Sunday, 3 January 2021

Interview with new Phantom artist - Sanjay Valecha

Hello Phans,

Hope you have enjoyed reading the 2 Christmas special Phantom comics from Regal publications (Kerela,India) which came out in December 2020. The artwork in the stories (written by TonyDepaul)  is by one of my favorite Phantom artist -Paul Ryan.
The cover artist for one of these 2  comics was the seasoned Indian Phantom artist - Vincent Moses Raja.(We interviewed him earlier and you can find that interview on this blog).

The other cover was drawn by a new artist - Sanjay Valecha. It features a 'pumped up' Phantom taking on the bad guys along with his trusted partner Devil

We managed to talk to Sanjay and given below is a brief Q&A with him


Q1. Tell us briefly about your background.Are you a professional artist? Where exactly do you stay? 

My name is Sanjay Valecha. My home town is Neemuch (Madhya pradesh - A state in Central India).  Art is my hobby but I have made it  my part-time profession since last 2 years. In this time I have worked on  at least 10-12 comics for different publishers and many other book cover and concept arts. I couldn't complete my study, due to personal reasons, but I am studying now from distance education. I am working at Municipal council Neemuch as a computer operator.
Earlier I was working at a printing press as a graphic designer in part time. I gives at least 4 hours daily to my illustration work.

Q2.  Who were your inspirations? Did you get inspired by any particular artist? 

From my childhood I loved  reading comics. They are two Indian comics artists who always inspire me, first is Mr.Dheeraj Verma and the second is Mr. Edison George a.k.a Manu. I like both of them for there artworks and art techniques.

Q3.  Are you a Phantom fan yourself? When were you introduced to Phantom?

Of-course I am a Phantom fan. I have read many comics of Phantoms and I have a collection too

Q4.  Have you drawn Phantom for any other publication earlier?

No. It’s first time I have drawn Phantom for any publisher.

Q5. How do the current Phantom artists compare with the classic ones like McCoy/Sy Barry?

The classics had their own style  which is very different from the current artists.They can't be compared

Q6. What do you think is the reason for Phantom's enduring popularity in India?

I think the  simplicity of the stories of Phantom's comics is the main reason for the enduring popularity in India.

Q7. How did you  get to draw the cover for the Phantom comics by Regal?
      
 Being a passionate illustrator, I saw an ad of Regal comics and I contact them to do the cover .

Q8. Did you receive any guidelines from King Features to draw the cover?
      
 No

Q9. Were you able to read the stories before you drew the cover ?
        
 No

Q.10. Do you draw digitally now or the traditional way using paper and pencil?
        
 I draw in the traditional way using paper and pencil


Q11. What has been the feedback so far on your cover art for the Phantom comic?
      
 I   have not received any so far (  Phans go ahead and tell him what you felt about the cover art. Feedback is always good for the artists)

Q.12 Would you like to do a complete Phantom story someday?

Yes, of course. If I  get the chance, I would love to do it

Q.13 Do you accept commissions and how can people contact you for the same?
          
You contact me  at +919009291167 or mail me at svalecha2013@gmail.com


If you are having trouble getting hold of Phantom comics by Regal contact them directly at 94810 52592


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Saturday, 31 October 2020

Interview with new Phantom cover artist - Luca Erbetta

 Q & A with the cover artist of Phantom comics published by Regal publishers in India



The new editions (No.3 & 4) of Phantom comics are now out and no Phan  can afford to miss them.
Exciting stories, improved printing and great cover art by new artists.
We decided to reach out to the artist Luca Erbetta who had done the cover for No.4 edition and he was kind enough to patiently answer our questions  

Q1. Tell us briefly about your background. Are you a professional artist? Where exactly do you stay? Where did you study? etc


I'm a professional Italian comic book artist and illustrator, and I'm currently living in France.
I've done this job for the last 19 years, mostly for French publishers, but also for US, Swedish and Australian publisher. 


Q2. Who were your inspirations? Did you get inspired by any particular artist?

I have many inspirations, from US, Italians, Argentinian and French comics. Joe Kubert, Alan Davis, Ralph Meyer, Hermann, Domingo Mandrafina...The list is too long to do it! I also love looking at some classic painters and illustrators, like Zorn, Sorolla, Mort Kunstler, Dean Cornwell...

Q3. Are you a Phantom fan yourself? When were you introduced to Phantom?


Yes! I don't remember exactly when I've started to read the Phantom. I was probably around twenty-five, but immediately loved the character, and the Idea of a Phantom dynasty.



