A house in the desert

TWO YEARS AGO, we first visited Kranthi Teerth close to Mandvi in Kutch, once an independent kingdom and now a part of the Indian state of Gujarat. Kranthi Teerth is a memorial to Shyamji Krishnavarma (1857-1930) who was born in Mandvi. A brilliant Sanskrit scholar and a barrister, Shyamji became disillusioned with the British and by 1905 was advocating that India should become completely independent of the British Empire.

In 1905, Shyamji bought a large house in Highgate (North London). He converted this into a centre and hostel for Indians studying in London, a place where they could eat Indian food, meet fellow countrymen, and discuss affairs related to India. He called the place ‘India House’. The house still exists in Highgate but is now divided into flats.

Shyamji’s India House in Highate, not to be confused with the building with the same name in the Aldwych, rapidly became a centre for anti-British, anti-colonial activity until its demise by the end of 1909.

In 2009/10, a monument was created near Mandvi to commemorate the long forgotten pioneer of the Indian independence movement, Shyamji Krishnavarma. The monument includes a life size replica of the house in Highgate, which was once ‘India House’. The interior of the replica makes no attempt to copy whatever was inside India House back in the time of Shyamji. Instead, it contains portraits of numerous freedom fighters including some of those who either visited or lived in the house in Highgate when it existed as India House. There is also a collection of portraits of some of the heroes of the Great Rebellion, or First War of Indian Independence, that occurred between 1857 and ’58. One might question one or two omissions amongst the portraits (eg Jawaharlal Nehru and Gokhale), but there is a large selection of freedom fighters remembered here. Apart from the feisty Madame Bhikaiji Cama and Shyamji’s wife Bhanumati, there are no other ladies commemorated.

When I first saw the replica at Kranthi Teerth, which looks very incongruous standing tall in the flat sandy semi desert landscape, I became fascinated by its history. When we returned to London, I began researching the story of India House and its exciting contribution to the independence of India. Last year, I published a book about it: “Ideas, Bombs, and Bullets”. The title encapsulates what happened in India House: ideas were discussed; experiments in bomb making were undertaken; and guns were packed ready to be smuggled into British India.

It was interesting to revisit the portraits on display in the replica of India House after having researched my book. At our first visit, most of the persons portrayed meant nothing to me. However, seeing them again, having learnt about them while writing my book, felt rather like meeting old friends!

Yesterday, we revisited Kranthi Teerth and met Hriji Karali, whose ideas led to Narendra Modi’s encouragement of its construction. I presented the senior officials at Kranthi Teerth with a copy of my book. They appeared to be very pleased because until then they had not seen anything in English about Kranthi Teerth and the person it commemorates. My wife and I were given a warm welcome.

Apart from the replica of house in Highgate, there is a simple but spacious gallery where the irns carrying the ashes of Shyamji and his wife are reverentially displayed. These were brought to India from Geneva, where Mr and Mrs Krishnavarma died in the 1930s, by Narendra Modi in 2003 while he was Chief Minister of Gujarat.

I always enjoy visiting places more than once because each successive visit I discover more about them and thereby appreciate them with greater keenness. This was certainly true of our second visit to Kranthi Teerth.

“Ideas, Bombs, and Bullets” by Adam Yamey is available from:
Pothi.com (best for purchasers in India)

Picture shows setting of the replica of India House at Kranthi Teerth

A suitcase of memories

Memories of childhood. Here is the introduction to a travel book, “CHARLIE CHAPLIN WAVED TO ME”, which I published several years ago:


The attic of my parents’ house in north London contained a number of old Revelation suitcases. These were plastered with ageing colourful paper stickers bearing the names of shipping lines and also of places such as: Cape Town, Southampton, Harwich, New York, Montreal, and Rotterdam. Had they been animate and able to speak, what tales they would have been able to tell!

If, as a child, I had become a suitcase, I too would have been covered with an exotic assortment of stickers including some of those mentioned above. But, I did not become a piece of baggage, and the stickers that I carry are not made of paper. Instead, they are memories stuck in various compartments of my brain. Unlike the inanimate objects in the attic in the eaves of our house, I am able to speak: to divulge my impressions of the places that I visited in my childhood; to describe the remarkable people I met in those places; and to reveal the unusual experiences that resulted from travelling with my learned father and my talented mother.

This book contains my memories of the holidays and trips that I took with my parents, mostly during the first eighteen years of my life. They are worth relating because they differed markedly from the kinds of holidays that most people took during the 1960s and 1970s. Rather than exposing their children to the sun on the beach, my parents preferred to expose my sister and me to cultural experiences that, they hoped, would benefit us in the future. This was due to my father’s great interest in the history of art, which resulted from my mother being an artist. Whereas now I appreciate what they did for me then, I did not always do so at the time.

