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A History of the Indian Novel in English traces the development of the Indian novel from its beginnings in the late nineteenth century up until the present day. Beginning with an extensive introduction that charts important theoretical contributions to the field, this History includes extensive essays that shed light on the legacy of English in Indian writing. Organized thematically, these essays examine how English was "made Indian" by writers who used the language to address specifically Indian concerns. Such concerns revolved around the question of what it means to be modern as well as how the novel could be used for anti-colonial activism. By the 1980s, the Indian novel in English was a global phenomenon, and India is now the third largest publisher of English-language books. Written by a host of leading scholars, this History invites readers to question conventional accounts of India's literary history.
Annotation This volume surveys 200 years of Indian literature in English. Written by Indian scholars and critics, many of the 24 contributions examine the work of individual authors, such as Rabindranath Tagore, R.K. Narayan, and Salman Rushdie. Others consider a particular genre, such as post-independence poetry or drama. The volume is illustrated with b&w photographs of writers along with drawings and popular prints. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).
In this award-winning novel, Tharoor has masterfully recast the two-thousand-year-old epic, The Mahabharata, with fictional but highly recognizable events and characters from twentieth-century Indian politics. Nothing is sacred in this deliciously irreverent, witty, and deeply intelligent retelling of modern Indian history and the ancient Indian epic The Mahabharata. Alternately outrageous and instructive, hilarious and moving, it is a dazzling tapestry of prose and verse that satirically, but also poignantly, chronicles the struggle for Indian freedom and independence.
The Oxford Studies in Postcolonial Literatures series offers stimulating and accessible introductions to definitive topics and key genres and regions within the rapidly diversifying field of postcolonial literary studies in English. It is often claimed that unlike the British novel or the novel in indigenous Indian languages, Anglophone fiction in India has no genealogy of its own. Interrogating this received idea, Priyamvada Gopal shows how the English-language or Anglophone Indian novel is a heterogeneous body of fiction in which certain dominant trends and recurrent themes are, nevertheless, discernible. It is a genre that has been distinguished from its inception by a preoccupation with both history and nation as these come together to shape what scholars have termed 'the idea of India'. Structured around themes such as 'Gandhi and Fiction', 'The Bombay Novel', and 'The Novel of Partition', this study traces lines of influence across significant literary works and situates individual writers and texts in their historical context. Its emergence out of the colonial encounter and nation-formation has impelled the Anglophone novel to return repeatedly to the question: 'What is India?' In the most significant works of Anglophone fiction, 'India' emerges not just as a theme but as a point of debate, reflection, and contestation. Writers whose works are considered in their context include Rabindranath Tagore, Mulk Raj Anand, RK Narayan, Salman Rushdie, Nayantara Sahgal, Amitav Ghosh, Arundhati Roy, and Vikram Seth.
Rajmohan’s Wife and Sultana’s Dream (1864/1908) features the debut novel of Indian writer Bankim Chandra Chatterjee and a story by Bengali writer, feminist, and educator Rokeya Sakhawat Hossain. Rajmohan’s Wife, Chattopadhyay’s only work in English, launched his career as a leading Bengali intellectual and political figure. Written in English, Sultana’s Dream originated as a way of passing time for its young author while her husband was away on work. Initially published in The Indian Ladies Magazine, Sultana’s Dream helped establish Rokeya’s reputation as a leading figure in Bengali arts and culture. Rajmohan’s Wife is the story of Matangini, a beautiful woman married to a violent, jealous man. Unable to marry the man she loves—who happens to be her own sister’s husband—she settles for the villainous Rajmohan, an abusive man who rules his middle-class Bengali household with an iron fist. With the help of her friend Kanak, Matangini does her best to avoid her husband’s wrath, illuminating the importance of solidarity among women faced with oppression. Vindictive and cruel, Rajmohan secretly enacts a plan to rob Madhav, his brother-in-law, in order to obtain and invalidate a will. Sultana’s Dream is set in Ladyland is a feminist utopia ruled by women, a perfect civilization with no need for men, who remain secluded and without power. Free to develop their own society, women have invented flying cars, perfected farming to the point where no one must work, and harnessed the energy of the sun. With men under control, there is no longer fear, crime, or violence. Ultimately, Ladyland is a world made to mirror our own, a satirical exploration of the absolute power wielded by men over women, and a political critique of Bengali society at large. Sultana’s Dream is more than a science fiction story; it is an act of resistance made by a woman who would shape the lives of her people through advocacy, education, and activism for generations to come. With a beautifully designed cover and professionally typeset manuscript, this edition of Bankim Chandra Chatterjee and Rokeya Sakhawat Hossain’s Rajmohan’s Wife and Sultana’s Dream is a classic of Bengali literature and utopian science fiction reimagined for modern readers.
