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.
Even when poetry is dark and angst-ridden, it remains the scream of the agonised mind full of concern for the future or for humankind. Poetry speaks for the victims of all kinds of oppression.
Bombay’s fascination comes from many sources: its deep history, its colonial past, the impact of Partition, and its cosmopolitan population.
Modernism in Indian literature, in retrospect, appears to have been a way of documenting the dehumanisation of society after Independence with its attendant alienation, morbidity and loss of identity.
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.
January 4, 2014, marks 47 years since Atiya Fyzee Rahamin's death and her bequest to the Karachi municipal corporation, and 137 years since her birth; but neither all the time, nor all the changes and progress has produced the courage that would be needed to reclaim her legacy. By RAFIA ZAKARIA
With India’s plurilingual heritage, translation, with its accretions, adaptations and substitutions, was often a reinterpretation of the “original”. It continues to be a way of having a living dialogue with our past and between our different cultures.
Almost Island, a writers’ collective with a rich online literary background, has made a mark on the Indian publishing scene with three remarkable books.