Saturday, November 5, 2011

Literary Interview of Sarojini Sahoo by Capt. Dr. Arvind Nawale


Sarojini Sahoo: A Fiction Writer and Trendsetter of Feminism in Contemporary Oriya Literature

Literary Interview by Capt. Dr. Arvind Nawale
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Sarojini Sahoo: Born in a small town of Dhenkanal in Orissa (India), married to Mr.Jagadish Mohanty a veteran writer of Orissa, Sarojini Sahoo, is a prime figure and trendsetter of feminism in contemporary Oriya literature. For her; feminism is not a gender problem or any confrontational attack on male hegemony. So, it is quite different from that of Virginia Woolf or Judith Butler. Her fictions always project a feminine sensibility from puberty to menopause. In English, one novel and two anthologies of short stories have been published to her credit. Bengali translation of two of her novels have been published from Bangladesh. In Oriya, there are eight short stories collections and eight novels in published form to her credit. Two of her novels and one of her short stories collection have been published in Hindi and one novel in Malayalam. Recently AuthorsPress has published her English essays collection Sensible Sensuality. She has been conferred with the Orissa Sahitya Academy Award, 1993, the Jhankar Award, 1992, the Bhubaneswar Book Fair Award and the Prajatantra Award. She has published eight anthologies of short stories and five novels. Delhi Doordarshan, the National Channel of India has featured her life style and creations in its special tele-serial ‘Literary Postcard’. Recently, she has been enlisted among 25 exceptional women of India by the Kindle magazine of Kolkata.
Email: sarojalin@gmail.com, sarojinisahoo2003@yahoo.co.in 

*The present interview is published in my book Feminine Fragrance ISBN 978-93-81030-28-8. GNOSIS, NEW DELHI
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AMN: Welcome, Sarojiniji. Please tell us a bit about yourself.
SS:  Very politely, I have to say, I am not such a personality, that you would ask me to introduce myself. I have very few words stored in favour of mine to introduce. I write fictions mostly and poems sometimes. I write both in Oriya and English. But I prefer to write my creative stuff in my mother tongue because basically I think one can express one’s emotions truly in one’s mother tongue only. But I do write my essays in English, because I feel comfortable in that way. It is interesting that in Oriya, I don’t prefer to write essays and all my articles are written in English. I am a columnist, a blogger and some critics mentioned me as a feminist. But I don’t know whether I am a feminist or not, because ‘feminism’ in current days has become an umbrella term and to be a female writer, now it seems, is the only criteria to pronounce herself as feminist. It is pleasurable to note that the term ‘feminist’ is not considered insulting nowadays as it was in the time of 80’s.   But the radical feminist and preferably the western feminists do not concur with my ideas of feminism. It is interesting that some critics name me as Simone de Beauvoir of India, where I find opposite to Simone’s ‘others’ theory and in my various essays I have described how I differ the great philosopher. I think, feminism should not be a stereotyped hysterical man-hating fanatics, but should be a broad social movement striving for the equality of each individual worldwide. It should emphasize our femininity rather to impose the self-styled classified feministic attitude of the second wave.

AMN:  As a child, what did you want to be when you grew up?
SS: As a child I never thought myself to be a writer rather in before my teen days I had a wish to become a ‘detective’ because at that time I was a voracious reader of famous detective novels. In my teen days I wanted to be a lawyer but it is an irony that though I possess an LLB degree and I have license, I didn’t become a lawyer till date.

AMN: Your prominent publications in general?
SS:  In Oriya I have ten published novels and eight published anthologies of short stories. I have one collection of essays in English titled Sensible Sensuality. One of my well-known Oriya novel Gambhiri Ghar has been translated into English and published from India under the title The Dark Abode (2008) and published from Bangladesh in Bengali as Mithya Gerosthali ( 2007 ). Prameela K.P has translated this novel into Malayalam and has been published as "Irunda Koodaram" by Chintha Publishers, Thiruvanthapuram. In 2011, the Hindi translation of the novel was published under the banner of Rajpal & Sons, Delhi with title Band Kamra. Martina Fuchs has translated it into for German and it is going to publish shortly. Another novel Pakhibas has been translated in to Bengali and published from Bangladesh under the same title in 2009. This novel has been translated into Hindi by Dinesh Kumar Mali and has been published with same title by Yash Prakashan, Delhi  in 2010. My short stories are translated into English and anthologized in two collections: Sarojini Sahoo Stories (2006) and Waiting for Manna (2008). One of my short stories collection in Hindi has also been published by Rajpal & Sons, titled Rape Tatha Anya Kahaniyana (2010)

AMN: Okay. Why do you write?
SS: I write because when I write I am. I am myself. I create myself. I express myself. Some part of me reaches out to the world and possibly touches the world, and maybe a small ripple spreads.

