Pudhumaipithan revolutionised the Tamil short story in form, content and language, making it truer to the lived realities of the times. By VRIDHACHALEMPILLAY SUBRAMANIAM
There is hardly any dissenting writer in the world who has not turned the period of his/her imprisonment into a season for reflection, imagination and creative expression.
Though the concerns of modern Sri Lankan poetry are diverse, the war seems to have had a deep impact, with most poets questioning Sinhala nationalism and the cultural conservatism underpinning it.
The history of Indian criticism in the past few decades has been the history of the varied responses to various challenges and the attempts to arrive at some critical canon that might help unlock and explain contemporary Indian texts.
Rabindranath Tagore’s concepts can form the basis of a critique of the idea of an over-centralised nation seeking cultural standardisation as also a plea for a more open, truly federal polity where people are free to imagine the nation in the way they want and relate to it on their own terms.
Myths have not only survived science and technology but will continue to fascinate creative minds who find in them the threads to weave their own narratives that reflect the traumatic times they live in.
Rereadings of canonical texts side by side with the discovery of buried and forgotten texts have certainly unleashed a lot of radical energy in the realm of criticism.
On two autobiographies that deal with discontent and change but in radically different circumstances: set in two entirely different continents of experience, written in two different languages and following two different modes of narration.