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For more information, please visit the website of Jai Chakrabarti.

SHOW NOTES:

2:15 Chakrabarti’s inspiration for A Play For the End of the World

3:30 Rabindranath Tagore’s play The Post Office

8:00 memoir by survivor of Janusz Korczak’s orphanage titled The Last Korczak Boy

8:30 injustices in 1942 Warsaw 

10:00 The Post Office performed in 1940s Warsaw to uplift compared with exploitation through its performance in 1970s India 

11:15 Chakrabarti’s inspiration from Tagore’s play 

12:20 theme of intergeneration trauma in Chakrabarti’s book

13:20 Bessel van der Kolk’s The Body Keeps the Score and Rabbi Dr. Firestone’s Wounds Into Wisdom: Healing Intergenerational Jewish Trauma

14:30 assumption that gravity of the book would be 1942 Warsaw

16:00 research for book

17:15 Jhumpa Lahiri’s The Lowland

17:40 Lawrence Langer’s collection titled Art From the Ashes

18:25 character journaling process

19:30 questions asked of characters

21:00 reader feedback

22:30 value of art in times of conflict as a healing balm

23:30 Tagore poem translated into a Yiddish song in 1930s Warsaw

24:45 challenges of dual timelines in A Play For the End of the World

26:00 thematic repetition edited out

27:15 most revised scene during escape from train en route to Treblinka

28:30 social justice aspect of A Play For the End of the World

29:30 recommendation of collected short stories by Tagore

30:00 A Home In The World by Tagore

30:30 The Foreign Student by Susan Choi

30:50 The Lowland

31:40 use of a system in drafting a dual timeline novel

32:15 reason for writing story as a novel versus short story

33:30 death of Archbishop Desmond Tutu

33:40 music of Miriam Makeba and Hugh Masekela used to end apartheid

34:00 each piece of art can allow for conditions by which social change can occur

35:40 Playwright Safdar Hashmi whose theatre work in the 1960s and 70s directly advocated for economic and social improvement for the laborers of India

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Music by Toulme.

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© Stephanie Drawdy [2025]