Indian Writings in English

Amitav Ghosh’s The Hungry Tide is a story about the Sundarbans, the sort that helps us understand the fascinating and sensitive ecology of what in the novel is called “the tide country,” as well as the crucial importance of this region’s continued existence. The novel is also, however, a story about environmental and social injustice in a postcolonial space, about people massacred or forcefully evicted from what they consider their homes on the grounds of a dubious environmental policy. On all levels of the story, the forces of the global interact powerfully with the local, be that in ecological, economic, or cultural terms. The paper argues that in contrast to state dependency on global capital and disconnection from the local, the development of what ecocritic Ursula Heise describes as an eco-cosmopolitan consciousness allows those characters in the novel who evince it a deeper understanding of and connectedness with one other and with their natural environments. The Hungry Tide reminds us that cosmopolitanism can, in the last instance, not be meaningful without also being eco; and while an eco-cosmopolitan awareness cannot necessarily guarantee survival in the face of natural forces or unscrupulous governments, it does help fostering a deeper sense of meaning and solidarity.

The book Indian Women Novelists in English: Art and Vision is a volume of twenty five research articles on contemporary Indian women novelists and their works ranging from Anita Desai, Shashi Deshpande, Manju Kapur, Shobhaa De, Meena Alexander, Githa Hariharan, Arundhati Roy to the younger generation of novelists Anita Nair, Kiran Desai and Jhumpa Lahiri along with two less explored novelists Rita Garg and Nayeema Mahjoor. Three regional writers- Sarah Joseph, Qurratulain Hyder and Mahasweta Devi are also part of this volume, though their write-ups are in regional languages, yet their translated works in English have earned wide popularity. The volume with its diversity of topics will instill knowledge into the critical minds and open many unopened doors from where many unexplored regions of knowledge will be revisited.

The typical 'unhomeliness' of a migrant often leads to a privileging of tradition which not only fashions a route to one's roots but provides a sense of belongingness. However, for women, the refuge of tradition often comes as a dubious gift as their imposed roles as uncontaminated bearers of cultural heritage in a foreign land subjects them to a series of constraints that lead to unavoidable subjugation, humiliation and loss of self-identity. Imtiaz Dharker's poetry maps this precarious ground as her speakers struggle against 'the purdah of the mind' and the 'drought' brought forth by the 'blazing eye of faith' in search of their own identities which are further imperilled by the dislocations of migrancy that often reduce the coloured immigrant to nothing more than an 'untidy shape' subjected to the 'whiplashes' of looks of those who simply consider them as 'a scribble leaked/out of a colonial notebook.' In the process, Dharker articulates a staunchly feminist voice that scoffs at "the watchdogs of virtue" through images of light, water or birds spilling, flowing and flying beyond allocated lines and borders which collectively assert a resistant emancipatory voice that also weaves a pluralist heterogeneous poetic texture in consonance with fluid diasporic identities.

The Indian short story is not merely a derivative of the Western genre, but owes much to the great story-telling tradition of Indian antiquity. The mythical and legendary tales as well as folktales have provided a fertile soil for the modern Indian short story to germinate. Beginning towards the end of the nineteenth century, the Indian short story flourished in the twentieth century. It became evident by the end of the past century that the canon is attuned to Indian landscape whose heterogeneous people and their diverse experiences it reflects so faithfully. The Indian short story as a distinct genre resembles a “multicoloured glass” scattering myriad hues which is analogous to the diversity of our country itself. The variegated and unbeaten genre righteously deserves critical attention which it has been deprived of.

With twenty-seven scholarly articles by academics, professors and researchers, the present critical volume is a tribute to an affluent but neglected genre of Indian literature. In accord with the genre itself, the scope of the book allows for such diversity as the classic writers like Tagore and Manto; the feminist writers like Ismat Chughtai, Kamala Das, Shashi Deshpande and Indira Goswami; the dalit writers like Bama and Ajay Navaria; the diaspora writers like Bharati Mukherjee and Jhumpa Lahiri. The reworking of myth by Mahasweta Devi, the nature lore of Ruskin Bond, the saga of exile by the Kashmiri Pandits, the satire of Hari Shankar Parsai, the macabre tales of Satyajit Ray, the problematics of identity in Manoj Das and memory in Temsula Ao—all are taken into consideration within the structure of a single volume to make this a stimulating overview for students and scholars of Indian literature.

WOMEN IN MANJULA PADMANABHAN'S LIGHT'S OUT Indian Writing in English has a recent history of one and half century old. The term Indian Writing in English is used in a wider sense; inspite of its difference in cultures, customs, races and religions. Indian Writing in English has successfully captured and reflected the multi-cultural and multilingual society. It expresses about the shared tradition, cultural exercises and Indian heritage. In Indian Writing in English, M. K. Naik, states that Indian Writing in English began as an interesting by-product of lively encounter in the late eighteenth century between a vigorous and enterprising Britain and a stagnant and chaotic India. Consequently, a large number of Indians were greatly moved by the genuine desire to present an accurate picture of India through their writings.

