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Department of English and Cultural Studies Panjab University, Chandigarh Dialog: a Bi-Annual Interdisciplinary Journal

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Department of English and Cultural Studies Panjab University, Chandigarh Dialog: a Bi-Annual Interdisciplinary Journal Department of English and Cultural Studies Panjab University, Chandigarh dialog: a bi-annual interdisciplinary journal No. 30 (2017) ISSN 0975-4881 Editor Deepti Gupta Editorial Board Pushpinder Syal RanaNayar ManjuJaidka Lovelina Singh Ani! Raina Pratibha Nagpal Rumina Sethi Akshaya Kumar SurbhiGoel MeenuGupta Sudhir Mehta Advisory Board M. L. Raina, Panjab University Harish Narang, Jawahar La! Nehru University Rajesh Sharma, Panjab University Editorial Assistants Komi! Tyagi, MCM DAVC, Chandigarh Renuka Dhyani, PGGC, Panchkula Harpreet Kaur Baweja, PGGC, Panchkula All inquiries pertaining to dialog should be addressed to: Email: [email protected] Website: http://dialog.puchd.ac.in Subscription Fee: Institutions: INR 500 ($25) yearly or INR 1,200 ($60) for three years Individuals: INR 400 ($15) yearly or INR 1,000 ($50) for three years .... NUMBER30 2017 CONTENTS - ARTICLES ·· SREELAKSHMI SURENDRAN, Ancient in the Popular: A 1 Study of Parallel Narrative Manoeuvres in Somadeva Bhatta's Kathasaritsagara and Vikas Swamp's Q&A ASHMA SHAMAIL, (Re )Dressing the Cultural Wounds: 16 Memory, Healing, and Survival in Prais_esong fbr the lU'dow PRAVEEN SHARDA, Interplay of Perspectives in Ted 32 Hughes' Hawk Roosting and Daruwalla's Hawk: A · Stylis_tic Analysis MADHU SHARMA ~EE,SHORI, Space ~d Identity: . 47. Mapping the N~tion in Khaled Hosseini's And the Mountains Echoed · . AMANDEEP..KAUR, Absence of~he Progressives and 59 - the Strange ·case of Arun Kolat~ar YASHVEER, Bollywoodization of Space: A Study of , 78 Two Films on .the 'Red Corridor' MAiii YOGESH, Decoding the Postmodem Narrative . 99 through Shashi Thatoor's Riot . · LAKSHMISREE BANERJEE, World Women Poets: Sisters 110 ofthe Soil JASLEEN SAHOTA, The Dialectics of Image and Text: 125 Anthropological Photo Essay SUMANDEEP KAUR, Rethinking the Community with 142 Jean-Luc Nancy BOOK REVIEW Sengupta Hindol, Ibe Modern Monk: lWJa t Vivekananda 163 MeaJJs To U.s Today. Penguin Random House, 2017 Pages 207. Rs. 399. ISBN 978-0143426646 Gandhi an Googly Kaushik Bandyopadhyay, Mahatma on the 169 Pitch: Gandhi and Cricket in India. New Delhi: Rupa Publication, 2017. Pages 184. Rs. 278. Notes on Contributors Editor's Note Another issue of Dialog is ready to read and the rolling days serve up another set of questions. One begin~· to wonder whether life really is an act of negotiating questions or questions are an act of negotiating life. Editors come and go, while life.continues and the · questions continue. Of course, the usual questions of everyday survival are a part of the trajectory of life and they will carry on with their set routine ofwriting the boundaries ofour daily existence. The emotional and he~-inclusive quiz ofhuman existence will run its course in every .biography. The ongoing drama of living and dying will pose its usual existential riddles. We will all run after these chimeras and keep performing our litt;le circus. One question that keeps plaguing us aU is this whole conundrum ·of evaluation a~d assessment. And this is not just the unwieldy paradigm -of student examination .. With the implementation of - benchmarks for all kinds of actiyities in the field of teaching, one begins to w.on4er about the competence of a group of people to comment upon and judge the wor:k of another-group of people. Just based o:p the fact that one group happened to take bi~h before another. One can hear the usual rationalist argument of~it has to be done and someone has to do it' and also the pragmatic refrain of 'getting a task done in time'. All that is justified in its own time and space but, with the tremendous evolution ofthe human mind, there is no harm in expecting a gentler and happier way of accomplishing certai~ tasks, or is there? An onerous task is the task of selecting and rejecting the work ofyour own colleagues in the profession. Within the past few weeks: many times the issue of creative writing had to be faced. Often the question arose whether creatiye writing should be considered for career advancement and wheth~r teachers can be creative writers too. While reviewing contributions for this is~ue, one came across well-written pieces that couldn't be considered for the same reason. And there popped up another question: is all literature creative writing? And then a series ofquestions initiated by a first one: when and how does creative writing become Literature \Yith a capital 'L'? The idt?a that all the great names of literature also started their careers as "creative writers who were not recognized" does bring its own consolations but one does hope that vezy soon, th~se dilemmas will be taken by the horns and dealt with adequately. Meanwhile, one hopes that the readers of this issue would enjoy the reading it offers with its mixed bag of themes and styles. Do remember that these writings are .the ones that were