Q.4 Tell us a bit about Phantom comics publishing in Italy. is Phantom still popular there?

Phantom has been quite popular in Italy in the sixties. He was known as "L'uomo mascherato" (the masked man). It has been published until the nineties, then it has almost disappeared, and now it's just a thing for nostalgic fans.

Q5.  How did you get to draw Phantom covers for Fantomen?


Thanks to a friend, I've discovered that the Phantom was still be published in Sweden, were they produced new stories and also plenty of new covers.
I've sent a portfolio to the editor. He liked it and he proposed me to do some covers.


Q6. Who is your favourite Phantom artist ? Why ?

From the past, Sy Berry, of course. From the actual artists, Henrik Sahlstrom. His covers are amazing. Very powerful and effective!!!

Q7. How do the current Phantom artists compare with the classic ones like McCoy/Sy Barry?


Personally, It's hard. But I understood that I can't do what they did, and that I have to find a way to b get "my" Phantom.


Q8. How did you decide to get to draw the cover for the Phantom comics by Regal?


My dream is to do at least one Phantom cover for each country where is published. So, I've contacted Regal and asked them if they were interested.


Q9. Did you receive any guidelines from King Features to draw the cover?

No. I never have any guidelines from KF. Just from the local editors. In this case, from Regal. They just asked me to do a "Phantom in the jungle". So ,that's what I did!  😊



Q10. Were you able to read the stories before you drew the cover ?


No. That almost never happens.



Q.11 Do you draw digitally now or the traditional way using paper and pencil?


I use both. The Phantom cover I did for Regal was done in ink on paper, then colored in Photoshop.



Q12. Have you also drawn Mandrake the magician ? (other popular character created by Lee Falk)?


No, never. But I love magicians, and it would be fun, someday!


Q13. What has been the feedback so far on your cover art for the Phantom comic?


Astonishingly good! It can happen that sometimes, someone doesn't like a particular cover, but generally I have very, very good feedback!


Q.14 Would you like to do a complete Phantom story someday?

Yes. But I would do it only if all the conditions are good (time, money, and a very good story) So, for the moment, I can't. But we will never know.


Q.15 Do you accept commissions and how can people contact you for the same?

Yes. But, I'm just very busy, so, even if I have very few requests, if someone asks me, it must be veeery, patient. 😊



If you want to follow me online, you can go to my Instagram page:
and subscribe for my newsletter at: www.lucaerbettaart.com



Contact Regal publishers for the comics @ 94810 52592 (India)

Also available with Frew in Australia


Saturday, 15 August 2020

Interview with Phantom cover artist - Vincent M Raja

                       Q&A with the cover artist of new Phantom comics - Vincent M Raja

Q1. Tell us briefly about your background. Are you a professional artist?

Ans. Yes, I am a professional artist.
I am a native of Tamil Nadu (a state in India) and settled down in Chennai.
Started my career in 1982 and have worked with many publishing houses

I am also a comics creator for children and adults. Creating puzzles and DIY paper models are my other jobs.

Q2. Are you a Phantom fan yourself? When were you introduced to Phantom?

Ans. Yes, I am a big fan of the Phantom.
I was introduced to the Phantom when I was 3 or 4 years old! My father used to buy Indrajal comics and the colourful frames must have attracted me to the books, and I got hooked to them. I didn't know the names of the Phantom or the book, but it was only 'mukamoodi pusthakam' (the masked man's book) for me! As I was interested in drawing, my chalk drawings changed from a man or car or bus to the 'mukamoodi, and our house floors were filled with masked man stick figures!
I learned my art from Indrajal comics. The Phantom became my reference for anatomy study!

Q3.  Have you drawn Phantom earlier as well?
Ans. Not professionally, except for an article in the Hindu's 'Young World' supplement once. And also for a contribution to the Phantom Phundraiser book for the Australian
 Bushfire relief.


Q4. Who is your favourite Phantom artist? Why?
Ans. My favourite is Jim Aparo.
I like his frame cuts, action sequences and the different angles he (and we) views the actions from! Every frame brims with life. 'The Phantom of Shangri-La' and 'The Pharaoh Phantom' are good examples.
 
Q5. How do the current Phantom artists compare with the classic ones like McCoy/Sy Barry?

Ans. This comparison can be done only by peers. I am just a novice in Phantom art and nobody to compare the professional Phantom illustrators to the great legends.