The poetical oeuvre of John Donne encompasses plethora of themes among which the prominent are love and religion. Donne seems to be obsessed by the nature of death which is apparent in his poems.  Death is a terrible reality and possesses immense potentiality to terrify anyone. The so called religious preachers have pictured Death in a very misleading way. This poem by John Donne soothes and provides a kind of inner composure to face it with heroism and stoicism.  Human beings have been trying to evade death since time immemorial, but it is a sad reality none has succeeded so far. If the human beings accept death with a kind of stoicism, death will meet with a natural death. The present paper focuses on one of the sublime poems of John Donne and debunks some of the misconceptions, associated with death.

Caste-based discrimination is a grotesque socio-political reality in India. The term " Dalit " (or " untouchable ") refers to a person belonging to the lowest caste in the traditional Indian caste system. Inspired by B. R. Ambedkar, a Western-educated intellectual and the chief architect of the Indian constitution, Dalit writers have produced stories of resistance, stories of caste discrimination and social ostracization, and alternative and parallel visions of casteless societies. As an author of contemporary Dalit writings, Meena Kandasamy describes a broad spectrum of Dalit experiences, and she voices concerns that are often unar-ticulated in the mainstream Indian literary canon. In so doing, Kandasamy not only helps to interpret the reality confronting Dalits but also reclaims their lost voices and identity. In conversation , Kandasamy speaks very much the way she writes—with bluntness and warmth.

The present paper is a modest attempt to know and study Swami Vivekananda's influence on Subhash Chandra Bose. Walking in the steps of Swami Vivekananda, Subhash Chandra Bose built himself mentally wise and physically strong in order to live and die for the great cause - India's Independence, setting great example of patriotism and sacrifice. The dramatic glamour of the journey of Subhash Chandra Bose had so long incurred the view of the people from the fact that he was not only the leading exponent of the political thought of people of India but also one of the greatest political and military genius of Asia and, therefore, has been recognized all over the world. His role as a freedom fighter deserves to be recorded as ever inspiring and thrilling and this is undoubtedly the result of the formative influence of Swami Vivekananda on him.

MLA Citation: Chauhan, Abnish Singh. “Formative Influence of Swami Vivekananda on Subhash Chandra Bose: A Biographical Study.” International Journal of Higher Education and Research, vol. 1, no. 1, July 2012, pp. 1-7

Kashmir has become the perpetual battleground over the issue of possession between India and Pakistan. In the tug o war, both the sides have claimed the legal ownership on the land. People of Kashmir have become the citizens of 'no man's land'. Unrelenting violence, proxy war, terrorism, PoK, questions of Kashmiri Pundits, Kashmiri Muslims, and harsh realities of life in the heaven can be compared to Pandora's Box where people are just searching for their selves, their identity, peace in the valley; those who have migrated or were forcefully evacuated are in exile – physical and mental. Kashmir as a commodity is matter of debate. But those living human beings, the youth, the mothers, the fathers, sisters, brothers, children are dwelling in the country without 'post office', without any address, without any communication and any hopes of redemption. Agha Shahid Ali in his poetry and Vishal Bhardwaj in his feature film Haider have at length expressed their concerns for Kashmir from different perspectives. This paper is an attempt to compare these two different genres of artistic expression in respect of treatment given to Kashmir into their creative genius. These beautiful lines underscore the beauty and bounty of Kashmir in yester generations. But in course of continent's history, Kashmir has undergone many changes, political and religious phases. Kashmir was paradise on the earth in respect of its geographical picturesque landscape and communal harmony where Kashmiri Pandits and Muslims co-existed in strong bonds of brotherhood. The idyllic beauty and lyrical scenery of Kashmir has inspired poets, artists to sing praises for it in their creative works. Kashmiriyat is often a synonym used for the composite culture that was prevalent in Kashmir. Kashmiriyat has infused the admixture of Hindu and Islamic religious, cultural and musical traditions. It weaved the strong fabric of Hindu-Muslim bonding, communal harmony and socio-religious coexistence in Kashmir. But in course of time political greed and lust for power has paved discord in religious harmony. It disturbed the socio-cultural texture of Kashmir. Now, Kashmir has become the perpetual battleground over the issue of possession between India and Pakistan. In the tug o war, both the sides have claimed the legal ownership on the land. People of Kashmir have become the citizens of 'no man's land'. Unrelenting violence, proxy war, terrorism, PoK, questions of Kashmiri Pandits, Kashmiri Muslims, and harsh realities of life in the heaven can be compared to Pandora's Box where people are just searching for their selves, their identity, peace in the valley; those who have migrated or were forcefully evacuated are in exile – physical and mental.

This volume brings together research papers on the poetry of modern Indian poets, particularly those whose poetry is less explored. It is well known that post-Independence India has produced many brilliant writers whose writings have their own importance in the field of Indian English literature. These writers have brought new themes and new styles of writing that have enriched Indian English literature to a greater extent. The book explores the social, cultural and spiritual dimensions of these emerging poets, and will prove useful to students, teachers and all those interested in Indian English poetry for studies and research purposes.
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Dr. Mulk Raj Anand was usually regarded as the father of Indian English novel. His debut of novel writing was begun with his masterpiece work Untouchable. This article aims to talk about the caste system as one of the major issues and its imagery throughout the day and the struggles of Bakha, a central character in the story and his agony over the caste system. Undoubtedly, the implications of caste system in the novel depicted the lower life style of Bakha and his denunciation of pleasures and desires due to it. The author also tried to find out the difficulties of 18 years old strong boy of one day from his Bloomsbury experiences of stream of consciousness novel. Bakha mostly concerned about his peer group of higher caste people and their life style but of no point his helplessness in enjoying life as them. Mulk Raj Anand called his protagonist Bakha as 'hero of tragedy' and also portrayed the tragedies of all the lower castes like suppressed, oppressed, repressed in the country due to the traditional custom of caste. Irrespective of the fact of his lower status, Bakha tried to become a babu or sahib or upper caste person to lead a happy life and to satisfy his schooling desire. All of these were outrage of Bakha's reactions as he received from other higher and middle class people.