hand-picked from a big file. It is a rather diverse set of ideas and one can hope that there is something for everyone here! DEEPTI GUPTA ii SREELAKS~ISURENDRAN Ancient in tllne Popular: A Study oflParaBieB Narrative Manoeuvres in Somadleva Bhatta 's Kathasaritsagara and! Vikas Swarup's Q&A The novel in India, to use Meenakshi Mukherjee's phrase is a "borrowed genre" (2002:viii ). The early Indian English novels were judged according to their adherence to the Western Jiterary canonical standards. Raja Rao, Sudhin N~ Ghose and G V. Desani were the Research Scholar, Dept. of English, Indian Institute of Technology. Kanpur earliest Indian Eng1ish writers to experiment with ancient Indian storytelling techniques. Ancient Indian storytelling methods still imbue and get manifested in Indian English novels, both structurally and thematically. In this regard, the paper aims to map the narrative similarities between the Kathasaritsagara, an eleventh century compilation of tales by Somadeva Bhatta, and the popular Indian English novel Q&A (2005), by Vtkas Swarup. The narrative pattern of Q&A fits with the structural features of the Kathasarithsagara, such as, frame and embedment, multiple character narrators and listeners, cyclisation, mirroring, non-linear time and riddling method, as well as thematic aspects such as storytelling as curse redemption technique and the all pervading power of stories. The Kathasaritsagara is a maze of stories within stories with the main frame being that of the adventures of King Naravahanadatta who attains the status of a vidhyadara, semi divine beings with superhuman prowess. To borrow from N.M. Penzer, "The Ocean of Story, or to give its full Sanskrit title, the Kathasaritsagara, is, for its size, the earliest collection of stories extant in this world ... This is the Ocean of Story; this [sic] the mirror of Indian imagination that Somadeva has left as a legacy to posterity" (1924: xxxi). It incorporates the already then existing tales of the Panchatantra, the Jataka tales, the Vikram Veta/ tales and some tales from the Indian epics. The Kathasaritsagara is a cycle of tales of eighteen books. To quoteArshiah Sattar, "In many of its formal and structural features, the Kathasaritsagara conforms to Indian literary conventions, with its framed narratives, its semi­ divine author and its tales of the interaction between the gods, mythical creatures and human beings" (1994: 15). The "Kathapitha" or the first cycle of metafictional stories, that deals with the making of the Kathasaritsagara, is an overarching frame that contextualizes the whole text. Here, it is a prodding goddess Parvathy who requests a "delightful story" from lord Shiva, which is "quite new" (Bhatta I 1880: 2). The storytelling begins as Parvathy is seen giving orders to Nandin to not to allow any body inside when the story telling session is on. One of the favorite attendants of Siva, Pushpadanta, being curious as to why he was 2 deniea entry, enters invisible and hears the stories. He narrates it to . his wife, who in turn narrates it back to goddess Parvathy. It is for eavesdropping to a story not meant for the right listener, that the angry Goddess curses Pushpadanta, and also another attendant Malyavan for speaking for Pushpadanta, to be born as mortals, and curse redemption form the present mortal state entails narration of the heard stories by Pushpadanta, reborn as Vararuchi, to predestined listener Kanabhuti and, by Kanabhuti to Malyavan reborn as Gunadhya, and its transmission by Gunadhya. The framed context ofVikas Swarup's Q&A (2005) is the protagonist facing a jail term for allegations of cheating in a quiz show. The "Prologue" of Q&A, with its situatipg of the female character listener prodding to the character narrator for the story of his truth, and hence bringing about the birth of the embedded stories, can be considered as the contextualizing overarching frame, similar to the "Kathapitha." If compared with the. framework of Kathasarithsagara, in Q&A "telling" with the presence of a speaker and a listener takes place to get redemption from his present condition, that is, sentence in jail akin to a curse (Genette 1980: 30). This redemption can happen only if there is story transmission from the character narrator to the character listener, that is, Smitha Shah, his lawyer. The different "metadiegetic" narrations in Q&A are about the various experiences of the narrator protagonist himself, they are "autodiegetic" or life stories of the protagonist, and throw light on the primary event in the main frame, the winning of the quiz show by an uneducated youth from the slums ofMumbai, and hence "explanatory" in nature (Genette 1980: 231, 245, 232). Smitha Shah says to the narrator protagonist "I want you to explain to me exactly how you came to answer all those questions" (Swarup 28). Most ofthe "metadiegetic" narrations in the Kathasaritsagara constitutes of ''analepsis" that ~re "explanatory" in nature by attributing the present cursed conditions to actions in past ~irths and the consequent narration of past lives leading to redemption (Genette 1980: 231, 49, 232).
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