DAVID BIANCULLI, BYLINE: The first book by our next guest, author Katherine Boo, just won the National Book Award for Nonfiction. Its title is "Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity." And the book doing takes us inside a shantytown on the edge of India's thriving financial capital. The residents of that slum called Annawadi, experience a level of poverty hard for most Americans to imagine. Doing research, Boo spent more than three years among residents of that slum. Her book reads like a novel, but the characters are real.
Janet Maslin of the New York Times said of Boo's storytelling gifts: Comparisons to Dickens are not unwarranted.
Katherine Boo is a staff writer at The New Yorker and a winner of the Pulitzer Prize and a MacArthur Genius grant. She spoke with FRESH AIR contributor Dave Davies in February.
DAVE DAVIES, HOST:
Well, Katherine Boo, welcome to FRESH AIR. It's good to have you. Let's begin with a reading from the book. This is in the prologue. Early on, we are introduced to this character Abdul. Tell us about him and set up this reading, if you will.
KATHERINE BOO: OK. Abdul Husain is 16 or maybe 18 or maybe 19. His parents are hopeless with dates. And for nearly his whole life, he's been supporting a family of 11, buying and selling the recyclable garbage that rich people throw away. And as the book begins, he's been accused of a terrible crime, which is the burning of a disabled woman, and the police are coming for him, and his parents tell him to hide because if he's arrested, then the family will go hungry. And so that's where the book begins.
DAVIES: And he runs into the shed where he keeps his material, right?
BOO: He's - in the Bollywood movies, the outlaw kid would be running off across the roof of a train, but Abdul, his whole world is this slum of Annawadi, and the only place he knows to go to hide is in the shed where he keeps all his garbage.
(Reading) Inside was carbon-black, frantic with rats, and yet relieving. His storeroom - 120 square feet, piled high to a leaky roof with the things in this world Abdul knew how to handle. Empty water and whiskey bottles, mildewed newspapers, used tampon applicators, wadded aluminum foil, umbrellas stripped to the ribs by monsoon, broken shoelaces, yellowed Q-Tips, snarled cassette tape, torn plastic casings that once held imitation Barbies.
(Reading) Somewhere in the darkness, there was a Berbee or Barbie itself, maimed in one of the experiments to which children who had many toys seemed to subject those toys no longer favored. Abdul had become expert over the years at minimizing distraction. He placed all such dolls in his trash pile chest-down.
(Reading) Avoid trouble. This was the operating principle of Abdul Hakim Husain, an idea so fiercely held that it seemed imprinted on his physical form. He had deep-set eyes and sunken cheeks, a body work hunched and wiry - the type that claimed less than its fair share of space when threading through people-choked slum lanes. Almost everything about him was recessed save the pop-out ears and the hair that curled upward, girlish, whenever he wiped his forehead of sweat.
(Reading) A modest, missible presence was a useful thing in Annawadi, the sumpy plug of slum in which he lived.
DAVIES: Thank you. That's Katherine Boo, reading from her new book "Behind the Beautiful Forevers." So Abdul was a guy who grew up picking through trash. He had a particular dexterity for sorting through garbage, right?
BOO: He'd been doing it since he was six. His muscles had developed around the labor. And so he became able to take what people threw away and make not just a subsistence living for his family but one of the best livings in the slum, and that caused some people to wish his family ill.
DAVIES: And that's because he graduated from just picking through trash but actually buying it from others and then getting it to recyclers, right?
DAVIES: So you were there for more than three years.
DAVIES: How did people react at first to this blonde American woman, you know, in the slum?
BOO: Oh, god, at first I was a circus act. I was a freak. Everywhere I went, people would be like the Sheraton, the Hyatt, the Intercontinental. Because this slum, this slum was surrounded by luxury hotels, five luxury hotels, and people thought I'd lost my way, going from the airport to the Hyatt.
But the people in the slums had concerns a lot more pressing than my presence. They had work to do. They had families to raise. They had hopes to fulfill. And so after a while, they kind of relaxed and let me just follow them as they lived their lives. And one of the things that I would do was - I was just going where they went. I was doing what they did, whether it was teaching kindergarten or stealing scrap metal at the airport or sorting garbage, and I would sit and listen and talk to them intermittently as they did their work because it was very important to me not to get in the way of their ability to make a living, but I also really wanted to know them.
DAVIES: Let me ask you to describe Annawadi, I mean, this slum. When you walk in, what do you see? How are people living?
BOO: Well, I'll describe it this way. You come into the Mumbai International Airport, you make a turn, and you go past a lavish Hyatt and a beautiful hotel called the Grand Maratha. By the time you get to the Hyatt, which is about three minutes in your car, you've already gone past this place.
