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.