The modernist movement (navya) in Kannada literature was significant in many ways. The navya writers created an idiom which even to this day resonates with the many new twists that came into the “being” of a literary work. The idiom of the navya writers was multi-dimensional and accommodated varied experiences and diverse ideas.
Emergence of the dalit theatre is consid- ered as one of the prime aspects of the post-independence Marathi theatre. Marathi theatre which was centered around the middle-class sensibility till then, witnessed for the first time, the low-born, the underdogs of the society, giving vent to the unprecedented humiliation and persecution that they were subjected to, down the centuries.
Prarambh is a successful blend of history and fiction: a hi-story of the beginnings of Mumbai. The environment of the early 1800s is authentically depicted, the characters that are both real and fictional match quite well, and the story runs both as fact and fiction blended. The National Book Trust of India must be thanked and congratulated for bringing it out in English for the benefit of not only the non-Marathi Indian readers but also the international readers who will be able to get important insights into and information about the social-cultural-business renaissance that gave its initial shape to the internationally significant city, Mumbai.
Ever since the translation of indigenous literature, mainly into English, was initiated almost a decade ago, it has triggered off reams of publications, and gradually evolved into a specific genre. Obviously, this process has been a tremendous success as publishing houses of renown have made forays into this sphere, though often glossing over prominent credits to the key player, i.e. the translator.
A collage, a photo frame, a diary! No, none of these define the flavour of the book. The memoirs are spun and crafted in a beautiful Tea-Cozy, much to Shaukat Kaifi’s liking, keeping the incidents alive and warm. The title is suggestive of a collection of dates and events, people and places to construct and deconstruct a whole life. The following narrative offers a mirror image of her time, for the generations ahead. Acquiring a more autobiographical element, Shaukat begins from the beginning and tells her own story sequentially.
In an era dominated by prose and the prosaic, poetry is a saving grace. This is especially so, when—trudging through the turbulence of times—it is able to ‘sponge-in’ the world into words, soak them with the possibilities and probabilities of humane existence without being superficial, hysterical or partisan about it.