The Indian short story is not merely a derivative of the Western genre, but owes much to the great story-telling tradition of Indian antiquity. The mythical and legendary tales as well as folktales have provided a fertile soil for the... more
The Indian short story is not merely a derivative of the Western genre, but owes much to the great story-telling tradition of Indian antiquity. The mythical and legendary tales as well as folktales have provided a fertile soil for the modern Indian short story to germinate. Beginning towards the end of the nineteenth century, the Indian short story flourished in the twentieth century. It became evident by the end of the past century that the canon is attuned to Indian landscape whose heterogeneous people and their diverse experiences it reflects so faithfully. The Indian short story as a distinct genre resembles a “multicoloured glass” scattering myriad hues which is analogous to the diversity of our country itself. The variegated and unbeaten genre righteously deserves critical attention which it has been deprived of.
With twenty-seven scholarly articles by academics, professors and researchers, the present critical volume is a tribute to an affluent but neglected genre of Indian literature. In accord with the genre itself, the scope of the book allows for such diversity as the classic writers like Tagore and Manto; the feminist writers like Ismat Chughtai, Kamala Das, Shashi Deshpande and Indira Goswami; the dalit writers like Bama and Ajay Navaria; the diaspora writers like Bharati Mukherjee and Jhumpa Lahiri. The reworking of myth by Mahasweta Devi, the nature lore of Ruskin Bond, the saga of exile by the Kashmiri Pandits, the satire of Hari Shankar Parsai, the macabre tales of Satyajit Ray, the problematics of identity in Manoj Das and memory in Temsula Ao—all are taken into consideration within the structure of a single volume to make this a stimulating overview for students and scholars of Indian literature.
This article seeks to (re)position Bama's Karukku and Sangati as autoethnographies from a Tamil Dalit perspective. Drawing on the combined tradition of Bakhtin's thought and feminist dialogics, the author engages in a transdisciplinary... more
This article seeks to (re)position Bama's Karukku and Sangati as autoethnographies from a Tamil Dalit perspective. Drawing on the combined tradition of Bakhtin's thought and feminist dialogics, the author engages in a transdisciplinary analysis of theoretical debates of Dalit autoethnographic narratives in order to understand the creation of dialogic spaces as spaces that both subordinate and subvert. https://www.tandfonline.com/doi/full/10.1080/08989575.2015.1086952