AMN: I would like to know about your reaction on the talk of your being a prime figure and trendsetter of feminism in contemporary Oriya literature.
SS: I don’t know whether I am a prime figure and trendsetter in contemporary Oriya literature or not. I am a simple writer and I want to express my agony and pathos as being a woman.  Few years ago, when a tele-documentary on me was made by Delhi Doordarshan for their ‘Literary Postcard’ programme,  after reading my stories, the Producer cum Director Dr. Satti Khanna asked me why I am a feminist writer? He pointed out that in most of my fictions; I have painted the women's issue. I told him that time if I am a feminist that is because I am a woman.  Later Cathy Nelson, a student of Orleans University when prepared her project work on Simone and me, asked me,” I feel Simone De Beauvoir may have gotten distracted.  Her allegiance and responsibility may have fallen toward Sartre and the need to prove herself as the minority in a male dominated world and academic field, as opposed to really understanding the other women around her. Whereas, with you, I find that your work is very much grounded in the understanding of women in general, rather than a specific part of women, such as Simone seemed to get hung up on marriage and motherhood. These two things came to define her, I think, through her work as 'not married' and 'without child' more so that the average woman may have been defined by 'being married' and 'motherhood.'  This seems ironic to me. Later, Linda Lowen, the women’s guide of an American website asked me in an interview, “You are known for pushing the envelope, openly discussing female sexuality in your stories and novels in a way that hadn't been done before. Isn't that risky?”
I am not consciously trying to write feminist writings. What I want to portray only the feelings of woman from her preschooler days to the post menopausal days. I think, there are some feelings, intricate mental agony and complexity which a man couldn’t feel any day and these should be discussed in our fictions. I portray the feelings of a pregnant lady (Waiting for Manna: Amrutara Pratikshare), hysteria (Burkha,Deshantari),fear of being miscarriage (Sakal:The Morning) false pregnancy (Tarali Jauthiba Durga :The Melting Castle) , agony of and annoyance of menopause (Damppatya:The  Couple ), Lesbianism (Behind The Scene) .I have also portray the shaking situation of a sixty years old lady, who is still waiting for her menopause and in every month  her embarrassing situation when she find herself in bleeding (Aparanha :The Afternoon).Even  in my story Jahllad (Butcher)  I have told the story of an infant who finds herself being raped by a caretaker servant.
You might have marked a typical shyness has been found in common women writer's voice while relating the truth and exposing their inner self. Even their weaknesses or love relations are also not expressed clearly in fear of social scandal of their character. A typical womanish shyness prevents them to write their actual feelings towards sex and love. This is not only due to any restriction imposed by their family, but much time we find that an idea of being a good girl pursues them to hide their own feelings and experiences. You know in India the 'chastity' means a lot for a woman and it is always demanded that a female should keep her 'chastity' pure and perfect. (It is another issue that nobody asks a man for the purity and perfection of his chastity). In case of poetry, one can hide herself with mystic metaphor or myth, but in fiction, one has to open herself completely. So, it is difficult for a woman to write any fiction sincerely hiding her experiences and reactions. I never find any 'inhibition' in relating reality while writing. Because while I write, I place me alien from the otherworld. Writing for me is a muse, a monologue, a kind of self-intercourse. I enter in to the chore of the character's self and find where I am hiding there. I lift my self to the above, much more above from those characters and open and tear and alter them as if I am re-dressing, remaking my self. There is no place for the second or third person at that time. Inhibitions are caused when you are aware of another's existence. When no body is there and you are going to open yourself, to whom you would inhibit? Is there any restriction, limitation, or shame to open anyone in front of one's own self?