Migration has always been a key force in human history, but never more so than
during last 150 years. Peoples from every corner of the globe have moved in
unprecedented numbers and in many directions. Generated first by the ancient,
the colonial and the postcolonial. These migrations resulted in the formation of
new communities. These communities became sites where beliefs, traditions and
cultural practices from countries of origin encountered the host society. Some
were lost, others endured unchanged and most were modified and adapted. It is
estimated to be second largest in the world and has a diversified global presence.
This paper shall throw light on - the diasporic exists only through the medium of
difference. For this purpose, the paper would make an analytic study of Indian
diasporic theme of the novel ‘The Namesake’ which is reflected in the narratives
of Indian American author ‘Jhumpa Lahiri.’. The theme of the novel focuses on
diasporic elements like multiculturalism, multilingualism, different factors effect
family relationship and strange end of the novel.
Keywords: Diaspora, Migration, Multiculturalism, Immigrants.

Since there was hardly any book written on the concept of ‘New Woman’ compiling the works of Indian English writers, the author had long-felt desire to bring out a compact volume in this field.  The present volume is like a dream come true as it prepares the solid ground for the long-cherished desire of the author. The book New Woman in Indian English Literature: From Covert to Overt is an attempt to combining the varied shapes of new emerging trend of womanhood in Indian English Literature into a single whole. The book covers twenty six well explored articles on this recent trend of writing which has been fast growing since last few decades. The contributing authors are very deep, sincere and reflective in the articulation of their original ideas and views. Authors are hopeful that the book will bring into focus many new things and ideas yet to be explored and thus will be useful to critical minds.

ABSTRACT: Postcolonialism, defined by Simon During as “the need, in nations or groups which have been victims of Imperialism, to achieve an identity uncontaminated by Universalist or Eurocentric concepts and images” (Hsieh), has left scars on neo-colonial psyches, spaces, identities and cultures among others. It has simultaneously, opened up new avenues for resistance and hegemony. Postcolonial literatures allow writers of manifold post-imperial territories to devise ways to recover the losses incurred and experienced. R.K Narayan’s The Guide evokes the defiant and hegemonic ideologies within the Indian literary arena and social fabric.
KEYWORDS: Postcolonialism, Universalist, Resistance, Hegemony, ideologies, Eurocentric.

The present research paper assesses (Herbert Blumers, 1969; 69) theory of social movement from the point of three dimensions in Arundhati’s novel - The God of Small Things.  They are:
1. Social Discrimination through forced segregation or physical isolation.
2. In acquiring an ideology of human dignity and social equality.
3. Recognition of their collective will to survive and their desire to achieve equality with the majority rather to preserve their individual identity as minority.
The novelist Arundhati Roy seeks ‘cognitive liberation and insurgent consciousness in the sparking conflict’ (Crossley, 2009; 113) to understand the political, cultural and social aspects of the caste-ridden society of India. Her path to activism and mobilization approaches the level of ideological commitment in terms of identity transformation, civil rights, cultural mobility through interaction, opportunity, cognition and structural conduciveness. Her novel ‘The God of Small Things’ postulates the process of social control through grievances and strains. Subsequently there occurs ‘a conflict between freedom and security’ (Meenakshi, 2000; 12). It also captures love, madness, hope, infinite joy. It is the aesthetic piece of creative writing that unravels social conditions and human condition. The lead character Ammu is subjected to trials and tribulations because of being in love with Velutha, a Pravan, a low caste servant. This manifests the gendered conventional sensibility of the upper caste factional society. The novel surfaces the most burning political issue in the character Velutha, “whose mind is without fear and the head is held high” (Tagore, Geetanjali, 1910) and whose knowledge is free from narrow caste-ridden segregation. The novel exposes the social-political situation that disavows brutality, cruel indifference of ‘Touchables’ towards untouchables of Kerala. The characters Estha and Rahel’s sufferings reflect the ‘dark colours of life’ that forms the dualistic approach of society. The disjointed, fractured and disillusioned Baby Kochamma’s bitter personality interfaces the intra-national precipitating factors of social discrimination and ostracism in context of caste, creed, sex, birth and gender.
The novel frames contention for the marginalised and disenfranchised natives; of Kerala. Their concern for freedom and security, resistance and social movement present challenge, transformation and perpetual disagreement between domination and subordination. But at the same the author’s self-conscious process of contestation (McLead, 2007; 5) suggests the post-colonial relevant mental mode. She attests that decolonization can only be possible with ‘the annihilation of casteism’ (B. R. Ambedkar Writings; 271) and with ‘the assertion of cultural assimilation’ (Doughlas,  2009; 8).

