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English Heart, Hindi Heartland examines Delhi’s postcolonial literary world—its institutions, prizes, publishers, writers, and translators, and the cultural geographies of key neighborhoods—in light of colonial histories and the globalization of English. Rashmi Sadana places internationally recognized authors such as Salman Rushdie, Anita Desai, Vikram Seth, and Aravind Adiga in the context of debates within India about the politics of language and alongside other writers, including K. Satchidanandan, Shashi Deshpande, and Geetanjali Shree. Sadana undertakes an ethnographic study of literary culture that probes the connections between place, language, and text in order to show what language comes to stand for in people’s lives. In so doing, she unmasks a social discourse rife with questions of authenticity and cultural politics of inclusion and exclusion. English Heart, Hindi Heartland illustrates how the notion of what is considered to be culturally and linguistically authentic not only obscures larger questions relating to caste, religious, and gender identities, but that the authenticity discourse itself is continually in flux. In order to mediate and extract cultural capital from India’s complex linguistic hierarchies, literary practitioners strategically deploy a fluid set of cultural and political distinctions that Sadana calls "literary nationality." Sadana argues that English, and the way it is positioned among the other Indian languages, does not represent a fixed pole, but rather serves to change political and literary alliances among classes and castes, often in surprising ways.
Honorable Mention, Harry Levin Prize, 2022 (American Comparative Literature Association) Beyond English: World Literature and India radically alters the debates on world literature that hinge on the model of circulation and global capital by deeply engaging with the idea of the world and world-making in South Asia. Tiwari argues that Indic words for world (vishva, jagat, sansar) offer a nuanced understanding of world literature that is antithetical to a commodified and standardized monolingual globe. She develops a comparative study of the concept of “world literature” (vishva sahitya) in Rabindranath Tagore's works, the desire for a new world in the lyrics of the Hindi shadowism (chhayavaad) poets, and world-making in Thakazhi Sivasankara Pillai's Chemmeen (1956) and Arundhati Roy's The God of Small Things (1997). By emphasizing the centrality of “literature” (sahitya) through a close reading of texts, Tiwari orients world literature toward comparative literature and comparative literature toward a worldliness that is receptive to the poetics of a world in its original language and in translation.
This collection of stories from celebrated author Dilip Kumar offers a distinct perspective on everyday life in the South Indian cities of Coimbatore and Chennai. The stories set in the Sowcarpet neighborhood of Chennai give readers a glimpse into the orthodox world of Gujarati Vaishnavas, transplants from the northwestern region of Kutch, who find themselves living usually at odds—and occasionally in harmony—with the Tamil-speaking community. The volume is introduced by its award-winning translator, Martha Ann Selby, who worked closely with the author. The universal appeal of these stories is rooted in their utterly truthful local specificity as they explore complex themes of abduction and restoration, humiliation and despair, and related issues of identity and wholeness. Known by Tamil readers for his description and detail, Dilip Kumar also writes with humor and a deep compassion for his characters, highlighting their strengths in the face of degradation and strife. His perspective and insight build on his own status as a northerner in this southern setting for whom Tamil is a second language—much like his characters.
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.
This anthology explores and validate the nuances of Indian popular fiction which has hitherto been hounded by its ubiquitous 'commerical' success. It uncoverspopular in its socio-political and cultural contexts. Furthermore, it investigates the vitality embedded in theory and praxis of popular forms and their insurrections in mutants and new age oeuvres and looks to examine the symbiotic bonds between the reader and the author, as the latter articulates and perpetuates the needs of the former whose demands need continual fulfilment. This constant metamorphosis of the popular fueled by neoliberalism and postmodernity along with the shifts in the publishing industry to more democratic 'reader' driven genres is taken up here along with the millenial's fetish for romance, humanized mythical retellings and the evergreen whodunnits. As its natural soulmates, the anthology delves into the interstices of Indian Popular with desi (local) traditions, folk lore, community consciousness and nation building. Please note: This title is co-published with Aakar Books, New Delhi. Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.
