Tag Archives: Literature

This book, contrary to what the title suggests, is not a crime thriller. It is, instead, a bit of obscure 19th century English social history in which an Indian, who was also a Parsi—and vicar to boot—faced what might have been deep racial discrimination. His name was George Edalji.He was accused of mutilating a horse and threatening to kill a policeman. The natives were outraged, had him arrested, tried and convicted him.

Kynpham Sing Nongkynrih’s Funeral Nights points out, among a whole lot of other things, that language is one of the fundamental tools to recover, rehabilitate and moor a community’s identity. However, the Khasi language has not yet been made an official language under the Eighth Schedule of the Constitution of India despite demands for its inclusion. The twenty-two official languages of India (which include Assamese, Manipuri and Bodo from Northeast India) carry both immense prestige and other benefits, including membership of the Official Language Commission itself.  The pedagogic implications, employment opportunities, cultural and translation benefits and so on for an official language are centrally connected to the identity and sustenance of a community.

This is a comprehensive, well-structured book. The five sections of the book are titled ‘General Overviews’, ‘Pilgrimages’, ‘Travelling within the Country’, ‘Travelling Abroad’ and ‘Miscellaneous’. This is apart from the Introduction by the editor of the volume. The first section has essays on the historical and cultural matrices of early travel writings from Bengal (Jayati Gupta), secular travel culture as obtained in Bengal during the colonial period (Simonti Sen), and the generic shifts that occured in women’s travel writing in Bengal during the 19th and early 20th century (Shrutakirti Dutta).

Ananda Lal’s edited volume, Indian Drama in English: The Beginnings, is a significant milestone in the genre. A researcher’s delight, the book has immense value for its reconstruction of text and authorship to fill the ellipses in the history of Indian English Drama. It comprises three nineteenth century plays—Krishna Mohan Banerjea’s The Persecuted (1831), Michael Madhusudan Dutt’s Rizia (1849) and Kaminee (1874) by an anonymous author. Lal’s introduction to each of the plays makes it a substantial and insightful read.

To the adage ‘journalism is literature in a hurry’ Oscar Wilde added that ‘the difference between literature and journalism is that journalism is unreadable and literature is not read.’ Amitava Kumar’s short novel A Time Outside This Time, all of two hundred odd pages, explores the space between fiction and journalism, trying to turn journalism into literature and making it readable too. Playing on Ezra Pound’s definition of literature as news that stays news, the novelist narrator of A Time Outside This Time conjectures if ‘by bringing news into literature we make sure that daily news doesn’t die a daily death?’  Kumar’s turning the news into literature in the novel has a serious purpose.

Pachpan Khambe Laal Deewarein’s poignant profile of a professional woman chafing against her suffocating context continues to resonate in its recent English translation, long after its first publication in 1961. The Hindi novel had acquired a cult status, birthing a television series and generations of loyal readers to whom the protagonist Sushma Sharma’s travails spoke viscerally. Lecturer in Hindi (or History, as the novel suggests variously) and warden of a hostel at a women’s college in Delhi some time in the late 50s, Sushma seeks to separate her professional and personal lives and assert her hard-earned financial independence.

Independent India, as a secular nation, was born in Partition. The legacy of this fracture continues to implode and explode the very idea and ideals of post-Independent India.  Indian creative imagination has continuously engaged with the ever-changing trajectories of this fracture, especially communalism. Since Partition these creative responses, in fact, have evolved as a distinct sub-genre within Indian literature. While the initial creative responses to Partition were underlined by an emotive surcharge that oscillated between memory and forgetting, the lived and the thought, or the exigencies of traumatic immediacy and the demands of nation building, the later ‘re-visits’ have tended to be more ideological and analytical in their thrust and have increasingly focused on the protean character of the phenomenon.

Some writers become legends in their own lifetime; respected and admired by their peers, loved by legions of readers despite a slender output. The Bangladeshi novelist and short story writer Akhtaruzzaman Elias is one such. He wrote just two novels and five collections of short stories and yet earned fulsome praise from fellow writers. Mahasweta Devi saying ‘I would have considered myself blessed if I could have achieved a fraction of his quality in my writing’ reminded me of the Urdu poet Mirza Ghalib saying that he would have happily given away his entire collection of poetry for this one sher by Momin Khan Momin: ‘Tum mere paas hotey ho goya/Jab koi doosra nahi hota.’