Objectification of women finds the most vocal, living and effective expression in drama. In the Indian context, many women dramatists delineate and criticize in their plays, the crimes committed against women in the name of tradition and culture in a male dominated society. In Indian socio-political milieu, crimes against women like rape, incest, dowry death, female feticide, and gender discrimination are vicious violence which degrades the position of women into perilous situation. Polie Sengupta is an accomplished Indian writer in English, who raises her voice against

Presentations of Postcolonialism is a collection of well researched  essays which sets out to explore the limits of postcolonialism as a literary
discourse. Postcolonialism, moving beyond the plot of a so-called
critical practice, has come to represent a complex web of meanings and parameters.The book is a refreshing read!

In India, the discriminatory attitude towards men and women has existed for generations and affects the lives of both genders. Although the constitution of India has granted men and women equal rights but gender disparity still remains. Gender discrimination not only violates human rights but also fundamental rights, which are equal given to all human beings men and women. There is specific research on gender discrimination mostly in favour of men over women and they are perceived to disadvantaged at work. Indian laws on rape, dowry and adultery have women's safety at heart, but these highly discriminatory practices are still taking place at an alarming rate. Gender discrimination in India refers to health, education, economic and political discriminatory between men and women in India. Here I selected the novel of Rohinton Mistry's-A Fine Balance (1995) for the study of gender discrimination. Female is born in to inequality in many places in India and considered as an inferior to male organ. On the basis of gender discrimination a person should receive more or less rights or be treated differently on their gender is preposterous. In Rohinton Mistry's socio-political and historical novel, A Fine Balance is about 1970s India , during the Internal Emergency imposed by the then Prime Minister of India, gender is huge issue of this novel. Mistry is trying to communicate the theme that all people should be seen as equal, no matter their gender or social status. The main objective of this paper is to focus upon gender discrimination through Mistry's shortlisted Booker Prize novel, A Fine Balance.

The epics of India are revered and referred not only in India but also world over for their philosophy, message, insight into human life and solution to various problems. The Mahabharata is no less a point in this case, it has been explored for its vastness and magical reality from time to time. It covers almost all aspects of human life and reminds multifarious people of the discrepancies, disagreements and disputes which affect the social, economical and political fabric of that period. The present paper attempts to reveal the political trends of that period and its aftermath. It aims to present these ideas through the analysis of the situations, characters, and ideology prevalent during that period.

Anita Desai is a prominent modern women writer in Indian writing in English and considered to be one of the eminent Indo-Anglian Novelists. A study of her works will reveal that she tries to explore the psychological state of her characters, because she thinks that inner life of a man or a woman decides his or her character more than the external conditions of life. She brought in fame with the publication of her first novel. 'Cry the Peacock (1963) and Voices in The City (1965). The present paper postulates Anita Desai's notion of modern ideal building of the society free from male domination. Desai represents the theme of consciousness and sensibility of women as compounded with the men and how they suffer on the basis of emotional as well as physical repression and become the victim of male dominated social and cultural order. The term 'feminism' has its origin from the Latin word 'femina', meaning 'woman' (through French Feminism) and there by refers to the advocacy of women rights, status and power with men on the grounds of equality of sexes. In other words, it relates to the belief that women should have the same social, economical and political rights as that of men. Anita Desai seems to be aware of relationship between feminism as a political movement, a literary and theoretical commitment to the struggle against patriarchy and sexism and not only gender study in Literature. In fact, feminist critical perspective and theory became pertinent to the study and analysis of the social, institutional and personal power relegations between the sexes. The rendering of feminine sensibility and the dilemmas of women oppressed by male dominated social order and recurring themes in her fictional work. 'Cry, the Peacock' is an essentially a study of the marital situation resulting from the conflict between two irreconcilable temperament of two diametrically opposed attitudes towards life. In Desai's first two novels, marriages are shattering failures because Maya and Manisha are unable to adjust themselves with their challenging new roles. Thus, in Anita Desai's fiction there is rich variety of themes and her treatment deserves critical attention. She analyzes the ambience with clinical precision and her fiction represents a vivid and comprehensive picture of the human predicament. Prof. K. R. S. Iyengar says: " Cry, the Peacock scores because Maya is at once the centre and circumference in this world. Her insanity, sane or insane fills the whole book and gives it form as well as life. " (16). Cry, the peacock is Maya's story, of married life with Gautam and almost the entire story is 'remembrance of things past " by Maya herself. The novel begins with the death of Maya's pet dog Toto, and how it affects her, " Something slipped in may tear gazed vision " ; she says: " a shadowy something the probed me into admitting that it was not pet's death

