Journal articles on the topic 'Fiction, Bengali'

The Indo-Anglican literature is different from the Anglo-Indian literature. The former is the genre written and created by the Indians through the English language; the latter is written by the Englishmen on themes and subjects related to India. The Indo-Anglican fiction owes its origin to the translations of various fictional works from the Indian languages into English, notably from Bengali into English. The Indo-Anglican writers of fiction write with an eye and hope on the western readers. This influenced their choice of the subject matter. In Indo-Anglican novels there are Sadhus, Fakirs, Caves, Temples, Vedanta, Gandhi, Rajahs and Nawabs, etc. to are to show the interest of western audience. They represent essentially the western idea of India. But at the same time there are elements of Indianness, Nationalism and Patriotism, glorification of India’s past and sympathy for the teeming millions of the country.

Left-Wing Extremism (LWE) in India was realized along the lines of Maoist ideology through the Naxalite insurgency in the 1960s. Novelists have attempted to grasp the mood of this decade of liberation through fiction. This article attempts to study two novels which document the formative years of the Naxalite movement in West Bengal. Translated works from Bengali, Mahasweta Devi’s Mother of 1084 (1974) and Bani Basu’s The Enemy Within (1991) foreground the necropolitical policies of the demonic state in eliminating these Naxal names. State and non-state actors obliterate the question of the Naxal’s identity (enmeshed with his mind and body), making it the focal point of the analysis. Drawing abundantly on concepts of homo sacer, necropolitics, McCarthyism, and democide, the analysis demonstrates that the protagonists are typical of what modern biopolitical states do to non-conformist subjects by creating death worlds. This article is an attempt at understanding the nuances of a sociopolitical movement through literature as social responsibility.

In Indian culture, Vedas and Upanishads take a prominent place and are considered as ancient. These ancient scriptures teach us that “Maathru Devo Bhava” (Web) which means a mother is thefirst god and ought to be given utmost respects. This verse proves to be absurd inMahasweta Devi’s short story “Breast Giver”. Mahasweta Devi was a Bengali Fiction writer. In her writings, subaltern predicaments occupy a central position in general and the woman in particular. Her most accolade works are Hajar Churashir Maa, Rudali, and Aranyer Adhikar. “Breast Giver” is originally written in Bengali and translated into English by a feminist critic, Gayatri Chakravorty Spivak. In the present story, Mahasweta Devi brings in the predicaments of a woman who sacrifices her life for bringing up the family as a bread winner and breathed her last as an orphan.The title of the story is used as a synonym for wet nurse. The present paper interprets “Breast Giver” from the point of view of power relations suggested by Michel Foucault (1926-1984) a Psychologist, a Philosopher, and a Historian.

Current discussions on the development of modern literary genres and aesthetic conventions in nineteenth-century colonial Bengal have tended, perhaps because of its relative neglect in the modern day, to ignore the seminal role of poetry in formulating the nationalist imagination. In academic discourse, the coming together of the birth of the novel, the concept of history and the idea of the nation-state under the sign of the modern has led to a collective blindness toward the forceful intervention of poetry and song in imagining the nation. Thus Dipesh Chakrabarty, in a chapter devoted to poetry in Provincializing Europe, ironically elides any mention of it at the crucial instance of the formulation of national modernity, when he takes his argument about the division between the prosaic and the poetic in Tagore further to say, without mentioning the seminal role of poetry, that: ‘The new prose of fiction—novels and short stories—was thus seen as intimately connected to questions of political modernity’. Partha Chatterjee discusses, in the introduction to The Nation and Its Fragments, the shaping of critical discourse in colonial Bengal in relation to drama, the novel, and even art, but ignores completely the fiercely contested and controversial processes by which modern Bengali poetry and literary criticism were formulated. ‘The desire to construct an aesthetic form that was modern and national’, to use his words, ‘was shown in its most exaggerated shape’ not, it is my contention, in the Bengal school of art in the 1920s as he says, but long before that in the poetry of Rangalal Banerjee, Hemchandra Bandyopadhyay, Madhusudan Dutt, and Nabinchandra Sen, and in the literary criticism and controversy surrounding their work.

Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.

In the late nineteenth and early twentieth-century Bengal emerged a new batch of educated widows who were distinguishable from the traditional Bengali Hindu widows because of their remarkable self-consciousness about their peripherality within the social order. The intention of my article is that of disputing the prevalent assumption of the homogeneity of the widowed experience in Bengal society by drawing attention to the heterogeneous individualities resulting from stratifications within these emergent widow populations, owing to different lifestyles, varying degree of access to education, diverse social standings, and various forms of suppression. Rassundari Devi’s Amar Jibon (1876) and Saradasundari Devi’s Atmakatha (1913) are accounts of the experience of widows who were marginalized by society, handed the bare minimum necessities for their existence, and deprived of the pleasures of the traditional experiences of motherhood. I propose the term ‘New Widows’ to highlight how the effects of education modified their individuality in unconventional directions, as reflected in the fictional narratives by Rabindranath Tagore and others. Close attention to the texts shows that the disparity between the aspirations of the New Widow, and her limited reach and frustration results in an acute self-awareness.

This paper focuses on the Indian cultural background having the themes like hunger, poverty, famine, war, politics, freedom, imperialism, economic exploitation, class consciousness in the Indo-Anglian English fiction writer Bhabani Bhattacharya’s novel So Many Hungers!, related to the socio-political and economic situations of Bengali’s society. The theme of the novel is mainly the existing pressing problems of India especially the rural India before and after the Independence. Realism is one of the most remarkable features of Bhabani Bhattacharya’s fiction. His novel shows a passionate awareness of life in India, the social awakening and protest, the utter poverty of peasants, the Indian freedom struggle and its various dimensions, the tragedy of partition of the country, the social and political transitions, the mental as well as the physical agony of the poor peasants and labor class people of the Indian society, especially that of Bengal and other adjoining states. Bhattacharya believes that an artist should inevitably be concerned with truth and reality, his portrayal of the life and society is never a photographic one nor a journalistic record. One can very well find the reflection of Indian culture, tradition and struggle in it.

Though there has been a plethora of books and articles written on Bankim Chandra Chattopadhyay’s eponymous fiction Rajani, what is conspicuous after all these is the necessity of a medical humanities’ perspective into this masterpiece of Chattopadhyay. To fulfill such lacuna in the previous studies, the present article makes a hermeneutical attempt to contextualize Rajani at the backdrop of medical knowledge and medical culture during Colonial India. With this hypothesis, the paper proves how Bankim stirs the public imaginations about human health, hygiene and disability along with their cultural and clinical manifestations and ramifications, especially in colonial Bengal.

Abstract Critical engagements like the first autobiography written by a Bengali woman, Rasasundari Devi, and the non-fictions by Kailashbasini Devi, Krishnabhabini Das, and other women writers in the second half of the nineteenth century contested the imagined idealization of the Hindu domesticity and conjugality as spaces of loveableness and spiritual commitment. They criticized coercion in child-marriages and the forceful injunctions of the Hindu scriptures on both married and widowed women. Such rhetoric of quasi empowerment needs to be disaggregated to perpetuate issues of ‘double colonization,’ ‘dual-hold’ in feminism in India. The question is whether there can be any grounds of women’s agency in the Indian tradition. Eurocentric critiques are ill-equipped to politicize all modalities of a culture of social exclusion in Hindu imaginaries. Henceforth, as questions of equality, emancipation, and empowerment are fiercely debated in the public domain in contemporary India, we need to argue how immanent dissenting woman subjectivity can originate to counteract multiple patriarchies formed in Indian immediacies.