Q6. What do you think is the reason for Phantom's popularity in India?

Ans. Because, I think, the Phantom IS the original and natural superhero and also came to India earlier than the others.
The reason for my liking him is, he is a normal person like you and me, with only more power in his muscles! He is quick to think and act which is not abnormal, but a slight exaggeration!
He can't fly; he can't do magic; he cannot vanish into thin air; he is just a fellow human being, who is a little more powerful than us.
If I can fly, or disappear into thin air, or swing on a thin wire from building to building, I too can become a superhero! What is so great about it?!

The simplicity and down-to-earth nature of the Phantom character must be the cause for his popularity here, in India.
 

Q7. How did you decide to get to draw the cover for the Phantom comics by Regal?
Ans. Well, the Phantom cover was not the subject I discussed with them first! It was something else, but comics related, of course.
Then while chatting I sent them the Phantom illustration, I did for the Australian bushfire relief book. Seeing that they wanted to try me for one of their covers, and I did the first one. They were happy and asked for the second cover also.

Q8.Did you receive any guidelines from King Features to draw the cover?
Ans. No. No guidelines from King Features.

Q9. Were you able to read the stories before you drew the cover?
Ans. Again, no.

Q11.What has been the feedback so far on your cover art for the Phantom comic?
Ans. Till now I have seen only positive comments for my work, except one which said the costume colours were not right! But the pictures in the ads are not the right colours.
Also, the Phantom's costume comes in different colours in different countries! I have seen purple, red and blue. But now a sculpture has come out in green costume!

Q.12 Would you like to do a complete Phantom story someday?
Ans. That's my dream! Hope it will come true soon!


Note: The comics have been published by Regal Press based out of Kerala


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Sunday, 26 July 2020

The Ghost Who Walks Returns


Phans all over India are celebrating the return of Phantom comics to India. Kerala based Regal publishers is scheduled to print a fresh set of Phantom stories in English starting in August 2020.
Created by Lee Falk in 1936 (before Superman and Batman) Phantom is one of the longest running comic strips in the world and was hugely popular in India during the 70s & 80s when they were published by the Times of India group under the imprint Indrajal comics.
But will today's generation take a liking to Phantom or will the readership be limited to the older fans? We decided to talk to the publisher, Jacob Vargheese to understand this and more about their decision to publish Phantom comics in 2020.

Q 1. Tell us something about your publishing house. 

Ans: Regal Publishers was established in 1976. Regal Publishers published various world famous comics such as Phantom, Mandrake, Steel-Claw, James Bond, Modesty Blaze etc., and also novels such as Tarzan and Phantom during the 1980s and 1990s, the language being Malayalam. Although, there occurred some gap after that, Regal Publishers again started publishing Tarzan novels from 2010 onwards followed by Phantom comics. During those times the comics were published either in black and white or in two colours. Keeping in mind the taste of the new generation, from March 2019 onwards, Regal Publishers launched both Phantom and Mandrake Malayalam comics in multi colour. We also published various study related books at various points of time.
   
Q 2.  How did you think of printing Phantom comics?

Ans: We are aware that Phantom is an evergreen hero and has always been in demand as per our experience in 1990s. Also, in Kerala the number of comic books were considerably reduced. So we decided to publish Phantom and Mandrake which will be a new experience to new generation to get out from the clutches of television, computer and other social media.

Q 3. When did you think of printing Phantom comics in English?

Ans: When we launched Phantom and Mandrake in Malayalam in March 2019 and started marketing, we started getting inquiries on publishing the same in English not only from Kerala but from other states as well. We noticed another aspect - that parents want their children to read English comics not just for entertainment but for learning English as well. Hence, we have decided to try Phantom in English for the first time in our publishing history.

Q 4. How has been the response to the announcement of the Phantom comic in English?

Ans: We have got reasonably good response from Phantom comic lovers who used to read Phantom  comics during the 1970s and 1980s when they were children. Now it is time to see how the new generation responds to Phantom comics in English.

Q 5. How did you shortlist the stories for the launch?

Ans: We had selected stories after 1996 for printing Phantom comics in Malyalam. Now for this launch we have decided to publish the stories what we have received from King Features in English.

Q 6. Are you a Phantom fan yourself?

Ans: As we have been publishing Phantom comics since 1990s, I am a big fan of Phantom.

Q 7. What are your plans for the future?

Ans: At this juncture  we are waiting for  the feedback and responses  from our readers regarding the Phantom comics in English. If we get sufficient support from the readers (both old customers and the new generation), we will  go ahead with the publication of  both Phantom  comics in English.