Please join me now as I examine the stickers in my memory – the souvenirs of many years gone past. Let them reveal to you how interesting school holidays can be even if they only include the rarest of glimpses of the sea and an almost total absence of ‘child-friendly’ activities.

These memories of my childhood travels are illustrated with photographs, all of which were taken by me or with one of my own cameras unless otherwise stated. I was given my first simple camera when I was about 6 or 7 years old. It was not given to me by my parents, who never took photographs, but by my uncle Sven who was a keen photographer. His grandfather had been a pioneer of professional photography, as I will describe below. I will begin my narrative by choosing a label that could have been pasted on to my suitcase of reminiscences during the late 1950s or any time in the 1960s. It bears the name “Soho”. I have chosen it amongst all of the others because it provides a good introduction to my mother, who affected so much of what we did as a family and what will be related in this book.



(ISBN: 9781291845051)

is available at:

Amazon, bookdepository.com, lulu.com , and on Kindle

A country that exists no more

OHR 78 OHRID Sunsetting over Albania


The picture depicts the sun setting over Albania as viewed from the Yugoslav shore of Lake Ohrid. When I took the picture, I was standing in Yugoslavia. Now the sun has set forever over Yugoslavia: that country exists no more. What made me interested in Yugoslavia and the Balkans? Here is my reply.


Hergé, the Belgian creator of the cartoon character Tintin, must be held responsible for my fascination with the Balkans. From the age of 7, when my father first presented me with one of his books, I became fascinated by the drawings of Syldavia and Borduria in some of the albums. These were two imaginary countries that the Belgian cartoonist invented to depict what he had seen during his visits to the Balkans. They attracted me than all of the other exotic settings of Tintin’s adventures.

My parents were fundamentally opposed to any totalitarian regime, be it right or left wing. They refused to venture behind the so-called Iron Curtain. Furthermore, they were even reluctant to buy anything made there on the basis that any purchase would give financial support to a regime that opposed the capitalist way of life. Their avoidance of countries, which were under the control of communists, and my fascination by Hergé’s cartoon drawings of south-eastern Europe made me yearn to visit them. As soon as I was old enough to travel alone, I gave in to my yearning.

I chose to visit Yugoslavia first for two reasons. First of all, it seemed more accessible than its neighbours; visas were not required and it appeared to have a less oppressive regime than some of the other Balkan countries. Secondly, I was already becoming fascinated by its mysterious neighbour, the tiny hermetically sealed country of Albania. I believed that by visiting certain areas in Yugoslavia I would manage to catch close-up glimpses of this almost completely impenetrable place.

My early visits to Yugoslavia, which commenced in the late 1960s, were made on my own or with other visitors to the country. These were fascinating enough to make me want to see more, but differed little from simple tourism.  Soon, I began meeting Yugoslavs. Many of them, especially in Belgrade and Sarajevo, became good friends. My visits to their country began to assume more of a social nature than simply touristic. I believe that as the years passed and I made ever more visits, I began to experience the country more profoundly, and with far greater affection, than the average tourist. My book “SCRABBLE WITH SLIVOVITZ” contains a trail of memories of the experiences I enjoyed whilst visiting a country that no longer exists.



is available as a paperback: HERE and on Amazon Kindle


Creation and correction

My latest book, whose subject I will not yet reveal, is almost but not quite ready for publishing.


ancient blur calligraphy czterolinia


I have reached the stage with my latest book where I am looking out for things like: putting commas where full stops ought to be and vice versa; checking spelling; replacing a word or phrase with a more suitable one; making sure that names start with upper-case letters; and so on. In other words, I am trying to edit my text prior to publishing it. I read my manuscript over and over again, hoping to spot errors. However, frequent perusals of a familiar text can cause errors to be missed. So, I will ask someone else to proof-read my work. Even then, one cannot be sure that all ‘blemishes’ have been identified, but two sets of eyes are better than one when it comes to spotting ‘typos’ and other mistakes.

Even when it has been proof-read, there is still much to do before the book can be published. I will need to choose some illustrations and decide where to place them. I will also have to re-format my text so that it conforms to the publisher’s requirements. And then, when the book has been published, the really hard part begins: marketing my work!


Photo by Pixabay on Pexels.com

How far do you go?

Story line_500


There are many ways of choosing books to read. Some people go by the ‘blurb’ on the cover or the subject matter as suggested by the title, others by the first few pages, some by the last few pages, and yet others simply by the reputation of the author.

Having chosen one, how do you decide whether to read it from start to finish or to abandon it?  

