Sharankumar Limbale’s autobiography Akkarmashi was published in 1984 and received critical acclaim. The author was twenty-five years old at the time. Written in a dialect of the Maharas, Akkarmashi was considered a path-breaking milestone in dalit autobiographical writing in Marathi.
Astride the Wheel is an accomplished translation of Yantrarudha, a 1967 Oriya novel by Sahitya Akademi Award winning writer, Chandra Sekhar Rath. Its appearance is yet another example of the ongoing attempt on the part of publishers and translators alike to rescue Indian bhasa literatures from the ghettos of provinciality to which they had hitherto been consigned. Insofar as Oriya is concerned, the attempt has met with only limited success; for the output has been scanty, the quality of translation uneven, and the choice of texts not always happy.
A Village Divided is a wonderful book, well worth spending money to buy and time to read.Rurially autobiographical, Rahi Masoom s Adha Gaon (1966) is a record of the life d times of his village in UP where Muslims d Hindus lived together in an accord which y has begun to seem mythical. Quite apart from the narrative flow is the change of pace of the book as a lifestyle of centuries revs into the unbelievably fast gears of Partition, communalism, and modern secular India.
What do you do when faced with nothing much to quarrel about with a book under review? Concur. Quote. Applaud. Celebrate. Concurrence, however, breeds few words, and a lot of yawning space. Quibbling, on the other hand, might come to your rescue. New Poetry in Hindi offers both the paths.
Manna Dey is a legend in Hindi Film Music. The only surviving male singer of the golden era of Hindi Film music, he started his playback career way back in 1942. Memoirs of such a distinguished artiste are bound to be an important addition to the history of this stream, as well as a goldmine of anecdotal information.
Once in a while you come across a book that you need to mull over, savour, read in instalments in order to derive maximum pleasure and benefit, go back and forth over, and let sink into your soul. This is one such book, a born classic. Normally one is told to write reviews of fiction in a tearing hurry, especially of good fiction for only such reviews can ensure the visibility of such books,
This is Imtiaz Dharker’s fourth volume of poetry. All her books carry her trade mark sketches, as aesthetic, striking, and at times as searing as her poems. One can but stand on the sidelines and admire such wealth of talent. She started sensationally with Purdah (1989), her first volume: Purdah is a kind of safety.
A surprising find, A Model House is a pot pourri, the author’s life and interests held up to a mirror for all to see. Alaknanda moves from being Al in the leafy suburbs of Wisconsin, living in a fairy-tale world of NRIs to Nanda at ABCD, a design and architecture school in Gujarat. In her final semester at ABCD, Nanda meets the enigmatic, Rajdoot-riding, beedi smoking, model-maker Raghunath Bhatt, younger brother to the legendary and dead Shivnath Bhatt.
There is something about mandatory family jollifications that brings out the worst in one. Chris Carver, in Hari Kunzru’s third novel My Revolutions chooses Christmas lunch to tell his family that he is a Communist, that he was leaving the London School of Economics to which he had gained admission,
In 1898, when the sun never set on the British Empire, Kirparam, young and penniless, left his village on the Jhelum to end up, almost accidentally, in Kenya. (Tana is a river in Kenya.) There were thousands of men like him in India in those days, desperate to get away from a land ravaged by British misrule, and ending up as coolies in the colonies, Trinidad, Fiji, Malaya, Mauritius, South Africa, Kenya .
The portrayal of same—sex relationships in 20th century Indian literature has been characterized, most frequently, by ambiguity or by an incipient homophobia. Critical responses to Ismat Chugtai’s Lihaaf and Ugra’s collection of short stories Chocolate, in the past, indicate the extent of cultural resistance to the acceptance of a reality which was generally relegated to a subterranean level of consciousness or represented as being perverse and unnatural.