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Memories of Rain
Journal of the Asiatic Society of Bangladesh (Hum.), Vol. 60(1), 2015, pp. 17-34 TEXT WITHIN TEXT: THE SHAPING OF SUNETRA GUPTA’S MEMORIES OF RAIN ASM Maswood Akhter* Abstract Instead of venturing into the more expected readings of Sunetra Gupta’s debut novel Memories of Rain (1992) – which won her prestigious national literary award in India, the Sahitya Akademi Award for 1996 – as embodying the author’s intricate writing style or diasporic angst or desire of conveying her ideas and thought about Calcutta to a Western audience, this paper seeks to raise the issue of intertextuality in the novel. It shows how this novel is immersed in conversation with the expanse of literature produced in different periods and diverse cultural settings. Gupta’s extremely literary– even canonical– sensibility is revealed in the centrality and profusion of allusions and references that range from Euripides to Tagore. The paper argues that for a more nuanced understanding of Memories of Rain it is important to be aware of the influence and interplay of diverse texts providing the novel its context and meaning as well as shaping its narrative and characters. With all its lyrical evocation of the 1970s’ Calcutta1 and its haunting memories, Sunetra Gupta’s Memories of Rain (1992) remains rather a complex fictional narrative. Readers are at once intrigued by its sustained interior monologues, figurative language and sensuous poetic imagery, its warped chronology alternating flashbacks and fantasy with the present, or its linguistic experiments resulting in paragraph-stretched sentences conjoined by commas and overflowing grammatical halts. This paper, however, engages itself with a different issue: the importance and implications of the abundance of intertextual references and allusions in the novel.2 I aim to look into the overwhelming canonical shadows lurking through the text to argue that this eclectic range of allusions and literary * Associate Professor, Department of English, University of Rajshahi 1 Since 2001 Calcutta was transformed into Kolkata. -
'I Am Envious of Writers Who Are in India': Kiran Desai
“I am envious of writers who are in India”: Kiran Desai, the Man Booker Prize, and Indian Diasporic Writing Somdatta Mandal I: The Man Booker Prize: On the 10th of October 2006, defeating the five other novelists who made it to the short list, Kiran Desai won the UK’s leading literary award, the Man Booker Prize, for her novel, The Inheritance of Loss. Apart from being the youngest woman writer to receive this prize, she is the third writer of Indian origin – after Salman Rushdie and Arundhati Roy-- to win this prestigious award and also simultaneously catapult Indian writing in English to further worldwide fame as a special genre of writing. It is ironic that a book titled The Inheritance of Loss earned her 50,000 pound sterling and became a sort of redemption for the Desais, whom Salman Rushdie calls the “first dynasty of modern Indian fiction.” Although her mother Anita Desai had been short-listed for the Booker prize thrice -- Clear Light of Day (1980), In Custody (1984), and Fasting, Feasting (1999), with the prize then simply called the Booker and not the Man Booker as it is being called since 2002, she failed to receive the prize. It is further ironical that Inheritance, Kiran Desai’s second novel, was according to the author herself, much harder to write than her debut novel Hullabaloo in the Guava Orchard, taking "seven years of my being determinedly isolated." It almost didn't get published in England. "The British said it didn't work,” she admitted, and nearly ten publishing houses rejected it until Hamish Hamilton bought it. -
Women Novelists in Indian English Literature
WOMEN NOVELISTS IN INDIAN ENGLISH LITERATURE DR D. RAJANI DEIVASAHAYAM S. HIMA BINDU Associate Professor in English Assistant Professor in English Ch. S. D. St. Theresa’s Autonomous College Ch. S. D. St. Theresa’s Autonomous for Women College for Women Eluru, W.G. DT. (AP) INDIA Eluru, W.G. DT., (AP) INDIA Woman has been the focal point of the writers of all ages. On one hand, he glorifies and deifies woman, and on the other hand, he crushes her with an iron hand by presenting her in the image of Sita, the epitome of suffering. In the wake of the changes that have taken place in the society in the post-independence period, many novelists emerged on the scene projecting the multi-faceted aspects of woman. The voice of new Indian woman is heard from 1970s with the emergence of Indian English women novelists like Nayantara Sehgal, Anitha Desai, Kamala Markandaya, Ruth Prawer Jhabvala, Arundhati Roy, Shashi Deshpande, Gita Mehta, Bharathi Mukherjee, and Jhumpha Lahiri.. These Feminist writers tried to stamp their authority in a male dominated environment as best as it is possible to them. This paper focuses on the way these women writers present the voice of the Indian woman who was hitherto suppressed by the patriarchal authority. Key words: suppression, identity, individuality, resistance, assertion. INTRODUCTION Indian writers have contributed much for the overall development of world literature with their powerful literary expression and immense depth in characterization. In providing global recognition to Indian writing in English, the novel plays a significant role as they portray the multi-faceted problems of Indian life and the reactions of common men and women in the society. -
