amita

R.K. Narayan is a writer who contributed over many decades and who continued to write till his death recently. He was discovered by Graham Greene in the sense that the latter helped him find a publisher in England. Graham Greene and Narayan remained close friends till the end. Similar to Thomas Hardy's Wessex, Narayan created the fictitious town of Malgudi where he set his novels. Some criticise Narayan for the parochial, detached and closed world that he created in the face of the changing conditions in India at the times in which the stories are set. Others, such as Graham Greene, however, feel that through Malgudi they could vividly understand the Indian experience. Narayan's evocation of small town life and its experiences through the eyes of the endearing child protagonist Swaminathan in Swami and Friends is a good sample of his writing style. Simultaneous with Narayan's pastoral idylls, a very different writer, Mulk Raj Anand, was similarly gaining recognition for his writing set in rural India; but his stories were harsher, and engaged, sometimes brutally, with divisions of caste, class and religion.

Among the later writers, the most notable is Salman Rushdie, born in India, now living in the United Kingdom. Rushdie with his famous work Midnight's Children (Booker Prize 1981, Booker of Bookers 1992, and Best of the Bookers 2008) ushered in a new trend of writing. He used a hybrid language – English generously peppered with Indian terms – to convey a theme that could be seen as representing the vast canvas of India. He is usually categorised under the magic realism mode of writing most famously associated with Gabriel García Márquez.

Vikram Seth, author of A Suitable Boy (1994) is a writer who uses a purer English and more realistic themes. Being a self-confessed fan of Jane Austen, his attention is on the story, its details and its twists and turns.Vikram Seth is notable both as an accomplished novelist and poet. Vikram Seth's outstanding achievement as a versatile and prolific poet remains largely and unfairly neglected.

Shashi Tharoor, in his The Great Indian Novel (1989), follows a story-telling (though in a satirical) mode as in the Mahabharata drawing his ideas by going back and forth in time. His work as UN official living outside India has given him a vantage point that helps construct an objective Indianness.

Debates

One of the key issues raised in this context is the superiority/inferiority of IWE (Indian Writing in English) as opposed to the literary production in the various languages of India. Key polar concepts bandied in this context are superficial/authentic, imitative/creative, shallow/deep, critical/uncritical, elitist/parochial and so on.

The views of Salman Rushdie and Amit Chaudhuri expressed through their books The Vintage Book of Indian Writing and The Picador Book of Modern Indian Literaturerespectively essentialise this battle.

Rushdie's statement in his book – "the ironic proposition that India's best writing since independence may have been done in the language of the departed imperialists is simply too much for some folks to bear" – created a lot of resentment among many writers, including writers in English. In his book, Amit Chaudhuri questions – "Can it be true that Indian writing, that endlessly rich, complex and problematic entity, is to be represented by a handful of writers who write in English, who live in England or America and whom one might have met at a party?"

Chaudhuri feels that after Rushdie, IWE started employing magical realism, bagginess, non-linear narrative and hybrid language to sustain themes seen as microcosms of India and supposedly reflecting Indian conditions. He contrasts this with the works of earlier writers such as Narayan where the use of English is pure, but the deciphering of meaning needs cultural familiarity. He also feels that Indianness is a theme constructed only in IWE and does not articulate itself in the vernacular literatures. He further adds "the post-colonial novel, becomes a trope for an ideal hybridity by which the West celebrates not so much Indianness, whatever that infinitely complex thing is, but its own historical quest, its reinterpretation of itself".

Some of these arguments form an integral part of what is called postcolonial theory. The very categorisation of IWE – as IWE or under post-colonial literature – is seen by some as limiting. Amitav Ghosh made his views on this very clear by refusing to accept the Eurasian Commonwealth Writers Prize for his book The Glass Palace in 2001 and withdrawing it from the subsequent stage.

The renowned writer V. S. Naipaul, a third generation Indian from Trinidad and Tobago and a Nobel prize laureate, is a person who belongs to the world and usually not classified under IWE. Naipaul evokes ideas of homeland, rootlessness and his own personal feelings towards India in many of his books.

Jhumpa Lahiri, a Pulitzer prize winner from the U.S., is a writer uncomfortable under the label of IWE.

Recent writers in India such as Arundhati Roy and David Davidar show a direction towards contextuality and rootedness in their works. Arundhati Roy, a trained architect and the 1997 Booker prize winner for her The God of Small Things, calls herself a "home grown" writer. Her award winning book is set in the immensely physical landscape of Kerala. Davidar sets his The House of Blue Mangoes in Southern Tamil Nadu. In both the books, geography and politics are integral to the narrative. In his novel Lament of Mohini [1] (2000),Shreekumar Varma [2] touches upon the unique matriarchal system and the sammandham system of marriage as he writes about the Namboodiris and the aristocrats of Kerala.

Poetry

An overlooked category of Indian writing in English is poetry. Rabindranath Tagore wrote in Bengali and English and was responsible for the translations of his own work into English. Other early notable poets in English include Derozio, Michael Madhusudan Dutt, Toru Dutt, Romesh Chunder Dutt, Sri Aurobindo, Sarojini Naidu, and her brother Harindranath Chattopadhyay.

A generation of exiles also sprang from the Indian diaspora. Among these are names like Agha Shahid Ali, Sujata Bhatt, Richard Crasta, Yuyutsu Sharma and Vikram Seth.

In modern times, Indian poetry in English was typified by two very different poets. Dom Moraes, winner of the Hawthornden Prize at the age of 19 for his first book of poems A Beginning went on to occupy a pre-eminent position among Indian poets writing in English.Nissim Ezekiel, who came from India's tiny Bene Israel Jewish community, created a voice and place for Indian poets writing in English and championed their work.

