B.D. Garga

It is rare to come by a book on the ‘art of cinema’ anymore. With cinema itself becoming increasingly a product of divergent traditions, and the study of the medium given over to local specializations, one would today perhaps not venture to train one’s sight on such an object. B.D. Garga himself called his informative book on Indian cinema So Many Cinemas (1996) as if to record his wonderment at the impossible array of tongues that the medium has spawned within a single nation, not just verbally, but in form and language.


Reviewed by: Moinak Biswas
Vijay Tendulkar

Vijay Tendulkar is very special to Indian theatre. For one, he is not afraid of being accessible. His language, his themes and his craftsmanship do not scare theatre people away. I like this quality in him. Vijay Tendulkar always knew that it was essential for his plays to survive as popular theatre texts, in order that he emerge as a major Indian playwright. Today Tendulkar’s literary merit is well established, even beyond the boundaries of Marathi drama.


Reviewed by: Prasanna
Vasudha Dalmia

There are two problems with ‘Indian theatre’. One is that it is theatre. The other is that it is Indian. This has curious implications for the scholar. Of all the arts, theatre has resisted mechanical – and now digital – reproduction the most. In this, it is not only the very opposite of cinema, the quintessential mass art of the industrial age, but even the plastic arts and music have adapted to the industrial age rather well.


Reviewed by: Sudhanva Deshpande
Girish Karnad

The editor of this periodical has a wry sense of humour. She requested Girish Karnad to review the Oxford Companion to Indian Theatre, edited by me. Now she asks me to review Karnad’s Collected Plays, also published by Oxford University Press. Readers will appreciate the subtle trap in which she has placed me, not unlike those we typically encounter in Karnad’s drama.


Reviewed by: Ananda Lal
Ryan Lobo

Mr Iyer Goes To War is the first novel written by Ryan Lobo, who is essentially a photographer and film maker. His films have been shown on channels like Animal Planet, National Geographic amongst others. His writings have been carried by Boston Review, The Wall Street Journal, Caravan and others. In his novel Ryan Lobo writes about the escapades of an individual who has a vision of what he was in one of his previous incarnations and decides to take up the task of completing, in this life, what remained incomplete in his previous one.


Reviewed by: Indu Liberhan
Bhagwandass Morwal

Bhagawandass Morwal has carved a niche for himself in the domain of contemporary Hindi literature. His memoir is a captivating creation because of its novelty of theme, deft narrative stroke, element of storytelling, a transparent world-view, elegant point of view, a tendency to give importance to ‘mirror-narratives’ in opposition to ‘grand narrative’, a unique blending of different perspectives of a life lived. With the onslaught of postmodernism in literature there came to the forefront a tendency to distrust ‘meta-narratives’—what Lyotard calls ‘incredulity towards meta-narratives’.


Reviewed by: Subhajit Bhadra