Chapter-Ii Journey of Women Novelists in India
CHAPTER-II JOURNEY OF WOMEN NOVELISTS IN INDIA 2.1 Preliminaries This chapter deals with the study of „novel‟ as a popular literary genre. It traces the advent of the novel in India which is a product of colonial encounter. Essentially dominated by male writers, women‟s writings in the past were looked down upon as inconsequential. Literary contributions by Indian women writers were undervalued on account of patriarchal assumptions which prioritized the works of male experiences. For many women writers, who are products of strong patriarchal cultures, ability to write and communicate in the language of the colonizers represents power. Since English is the language of British-ruled colonies, literature written in English has often been used to marginalize and thwart female point of view. But in the post-colonial era, however, the ability to use language, read, write, speak and publish has become an enabling tool to question the absence of female authorial representation from the literary canon. Post-colonial studies sparks off questions related to identity, race, gender and ethnicity. Since one of the objectives of the post-colonial discourse is aimed at re- instating the marginalized in the face of the dominant some of the aspects it seeks to address through its fictions are those related to women‟s status in society, gender bias, quest for identity among others. As Rosalind Miles remarks, The task of interpretation of women‟s experience cannot be left to male writers alone, however sympathetic they might be. The female perspective expressed through women‟s writings of all kinds is more than a valuable corrective to an all-male view of the universe.1 Taking this argument into consideration, the present chapter will very briefly study the works of women novelists in India. -
Introduction
I INTRODUCTION The objective of the thesis has been to explore the rootlessness in the major fictional works of V.S. Naipaul, the-Trinidad-born English author. The emphasis has been on the analysis of his writings, in which he has depicted the images of home, family and association. Inevitably, in this research work on V.S. Naipaul’s fiction, multiculturalism, homelessness (home away from home) and cultural hybridity has been explored. Naipaul has lost his roots no doubt, but he writes for his homeland. He is an expatriate author. He gives vent to his struggle to cope with the loss of tradition and makes efforts to cling to the reassurance of a homeland. Thepresent work captures the nuances of the afore-said reality. A writer of Indian origin writing in English seems to have an object, that is his and her imagination has to be there for his/her mother country. At the core of diaspora literature, the idea of the nation-state is a living reality. The diaspora literature, however, focuses on cultural states that are defined by immigration counters and stamps on one’s passport. The diaspora community in world literature is quite complex. It has shown a great mobility and adaptability as it has often been involved in a double act of migration from India to West Indies and Africa to Europe or America on account of social and political resources. Writers like Salman Rushdie, RohingtonMistry, Bahrain Mukherjee, and V.S. Naipaul write from their own experience of hanging in limbo between two identities: non-Indian and Indian. -
THE INDIAN JOURNAL of ENGLISH STUDIES an Annual Journal
ISSN-L 0537-1988 53 THE INDIAN JOURNAL OF ENGLISH STUDIES An Annual Journal VOL.LIII 2016 Editor-in-Chief Dr. Binod Mishra Associate Professor of English, IIT Roorkee The responsibility for facts stated, opinion expressed or conclusions reached and plagiarism, if any, in this Journal is entirely that of the author. The editor/publisher bears no responsibility for them whatsoever. THE OFFICIAL PUBLICATION OF ASSOCIATION FOR ENGLISH STUDIES OF INDIA 53 2016 INDIAN JOURNAL OF ENGLISH STUDIES Editor-in-Chief: Dr. Binod Mishra, CONTENTS Department of HSS, IIT Roorkee, Uttarakhand. The Indian Journal of English Studies (IJES), published since 1940, accepts Editorial Binod Mishra VII scholarly papers presented by members at the annual conferences World Literature in English of the Association for English Hari Mohan Prasad 1 Studies of India (AESI). Orders for the Indian and Western Canon copy of the journal for home, college, Charu Sheel Singh 12 departmental/university library may be sent to the Editor-in-Chief, Mahesh Dattani’s Ek Alag Mausam: Dr. Binod Mishra, by sending an Art for Life’s Sake Mukesh Ranjan Verma 23 e-mail on [email protected]. Teachers and research scholars are Encounters in the Human requested to place orders on behalf of Zoo through Albee their institutions for one or more J. S. Jha 33 copies. Orders can be sent to Dr. Binod John Dryden and the Restoration Milieu Mishra, Editor-in-Chief, IJES, 215/3 Vinod Kumar Singh 45 Saraswati Kunj, IIT Roorkee, District- Folklore and Film: Commemorating Haridwar, Uttarakhand-247667, Vijaydan Detha, the Shakespeare India. -