Q 8. Can we expect Mandrake  (another famous character created by Lee Falk) comics also in English soon?

Ans: We are awaiting the feedback and responses of customers in this regard. If the customers support us by giving us more publicity and buying our comics, we will consider publishing Mandrake and any other comic characters in English.

Q 9. Tell us about the cover artist for the comics as the cover looks really attractive.

Ans: The cover artist for the first two Phantom comics in English is Vincent Moses Raja from Tamil Nadu. When we were in the process of deciding on the cover pages, he happened to contact us and we decided to have a try with his artistic skills. It has worked out. Many people have already appreciated his cover arts for the Phantom comics.

Q10. How are you going to distribute the comics?

Ans: We will be mainly doing direct sales at this stage due to the Corona issue which has caused a lot of problems in supplying to bookstalls in various parts of India as they are unable to run their business without interruption. However, we are already in the process of having tie ups with some bookstalls and online sellers.

Q 11.  From which states in India has the response been good? 


Ans: As of now we have got good responses from West Bengal, Tamil Nadu, Maharashtra and Uttar Pradesh (in addition to our own place, Kerala). We have also started getting more welcoming responses from Delhi and Karnataka. We hope that we will get more responses from the other states also in due course.


Phantom was last published in India in 2010 by Euro books. His return after a gap of 10 years is most welcome. Phantom is still very popular in Scandinavian countries and Australia, and fans in India had no option but to either buy from abroad or re-circulate earlier publications (Indrajal, Egmont, Euro etc)
Here's an opportunity to make a fresh beginning and hope a new readership develops around these new exciting stories to sustain the publication.


You can contact Regal publishers directly (94810 52592) and book your copy. Dispatches should start in the first week of August.

Monday, 17 June 2019

Patna Blues


Kullo nafsin zaikatul maut
(Every living being has to taste mortality)


The blues of Patna  (Patna Blues by Abdullah Khan, Juggernaut 2018) come in various shades. Some are confessional, some on the verge of morbidity and some are tainted with clichés. The book takes one through a city in the grasp of a time which was very different from today. The time where 15 minutes of internet cost twenty rupees, and twenty rupees was a week’s travel for a middle-class Patna boy. Class becomes one of the focal points of the book and influences the protagonist’s every decision. The close nexus of class, caste and religion governs almost every Indian’s behaviour and Arif’s family is no stranger to this. The marriages are obstructed if the boy’s mother isn’t a Pathan but not if he’s asking for heavy dowry. All problems are infused within the everyday life. This is the most absorbing element of the book for many have covered the lives of the middle-class strata, but most usually take refuge in either showering pity or romanticising the problems, giving an otherworldliness to this common world.
The lives of a Bihar police officer, an IAS aspirant and a budding actor are complimented by the side roles of daughters, mothers and grandmothers who are secondary opinion makers. All the blessings that they earn are on account of their compliance. Even their biggest problems are normalised to the extent that greedy in-laws and halted studies are reduced to inevitable realities of these characters.
There are many stereotypes within the narrative of the book which rear their head especially through the protagonist’s opinions on women. They’re easily branded as shameless and whorish and evaluated on lines of their physicality. Arif’s love for a married lady starts off with cliched notions of long tresses, dimpled smiles and kohl filled eyes. But, through the long periods of longings and reunions, he comes to realise the practicality that his love lacks. It’s a passionate love which keeps both of them hanging. “Nobody does a cost-benefit analysis before falling in love.”, he tells himself early on. Yet the revaluation is inevitable towards the end as he realises that matters of heart cannot be governed by the heart alone.

While their love runs along the lines of Bollywood sequences, the conflict between desire and duty is portrayed accurately at various points. There’s a continuous struggle to not surrender to ‘Nafs-e-Ammarah.’ Their belonging to different religions entails conflicts which portray the religious division that lied, and continues to lie, at the heart of Indians. This aspect is quite elaborated by depicting small instances of communal disharmony to organised violent riots.
Another major narrative within the novel is of the protagonist’s brother who disappears during the police arrests that occur after a chain of bomb blasts in Delhi. This marks the common account of many Muslim youth in India – who are branded terrorists, become victims of fake encounters and long battles in court. The helplessness of the father son duo in the city, which loses their own flesh and blood, is bound to fill one with intense empathy. The grief and pain that engulfs the entire household is shown in all its incomprehensibility.