Though English does not find a place in the Eighth Schedule of the Indian Constitution yet the use of English has been allowed for various purposes under Articles 210, 343(2), 345, and 348(3)(iii). As the burden of history is too heavy to be overthrown, in at least five Indian states English enjoys the status of official language. Studies in English Literature continue to be promoted in a big way in all the universities of the country and graduating in English is considered socially valuable and prestigious. Gandhi used English and published in it prolifically in the heydays of nationalistic fervour. Nehru himself an exuberant user of English, argued for its inclusion in the list of languages to be patronised by Sahitya Akademi, the national body for Indian literature. Whether the literature written in this language in India is unique and if it deserves a special treatment in the country is a debatable issue as has been made out also by Salman Rushdie's assertion in his book, The Vintage Book of Indian Writing, -… the ironical proposition that India's best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear‖ (xiv) though Rushdie goes to correct himself in the very next sentence: -It ought not to be true, and must not be permitted to be true.‖ (Idem) If the awards given by Sahitya Akademi are any proof, the record of English is excellent as no book worthy of an award has been found only in twelve years (1961, 62, 64, 66, 68, 70, 72, 73, 74, 95, 97 and 2008; 1960's may be treated as an exception as the anti-English movement was at its peak) since 1960 (the year English was included in the list). Therefore, Salman Rushdie's observation, -. . . the prose writingboth fiction and non-fiction-created in this period by Indian writers working in English, is proving to be a stronger and more important body of work than most of what has been produced in the 16 ‗official languages' of India, the socalled ‗vernacular languages', during the same time; and, indeed, this new, and still burgeoning, ‗Indo-Anglian' literature represents perhaps the most valuable contribution India has yet made to the world of books‖ (x) appears to be quite valid and genuine. However, there are others who refuse to accept anything written in this language as authentic Indian as -English is not the language in which most of the writers dream in.‖ However, there is no denying the fact that a vast literature in India exists in English despite the debate about the genuineness of the literature. ) provides the following information: -… Raja Rammohan Roy began publishing his work [in English] in 1816, and recent research has shown that Indians were contributing to English-language periodicals in India before the end of the eighteenth century. The first book so far known to have been published in English by an Indian was Sake Deen Mahomed's Travels (1794). Since English-language education started in India as early as 1717, it is possible that Indo-English literature was published even earlier. This needs concerted research which has simply not been done so far.‖ (312) B J Wadia is right when he writes: -… all that is written by Indians in the English language cannot be called ‗literature'.‖ (Iyengar 1945 ix) and therefore utmost care has to be taken in deciding the starting point of this literature.

Mankind is continually engaged in a fruitful search for the right clues to unravel the mysteries of Nature. Through his varied activities man transforms Nature for making his life more comfortable and in the process he is also simultaneously transformed by Nature which creates a new awareness and also generates new needs and aspirations. Both these transformations are conditioned by the historical and social environments which are operative in the specific contexts of time and place. No man has freedom in the choice of an appropriate time, a suitable place or a favourable socio-historical condition to begin his life simply because he cannot choose his parents. A man is born into a specific socio-cultural milieu and he inherits, quite unconsciously though, and often without efforts, the accumulated wisdom of earlier generations in the form of traditions, legends and myths. Therefore, it is apt to say that " myth is the embodiment of human aspiration and its appropriate imaginative form " 1. No man can relate himself meaningfully to his fellow human beings without being nurtured by the myths which sustained the earlier generations. Myths are the potent symbols of man's dreams and aspirations, which provide him with ideals and help him set goals in a hostile world that constantly threatens man's existence. Struggle for survival consume man's life energies and he needs fresh impetus to go on facing and tackling the new obstacles which keep propping up like the ending, rolling waves in the sea. Myths and legends provide mankind with the much required psychological support and help him discriminate between good and evil judiciously. However, mankind's history is codified in its myths and therefore myths symbolically represent what has stirred man's soul in his life's journey from times immemorial to the present day. Carl Jung, the well-known psychoanalyst, stresses that myths are indispensable for discovering one's root: If we are to see things in their right perspective, we need to understand the past of man as well as his present. That is why and understanding of myths and symbols is of essential importance. 2 Each one of us is a part of the cosmos, the inexplicable and the eternal. The essentially religious spirit of man must have invented and projected myths that have sustained whole civilisations, interpreted the significance of life, connecting it with the unknown. The present has meaning only in relation to the past in a manner that the past was not aware of itself. As Sivaramakrishna says, Without roots in history and myth no poet can hope to make his aesthetic strategy other than merely cerebral [.. .]. affirmation of the environment and awareness of its mythical bases can hardly function in the absence of a pervasive personal quest of significant personal emotion. 3 Jayanta Mahapatra attempts to explore the dark corners of the human soul to elicit meaning and significance of life. His attempts to penetrate into the hidden depths of the collective unconsciousness of human race by breaking through the mythical heritage of man. By correlating his personal quest with man's eternal preoccupations, Mahapatra endeavours to define the predicament of modern man torn between conflicting values, shattered faiths, the lurking darkness both within and without, and a near-total absence of life-sustaining mythical values.

The present essay explores his poetics and practice of literary writing and considers Sarang as a true postmodern writer from Lyotardian perspective as he risked marginalization and
neglect by being completely counter-conventional in his poetics, politics and practice in both English and Marathi.