A Room of Their Own: Women Novelists 109
A Room of their Own: Women Novelists 109 4 A Room of their Own: Women Novelists There is a clear distinction between the fiction of the old masters and the new novel, with Rushdie's Midnight's Children providing a convenient watershed. When it comes to women novelists, the distinction is not so clear cut. The older generation of women writers (they are a generation younger than the "Big Three") have produced significant work in the nineteen-eighties: Anita Desai's and Nayantara Sahgal's best work appeared in this period. We also have the phenomenon of the "late bloomers": Shashi Deshpande (b. 1937) and Nisha da Cunha (b. 1940) have published their first novel and first collection of short stories in the eighties and nineties respectively. But the men and women writers also have much in common. Women too have written novels of Magic Realism, social realism and regional fiction, and benefited from the increasing attention (and money) that this fiction has received, there being an Arundhati Roy to compare with Vikram Seth in terms of royalties and media attention. In terms of numbers, less women writers have been published abroad; some of the best work has come from stay-at- home novelists like Shashi Deshpande. Older Novelists Kamala Markandaya has published just one novel after 1980. Pleasure City (1982) marks a new direction in her work. The cultural confrontation here is not the usual East verses West, it is tradition and modernity. An efficient multinational corporation comes to a sleepy fishing village on the Coromandal coast to built a holiday resort, Shalimar, the pleasure city; and the villagers, struggling at subsistence level, cannot resist the regular income offered by jobs in it. -
Playing Host to Evolution
books and arts Newton Morton’s rather sketchy chapter by expressions of embarrassment at the on genetic epidemiology provides a useful “Eskimo” custom of lending their wives to Playing host to comment on both its history and its meth- dinner guests (in the concluding chapter by odology, but might have more properly Luca Cavalli-Sforza), even if the reference is evolution belonged in the introduction. So too would to the Lonely Planet guidebooks. One can Infectious Disease and Michel Tibayrenc’s endorsement of the imagine such a gross example of the com- Host–Pathogen Evolution Human Genome Diversity Project as a means moditization of women appearing in one of edited by Krishna R. Dronamraju of answering certain critical questions sur- Haldane’s essays for the Daily Worker,but it is Cambridge University Press: 2004. 384 pp. rounding susceptibility to infectious disease. doubtful that it would have found its way to £65, $95 Finally, extending haldanesque thinking to the part of his mind that dwelt upon disease ■ Sunetra Gupta diseases of unknown origin, the chapter and host evolution. on diabetes by Kyle and Gregory Cochran is Sunetra Gupta is in the Department of Zoology, It is apt that in the year that marks the 40th a refreshing addition to a book that could University of Oxford, Oxford OX1 3PS, UK. anniversary of the death of J. B. S. Haldane, have restricted itself to diseases that are we should have a book on host–pathogen obviously infectious. evolution that so explicitly acknowledges But set among these are several chapters the debt this field owes to him. -
Between Diaspora and Transnationalism in Divakaruni’S the Mistress of Spices and Sunetra Gupta’S So Good in Black
ISSN 2249-4529 www.pintersociety.com GENERAL ISSUE VOL: 8, No.: 1, SPRING 2018 UGC APPROVED (Sr. No.41623) BLIND PEER REVIEWED About Us: http://pintersociety.com/about/ Editorial Board: http://pintersociety.com/editorial-board/ Submission Guidelines: http://pintersociety.com/submission-guidelines/ Call for Papers: http://pintersociety.com/call-for-papers/ All Open Access articles published by LLILJ are available online, with free access, under the terms of the Creative Commons Attribution Non Commercial License as listed on http://creativecommons.org/licenses/by-nc/4.0/ Individual users are allowed non-commercial re-use, sharing and reproduction of the content in any medium, with proper citation of the original publication in LLILJ. For commercial re-use or republication permission, please contact [email protected] 98 | The Umbilical Cord ‘Home’: From ‘Roots’ to ‘Routes’ The Umbilical Cord ‘Home’: From ‘Roots’ to ‘Routes’ between Diaspora and Transnationalism in Divakaruni’s The Mistress of Spices and Sunetra Gupta’s So Good in Black Neelu Jain Abstract: The emerging interest in diaspora studies has recently begun to permeate various academic disciplines, thereby laying greater importance in recognizing and understanding diasporic communities as transnational organizations reflecting the theoretical shifts and current trends in migration. Although diaspora and transnationalism were quite different phenomena but with the advancement in the means of transport and communication, it has become easy for the diasporic community to connect with the people in homeland. Consequently, the diasporic gaze has shifted from identity crisis to identity formation to transnationalism and globalization due to which the notions of epicenter and boundary, home and exile are falling apart thereby giving a better understanding and importance of the word ‘diaspora’ in the current context. -