Literary biographies, as a genre, has remained popular in the West, covering a wide spectrum, from the purely documentary and factual to the wildly and extravagantly imaginative. The latest in the genre that created a buzz when it came out was The Dawn Watch: Joseph Conrad in a Global World by Maya Jasanoff that had as its subject Joseph Conrad, the great writer of Polish origin and stylist of the English novel.

The events of Karbala are part of a tradition that is well documented in the observation of Moharram all over the world. The story told has also been across generations making these events a cultural artefact to be remembered and shared, with every episode echoed in a majlis, marsiya, noha, and more. Ismat Chughtai’s Ek Qatra-e-Khoon is a recounting of these events presented in the form of a novel, and particularly unique if one considers it alongside her other works…

1857 is etched in the historical memory of India, particularly of Indian Muslims, as a singular event that ushered in a tectonic shift in Indian history and transformed their fate forever. Their claim to equal citizenship, let alone supremacy, was permanently eroded and the process of their minoritization was slowly set in motion. Nineteenth-century Muslim intellectuals like Sir Syed Ahmad Khan and Mirza Ghalib had a vague sense of it. But others, especially those writing in the wake of  the 1947 Partition…

The Collectors’ Chughtai is a collection of twenty-nine short stories by Ismat Apa, or Ismat, as she is popularly referred to in the Urdu literary circles. Tahira Naqvi, who has translated other works by Chughtai, is the translator for this volume. Women Unlimited have once again done a favour to readers of translated Urdu afsanas and admirers of Ismat. Chughtai’s works regularly feature in graduate and postgraduate courses of literature or culture studies the world over. This is interesting since her works were first translated from Urdu to English not earlier than 1990…

To write is to demonstrate a principled willingness to be judged. The writer knows that her neck is on the line but she lives with this awareness and continues moving towards something more honest. She knows she will never be able to capture the entire human being, that her words—her most trusted aides—will fail her eventually, but she continues inching towards that failure ensuring that she fails well. In every failure she finds her reasons for embarking upon another failure, of a different and, preferably, better kind…

Shahryar (1936-2012) was a name incarnate indeed; the prince perfect of modern Urdu poetry. He was a person of suave manners and a poet of soft tone and tenor who stood out as an embodiment of urbanity in life and literature. He looked at life with clinical detachment and at literature with passionate commitment. During a literary career spread over five decades (1960-2012) and an academic career spanning over three decades (1966-1996), he earned a name for himself as an academic, editor, poet, and a film lyricist while balancing all these roles against one another with great distinction…

Grief and mourning are some of the hardest emotions to write about. The ongoing experience of the pandemic has returned us to these elemental experiences of loss and reminded us that words still carry the anguish of sorrow and the power of cathartic healing. Rabindranath Tagore’s poignant lyrics in Smaran and Palataka are both personal as well as timeless; they speak to all those who have lost beloved family members and those who fear such losses…

What good can poetry do? A lot. Even for jaded sensibilities. When hype springs eternal in the human breast, poetry can be sobering. Poets have been reminding us for long that we are not all that human. Some of them fear a future when we are human. We lack the capacity, they say, to see one another as fully human, as more than ‘dreams or dots’. Some poets go a step further. They also try (almost in vain) to make us think and feel like the animals around us.

The book is an edited volume whose chapters unravel the socio-cultural and socio-economic dynamics of the development of sports in South Asia. However, as states of this region were former colonies of the British Empire, cricket has captured the bulk of the attention in the book. Alongside other genres of team and individual sports, ‘traditional sports’ have been adequately discussed. Interestingly, it has also manifested how sports have figured in myths, memories, fiction and cinema…

Picking up a book of poetry is a task I usually reserve for my lectures which requires an intellectual engagement with a purposeful end in mind. So with this book as well I had my resistance and fear on either side, ready for it to be replaced by my half read copy of Naomi Wolf’s The Beauty Myth. After all, shouldn’t women talk about feminism…

Considered as a master in the art of writing short stories, Fakir Mohan Senapati (1843-1918) played a leading role in establishing a distinctive Odia identity and is considered to be the father of Odia nationalism and modern Odia literature. Told in the simplest terms, his short story ‘Rebati’ (1898) narrates the story…

Jairam Ramesh and I have known each other since 1982. We are both Iyengars to boot. In those days he was trying his hand at free-lance journalism, writing articles on the economy. I was a full-time journalist and remained one. But Jairam, as we shall see in this book, has had as many careers as the subject of this book, Edwin Arnold…