Towards the Cultural Banner
of Bangla Dalit Literary
Movement: An Interview With
Nakul Mallik
Nakul Mallik was born in a low-wage family of the Namashudra caste living in a village,
Gajendrapur. He is one of the pioneer Bangla Dalit activists/writers. His signal works include
three biographies, a work of religious philosophy; several short story collections, a book of eight
one-act plays and Manik Ratan, a story based on rural Bengal and the social situation at the
time of Partition. A list of his works can be found below on pages 15-16.
Here Nakul Mallik is in conversation with Jaydeep Sarangi where he frankly narrates the
growth and development of Bangla Dalit Movement. This interview took place at Tollygunj
railway station, Kolkata where Jaydeep Sarangi and Nakul Mallik met for academic and
organizational discussions. It was a sunny afternoon in South Kolkata.
Jaydeep Sarangi

Avant-garde experimental Marathi poetry after the 1990s underwent a spectacular shift of sensibility, linguistic orientation, styles, thematic concerns and techniques. The shift was correlated to the social, economic and cultural processes of globalization and liberalization which were unleashed upon Indian society at that time, and led to this emergent poetry being largely read in the context of globalization and its discontents. This write-up seeks not only to explore the varied stylistic and thematic concerns in Hemant Divate’s poetry but also seeks to situate it in the wider literary, cultural and historical contexts of its production.

Attia Hosain's Sunlight on the Broken Column brings out the trauma of partition affected feudal family. It is subtle comment on the transformation of India where every comman person has right to rise. But on the other side, days of glory are gone when feudalism is abolished.

One of the reasons of the marginality of Indian English poetry is, in Anjum Hasan’s words, “lack of home... This constant search for a geographical analogue to a literature, this assumption of a primeval connection between language and land (2009)”. In this paper I employ the theoretical framework of cultural semiotics, especially the notion of semiosphere, developed by the Russian culture theorist Yuri Lotman to address these complex questions. According to this approach, meaning generation is the ability both of culture as a whole and of its parts (like texts, languages and codes).The semiosphere, analogous to the idea of biosphere, is that synchronic semiotic space which fills the borders of culture, without which separate semiotic systems cannot function or come into being. It is a dynamic meaning generating mechanism characterized by heterogeneity, asymmetries and boundaries, constantly seeking equilibrium between the forces of diversity and the forces that unify it.  Indian English literature thus can be profitably seen as a product of Indian English Semiosphere. This semiosphere as whole rather than individual texts can be seen as a generator of meaning in the case of Indian writing in English.  In this semiosphere writers from multiplicity of ethnic and cultural spaces are brought together by a common language.  This access to diversity of territories, cultural geographies, and heterogeneous semiotic spaces implies that instead of mourning over absence of a single geographical analogue or territorial locale, Indian English semiosphere covers a great range of geographical territories and cultural locations. It is a home made up of many homes. Not only that, this semiosphere is rapidly growing in its size and cultural diversity. I will be looking specifically at contemporary Indian English poems by the poets who have come into their own in the first decade of the twenty-first century, namely Anjum Hasan, Meena Kandasamy and Mustansir Dalvi to distinguish significant characteristics of the growing semiosphere

Keywords:  Indian English, Indian English Poetry, Cultural Semiotics, Semiosphere

Kamleshwar's Kitne Pakistan has given new direction in Hindi Literature.  It translaiton Partitions brings out being readership to the master literati. Kamleshwar undertakes the dissection of human civilization and traces the germs of Pakistan. For him Pakistan is not only a geographical country, it is metaphor of separateness, it is psychological space that every human being carries in his mind.

Abstract: - Great men are born to redeem the word and to improve the lot of fellow human beings and fulfill the aspirations of people who await them. They are capable of leaving the lasting impression on human mind, irrespective of their nationality, social status and religious affiliations and command the universal appeal. They leave their footprint on the sand of time to be closely followed by others. Mahatma Gandhi is one of them who is a gift to the humanity in modern times, belongs to the line of great men who continued to influence every aspect of human life. He has been rightly called as a prophet and a politician of the rarest kind and has been romanticized, mythologized but never properly conceptualized. Indian –English fiction is broadly divided into two – 1) pre- independence period and 2) post- independence period. The Indian novelists writing in English attempted to reflect the national concerns with remarkable fidelity and passion. The 1930’s witnessed a rich corpus of historical novels inspired from Gandhian ideology and cultural values. This research paper, here, aims at finding the influence of Gandhiji on Indian fiction writing in English particularly of pre independence period. It is also aimed to know how the influence runs over the literature, to what extend the Gandhian impact is found, to which area it is touched.
Keywords:- Indian–English fiction, ideology, cultural values, Gandhian influence, pre independence period, Gandhism, philosophy, nonviolence, truth.

Arun Joshi's 'The Only American from Our Village' is a very pathetic and heart-moving story. It is a story of a father Kundan Lal, who fulfills his duties and sacrifices his joys and comforts for the best education and placement of his only son. The son, Dr. Khanna gets success, earns money and reputation, settles in America, gets married to an American girl and has two children. He forgets his filial duties and responsibilities and does not turn back even at the time of his father's death. After some years, he comes to India, welcomed by the top authorities and by chance encounters with his father's friend Radhey Mohan, who relates the sad and sorry tale of his father. Now Dr Khanna realizes his mistake and feels the same burning pain in his feet, which was felt by his father walking on the hot sand without shoes. Now, evil boomerangs on him. His moral, social and cultural debasement ultimately leads him nowhere.