AMN: I agree with you but what exact kind of feminism you believe in and glorify through your writing?
SS: For me, feminism is not a gender problem or any confrontational attack on male hegemony so it is quite different from that of Virginia Woolf or Judith Butler.  I accept feminism as a total entity of female-hood, which is completely separate from the man’s world.To me, femininity (rather than feminism) has a wonderful power.  In our de-gendered times, a really feminine woman is a joy to behold and you can love and unleash your own unique yet universal femininity.  We are here for gender sensitivity to proclaim the differences between men and woman with a kind of pretence that we are all the same.  Too many women have been de-feminized by society.  To be feminine is to know how to pay attention to detail and people; to have people skills; and to know how to connect to and work well with others.  There will be particular times and situations within which you'll want to be more in touch and in tune with your femininity than others.  Being able to choose is a great privilege and skill.
I think 'femininity' is the proper word to replace 'feminism,' because the latter has lost its significance and identity due to its extensive involvement with radical politics.  Femininity comes from the original Latin word femine which means ‘female’ or ‘women’ and certainly the word creates debatable identical characteristics.  It separates the female mass from a masculine world with reference to gentleness, empathy, sensitivity, nurturance, deference, self-abasement, and succorance.  And patriarchy also sets the group alien from them in their traditional milieu.
There are many more differences in theories among scientists, anthropologists, and psychologist regarding the nature and behavior of the female mass.  Biologists believe the role of our hormones, particularly sex hormones, and the structure of our chromosomes are responsible for such a dichotomy in gender, though some queer theorists and other postmodernists, however, have rejected the sex (biology)/gender (culture) dichotomy as a “dangerous simplification.”  Psychology, often influenced by patriarchy, categorises women as different from the masculine world in certain behavioural, emotional and logical areas. Social anthropologists deny the concept of biology or psychology which keep women aside from the masculine world.  Simone De Beauvoir’s saying “one is not born a woman, but becomes one” impressed social anthropologists so much that they create a different theory of feminine socialisation.
Here in my bloggings, I have constantly tried to analyse the ‘truth,’ as related by biologists and anthropologists.  What I think true to my sense and sensibility, I have expressed without any hesitation. But still I don’t consider myself as a conformist because I consider myself more a writer and as a writer, I think I am always a genderless entity.  In my opinion, a writer should not have any gender.  But still, patriarchal society has prevailed; is there any possibility to have a genderless society?  


AMN: How your feminism is different from that of Virginia Woolf or Judith Butler?
SS: Virginia Woolf′s Orlando- A Biography is an impressive field of discussion on gender identity. Meditating about the notion of identity, femininity, masculinity, and sexual desire, Orlando provides a light-hearted account of Woolf′s own “theory of sexuality” that still captures the readers attention. Inspired by the rise of ‘the new enterprise of sexology’ and the new discipline of psychoanalysis as well as through her personal attraction towards Sapphism, Woolf comments on the substance of sex, the nature of gender roles, the role of clothes for gender identity and on sexual orientation in Orlando.  In her novel, the protagonist feels he has metamorphosed into a woman—the same person, with the same personality and intellect, but in a woman's body. The concept of ‘right soul in a wrong body’ developed from this novel to which Judith Butler described  those signs  or analytical models which dramatise incoherencies in the allegedly stable relations between chromosomal sex, gender and sexual desire and named it as ‘queer theory’.  In my book Sensible Sensuality, I discussed these gestures and showed how these are throwing out powerful rhetoric of ‘thwarting the binary gender system’ means nothing if it comes from somebody who hates the world, loses his or her confidence to face life, and doesn't like himself or herself as a person. I can understand the positions of intersexuals or transsexuals who are born with differed biological bodies. There should be rational steps to make all feel comfortable and to mix up everyone into the mainstream.  What I am against is the pop-culture clichés to express these feelings like “man trapped in a woman's body” or “woman trapped in a man's body.”