Hari Sadhan Dasgupta (1923–1996) was arguably the most significant documentary filmmaker to emerge from the circle of film aficionados, intellectuals, and writers who gathered at the Calcutta Film Society (and at the Indian Coffee House on Central Avenue in Calcutta) in the late 1940s and 1950s. He received institutional training in filmmaking at the film school of the University of Southern California and served Irving Pichel as observer apprentice on three films after completing his university program. He was the first among the Calcutta Film Society group to make films and went on to make 50 odd documentaries and commercials between 1948 and 1984, of which Panchthupi: A Village in West Bengal (1955), The Story of Tata Steel (1958), and Konarak (1949) have earned iconic status. He also made two feature-length fiction films Eki Ange Eto Rup (1965) and Kamallata (1969).

This article analyzes Shumona Sinha’s first novel, Fenêtre sur l’abîme (Window to the Abyss, 2008) from a cognitive perspective. As the narrator, a young Bengali woman named Madhuban, is struggling to make sense of her existence, past events and present sensations, as well as nightmares and memories unfold in an accelerating rhythm, questioning the impact of her life experience upon her mental health. Drawing on Alan Palmer’s typology of fictional minds, the aim of this work is to provide some preliminary remarks on the textual representation of the narrator’s mind, depicted on the verge of a mental breakdown triggered the by physical and emotional abuse she was subjected to by her family in Calcutta, and reinforced by her emigration to Paris.

Historical Perspective The first cadaver dissection in India in the 19th century after millennia of social prejudices took place in the recently established Calcutta Medical College in 1835, the first medical college in Asia imparting western medical education to British, Anglo Indians and Indians in the empire. The first scientific approach to medical sciences commenced following this landmark event and set the trend for future liberal attitudes in society and contributed to the Bengal Renaissance of the 19th century. This is a fictional account of the day when it happened. Only the characters and the fact that the dissection occurred are real.

Amit Chaudhuri is an essayist, novelist and critic. He has written seven novels so far, a non-fictional book, a critical book, an anthology and two story books. His novels present a picture of middle class society of Bengal or Calcutta. His characters are simple people who celebrate different phases of life. The characters Sandeep of A Strange and Sublime Address and Nirmalya of The Immortals present the shades of childhood and teenage self of the novelist himself. This research paper is an attempt to study the psychology and mindset of these two characters in connection with theory on child psychology and development of these child or adolescent protagonists.

The Partition of India in 1947 that resulted in the death and displacement of millions of people continues to inhabit the cognizance of the people of South Asia as a historical phenomenon laden with violence. Although the bequest of the Partition is palpable in episodes of religious tension, discourses on minority belonging, secularism, nation and nationalism in India, critical exploration of the phenomenon as a tension-ridden historical episode has largely been restricted. The present research paper deals with the stylistic aspects of a series of seven short fictional narratives from Bengal and Punjab. In this paper, the scholar talks about how the creative-imaginative representation of Partition has till date remained confined to the discussion of thematic aspects with the result that the elements of narration have remained insignificant in critical mediation. As such, the scholar addresses the gap in the genre of Partition studies by critically reading and stylistically scrutinizing the narrative elements of a series of selected Partition narratives to see how violence as a leitmotif in these seven selected fictional texts is documented.