MLA Citation: Chauhan, Abnish Singh. "Counterproductive Values in Arun Joshi’s 'The Only American From Our Village." International Journal of Higher Education and Research, vol. 2, no.1, Jan 2013. Web Pages

Arun Joshi's The Strange Case of Billy Biswas peeps into the life of Billy, who longs for peace and happiness and, therefore, leaves the degraded society of Delhi for the Satpura hills where he explores the different level of life. He lives among the tribals and considers himself a tribal. He traces out that the Delhian society embraces the modern values; whereas the primitive world focuses on the traditional values. His shifting from one level of life to another is his quest for life. He searches for meaning and purpose in life and while doing so he improves his relationships with Self, God, Nature and others.

MLA Citation: Chauhan, Abnish Singh. “Levels of Life in Arun Joshi’s The Strange Case of Billy Biswas.” Research Scholar, vol 1, no. 1, Feb 2013, pp. 24-28

anthology of poetry in English, edited by him, was widely welcomed by leading poets in India. While teaching in Ethiopia he co-translated and edited K. Sekhar's book Hindi -Speak with the Hearts of Indians (2013), which became very famous and one of the best sellers, particularly in the universities where Indian teachers were teaching and the local teachers aspired to obtain their doctoral degree from Indian universities.

Instytut Filologii Angielskiej Uniwersytet Rzeszowski Al. mjr Kopisto 2B, 35-315 Rzeszów Tel. +48 17 872 12 14; Tel/fax +48 17 872 12 88 www.sar.ur.edu.pl Cover design M. K. Deklaracja dotycząca wersji pierwotnej: Wersja elektroniczna jest wersją pierwotną WYDAWNICTWO UNIWERSYTETU RZESZOWSKIEGO 35-959 Rzeszów, ul. prof. S. Pigonia 6, tel. 17 872 13 69, tel./fax 17 872 14 26 e-mail: [email protected]; http://wydawnictwo.ur.edu.pl wydanie I; format B5, ark. wyd. 8,8, ark. druk. 7,875, zlec. red. 55/2018 Druk i oprawa: Drukarnia Uniwersytetu Rzeszowskiego

Indian Poetry in English is remarkably great. The conflict between tradition and modernity at various levels – social, cultural, familiar, national and cosmopolitan is well marked in the works of modern poets. It can be said about the modern Indian poetry in English that with every passing decade an increasing immediacy and heightened awareness of actual Indian experience is noticeable. Gradually with passing time the English language poetry became more Indianized in nature. It is discernible in works of modern Indian poets of English. The book under review is a collection of fourteen critical papers. It explores the works of modern Indian poets who are significant voices of our time.

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The entity of food and the act of eating have always been central to life as well as literature. However, it is only recently that food studies has developed as a new area of study and the study of food and eating is gaining currency in the world of literature. Food and eating can be seen as floating signifiers, for they represent many ideas like memory, tradition, taboo, power, identity and purity in various texts. The present paper analyses two stories: " Mrs Sen's " by Lahiri and " The Remains of the Feast " by Hariharan to see how the acts of cooking and eating becomes signifiers of memory, identity and power in these two works. While in Lahiri's story finding and cooking fish becomes a central concern of the protagonist because it is her way of staying attached to her roots and thus preserving her identity in an alien land, in Hariharan's work eating tabooed food items becomes a signifier of finding her own identity for the great-grandmother Rukmini and her great-granddaughter Ratna. Lahiri Food and eating have always been two of the most primary concerns of human beings. Food and the acts/scenes of eating are present everywhere, including literature. It has, however, occupied a central stage as a multiple metaphor only in the recent years. Food studies within works of literature is a recent trend which has focused on these images of food and eating that are so often present in literature. The images and symbols

R.K. Narayan’s `An Astrologer’s Day’ encompasses itself different hues and colours of Indian cultural tradition. The story focuses on one of the crucial aspects of Indian religion and rituals which are blindly followed by the gullible without raising any doubts. It also tries to assert how the cunning and heartless astrologers have been befooling the innocent common lot with their half baked knowledge. The writer, here analyses the human psyche and ridicules the human follies. Though written in a very light vein, this story is a scathing satire on the human weaknesses and limitations. This article portrays the writer as a social reformer, who with his power of keen observation, brings out some of the bitter truths of Indian society.