Modernist thinkers once presumed a progressive secularity, with the novel replacing religious texts as society’s moral epics. Yet religion—beginning with the Iranian revolution of 1979, through the collapse of communism, and culminating in the singular rupture of September 11, 2001—has not retreated quietly out of sight. In Fiction Beyond Secularism, Justin Neuman argues that contemporary novelists who are most commonly identified as antireligious—among them Orhan Pamuk, Salman Rushdie, Ian McEwan, Margaret Atwood, Nadine Gordimer, Haruki Murakami, and J. M. Coetzee—have defied assumptions and have instead written some of the most trenchant critiques of secular ideologies, as well as the most exciting and rigorous inquiries into the legacies of the religious imagination. As a result, many readers (or nonreaders) on either side of the religious divide neglect the insights of works like The Satanic Verses, Disgrace, and Snow. Fiction Beyond Secularism serves as a timely corrective.
This volume critically engages with recent formulations and debates regarding the status of the regional languages of the Indian subcontinent vis-à-vis English. It explores how language ideologies of the “vernacular” are positioned in relation to the language ideologies of English in South Asia. The book probes into how we might move beyond the English-vernacular binary in India, explores what happened to “bhasha literatures” during the colonial and post-colonial periods and how to position those literatures by the side of Indian English and international literature. It looks into the ways vernacular community and political rhetoric are intertwined with Anglophone (national or global) positionalities and their roles in political processes. This book will be of interest to researchers, students and scholars of literary and cultural studies, Indian Writing in English, Indian literatures, South Asian languages and popular culture. It will also be extremely valuable for language scholars, sociolinguists, social historians, scholars of cultural studies and those who understand the theoretical issues that concern the notion of “vernacularity”.
In Stereotype confronts the importance of cultural stereotypes in shaping the ethics and reach of global literature. Mrinalini Chakravorty focuses on the seductive force and explanatory power of stereotypes in multiple South Asian contexts, whether depicting hunger, crowdedness, filth, slums, death, migrant flight, terror, or outsourcing. She argues that such commonplaces are crucial to defining cultural identity in contemporary literature and shows how the stereotype's ambivalent nature exposes the crises of liberal development in South Asia. In Stereotype considers the influential work of Salman Rushdie, Aravind Adiga, Michael Ondaatje, Monica Ali, Mohsin Hamid, and Chetan Bhagat, among others, to illustrate how stereotypes about South Asia provide insight into the material and psychic investments of contemporary imaginative texts: the colonial novel, the transnational film, and the international best-seller. Probing circumstances that range from the independence of the Indian subcontinent to poverty tourism, civil war, migration, domestic labor, and terrorist radicalism, Chakravorty builds an interpretive lens for reading literary representations of cultural and global difference. In the process, she also reevaluates the fascination with transnational novels and films that manufacture global differences by staging intersubjective encounters between cultures through stereotypes.
In Flesh and Fish Blood Subramanian Shankar breaks new ground in postcolonial studies by exploring the rich potential of vernacular literary expressions. Shankar pushes beyond the postcolonial Anglophone canon and works with Indian literature and film in English, Tamil, and Hindi to present one of the first extended explorations of representations of caste, including a critical consideration of Tamil Dalit (so-called untouchable) literature. Shankar shows how these vernacular materials are often unexpectedly politically progressive and feminist, and provides insight on these oft-overlooked—but nonetheless sophisticated—South Asian cultural spaces. With its calls for renewed attention to translation issues and comparative methods in uncovering disregarded aspects of postcolonial societies, and provocative remarks on humanism and cosmopolitanism, Flesh and Fish Blood opens up new horizons of theoretical possibility for postcolonial studies and cultural analysis.
Winner, 2015 LAJSA Best Book in Latin American Jewish Studies The practices of interrogation, torture, and confession have resurfaced in public debates since the early 2000s following human rights abuses around the globe. Yet discussion of torture has remained restricted to three principal fields: the legal, the pragmatic, and the moral, eclipsing the less immediate but vital question of what torture does.Figurative Inquisitions seeks to correct this lacuna by approaching the question of torture from a literary vantage point. This book investigates the uncanny presence of the Inquisition and marranismo (crypto-Judaism) in modern literature, theater, and film from Mexico, Brazil, and Portugal. Through a critique of fictional scenes of interrogation, it underscores the vital role of the literary in deconstructing the relation between torture and truth. Figurative Inquisitions traces the contours of a relationship among aesthetics, ethics, and politics in an account of the "Inquisitional logic" that continues to haunt contemporary political forms. In so doing, the book offers a unique humanistic perspective on current torture debates.