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In this first scholarly work on India's great modern poet, Laetitia Zecchini outlines a story of literary modernism in India and discusses the traditions, figures and events that inspired and defined Arun Kolatkar. Based on an impressive range of archival and unpublished material, this book also aims at moving lines of accepted genealogies of modernism and 'postcolonial literature'. Zecchini uncovers how poets of Kolatkar's generation became modern Indian writers while tracing a lineage to medieval oral traditions. She considers how literary bilingualism allowed Kolatkar to blur the boundaries between Marathi and English, 'Indian' and 'Western sources; how he used his outsider position to privilege the quotidian and minor and revived the spirit of popular devotion. Graphic artist, poet and songwriter, storyteller of Bombay and world history, poet in Marathi, in English and in 'Americanese', non-committal and deeply political, Kolatkar made lines wobble and treasured impermanence. Steeped in world literature, in European avant-garde poetry, American pop and folk culture, in a 'little magazine' Bombay bohemia and a specific Marathi ethos, Kolatkar makes for a fascinating subject to explore and explain the story of modernism in India. This book has received support from the labex TransferS: http://transfers.ens.fr/
In this first scholarly work on India's great modern poet, Laetitia Zecchini outlines a story of literary modernism in India and discusses the traditions, figures and events that inspired and defined Arun Kolatkar. Based on an impressive range of archival and unpublished material, this book also aims at moving lines of accepted genealogies of modernism and 'postcolonial literature'. Zecchini uncovers how poets of Kolatkar's generation became modern Indian writers while tracing a lineage to medieval oral traditions. She considers how literary bilingualism allowed Kolatkar to blur the boundaries between Marathi and English, 'Indian' and 'Western sources; how he used his outsider position to privilege the quotidian and minor and revived the spirit of popular devotion. Graphic artist, poet and songwriter, storyteller of Bombay and world history, poet in Marathi, in English and in 'Americanese', non-committal and deeply political, Kolatkar made lines wobble and treasured impermanence. Steeped in world literature, in European avant-garde poetry, American pop and folk culture, in a 'little magazine' Bombay bohemia and a specific Marathi ethos, Kolatkar makes for a fascinating subject to explore and explain the story of modernism in India. This book has received support from the labex TransferS: http://transfers.ens.fr/
Anjali Nerlekar's Bombay Modern is a close reading of Arun Kolatkar's canonical poetic works that relocates the genre of poetry to the center of both Indian literary modernist studies and postcolonial Indian studies. Nerlekar shows how a bilingual, materialist reading of Kolatkar's texts uncovers a uniquely resistant sense of the "local" that defies the monolinguistic cultural pressures of the post-1960 years and straddles the boundaries of English and Marathi writing. Bombay Modern uncovers an alternative and provincial modernism through poetry, a genre that is marginal to postcolonial studies, and through bilingual scholarship across English and Marathi texts, a methodology that is currently peripheral at best to both modernist studies and postcolonial literary criticism in India. Eschewing any attempt to define an overarching or universal modernism, Bombay Modern delimits its sphere of study to "Bombay" and to the "post-1960" (the sathottari period) in an attempt to examine at close range the specific way in which this poetry redeployed the regional, the national, and the international to create a very tangible yet transient local.
A History of Indian Poetry in English explores the genealogy of Anglophone verse in India from its nineteenth-century origins to the present day. Beginning with an extensive introduction that charts important theoretical contributions to the field, this History includes extensive essays that illuminate the legacy of English in Indian poetry. Organized thematically, these essays survey the multilayered verse of such diverse poets as Henry Louis Vivian Derozio, Rabindranath Tagore, Nissim Ezekiel, Dom Moraes, Kamala Das, and Melanie Silgardo. Written by a host of leading scholars, this History also devotes special attention to the lasting significance of imperialism and diaspora in Indian poetry. This book is of pivotal importance to the development of Indian poetry in English and will serve as an invaluable reference for specialists and students alike.