AMN: What compels you to write on feminism?
SS: In my article ‘Bicycle & Me’ I have told that story. When I was born, my father was not present beside my Mom. Finding my self a female baby, my mother had a shock, because my father was expecting a son and my birth might be the reason of her humiliation in future. My Mom told me later, she could not sleep the night with fear of facing my father with a girl child. She was praying all the night to God for changing my gender, but God did not pay attention to her pathos cry and hence my Gender was not changed. But my father is a strong headed man and he could not forget his sorrow of not becoming a son’s father. This story compelled me to think about feminine mass. The second experience of my childhood might be responsible to frame out my ideas of feminism. As my father had an obsession for a male child, he wanted to see me as a boy and therefore, I was dressed as a boy; my hair was cut like a boy’s; and I used to play boyish games with boys instead of girlish games with girls. But cross gender activities had no impact on my life and I stayed as a girl. Later when I read Margaret Mead, Simone De Beauvoir  I found a great gap between their theory and my experiences. They have proclaimed that men and women were not a function of their biological differences, rather, they resulted from differences in socialisation and the cultural expectations held for each sex. From my childhood experience, I observed the theory did not seem to true in my case. This realization is also responsible to force me to write against the old milieus of feminism.

AMN: Do you think women in India are still under the dominance of men?
SS: Yes. Female fetus killings are still prevailed in Indian society. An unmarried daughter -- pronounced a spinster even in her late twenties -- brings shame upon her parents, and is a burden. But once married, she is considered the property of her in-laws. In this context, un-wed mother, separated, single or unfaithful women are considered outcasts. Living out of wedlock with a partner is still virtually unheard of. During their marriage , the bride’s father has to pay dowries in the form of lots of money, furniture, jewelry, and expensive household items and even homes and expensive foreign holidays to the bride groom and still the phrase "bride burning" was coined in India after several young brides had their saris lit on fire in front of a gas stove either by their husbands or in-laws because of their father's failure to meet demands for a bigger dowry .As there is custom and tradition of joint family, a bride has to face her tyrannical in-laws and still traditional Hindu society rejects divorcees. In case of sexuality, the active role of woman has been always denied and it is considered that woman should not be open to their sexual desires. For which you can find many of women have crossed their menopausal stage without having a single orgasm in any day. In religious rituals and customs also females are barred to take part in all worship. In Kerala, females are not allowed to enter in the Ayeppa temples. They are also barred to worship the God Hanuman and in some regions they are barred to even touch the linga idol of Lord Shiva. In recent politics also though all political parties have assured to reserve 33% of seats in legislation in their manifesto, still it has not been transformed to law as the male dominant political parties are opposing the bill. In financial matter, though women are allowed to work out side, but their rights on any house hold matters always have been denied. A woman has to take charge of the kitchen, even if she is a earning member and she has to go out side for her job .The husband will not take charge of kitchen, though he remains un employed, as it is supposed for a man to cook for her family is against his manhood. Legally, though according to Court, sons and daughters have equal rights on patriarchal property but still now as per practice, ownership changes hands from father to husband to son and the role of a daughter or a daughter in law is denied. So, how can you deny that women are not under the dominance of men?

AMN: How you got the idea for your fascinating novels and short stories. Where did the seed come from and how did you develop it?
SS: I never roam in search of a story nor I frame a story before writing. The stories I have written usually come from the lives roaming around me. A character or an event may strike me and I find a ‘story’ clicks. I start writing and it is the motive force of the story that drags me to an end.

AMN: What’s your writing process like? Do you have set hours? Do you think for a certain number of words or pages per day?

SS: I prefer to write in the afternoon hours. Summer season has been proved a creative season for me, not for its attributes, but it provides me a long holiday from my job. I try to write regularly but there are no fixed hours reserved for my writings.

AMN: How you plan for your novels and short stories? Do you start with a protagonist and then develop the plot as you write or you have the beginning, middle and end all set in your mind before you start writing?




SS: I have told you earlier that all my novels are unplanned and I never think about the conclusion. I believe my novels and short stories get life during their creation and they lead their way to find a suitable conclusion.

AMN: It’s wonderful. Okay. Your writing raised many controversies. May I know what kind of criticism you want to have on your fictional writing?
SS: For many times, my writings have raised many controversies. But I don’t bother for any criticism.  I expect, critics should read my writings thoroughly before writing.