Their contemporaries in English poetry in India were Jayanta Mahapatra, Gieve Patel, A. K. Ramanujan, Arun Kolatkar, Dilip Chitre,Eunice De Souza, Kersy Katrak, P. Lal, Kamala Das, and Arvind Krishna Mehrotra, among several others. The younger generation of poets writing in English include Smita Agarwal, Makarand Paranjape, Nandini Sahu, Vattacharja Chandan, Arundhathi Subramaniam,Ranjit Hoskote, Sudeep Sen, Hemant Mohapatra, Jeet Thayil, Mani Rao, Jerry Pinto, Abhay K , Meena Kandasamy among others.

Alternative writing

India's experimental and avant garde counterculture is symbolized in the Prakalpana Movement. During the last four decades this bilingual literary movement has included Richard Kostelanetz, John M. Bennett, Don Webb, Sheila Murphy and many others worldwide and their Indian couterparts. Vattacharja Chandan is a central figure who contrived the movement.Prakalpana fiction is a fusion of prose, poetry, play, essay, and pictures. An example of a Prakalpana work is Chandan's bilingual Cosmosphere .

Some bilingual writers have also made significant contributions, such as Paigham Afaqui with his novel Makaan in 1989.

Shripad Krishnarao Vaidya (born on 05th May, 1969) from Maharashtra, India has created a record by writing a Poetry book with the longest title. This book has title in 355 words. It was published on 28th March, 2010. The title of this book is grammatically correct and makes a sense about the theme of the book.

Girish Raghunath Karnad (born 19 May 1938), is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a prominent playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.^[1] He is a recipient^[2] of the 1998 Jnanpith Award, the highest literary honour conferred in India.

For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his major plays into English, and has received critical acclaim across India.^[3] His plays have been translated into several Indian languages and directed by eminent directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalanand Amal Allana.^[3] He is also active in the world of Indian cinema working as an actor,director, and screenwriter, both in Hindi and Kannada cinema, earning numerous awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and also he won 4 Filmfare Awards where 3 are Filmfare Award for Best Director - Kannada and 1 Filmfare Best Screenplay Award

Karnad is most famous as a playwright. His plays, written in Kannada, have been widely translated into English and all major Indian languages. Karnad's plays are written neither inEnglish, in which he dreamed of earning international literary fame as a poet, nor in his mother tongue Konkani. Instead they are composed in his adopted language Kannada. When Karnad started writing plays, Kannada literature was highly influenced by the renaissance in Western literature. Writers would choose a subject which looked entirely alien to manifestation of native soil. C. Rajagopalachari's version of the Mahabharat published in 1951, left a deep impact on him,^[8] and soon sometime in the mid 1950s, one day he experienced a rush of dialogues spoken by characters from the Mahabharata in his adopted language Kannada. "I could actually hear the dialogues being spoken into my ears..."I was just the scribe, " said Karnad in a later interview. Eventually Yayati was published in 1961, he was 23 years old. It is based on the story of King Yayati, one of the ancestors of thePandavas, who was cursed into premature old age by his father-in-law, Shukracharya, incensed by Yayati's infidelity. Yayati in turn asks his sons to sacrifice their youth for him, and one of them agrees. It ridicules the ironies of life through characters in Mahabharata and became an instant success, immediately translated and staged in several other Indian languages.^[7]

In a situation like that Karnad found a new approach like drawing historical and mythological sources to tackle contemporary themes, and existentialist crisis of modern man, through his characters locked in psychological and philosophical conflicts. His next wasTughlaq (1964), his best loved play, about an idealist 14th-century Sultan of Delhi, Muhammad bin Tughluq, and allegory on theNehruvian era which started with ambitious idealism and ended up in disillusionment.^[8] This established Karnad, now 26-years old, as one of the most promising playwrights in the country. It was staged by the National School of Drama Repertory under the direction ofEbrahim Alkazi, with the actor Manohar Singh, playing the visionary king who later becomes disillusioned and turns bitter, amidst the historic Purana Qila in Delhi. It was later staged in London by the National School of Drama for the Festival of India in 1982.

Hayavadana (1971) was based on a theme drawn from The Transposed Heads, a 1940 novella by Thomas Mann, which is originally found in Kathasaritsagara, herein he employed the folk theatre form of Yakshagana. A German version of the play, was directed byVijaya Mehta as part of the repertoire of the Deutsches National Theatre, Weimar. Naga-Mandala (Play with Cobra, 1988) was based on a folk tale related to him by A. K. Ramanujam, brought him the Karnataka Sahitya Academy Award for the Most Creative Work of 1989. It was directed by J. Garland Wright, as part of the celebrations of the 30th anniversary of Guthrie Theatre, Minneapolis. The theatre subsequently commissioned him to write the play, Agni Mattu Male (The Fire and the Rain). Though prior to it came Taledanda (Death by Beheading, 1990) which used the backdrop, the rise of Veerashaivism, a radical protest and reform movement in 12th century Karnataka to bring out current issues.^[3]^[9]

amita

Friday, 25 January 2013

PTC GUIDE BOOK

ANXIETY,PANIC ATTACT,PHOBIAS....SOTUTIONS

DRY FOOD AND HEALTH CARE

DRY FOOD AND HEALTH CARE

PROTECTION AND KNOWING CANCER

Thursday, 24 January 2013

INDIAN ENGLISH WRITING