"The Oxford Handbook of Modern Indian Literatures is a compilation of scholarship on Indian literature from the 19th century to the present in a range of Indian languages. On one hand, because of reasons associated with national academic structures, publishing resources, and global visibility, English writing gets privileged over all the other linguistic traditions in the scholarship on Indian literatures. On the other hand, within the scholarship on regional language literary productions (in Hindi, Marathi, Bengali, etc.), the critical works and the surveys focus only on that particular language and therefore frequently suffer from a lack of comparative breadth and/or global access. Both reflect the paradigm of monolingualism within which much literary scholarship on Indian literature takes place. This handbook instead focuses on the multilingual pathways through which modern Indian literature gets constituted. It features cutting-edge literary criticism from at least seventeen languages, and on traditional literary genres as well as more recent ones like graphic novels. It shows the deep connections and collaborations across genres, languages, nations, and regions that produce a literature of diverse contact zones, generating innovations on form, aesthetics, and technique. Foregrounding themes such as modernity and modernism, gender, caste, diaspora, and political resistance, the book collects an array of perspectives on this vast topic"--
This book is about the most vibrant yet under-studied aspects of Indian writing today. It examines multilingualism, current debates on postcolonial versus world literature, the impact of translation on an “Indian” literary canon, and Indian authors’ engagement with the public sphere. The essays cover political activism and the North-East Tribal novel; the role of work in the contemporary Indian fictional imaginary; history as felt and reconceived by the acclaimed Hindi author Krishna Sobti; Bombay fictions; the Dalit autobiography in translation and its problematic international success; development, ecocriticism and activist literature; casteism and access to literacy in the South; and gender and diaspora as dominant themes in writing from and about the subcontinent. Troubling Eurocentric genre distinctions and the split between citizen and subject, the collection approaches Indian literature from the perspective of its constant interactions between private and public narratives, thereby proposing a method of reading Indian texts that goes beyond their habitual postcolonial identifications as “national allegories”.
Winner of the Modernist Studies Association (MSA) Edited Volume Prize Bringing together works by writers from sub-Saharan Africa, Turkey, central Europe, the Muslim world, Asia, South America and Australia – many translated into English for the first time – this is the first collection of statements on modernism by writers, artists and practitioners from across the world. Annotated throughout, the texts are supported by critical essays from leading modernist scholars exploring major issues in the contemporary study of global modernism. Global Modernists on Modernism is an essential resource for students and scholars of modernism and world literature and one that opens up a dazzling new array of perspectives on the field.
This timely volume focuses on the period of decolonization and the Cold War as the backdrop to the emergence of new and diverse literary aesthetics that accompanied anti-imperialist commitments and Afro-Asian solidarity. Competing internationalist frameworks produced a flurry of writings that made Asian, African and other world literatures visible to each other for the first time. The book’s essays examine a host of print culture formats (magazines, newspapers, manifestos, conference proceedings, ephemera, etc.) and modes of cultural mediation and transnational exchange that enabled the construction of a variously inflected Third-World culture which played a determining role throughout the Cold War. The essays in this collection focus on locations as diverse as Morocco, Tunisia, South Asia, China, Spain, and Italy, and on texts in Arabic, English, French, Hindi, Italian, and Spanish. In doing so, they highlight the combination of local debates and struggles, and internationalist networks and aspirations that found expression in essays, novels, travelogues, translations, reviews, reportages and other literary forms. With its comparative study of print cultures with a focus on decolonization and the Cold War, the volume makes a major contribution both to studies of postcolonial literary and print cultures, and to cultural Cold War studies in multilingual and non-Western contexts, and will be of interest to historians and literary scholars alike.
Offers an exploration of what it means to be a modern Indian in relation to the West. This work features essays about Indian popular culture and high culture, travel and location in Paris, Bombay, Dublin, Calcutta and Berlin, empire and nationalism, Indian and Western cinema, music, art and literature, politics, race, and cosmopolitanism.