If I can get through the first ten or so pages, I will continue reading it. So, I conclude from this that when I am writing a book it is very important to engage the reader from the very first page. In addition, when the book appears on sites like Amazon, the sample that becomes available for potential buyers is these first few pages.

If I am not enjoying a book by the hundredth page, I will happily stop reading the book, and then choose another. If, on the other hand, I am fully enjoying or finding a book interesting as I reach page 100, there is a very good chance that I will read the whole book.

What is your decision-making process for deciding whether or not to stick with a book?

It pays to be honest

Mug shot_640


A long time ago, a friend asked me to read a short story that he had written. He was hoping to submit it as an entry to a short story competition. I agreed to read it for him.

Fortunately, it was short enough for me to read it fairly quickly. Unfortunately, I did not feel that its quality was up to much.

When I saw my friend a few days later, he was eager to know what I had thought of his story. I was not sure what to say. I wondered whether I should be polite, and say that I quite liked it, and would wish him luck. Or, should I risk hurting his feelings by being frank about my opinion of his work? I made up my mind to do the latter. Trying to be as tactful as possible, I told him that I thought his story was not bad, but that there was not much chance of his story winning the competition.

My friend was surprisingly pleased by my opinion. He said:

Thank you, Adam. Thank you very much. You are the first of my friends to say what you really think about my story. All of the others have tried to be polite and say they like it.”

I was relieved by his reaction to my honest but adverse comment. It paid to have been honest. It usually does!

So near, but so far



I have been working on the manuscript of my latest book, about whose subject I will write sooner or later.

I have reached a stage at which I keep reading through the whole text, trying to put myself in the place of a potential reader, and from that position I make modifications, which I hope will improve the quality of the book. Each time I look at it, I make more changes, many corrections, some additions, and many more deletions to eliminate my natural tendency towards verbosity. So, my book is nearing completion, but has far to go before publishing it.

Soon, I will be ready to show my manuscript to some kind volunteers to get their candid (I hope) opinions, comments, and criticisms on what I have produced so far.  If I do not do this, I will become self-satisfied and the book might begin to suffer. Also, I need to know whether what I have written is, in priciple, likely to be worth reading! Then, it will be back to the ‘drawing board’ to modify my work in the light of what my test readers tell me.

Finally, I will need to proof-read my book, format it properly, and add a few illustrations before publishing my ‘oeuvre’. From conceiving an idea to finishing a book based on it is a long process, frustrating at times but largely enjoyable.

A few words


For the past few months I have been working on the manuscript of my latest book. I am not telling you what is going to be about. You will have to wait to find out!

I was reasonably happy about the way it was going, but a little worried that I was including too much about matters distant to the topic on which I was planning to focus. Some of the less relevant material might easily have been considered controversial and possibly hurt the sentiments of some of my potential readers. This worried me somewhat.

A couple of days ago, an old friend, whom we had not seen for a few months, came to dinner at our home. During the meal, I told him what I was writing about. Immediately, he reacted that what I feared was controversial might easily get me into trouble if my text was read by a certain type of person. 

For a couple of hours, I was downcast. I thought that maybe I should just abandon the project, which has taken up so much of my spare time during the last few months.

Next morning, I woke early, feeling inspired. I turned on the computer and removed the ptentially ofensive material from my draft text. Then, I read through what was left of it, and realised that by trimming it down, my text was far better than it had been before. It had become tighter and more focussed on the subject I want to portray.

I am always amazed how important a very few words of advice can be.

Do not lose it


I write a great deal on my computer. Although computers are generally reliable, they are prone to technical hiccups and even total failure. Therefore, I am in favour of following the generally accepted advice that it is a good idea, nay essential, that you save your work not only on the computer’s hard disc but also remotely from the computer.

I tend to back-up anything I don’t want to lose on USB memory sticks. However, being of a somewhat paranoid/neurotic nature, I do not place my trust in these alone. What if, for example, I lose one or one of them suddenly ceases to stop working as happened with a costly hard drive that contained almost five years of documents and photos and then suddenly ‘conked out’? To avoid this, I record everything on to two or more separate memory sticks. 

But, still I am not completely content. Although large companies like Gmail, Dropbox and Microsoft might possibly go ‘bust’ one day, this is far less likely than me losing my memory sticks or my computer giving up the ghost. So, I upload my work onto the hard-drives or ‘clouds’ of the large corporates using Dropbox, OneDrive, and various email accounts I have created, which are dedicated to storing my work.

Call me over-cautious if you like, but I don’t care. Re-writing an important letter or a several hundred page book that has been lost because it has not been securely saved is not a prospect I relish! And, nor should you!