“But life itself is poetry; it is the most living poetry, and with us there are no clear limits between life and poetry.” So says To Huu, the poet of modern Vietnam, in one of the interviews with which this slender volume of selections from his poetry are interspersed—interviews in which he speaks about his life,
Written by Stuart Gillespie and Lawrence J. Haddad of the International Food Policy Research Institute and published in the year 2003, this book attempts to deal with a major problem of “the double burden of malnutrition in Asia’. The publishers have made a genuine attempt to make it accessibile by pricing it at Rs. 235.00, a level almost unknown for academic publications these days.
The universe in a basekt: that’s what one would love to call this beautifully done up anthology of interviews, snippets, snapshots, chit-chat, profiles, psychic flow charts of seven Indo-English writers of eminence: Shashi Deshpande, Shama Futehally, Gita Hariharan, Anuradha Marwah Roy, Mina Singh, Lakshmi Kannan and Anna Sujatha Mathai.
Looking In, Looking Out, Shanta Acharya’s third poetry collection, houses fifty-two poems, representing work over a decade. Most of these poems have appeared in journals and anthologies, internationally. The title defines the theme of the collection — the poet and her environment. The collection is a journey, traversing the dimensions of the personal, collective, national and international. The collection’s avant gardism, the empire writing from the cosmopolitan centre, is striking!
These two volumes of poetry need to be noticed for more than one reason. This is perhaps the first time that the Sahitya Akademi has published English writings. This is truly welcome in poetry, where even established poets struggle to find publishers.
Isabel Dalhousie is the literary descendant of Emma Woodhouse in Jane Austen’s eponymous novel. Like Miss Woodhouse, Miss Dalhousie is a lady of comfortable means, solidly upper middle class and with an interest in people which the uncharitable would say borders on the “meddlesome”. But there the comparison ends.
Being fungible is a key trait of today’s highfliers, in the arena of job profile at least. Don’t we love to rant about sportsmen, particularly cricketers, delving into the realm of Bollywood when they appear in commercials and even TV serials and films? But what about Bollywood actors delving into the realm of sports,
Anita Nair’s new novel is a book on relationships, told in many voices, going back and forth in time, across continents. It is a book which deals with infatuations and obsessions across the gulfs of religion, marriage, legitimacy and conventions.
Now here’s a bold book that attempts to bring together in its leaves three literary giants whose writings belong to three entirely different genres. No mean task this, considering also that the gentlemen were not contemporaries, despite being very nearly so. Charles Dickens is widely regarded as first and foremost a storyteller, and that was how the contemporary public viewed him.
Iam tempted to describe Nangatalai ka Gaon by Vishwanath Tripathi as one of the most challenging literary works that I have ever read. It is also intriguing and complex, primarily because the writer uses a highly sophisticated genre to express his life and times. He describes the work as Smriti-Akhyan, which could translate as ‘remembered narrative’ or more enigmatically, and more interestingly too, as ‘a legend of memory.’ This literary work, which defies categorization and definition,
Perhaps the most pertinent question one can ask about a memoir is whether the author has made the person or period s/he wishes to evoke relevant to readers. In Two Lives the persons concerned are Vikram Seth’s maternal granduncle Shanti and his German-Jewish wife Henny who met in Berlin when Shanti boarded as a student at her home,
While fiction, autobiography and poetry by Indian women have received considerable critical attention in recent years, women’s drama has remained a relatively neglected area. Staging Resistance seeks to redress this lacuna, foregrounding the contribution of women playwrights to the development of a subversive “womanist dramaturgy” in India.