AMN: At what point did you begin to think about writing a novel or story?
SS:  I started writing first in our school magazine. My short story was published in a literary supplement of a daily newspaper The Prajatantra, when I was a High school student.  When I was a student of under graduate classes, my stories had been published in The Jhankar. At that time the magazine was very much reputed for its scholarly writings and only the scholars of literature could get a place there.  Publishing in that magazine was considered at that time as the opening door for recognition of poets and writers. My lecturers and teachers felt amazed and appreciated me for my writings. Though I started my carrier as a short story writer and for a good time I had been in those fields but that time I had a 'phobia' for novel writing. After 90's onward, when I started writing my first novel, I overcome this trepidation. Nowadays, I have been writing very few short stories and all my creative times have been spent for novel writing. You know, the novel has a huge landscape and the author has much more freedom than the short story writer. You can emerge any idea any story plot in a novel. Virginia Woolf's An Unwritten Novel could have been a short story. The total time span of her novel Mrs. Dalloway is only one day. I think, like me Virginia Woolf might have been emerged her story ideas and plots in her novels.

AMN: Have you read Anita Desai and Shobha De? Is there impact of them on your writing?
SS: You may call it as my ignorance, but I haven’t read any of Shobha Dey’s writings. But Anita Desai is no doubt a powerful writer of our age.  She may be considered as real successor of R.K.Narayan. But in my writings, I can’t say whether Desai does not influence me as her and mine fictions are oriented to two different worlds.

AMN: Which writers influence on your creative mind?
SS: In writing, I have been influenced by many of Western writers. How could I utter one name? He may be Dostoevsky, he may be Kafka. He may be Joyce and may be Proust. But are they my hero? I don’t think any one as idol. If any one to consider as idol, he is Jagadish Mohanty. I got influenced by him in my writing of earlier days. In 70’s he was a trend setter. Not only my self, but all of my contemporaries had also been influenced by his theme, style and language. But later, after my marriage, I find myself in a different sphere of thinking and I chose my own style of thematic approach.

AMN: What do you think is a good novel and a good short story?
SS: The story or novel, which makes stunned and made readers reticent for a long time, is certainly be a good fiction. In a good fiction, readers should be able to identify the characters with them.

AMN: Is your writing an autobiographical account of your lives?
SS: Sometimes.  Writing is a very complicated process, especially in case of fiction. An author has to enter in to the characters and same time he/she has to rise up from the characters so that author could look on him. Sometimes a character follows the author, Sometimes an author has to follow his/her characters. So, every fiction is a kind of autobiography of an author and on the other hand it seems different. It is difficult for a reader to say which one from author’s life has been included and excluded, what had been made up, what not. 

AMN: Some writers like quiet, others the noise of a coffee shop etc. Do you listen to music or have noise around you when you write or do you need silence as Anita Desai?
SS: I can’t write with so much noise or when I am not lonely. This is an interesting fact that though I and Jagadish reside in a house, our writing process and time are different. He can write even in coffee house ( his Sarala Award won short stories collection Suna Ilishi was written in a restaurant). But I can’t. I need silence. So I have chosen the afternoon time, when there is no one in my home to interact me.

AMN: How your family helps in your writing, particularity my FB friend, your husband Jagdishji Mohanty?
SS:  Unlike to those traditional women writers, I have been referred, as a frank-speaking and my husband has never raised any complaints for that. He was my lover before my marriage and I was using to write my feelings truly at that time and never either my father or my lover argued with me for painting these feelings. After my marriage, in one of my famous story “Rape” I painted his male dominated characters, but he did not bar me to write this. As a writer, he has always remained by my side whenever any controversy arises for my writings. Our relation is not like a typical married couple of India. Our friendship some how similar to friendship between Sartre and Simone. It is an  interesting fact  that when I was  writing  my novel  The Dark Abode , I didn’t attend our kitchen  for few months and Jagadish managed all.

