just one or two. I had to use several variations, else the solutions would seem repetitive. Additionally, I had to include several likely suspects and feasible motives and throw in red herrings, which is a given, of course, for such a genre. It was a Herculean task for me. When I finished, though, I was so relieved.
The Literature Times: Do you have a favorite locked-room mystery or classic detective author who influenced you?
Dibyasree Nandy: I’ve been reading works of mystery since I was in primary school. Now, I’m 32. I used to borrow one from the school library, finish it off as soon as I could and hurried off to borrow the next. I began with Enid Blyton and Nancy Drew and Satyajit Ray’s Feluda series when I was around 9 or 10. As I progressed into middle school, I started with Agatha Christie and her peers; Ronald Knox and Willard Huntington Wright. In any event, before I was 15, I completed most of the classics. Then, much later, I chanced upon what the Japanese call the ‘honkaku’ cases, or the locked-room murders. The Japanese are very fond of this sub-genre. You’ve got ‘The Honjin Murders’, ‘The Decagon House Murders’, etc, written by prolific post-war mystery writers of their nation. The Decagon House Murders is an ingenious creation by Yukito Ayatsuji. It pays homage to the most inventive mystery novel of all time- ‘And Then There Were None’ by Dame Christie.
The Literature Times: What books are currently your personal favorites or comfort reads?
Dibyasree Nandy: Currently, I’ve purchased a bunch of ‘healing’ books, of the slice-of-life genre, all by Japanese contemporary authors. They’re so tranquil, so heartwarming, so wholesome, they’re certain to make you feel good. Lately, I’ve read ‘The Full Moon Coffee Shop’, ‘The Convenience Store By the Sea’, ‘Days at the Morisaki Bookshop’, ‘The Kamogawa Food Detectives’, and ‘The Restaurant of Lost Recipes’. One can finish them in one sitting, as the plots progress so seamlessly. There are quite a number of other such books in my bag waiting to be read, and I hope to finish them before Durga Puja and Diwali.
As for English books, I’m hoping to get a leather-bound version of ‘The Count of Monte Cristo’ and ‘The Picture of Dorian Gray’. And the complete works of James Joyce too. These deluxe editions are so wonderful to hold in the hands, it’d be a pity not to repeat the stories read from my youth.
The Harry Potter series have always been a constant companion of mine in my childhood, I wouldn’t know what I’d do without them. They’re my comfort reads. The Lord of the Rings too.
Another comfort read would be the works of P.G. Wodehouse, his ‘Jeeves and Wooster’ series is a real gem, a priceless contribution to the English language.
The Literature Times: Did you face any challenges while writing Postcards of Forgotten Murders?
Dibyasree Nandy: I faced several challenges while writing this novel. To begin with, I told myself I’d write myself into a corner. I placed heavy restraints on myself deliberately, so that, when I came up with a solution, I’d feel sufficiently satisfied. Whenever I write, I impose challenges on myself, be it for poetry or prose. At the same time, I had to keep in mind something very vital – ‘don’t seem like you’re trying too hard’. Also, ‘don’t make your audience think you’re trying to impress them with fanciful ideas or pretty words’. For example, I wouldn’t dream of using the word ‘crepuscular’ when ‘shadowy’ works just as well. The readers will immediately know, ‘yes, this one’s a terrible writer, showing off’. An author shouldn’t ever come off as ‘arrogant’ with their style. It’s rude to the audience. It’s like you’re telling your readers, ‘ah, do you see how clever I am with my vocabulary?’ An awful sentiment. Readability is a feature that must be factored in.
The Literature Times: Are you active on social media, and how can readers connect with you online?
Dibyasree Nandy: Yes, I have an account on Facebook.
The Literature Times: Where can readers purchase Postcards of Forgotten Murders right now?
Dibyasree Nandy: Readers can purchase paperbacks on Amazon and on Flipkart. There’s an ebook version too for those who prefer Kindle.
The Literature Times: What should readers expect from you in the future?
Dibyasree Nandy: I hope to write more mystery stories. I also wish to handle prose genres that are outside my comfort zone, such as horror and slice-of-life. I must learn more, read more and develop my style more. I always think I’m not good enough. I shall put in more effort to improve myself.
Lastly, I’d like to extend my gratitude to my esteemed publishers and editors one more time for giving life to my draft.
I hope people will enjoy this book.
About the Author
Dibyasree Nandy, M.Sc., M.Tech., is the author of numerous works, including The Labyrinth of Silent Voices: Epistles from the Mahabharata, Stardust: Haiku and Other Poems, Meteor Shower, Fireflies Beneath the Misty Moon, April Verses, Magic of the Eventyr, The Terrorist’s Journal, An Upset Inkpot, Tabula Rasa, Fireworks upon a Cold Sea, An Atelier of Despair, Winter Plum, The Village of Wind, Red Soil, The Slate Blue-Eyed Hawk, and O Spring, Once-Beloved.