A different name than English literature, 'Anglo-Indian Literature', was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians' contributions (translations as well as creative pieces in English) were classed under the caption 'Anglo-Indian' initially but later a different name, 'Indo-Anglian', was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author's point of view has disappeared and currently even Anglo-Indians' writings are classed as 'Indo-Anglian'. Besides contemplating on various connotations of the term 'Indo-Anglian' the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term 'Indo-Anglian' was first used in 1880 by James Payn to refer to the Indians' writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. Шарма Сушіл Кумар. Індо-англійська: конотації та денотації. Анотація. Завдяки взаємодії англійської літератури з Індією, на відміну від її взаємодії з Америкою, Австралією або ж Новою Зеландією, утворився новий шар англій-ської літератури, який отримав назву: англо-індійська література. Спочатку навіть літе-ратурні доробки індійців (переклади, а також художні твори англійською мовою) були класифіковані під заголовком «англо-індійські», але згодом їх було перейменовано на «індо-англійські», зважаючи на зростаюче розмаїття та обсяг написаних індійцями творів англійською мовою. Проте на відміну від попереднього, останній не знайшов прихильності серед укладачів англійських словників. Із часом чітка лінія демаркації, окреслена на підставі предмета та погляду автора твору, зникла, і сьогодні навіть англо-індійські тексти класифікують як індо-англійські. Крім огляду різних конотацій терміна «індо-англійці», у статті проаналізовано такі проблеми: етимологія терміна, фіксація імені його автора і дата першого використання. На відміну від думок істориків та критиків, таких як К Р С Ієнґар, Г П Сарма, М К Наік, Даніела Роґобете, Сачідананда Моганті, Діліп Чаттерджі та Ґайатрі Чакраворти Співак, стверджувалося, що термін «індо-англійці» вперше було використано в 1880 р. Джеймсом Пейном для покликання на твори індійців англійською мовою радше в зневажливому тоні. Однак Ієнґар використовував цей термін в позитивному значенні, хоча 46 й він сам невдовзі від нього відмовився. У статті також проаналізовано причини широкого прийняття цього терміна, іноді навіть авторами субконтиненту, членами наукових кіл у всьому світі, незважаючи на те, що «Сагітья Академі» (Національна академія літератури Індії) від нього відмовився. Ключові слова: англо-індійська, індо-англійська, історія літератури.

Indian English Fiction has been impressive and has attracted attention widely. With the passage of time, it has witnessed a rapid change, from being deeply affected by the Raj to being Vernacular. It is, therefore, very important to know and realize such changes taken place in every field of Indian life and society and for that a brief history of Indian English Fiction might be one of the best media of its expression. These changes from socialism to individualism, from sharing to winning and from spiritualism to materialism reveal reflections of change from tradition to modernity in Indian society. Though this is a natural process as history changes with the passage of time, it is noticed that people are continuously losing their inner happiness and self-control in spite of having material comforts.

MLA Citation: Chauhan, Abnish Singh. “A Chronological Study of Indian English Fiction with Social Perspective.” Shodh Sanchayan, vol. 2, nos. 1-2 , July 2011, pp. 41-44

Amitav Ghosh , in spite of his fixed home is an itinerant. By nature he is a traveller, in his mind he is a voyager and he divides his time between Kolkata, Goa and Brooklyn. Being one of India's best-known writers , he had to write for many publications. including the Hindu, The New Yorker and Granta, and he has served on the juries of several international film festivals, including Locarno and Venice. He has taught at many universities in India and the USA, including Delhi University, Columbia, the City University of New York and Harvard . Amitav Ghosh is a rare breed.He bade adieu to teaching long back.He is now busy in reading and learning. Every book means a lot of research for Amitav Ghosh. He studies the place. What he did in his youth is important. But even in his old age he gives equal importance to hard work and research for writing a book. Just imagine, for writing the book, River of Smoke at the age of 55 he took nearly three and a half years travelling and reading. It is to write the second book of his Ibis trilogy he spent several weeks in Guangzhou and learnt some Cantonese to depict the background of the novel which is set in Fanquit town. This explains why Amitav Ghosh writes history and fiction equally well. In his novels he creates an entire world out of an even a small village. In the same way he wrote book after book. His books include The Circle of Reason, The Shadow Lines, In An Antique Land, Dancing in Cambodia, The Calcutta Chromosome, The Glass Palace, Incendiary Circumstances, and The Hungry Tide. His first novel, Sea of Poppies, is the first volume of the Ibis Trilogy and his recent one is River of Smoke

Human beings always love their freedom like birds. When it is limited by some people in the family, particularly in the case of female, it leads to frustration. Consequently women start to feel neglected alone and don’t find themselves quite fit or comfortable in their present circumstances, even among their own people. They expect attention, love and care from their close people. But the failure of their attempt compels them to search for their own identity that has been lost taking on different roles imposed upon them by the family and society. At the result, they easily become victim of tension, worries, disappointment, anxiety, anger, indignation, depression and alienation. Consequently they take resort to retrospection. Anita Desai, through her women characters, explores all aspects of socio and psycho elements in her novels where retrospection plays a great role of a soothing balm.

ABSTRACT


The migration within the territorial limits of India have made critics to observe that  to be a diasporic Indian its not mandatory that one has to take journey abroad .Through  inter-state migration it is possible to create the sphere of Indian diaspora within India. K.Sachidanand calls this space the ‘diaspora within’ which is referred to as Intranational diasporic pattern which is the newly accepted identity to the Transnational migration.

This Paper attempts to present the Diaspora dimensions of two Indian writers A.K.Ramanujan who emigrated from  India to United States of America and Temsula Ao who migrated from Indian state of Nagaland to Meghalaya. Both the writers narrate the loss of their homeland  due to migration and exhibit the resonances of the diasporic experience wherein  the Transnational and Intranational identities are taken for study.
In relation to the essay “Where Mirrors are Windows” of A.K.Ramanujan and the Short story “These Hills called Home: Stories from a War Zone” of  Temsula Ao are taken for study .

A.K.Ramanujan in his Essays have  the Transnational Diaspora identity and Temsula Ao’s, in her short stories  recaptures the pain following the struggle for self-determination launched by the Indian Union, present the Intranational Diaspora identity.

This Paper will trace how these writers articulate diasporic experience of exile, loss, pain and create Indian Diaspora in America and Naga Diaspora in India.