AMN: What are some of the unexpected and notable responses to your fictional works?
SS: There were some interesting happenings with my story writings. Gambhiri Ghar (The Dark Abode), the most controversial novel of mine was first written in a story form and it was written for a special issue of an Oriya periodicals. Before the publication of the short story it was rejected and I was asked to submit another story in place of ‘The Dark Abode’. While inquiring the reason of the rejection of my story, I was told that the editor would talk to my husband. This comment of the chief editor made me irritated and I asked the chief editor whether my husband has an authority over my writer self? The patriarchy idea of the chief editor made me to transform the short story to a novel.
            Once I was also insulted and forced to beg apology for writing the story Jalha (The Butcher) by the staff council of my college. It was about the rape story where the victim was an infant. The story was claimed as an obscene one and the matter was referred to the Governing Body of the college to remove me from my service of lectureship from the college.
For my story “Rape” I was criticized for using the word ‘fuck’ in my story for several years. It was a story of admitting sexual desire of a woman and it was intolerable for a patriarchal society to find a woman peaking about her sexual desire. The story has a central idea whether a woman has no right for sexual desire even if in her dream.
In my story ‘Agneyagiri’ (The Volcano), I have painted two types of woman. One is a traditional one, submitting herself to husband, family and society by losing her identity and another one as searching for her identity. It is the story of two sisters, both   having from same family background but the ultimate way of their in the air was different. My elder sister felt herself very impaired, thinking that the story was meant for her. No one from my family took it easily. As a feminist writer, from time to time, many people (both male and female) certainly get hurt by my frankness. I think a writer is a challenge for the society and also always has challenges from the society.

AMN: What has been your biggest surprise about writing?
SS: I wrote my novel Maha Yatra before visiting Kedarnath. Later I paid a visit to that place and found every situation   is perfectly according to my novel.
AMN: What do you think the future holds for a writer?
SS: Hopefully it will be better than it is now. I think literature never dies. It was remained before invention of scripts and will remain after obliteration of the present media of expressions. Without literature, people would have no choice about seeing their lives. 


AMN: What are you working on now? What can we expect soon?
SS: Just now I have completed a novel Dadan in Oriya and it has been published recently. Now I am planning to write few more articles on feminine discourse in English so that I could submit my manuscript to publisher very shortly.


AMN: Lastly, do you have any advice for aspiring novelists and short story writers of India?
SS:  I'm not sure I would presume to give advice, but here are some hints I tell myself: If writing is important to you, read widely and voraciously and write less than you read.  Don't plan on making a lot of money from your writing and link your writings to the culture of your region, its real life, its metaphors, and images. Another thing I want to remind that publishing a book is not just writing, it is only a SADHANA.  That is my two cents.
AMN: Do you want to give any message to the readers?
SS:  I am thankful for all the readers who have taken the time to read my books and who have posted a review or dropped me an email.  I think it was hard to continue writing without their support and love. When I started blogging in 2006, I was a lot more unskilled. I had dreams in my eyes and during the last five years I have become more accomplished. I have learned. I have experienced what works and what doesn't. I have realised what is important and what isn't. I have changed. These all happened as my readers remained with me through out a long period and shared their ideas and comments with my blogging. I expect their love and affinity for my writings in future.

AMN: Thanks Sarojiniji for talking about your passion for fictional writing. All the best for your future literary endeavors.

SS: Thanking you too.


                                                                                                          -Capt. Dr. Arvind Nawale

Monday, September 26, 2011

Inaugural Function of ELA, Hawagiswami College


On Inaugural Function of English Literary Association,  Hawagiswami College, as a Chief Guest



Participation of my NCC cadets in Tree Plantation

Participation of NCC cadets of Shivaji College in Tree Plantation held on 17 Sept2011in  Udaygiri Hospital campus with all doctors of Udaygiri Hospital Dr Survase, Dr Reddy, Dr Chambule and Principal Dr S T Patil, Principal Dr K B Kankure, Principal Nayer, Dr Rajkumar Maske and others






Monday, August 1, 2011

ATC, NCC 22-31July, 2011, at Latur

ATC, NCC 22-31July, 2011, at  Latur



Monday, June 27, 2011

Indian Writing in English: Speculations and Observations


Releasing of My Book
Indian Writing in English: Speculations and Observations
(AuthorsPress, New Delhi)
At the auspicious hands of
Hon’ble  Shri D.P.Sawant
(State Minister, Medical Education, Higher and Technical Education, Government of Maharashtra)
On 26/06/2009, Nanded