Agastya Sen, known to friends by the English name August, is a child of the Indian elite. His friends go to Yale and Harvard. August himself has just landed a prize government job. The job takes him to Madna, “the hottest town in India,” deep in the sticks. There he finds himself surrounded by incompetents and cranks, time wasters, bureaucrats, and crazies. What to do? Get stoned, shirk work, collapse in the heat, stare at the ceiling. Dealing with the locals turns out to be a lot easier for August than living with himself. English, August is a comic masterpiece from contemporary India. Like A Confederacy of Dunces and The Catcher in the Rye, it is both an inspired and hilarious satire and a timeless story of self-discovery.
Indian writers of English such as G. V. Desani, Salman Rushdie, Amit Chaudhuri, Amitav Ghosh, Vikram Seth, Allan Sealy, Shashi Tharoor, Arundhati Roy, Vikram Chandra and Jhumpa Lahiri have taken the potentialities of the novel form to new heights. Against the background of the genre’s macro-history, this study attempts to explain the stunning vitality, colourful diversity, and the outstanding but sometimes controversial success of postcolonial Indian novels in the light of ongoing debates in postcolonial studies. It analyses the warp and woof of the novelistic text through a cross-sectional scrutiny of the issues of democracy, the poetics of space, the times of empire, nation and globalization, self-writing in the auto/meta/docu-fictional modes, the musical, pictorial, cinematic and culinary intertextualities that run through this hyperpalimpsestic practice and the politics of gender, caste and language that gives it an inimitable stamp. This concise and readable survey gives us intimations of a truly world literature as imagined by Francophone writers because the postcolonial Indian novel is a concrete illustration of how “language liberated from its exclusive pact with the nation can enter into a dialogue with a vast polyphonic ensemble.”
Asking what Indian readers chose to read and why, In Another Country shows how readers of the English novel transformed the literary and cultural influences of empire. She further demonstrates how Indian novelists writing in English, from Krupa Satthianadhan to Salman Rushdie, took an alien form in an alien language and used it to address local needs. Taken together in this manner, reading and writing reveal the complex ways in which culture is continually translated and transformed in a colonial and postcolonial context.
The Indian English Novel of the New Millennium is a book of sixteen pieces of scholarly critique on recent Indian novels written in the English language; some on specific literary trends in fictional writing and others on individual texts published in the twenty-first century by contemporary Indian novelists such as Amitav Ghosh, Kiran Desai, Aravind Adiga, K. N. Daruwalla, Upamanyu Chatterjee, David Davidar, Esterine Kire Iralu, Siddharth Chowdhury and Chetan Bhagat. The volume focuses closely on the defining features of the different emerging forms of the Indian English novel, such as narratives of female subjectivity, crime fiction, terror novels, science fiction, campus novels, animal novels, graphic novels, disability texts, LGBT voices, dalit writing, slumdog narratives, eco-narratives, narratives of myth and fantasy, philosophical novels, historical novels, postcolonial and multicultural narratives, and Diaspora novels. A select bibliography of recent Indian English novels from 2001–2013 has been given especially for the convenience of the researchers. The book will be of great interest and benefit to college and university students and teachers of Indian English literature.