The book is a sincere account of the human condition. The frailty of human life which is stuck in a limbo as it loses a loved one in the most unexpected ways. Arif can’t help but witness his father struggle to make ends meet and try to survive within a structure where rearing dreams of a respectable career comes at the cost of being branded as an idler. The anxiety that marks Arif’s existence through the continuous failed attempts at becoming an IAS officer and seeing himself as a failed son and brother is portrayed with an intense clarity. For this Patna boy, even ending his own life is a privilege.
Patna Blues depicts human condition as it exists in contemporary North India. The India where streets were deserted to watch an over of Azhar vs McGrath. Where protests and processions put everyday lives on halt. Where bribes and recommendations are the basis of jobs. And where a young man’s idealism and high morals lose to the harsh realities of tragic yet common experiences.
                                                                                                                       

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Wednesday, 1 May 2019

Book review: Love, Loss and Betrayal in Nineteenth - Century Delhi




Beneath the modern metropolitan Delhi that stands today, lie the remains of a royal Dehli which survived centuries. Rana Safvi, in her book, City of my Heart, digs up and translates some fragments of an era which could be attributed as magnanimous, more so, a golden period in the history of  the city and its surroundings. This book is an account of love, loss, and betrayal in the nineteenth-century Delhi. Safvi takes up four Urdu narratives to compile an English version which could have a broader audience at its disposal. The four pieces of work differ from each other in their tonality, yet a common royalty resonates among them, making this compilation a complete work in itself. The chronicles are placed perfectly in order, starting with descriptions of the Mughal lifestyle, proceeding with some first-hand experiences, only to end in a royal downfall. The work of Safvi has a grand narrative, retaining the essence of that period which speak throughout the pages. It is a magnificent depiction of events which would almost deceive you to believe it as fiction, yet it is reality- of the soul of a city that died in the mutiny of 1857. The lineage of Mughals might still go on, but surely not with the exact grandeur that it once exhibited.
The dilapidated sites of historic fascination that we witness today, bloomed with life and vigour at one point, illustrating the Ganga-Jamuni tehzeeb. Safvi has trapped this very spirit in her work, this originality and genuineness of people and culture that prevailed. It is hard to believe the contrast that Delhi has undergone in such a brief amount of time. The transition from Delhi to Dehli is what Safvi throws light upon. The first part of this book is a translation of ‘Dilli ka Aakhri Deedar’ (The Last Glimpse of Dilli) by Syed Wazir Hasan Dehlvi. This portion is a description of the simplicity and ease of life which existed during the nineteenth-century Dilli. There was a freshness in the aura which dispersed from the Qila to the common folks. Work was divided well and people were content with their lives. There was a respect for the leader rather than fear. Hasan Dehlvi also includes an account of life during the Mughal era as narrated by Nani Hajjan, a mughlani who lived in the Qila. She represents the few witnesses to have survived the mutiny and recounts tales of yore. Her words have an undertone of misogyny which could have been prevalent during those times. Thus, this part is layered and twice distanced in narration, which travelled from Nani Hajjan’s stories to Hasan Dehlvi’s writings, to be finally translated by Safvi.
‘Bazm-e-Aakhir’ (The Last Assembly), by Munshi Faizuddin is the second narrative to be included by Rana Safvi. Faizuddin spent a lot of time in the Qila as an attendant and was aware of the inner workings of the court, hence he was in a unique position to write a tribute to the Mughal court as it was. This is a chronological account of all the festivals that were celebrated during the era. The timeline of all the celebrations that were held is cited in detail. There are also depictions of the routine that was followed by the Badshah and others. Portrayals of a royal morning, afternoon, and night, with all the activities that revolved around them finds its mention here. The delicacies that were served in the royal court is also described greatly. The book places the Badshah as a religious man who is a great follower of traditions. These rituals and customs which descended down from the royal court can be traced in various Muslim households even today.