Hon'ble Mr. D. P. Sawant, State Minister, Medical Education, Higher and Technical Education, Government of Maharashtra while releasing book. Also seen are Dr. A. R. Tengase, Prof. W. N. More 

Tuesday, May 10, 2011

Books Releasing Function Held At SRTM University

Books Releasing Function Held At SRTM University, Nanded
On 9/5/2011

1) Indo-English Fiction: New Perspectives -Dr. Arvind M. Nawale
ISBN : 978-93-80902-39-5  Aadi Publications, Jaipur 

2)Reflections on Post-Independence Indian English Fiction -Dr. Arvind M. Nawale

ISBN: 978-81-261-4647-5  Anmol Publications Pvt Ltd, New Delhi 

3)Critical Responses to Indian English Fiction-Dr. Arvind M. Nawale

ISBN: 978-81-261-4646-8 Anmol Publications Pvt Ltd , New Delhi 
Chairperson
Hon'ble Dr. S. B. Nimse
Vice Chancellor, SRTM University, Nanded

Chief-guests
Hon'ble Dr. Dilip Ukey
Pro Vice Chancellor, SRTM University, Nanded
Hon'ble Dr.V.N. Shinde
Registrar, SRTM University, Nanded
Hon'ble Dr. Vasant Bhosale
CoE , SRTM University, Nanded
Organised by
School of Language, Literature & Culture Studies, SRTM University, Nanded


Releasing of Indo-English Fiction: New Perspectives -Dr. Arvind M. Nawale
ISBN : 978-93-80902-39-5  Aadi Publications, Jaipur 

Releasing of Reflections on Post-Independence Indian English Fiction 


Releasing of Critical Responses to Indian English Fiction-

Tuesday, May 3, 2011

Books on Anita Desai

 Anita Desai’s Fiction:
A Study through Different Perspectives
 ISBN: 978-81-7646-789-6
B. R. Publishing Corporation
4222/1, Ansari Road, Darya Ganj, New Delhi 110 002. India

Anita Desai’s Fiction: A Study through Different Perspectives is a substantial attempt in the arena of Indian Writings in English. The present volume brings to limelight the different perspectives of thematic stands like existentialism, isolation, loneliness, human relationships, East-West parallel, identity-crises, psychoanalytical realism and feminine sensibility figuring in Anita Desai’s works.
            This book heralds a fresh wave in subjective criticism in Desai’s novels. The critical essays have been carefully chosen so that the readers may be enabled to comprehend and eventually lend in a new line of thought in the entire approach. The book will be instrumental to the minds that wish to explore the fictional world of Indian women novelists writing in English. It is not an exaggeration to state that the book will be of maximum assistance to readers with a keen interest in this domain as it presents an in-depth study of different perspectives of Anita Desai’s fictional works right from her first novel Cry, the Peacock to recent one The Zig Zag Way.

.Anita Desai’s Fiction: Themes and Techniques
ISBN 978-81-7646-788-9
B. R. Publishing Corporation
4222/1, Ansari Road, Darya Ganj, New Delhi 110 002. India
Anita Desai’s Fiction: Themes and Techniques presents a systematic and a methodical study of Anita Desai’s works. This book is an amalgamation of ideas, submissions, deliberations and elucidations on the themes, motifs and symbols in her works. Apart from this, the volume is also an assortment of the various techniques employed by Desai and validating its handling in order to convey the core of the concerned works. The research papers featuring in this volume corroborate that Anita Desai’s interests rest in discovering the innermost recesses of the human mind. The entrapment that the characters are subjected to dominates her works. The scholarly essays expound this predicament.
            The critical essays have been circumspectly chosen and are crucial in the understanding the fiction of Anita Desai. As an outstanding woman novelist, she has touched upon profound issues. The book will be instrumental to all those who wish to explore the fictional world depicted by her. This book would certainly be hailed not only by scholars but also by readers with astute interest in this sphere as it presents an in-depth study of themes and techniques of Anita Desai’s almost all fictional works right from her first novel Cry, the Peacock to recent one The Zig Zag Way.

