Vol 4 No 2
Shimla Journal of Poetry and Criticism
Similar Posts
India For Indian Diaspora: ‘My Damned Soil’ , Modern India
India’ has been the sole interest for the Indian diaspora and Gita Mehta is one of them. She begins with Karma Cola, lingers over A River Sutra and concludes in Snakes and Ladders. The present paper seeks to examine Gita Mehta’s endeavour to present her native place India in ‘glacial progress towards liberation; more than…
The Poetic World of Sujata Bhatt
Indian women’s poetry in English, still a marginalized area of critical study, is slowlygaining ground as a significant and identifiable area of research. The woman writer’sreconstruction of life through the various literary forms and modes emphasizes the validity ofBeheroze Shroff’s statement: “The time has come for women to stop seeing through men’seyes and language–we have…
Wole Soyinka: Artist as a Social Activist
In Nigeria, Yoruba population theatre groups have always served as the most forthrightrepresentation of anti-establishment campaign. Given the nature of social and political contextfrom which Wole Soyinka’s drama emerges, there is in it a similar acceptance of drama as a vitalmeasure of socio-political indictment. Soyinka is acutely sensitive to the changes in Nigerian political-situation, especially…
Popular and Feminist: Swati Kaushal’s Detective Fiction
Conceptualizing a paper on popular fiction, especially detective fiction, is a daunting task. As Ken Gelder1 has pointed out, popular fiction is usually considered as “capitalism’s most perfect literary form” (Gelder, 35) and therefore, is generally perceived as an “industrial” product, manufactured for unthinking mass consumption, as against literary works which, it is believed, usually…
Raewyn Alexander’s Ironic Vision in Fat
A poet, publisher, editor, novelist, and actor, Raewyn Alexander, with the publication of her first novel Fat (1996)1 , makes a path breaking entry into New Zealand’s literary world of fiction. With her emerges a new paradigm of women’s writing which is not anti-male, but probably indirectly pities men. Prior to her, no novelist has…
Interrogating the Meta-narrative of Religion: The FictionalOeuvre of Ngugi wa Thiong’o
This Paper attempts a critical reading of Christianity in colonial times as captured in the early novels from Kenya. We specifically refer to Ngugi’s Weep Not, Child (1964), The River Between (1965), and A Grain of Wheat (1967) to show the author’s disquiet with Christianity as a cog in the wheel of colonialism. We focus…
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