Extrait :
McDonald says, "When I finished River, I realized that there was much more to my near-future India than just that book. There were parts of my research I'd never used, and there were ideas, concepts, vital parts of the world of the story, that demanded space and voices of their own. I conceived River as an experience of what-it's-like-to-live-in-a-future, so the world was much deeper and richer than a pure plotty story required. The events that lead to the Balkanization of India, the Water Wars and the Sex Wars and the genetically enhanced Brahmins, who live twice as long half as fast, their stories hadn't been told. In some ways Days is an unfolding of what's going on in the rest of the world—and many of the stories are set not in Bharat, but its neighbor and rival, Awadh, in that ancient capital Delhi. So Days is a companion volume to River in one respect, but in another it's a sequel."
McDonald adds, "The title Cyberabad Days is a deliberate echo of the Arabian Nights. The stories are fairy tales of New Delhi. River was an Indian—novel, fat, many-voiced, wide-screen; Cyberabad Days is tales. Mumbai movies tell stories in ways that challenge our Western aesthetics and values. They're not afraid of sentiment, they're not afraid of big acting, or putting in song and dance, because Bollywood cinema's not supposed to be a mimetic art form. It's not about realism—that most pernicious of Western values—it's a show. I wanted these stories to have a similar feel. There are dance routines in the 'The Djinn's Wife' (and it ends in a Bollywood melodrama bloodbath). There are indeed princesses who fall from power and exact revenge on their enemies. There are brothers whose feud plays out over decades."
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