Friday, April 1, 2011

New books 1) Indian Writing in English: Speculations and Observations 2)Critical Essays on Indian English Poetry and Drama: Texts and Contexts

Critical Essays on Indian English
 Poetry and Drama:
Texts and Contexts


ISBN 978-81-7273-562-3
The present book is an enterprising anthology that offers new ideas and disclosure of themes and motifs in the corpus of Indian English Poetry and Drama. A diverse range of essays forms the substance of this book, which will infallibly augment the reader’s interest in this area. The essays in this collection discuss output in poetry and drama from across the length and breadth of the nation.
This book accumulates wide-ranging critiques on pertinent concerns. Scholarly essays on the works of renowned poets and playwrights govern the compilation of this book. It is delightful to take cognizance of the fact that works by women poets and playwrights have also been featured in. The book evinces genuine critical attention and is a substantial venture. It will pave a way for expanding the literary horizons of the scholars as well as readers.
 Indian Writing in English:
Speculations and Observations
ISBN 978-81-7273-585-2
Over the years, Indian English literature has seen many eminent literary figures who have contributed to the growth of Indian writing in English. This current book, Indian Writing in English: Speculations and Observations  brings forth a galaxy of scholarly observations by eminent scholars and established writers on Indo-English Writing spread in the major genres—Poetry, Drama, Novel and Short-Story. The uniqueness of this anthology is that most of the contributors are established creative writers, poets, novelists or editors of literary journals of international repute. With various themes and technicalities introduced in Indo-English creative writing, these scholars have also found interest in exploring the implicit intricacies through their critical and appreciative writing. The present book is a humble attempt to bring together the social, political, cultural aspects intertwined with psychological and temperamental mindsets of individual characters portrayed in the Indo-English writings. This book would surely prove to be a judicious march towards understanding the grandeur of Indian English writing, not only on the native but also on the international platform.

Publisher
Authorspress
E-35, Jawahar Park, Laxmi Nagar
New Delhi 110092 India

Wednesday, March 16, 2011

Inauguration of ELA 2010-11

Inaugural Function of  ELA 2010-11
Chief Guest Principal Dr. B. T.Lahane
Chairperson Principal Dr. S. T. Patil
Held on 20 Jan. 2011

Tuesday, February 22, 2011

New Book Released by Dr. Sanjay M. Nawale 1)Dalit Sahitya: Prakruti Aur Sandarbha 2)Hindi Dalit Katha

Dalit Sahitya: Prakruti Aur Sandarbha by Dr. Sanjay Nawale

Hindi Dalit Katha by Dr. Sanjay Nawale

Sunday, June 27, 2010

Paper Presentation at VII World Conference & XV All India English Teachers Annual Conference


VII World Conference & XV All India English Teachers Annual Conference 
organized by World Association for Studies in Literatures in English (WASLE)
& Indian association for Studies in Contemporary Literature and held at
Nehru College, Hubli (K.S.), during 23-24 April. 2010.
Presenting paper 

RC ASC HPU Shimla, Kulu, Manali, Rohtang....

HPU Shimla, May, 2009
    Shimla
         Kulu, Manali 
Rohntang
  H.P.University, Shimla

                Delhi, Agra         

Wednesday, June 23, 2010

RC ASC UOH Hyderabad

RC  ASC University of Hyderabad , Jan.2008

Monday, June 15, 2009

My First Book Arun Joshi: Thematic Concerns of His Novels



My First Book
Arun Joshi: Thematic Concerns of His Novels
15 Jume 2009

  • Hardcover: 156 pages
    Publisher: Author Press, New Delhi (2009)
    Language: English
    ISBN-10: 8172735960
    ISBN-13: 978-8172735968
    Blurb

    Arun Joshi's dexterous fictional corpus has presented thought-provoking and serious themes such as existential crisis of modern man, futility and hollowness of civilized society, modern man's longing for primitive values and so on, working engagingly so much on a problem-salvation hypothesis. By virtue of his rich thematic design and a skilful tapestry of narrative techniques, Joshi produces a unique space for himself in the galaxy of Indian English novelists. This book tries to bring out something sustainable and composite on three major thematic concerns of Arun Joshis fictional world which were not explored with all critical fairness by scholars and critics till date. It will serve the purpose of students, researchers, university teachers, and will certainly appeal to those interested in Indian English Literature.