The book was first published by Oxford University Press five years ago with a critical introduction. However this remarkable Indian drama is finding a broader reader/audience base and has recently been published by the University of Hawaii Press with an additional,
At present, Hindi short fiction, an important genre emerging in the postIndependence period, is at a crossroads. After confrontingNai Kahani(New Short Story) andAkahani (AntiShort Story) movements, this fiction moved towards commitment in the nineteen seventies; here it dwelt persistently on themes of exploitation, injustice and oppression.
Meera Kant has the distinction of being one of the most prolific young Hindi playwrights today. Her plays, including Nepathya Raag, Kaali Barf and Ihamrig, have engaged with an interestingly wide range of subjects in both contemporary and thought provoking manner.
Kabir is now widely acclaimed as one of our most eminent poets from any Indian language, but this wasn’t always so. Until about half a century ago, he was regarded in Hindi as perhaps the last of the quartet of the four great bhakti poets and ranked after Tulsi Das, Sur Das and Mira Bai.
A lot is being said about Premchands tradition in Hindi, but only a very few fiction writers have an understanding of what it really means. While someone is burning Premchands books, someone else is holding on to his tail to cross the Vaitarani, the mythical river that divides the earth and the nether regions.
This is a novel by a journalist which is certainly an advantage. The journalist is always present inside the novelist and knows well that his opting for story telling is driven by his urge to catch and tell facts that are beyond the reach of journalism. This understanding gives Davanal a distinct tinge and flavour.