There's a rocky road that goes into it, and you turn in, and the first thing you notice when you get into this landscape of hand-built, makeshift, crooked huts is one of the borders of the slum - or it was I came in 2008 - was this vast lake of extremely noxious sewage and petrochemicals and things that the people modernizing the glamorous airport had dumped in the lake.
And so it was almost beachfront property on this foul, malarial lake, and all around it in this, the single open space in the slum were people cooking and bathing and fighting and flirting. And there were goats and water buffalo. There was a little brothel, and men would line up outside the little brothel. And there was a liquor still.
And mainly there were families and children who were trying their best to find a niche in the global market economy. Almost no one in Annawadi had permanent work. Six people out of 3,000 last I checked had permanent work.
DAVIES: One of the most remarkable things to read here was that you tell us in the book that no one in Annawadi was actually considered poor by traditional Indian benchmarks. Is that right?
DAVIES: I mean, if they're not poor, who is poor?
BOO: Go to the village, and you'll see what poor is. No, so officially, the poverty lines in many countries, including India, are set so low that officially the people that I'm writing about look like part of the great success narrative of modern global capitalism. They look like the more than 100 million people who have been freed since liberalization in India in 1991 from poverty.
So usually in my work, I'm not looking to write about the poorest and abject. I'm not looking to make you feel sorry for people. I want readers to have a connection more blooded and complex than pity or revulsion.
But really, the main point I have to say is that on the books, these men, women and children have succeeded in the global economy. They're the success stories. But I hope what my book shows is that it's a little more complicated than that.
DAVIES: Well, I mean, so many of them are just on the edge of losing, you know, food and shelter for the day. I mean, are the truly poor, are they rural poor who sleep out in the open? I mean, who are they? Who are the...
BOO: Well, many people in Annawadi sleep out in the open, too, but when Asha - in the book, I follow Asha, the mother, who has used politics and corruption to try to give her daughter a college education. I follow her back home to Vidarbha, a very poor agricultural region.
And when Asha walks through the door, everybody can see on her face and the face of her children how good life is in the Mumbai slums. Asha's grandmother walks on all fours, she's so bent from agricultural labor. And when Asha walks in that door, she stands mast straight.
So however you think - however tough it is in the Mumbai slums, as Abdul Husain says once, you know, the city is hard on migrants, and it's terrible sometimes, but it's also better than anywhere else.
DAVIES: You know, as I consider how much time you spent among these folks, I have to believe that you must have felt a lot of affection and sympathy for so many of them. And, you know, given the poverty that they suffered under, I can imagine that you must have at times felt compelled to help them. I mean, what you or I spend for lunch would have been a windfall to so many of these people.
DAVIES: On the other hand, you know, the need is so immense that you could give everything you own, and there would be more of it. How did you deal with that feeling?
BOO: When I first came to Annawadi, I explained that I was there to write about them and that the constrictions of my profession, which I try to adhere to, involve that I didn't end up paying them for their stories. It's a convention in my profession that I struggle with.
But at the same time, I know that if I had gone to Annawadi and started handing out money to some people and not to others, first of all it would have been a very disruptive thing, and also my hope is that by following people I'm looking not just at - often in journalism, stories about the poor began with a reporter going to an NGO and saying tell me about the good work you're doing.
And let me follow you, and maybe if you could just pick out some real success stories, I'll write about them. I think that those kind of stories do an injustice to the enormous amount of creative and enterprising problem-solving that low-income people do for themselves, that most of the ways that people get out of poverty in the United States, in India and anywhere else I've ever been, is through their own imaginations and their own fortitude.
And I don't automatically presume that my way - there were certain moments where I wanted to intervene and say no, this is what I would do. But it's not necessarily the case that in their societies, my way would have been the best way.
There are as a journalist, for me there are certain times when you absolutely stop being a journalist and you start being a human being. And there was one particular instance that I describe - a very, very brutal eviction, where a gang of drunken men set upon a young mother.
And there's a case where, no, you're not going to sit back and document this, you're going to do whatever you can to diffuse the violence. I will say this, that I have a few friends who do this kind of immersion journalism, and it's extremely difficult sometimes to remember that you're there as a journalist and not a social worker.
And I guess the only thing I can say is that what you end up seeing is you get a very close idea of what the needs really are, and then you come from that reporting and try to think in your own charitable giving, well, you know, what can I do to do the most good, not just for one person who I happened to be writing about but for people that I've never met.
BIANCULLI: Well, Katherine Boo, thank you so much for speaking with us.
BOO: Thank you for having me, Dave.
TERRY GROSS, HOST:
Katherine Boo spoke with FRESH AIR contributor Dave Davies earlier this year. Her nonfiction about a slum in India, "Behind the Beautiful Forevers," just won a National Book Award.
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