Research Plan Proposal
Research Plan Proposal From Tradition to Modernity: Diasporic Concerns in the Selected Novelsof Chitra Banerjee Divakaruni and Sunetra Gupta For Registration to the Degree of Doctor of Philosophy In the Faculty of Arts and Social Sciences THE IIS UNIVERSITY, JAIPUR Submitted By Neelu Jain ICG/2015/20473 Under the Supervision of Dr. Rani Rathore Sr. Asst. Prof. & Head Department of English July 2016 1 Tentative Title From Tradition to Modernity: Diasporic Concerns in the Selected Novels ofChitra Banerjee Divakaruni and Sunetra Gupta Research Problem Diaspora has its dynamics of origin and growth, formulation and explication. The term which was originally used for the dispersed community now shares its meaning with other displaced population due to slavery, partition, forced or wilful migration. According to KhachigToloyan “Diaspora has emerged as an umbrella term which includes not only Jewish, Greek and Armenian but includes words like immigrant, expatriate, refugee, guest-worker, exile community, overseas community, ethnic community.”(Safran, 1991) Indian diaspora is one of the largest diaspora and has gained widespread recognition in academic as well as political discourses. Today the Indian Diaspora has reached the mark more than 25 million, dispersed around the globe in more than 200 countries with a high concentration in regions such as The Middle East, The United States of America, Malaysia, South Africa. (“Engaging Diaspora: The Indian Growth Story” –Eleventh PravasiBhartiya Divas,2013). Migration takes place due to various reasons and in the Indian context the migratory movements are governed by historical, political, economic reasons including push and pull factors such as higher education, better prospects and marriage. -
May-Jun, 2018
i FOREWORD I am pleased to put into the hands of readers Volume-3; Issue-3: 2018 (May-June, 2018) of “International Journal of English Literature and Social Sciences (IJELS) (ISSN: 2456-7620) ” , an international journal which publishes peer reviewed quality research papers on a wide variety of topics related to English Literature, Humanities and Social Sciences. Looking to the keen interest shown by the authors and readers, the editorial board has decided to release print issue also, journal issue will be available in various library also in print and online version. This will motivate authors for quick publication of their research papers. Even with these changes our objective remains the same, that is, to encourage young researchers and academicians to think innovatively and share their research findings with others for the betterment of mankind. This journal has DOI (Digital Object Identifier) also, this will improve citation of research papers. I thank all the authors of the research papers for contributing their scholarly articles. Despite many challenges, the entire editorial board has worked tirelessly and helped me to bring out this issue of the journal well in time. They all deserve my heartfelt thanks. Finally, I hope the readers will make good use of this valuable research material and continue to contribute their research finding for publication in this journal. Constructive comments and suggestions from our readers are welcome for further improvement of the quality and usefulness of the journal. With warm regards. Dr. Manoj Kumar Editor-in-Chief International Journal of English Literature and Social Sciences (IJELS) (ISSN: 2456-7620) www.ijels.com Date: June, 2018 ii Editorial Board Dr. -
Indian English Novel After 1980: Encompassing the New Generation
JOURNAL OF CRITICAL REVIEWS ISSN- 2394-5125 Vol 8, Issue 1, 2021 INDIAN ENGLISH NOVEL AFTER 1980: ENCOMPASSING THE NEW GENERATION Arnab Roy Research Scholar National Institute of Technology, Durgapur Email: [email protected] Abstract: Indian English Literature refers to authors' body of work in India whose native or mother tongues might be one of India's several languages. It is also related to the work of Indian Diaspora members. It is also named Indo-Anglian literature. As a genre, this development is part of the larger spectrum of postcolonial literature. This paper discusses about Indian English novels after 1980. 1. Introduction This article attempts to consolidate Indian English Literature after 1980. There are a variety of books by literary artists such as SrinivasaIyengar, C.D. Narasimmaiya, M. K. Naik etc. that describe the beginning and development up to 1980. But the timely collection is not enough to date and this report is useful for a briefing on contemporary literary pedalling in around three-and-a-half decades. Apart from the deficiency of the correctly written root of the works consulted by Wikipedia, this kind of history is regularly obligatory. In India, post-colonial pressures played a critical and special position rather than post-war circumstances. It is true that an Indian genre called English writing has flourished unlimitedly and immensely and continues to thrive only during that time, i.e. after 1980. This paper is a study of Post- modern Indian English Novel, highlighting its history, themes adopted, andother aspects. 2. Historical past English isn't a foreign tongue to us.