Mirza Ahmad Salim ‘Arsh’ Taimuri’s ‘Qila-e-Mu’alla ki Jhalkiya’n’ (Glimpses of the Exalted Fort) lines up next to find its place in this translation. Taimuri was himself a descendent of the last Mughal Badshah, Bahadur Shah Zafar- born in the fifth generation of his lineage. He was neither born nor brought up in Delhi and most of the historical accounts he presents are based on hearsay. Taimuri is grateful to his father Hazrat Labeeb who has recounted some unique events for him to pen down. This part unfolds itself in the definitions and brief descriptions of the royal court. Taimuri defines various customs that prevailed then, right from the food eaten to the punishment served. This part is further divided into eight sub-units, each dealing with a different aspect of life, to document the twilight years of the Mughal era. Taimuri includes small qissas (stories) of notable people which he felt were worth mentioning. The account also lists the names of sons and daughters of the Badshah and the fate they served. Thus, he establishes a lineage which was soon to be forgotten. It is in this part of City of my Heart where the Britishers intervene. In a very brief course of events, Taimuri describes the mutiny of 1857, the exile of Bahadur Shah Zafar, and the extinguishment of the Mughal dynasty.
City of my Heart’s final narrative is ‘Begamat ke Aansu’ (Tears of the Begums) by Khwaja Hasan Nizami. There could not be a more perfect ending to this compilation than this heart-wrenching account by the princess called Sultan Bano. This chronicle plucks the chords of our emotions to reveal the tragic story of a royalty in decline. It depicts the Mughals after the mutiny of 1857. The Mughal rulers who in a twist of fate were forced to turn into royal beggars- royal, since the aristocratic air of theirs would not perish even in such times of despair. This portion of the book depicts a strange irony that is life. It places you high on top only to make your downfall greater. The book has accounts of various descendants of the emperor, who would not even think in their wildest of dreams of such a decline. From velvet cushions to thatched beds, the lineage of the Badshah witnessed a full swing of highs and lows. It vividly documents stories of various princes and princesses after the fall of the empire. Their fate toppled over and what was left behind were just nostalgic reminiscences of a glory. 
In four volumes of narratives, City of my Heart captures nineteenth-century Delhi in its fullest. Rana Safvi has very particularly selected, placed, and translated these works to present a correct picture of that time. It depicts the rich cultural, social, and political milieu which is often defamed by historians. On a metaphorical level, the book is a reminder of the transient nature of life which spares none.


~ Nawa Fatima



Author: Rana Safvi (Translator)
Publisher: Hatchette India
Year : October 2018                                                                                   https://booksetcstore.com

Thursday, 18 April 2019

Proud to be a Librocubicularist




“Are you a librocubicularist?”
“Err… What?” I mumbled.
“A librocubicularist.” She said.
Still with that baffled look and sleepy eyes, I gaped at my friend. Last night, she had come over to my place to stay. While she was about to leave in the morning, she came to bid me goodbye, and as she entered my room, she smiled and pointed at piles of books around me, one of the books laying turned open on my chest.
“A… what?” I asked again.
She answered, and that’s when I came to know that people who had ‘the habit of reading in bed’ had a term to themselves. It’s a pity I didn’t know about it till then, perhaps because it hasn’t been officially included in a dictionary yet. But even the thought of such a word actually existing in English language super excites me. Thanks to internet, now I can even expand my imagination to actually have a cosy bed built with lots and lots of books stacked in shelves at one of its corners, for there is nothing undeniably pleasurable than seeking refuge into the world of redolent yellow pages and immersing in a realm beyond those words inked on them. Curled up in a blanket beside a lamp on a wintery night with a huge mug of hot coffee resting on the side table, believe me, there’s nothing better than reading your favourite thriller for hours together amidst this setting.

So, before I added this word to my vocabulary, I thought of surfing a bit about this on the internet. It turned out the term ‘librocubicularist’ has been made up of two words in Latin: ‘liber’ meaning book and ‘cubiculum’ meaning chamber meant for sleeping. The word was used for the first time almost a century ago by Christopher Morley in his ‘Haunted Bookshop’; it’s a pity that despite being so relevant and relatable, this term is still striving to find its place in the pages of a Merriam-Webster and Collins.


It is said, one should start cultivating reading habits in children at a very young age and I think there can be no better way to do so than making it a habit to read story books to the children at bedtime. This can be one of the ways for the parents and even elder siblings to spend quality time with the young ones and strengthen the bond between them. This would even give the children some amazing bedtime memories to hold on to that they would cherish when they grow up.
In today’s era, it has become difficult for individuals to take out time from their busy schedules and find that mental space to sit back and read, due to which reading time has been shrunk to bed time, and often they devote themselves to reading during weekends and holidays. Nevertheless, the happiness and thrill that one gets to experience from bedtime reading is unmatched. I’d rather like to have my dreams around the characters of those novels I have recently read than to have actual human beings pester into my dreams and turning them into nightmares.
So, if you are a bedtime reader too, then be proud to be called a librocubicularist!


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