One of the popular traditional games played by children in Bengal is kumir (crocodile)-danga (elevated land). One player who is designated as kumir has to catch the other players when they trespass their area (danga). This game encapsulates the very identity of Bengal and it is about the movement of players across the shifting territory of kumir and danga.
The author is a truly amazing doctor, a surgeon, and a writer of fiction. But many doctors write fiction, the most famous of course being Chekov, who I just discovered was not Russian, but Ukrainian, like Tchaikovsky. But unlike Chekov and most clinicians like Oliver Sacks, who mine their case histories for stories, Kavery Nambisan has a deep appreciation of the need for public health.
She donned many mantles. It is a well-known fact that Mahasweta Devi (1926-2016), the Bengali novelist, short story writer, playwright, essayist, columnist, editor, and above all a socio-cultural activist, had relentlessly worked for decades highlighting the problems of the rural poor and the tribals. Standing as she did at the intersection of vital contemporary questions of politics, gender, class and caste, she was perhaps the most significant figure in the socially committed literature field.
An itinerant and renowned journalist with a distinguished career and several books to his credit, Saeed Naqvi continues his literary output with a play in three acts. It would be difficult to give details about the play and yet do justice to its ringing tones of anger over a heritage betrayed, or the distress over what has come to pass.
Akbar: A Novel of History is an English translation of Shazi Zaman’s Hindi novel Akbar (Rajkamal, 2016). The novel had attracted lots of critical attention and was applauded for its intricate narrative weave, historical authenticity and creative scholarship. In its present English avatar, the author repositions himself as a writer-translator to revalidate his labour of love and make it available to a potentially larger readership.
Ramachandra Guha is one of the few historians to have considered with any degree of seriousness the role of the Hindi film in keeping the chaotic diversity of India together. Kaveree Bamzai’s engaging book under review extends Guha’s basic premise by examining the making of a shared cultural space, even as it traces compellingly the journey of the three Khans through the Hindi film industry and a globalizing India.