Does Indian literature owe its global success to the Raj?
As close to 50,000 people prepare to celebrate India’s bulging roster of nationally and internationally renowned authors and poets at the seventh annual Jaipur Literary Festival, a public spat between its British organiser and an Indian magazine over allegations of perpetuating “a Raj that still lingers” threatens to ignite a decades-old debate over the role of colonial English in the country’s literary success.
As Delhi-based William Dalrymple and his fellow organiser stress the festival’s intent to showcase works from India’s array of states and dialects to thousands of book lovers, an article in India’s Open magazine this month claimed the festival matters “because of the writers from Britain it attracts”.
India’s literary elite has long wrestled with its complicated post-colonial legacy, sharpened by the huge international success of Indian writers such as Salman Rushdie, Vikram Seth and Kiran Desai, who have put the former British colony on the literary map, but live, sell more books and win more awards in the UK or the U.S.
In the past five years, two Indians — Desai and Chennai-born Aravind Adiga — have won the prestigious Man Booker Prize. While the prize has been attacked by some for its arguably colonial legacy of rewarding writers in English from the British Commonwealth, Desai and Adiga saw their international profile soar, replicating the global success of former winners Rushdie and Arundhati Roy.
The article, titled “The Literary Raj” argues that the festival reaffirms the inferiority complex among Indian writers who crave international and specifically British recognition, suggesting that through his western-centric festival, Dalrymple has become “the pompous arbiter of literary merit in India”.
“The festival then works not because it is a literary enterprise, but because it ties us to the British literary establishment,” wrote Hartosh Singh Bal, an Indian novelist himself, in the January edition of the magazine.
Writing a novel? Just tweet it
When Matt Stewart’s agent submitted his debut novel to publishing houses, he didn’t quite get the response he wanted.
“Many of them loved it, but none were willing to buy what they viewed as a ‘risky’ novel — vivid language, elements of fantasy and farce, raunchy humor,” the San Francisco resident wrote on his website.
But Stewart didn’t lose heart. On July 14, he started posting “The French Revolution” on Twitter.
The novel, about a San Francisco family forging its place in history, is one of the few full-length works of fiction to be released one tweet at a time.
Micro-blogging service Twitter and its now famous 140-character tweet limit is being put to uses more profound than just describing what you had for breakfast.
Like tweeting a novel.
Stewart says it will take him approximately 3,700 tweets to transmit all of the 480,000 characters in his novel.
twitter and others are no doubt nice, but I always wanted to bring in a concept to microblogging !
I hereby post a Review-Request for http://www.emote.in ,
A microblogging service; which is a platform to -
1. Make yourself heard, comment on news, stories and current affair.
2. Share your experiences, memories and events with your friends and family.
3. Connect with different people with similar emotional attributes as yours.
(eg: if attrocities on animals make you sad, connect with others who share the same feeling)
4. Jot-down your experiences. You usually have so many things to say – a constant stream of thoughts, comments and observations running through your head continuously.
5. Last but not the least, has everything (and much more) that twiiter has.
6. A wonderful timeline coming shortly (in few weeks)
My initial impression of Bal’s first piece was that Hartosh Singh Bal has a major chip on his shoulder and/or is a publicity-seeker.
My opinion, after his rebuttal, did not change.
As has been pointed pointed out by numerous commenters and Dalrymple himself, the nature of audiences, sessions and speakers at JLF destroys Bal’s claims. Pre-JLF, Indians complained that no-one was taking notice. Now, Bal has found a new grouse.
In terms of approval, I think there is a larger phenomenon at work here. When it comes to politics and diplomacy, successive Indian Governments always sought the approval of the US in the post-Cold War 1990s period. Registering complaints against what they perceived as ‘transgressions’ by Pakistan occurred regularly. This probably happened because the US was seen as the world superpower at the time.
Similarly, Indians have traditionally grown up on a diet of British literature, reading about well-established British literary awards. It is natural to think of Britain as a leading literary power.
Apropos ‘celebrity’ writers getting more attention than ‘great writers [from Europe]‘, doesn’t the celebrity culture pervade all aspects of public life? Who does Bal think would get more media attention during red carpet movie award/music events?
As for any ongoing need for British approval, more and more Indians in the middle-class see the US as their choice for higher education, etc. American television and cultural influences, American slang, trends are all more prevalent in India today. Gone are the days of domination of English public-school and Oxbridge-educated grandees in the Indian political and diplomatic circles. It therefore baffles me how Bal finds this particular kind of cultural cringe to be very strong in India….. And his tone in his first piece is shockingly offensive (as with most such offensive pieces, a result of his ignorance).
To me, Bal’s pieces suggest his refusal/inability to accept Dalrymple as an Indian writer. And refusal to accept that a British-born writer could head a major Indian literary festival without it having imperial-colonial implications.