Amitav Ghosh, perhaps Asia's most prominent living author, moves among many genres and across vast territories. His fiction—The Circle of Reason(1986),The Shadow Lines(1988),The Glass Place(2000),The Hungry Tide(2004), andThe Ibistrilogy—takes us from Calcutta where he was born in 1956 to the Arabian Sea, Paris, London, and back again to the Indian Ocean, the Bay of Bengal, and beyond. His nonfiction—In an Antique Land(1992),Dancing in Cambodia and at Large in Burma(1998), andCountdown(1999)—rests on a PhD in social anthropology from Oxford. He went to Alexandria, Egypt, for his dissertation research. His science fiction,The Calcutta Chromosome, won the Arthur C. Clarke Award in 1997. His essays—published inThe New Yorker, The New Republic, andThe New York Timesand collected inThe Iman and the Indian(2002)—address major issues such as fundamentalism. Indeed, most of his work addresses big questions, exploring the nature of communal violence, the traces of love and longing across generations, manifold religious manifestations, and the systematic pain of colonial oppression. The deep and abiding theme of many works is anthropogenic environmental damage, now boldly and directly addressed inThe Great Derangement: Climate Change and the Unthinkable(2016). Married to accomplished fellow author Deborah Baker, whose work traces the Asian peregrinations of Allen Ginsberg, the literary milieu of Laura Riding, and the complexity of Islamic conversion, Ghosh has taught at Harvard, Columbia, Queens College, and Delhi University. He has won more prizes and honorary doctorates, and been a fellow at more famous institutions and a distinguished visitor in more far-flung places, than you can shake a stick at. He even has two homes: Brooklyn and Goa. In short, Ghosh's profile makes you wonder if there might not be more than one of him.

This article examines the dissemination of military propaganda and the operation of censorship structures within the Indian Army ‘units’—a term used in historically contemporary documentary sources to denote regiments, divisions or battalions—serving in the eastern provinces of the subcontinent during the Second World War. Instead of presenting propaganda as merely being misleading information, this work operates with Philip Taylor's interpretation of it being a combination of ‘facts, fiction, argument or suggestion’, and concentrates instead on unravelling its form and the intent behind its deployment. Moreover, the often artificial distinction between ‘propaganda’ and ‘counter-propaganda’ is avoided, since the many wartime British public relations projects in South Asia that were aimed at contradicting particular enemy claims were very frequently represented as having other concerns. Particular attention is devoted to describing the military's attitudes towards policies of propaganda and information between 1942 and 1945, as these years saw Eastern India, defined in wartime official documents as being comprised of Assam, Bengal, Bihar, Orissa, the eastern districts of the United Provinces and the sparsely populated frontier areas bordering Burma, develop into an important base of operations against the Japanese armies located in Southeast Asia.

Abstract The paper offers a comparative perspective on transmigrant cultural identities as illustrated in the works of two contemporary South Asian American and Romanian American authors, Jhumpa Lahiri and Aura Imbăruș. The comparison involves Gogol, a South Asian American character, and Aura, the author of the memoir Out of the Transylvania Night. Although Gogol is a fictional character and Aura is an actual transmigrant, their comparative assessment relies on the assumption that both narratives are inspired by the authors’ background of relocation. Despite their different cultural origins, both authors share thematic aspects related to the dynamics of cultural identity in the context of migration. This paper aims to provide a starting point for an enlarged framework of comparative analysis, in order to foreground intersections between different experiences of cultural negotiation in the context of displacement. Born and raised in America, Gogol is challenged by his cultural multiplicity and strives to suppress elements of his Indian identity. After years of rebelling against his parents’ norms, Gogol shifts to the Bengali model, when his father dies. Once he accepts the relevance of his cultural roots, Gogol is able to plunge into a dimension situated beyond his Bengali and American selves. His transcendent strategy is illustrated by his decision to plunge into a third space of redefinition, suggested by the Russian literature which is appreciated by Gogol’s father. Aura Imbăruș offers the example of a first generation Romanian transmigrant who undergoes voluntary relocation to the United States. Fascinated by the American world, Aura is eager to take over norms of material success and consumerism, overlooking the relevance of her cultural roots. When she undergoes a personal family crisis, Aura eventually reassesses the value of her Romanian background, aiming to reconcile her source culture with her Americanised self. In a manner similar to Gogol’s, Aura manages to integrate American norms of success, while forging enduring bonds with the Romanian American community in California.

There is a tendency in literature to poeticise rural settings over their urban counterparts based on the proposition that villages bring human beings closer to nature, whereas cities come between them. Problems born and accentuated in urban environments are often, in fiction and poetry, resolved in a more rural atmosphere. In his 1916 novella Chaturanga, Rabindranath Tagore seems to challenge this popular inclination. The story begins in Calcutta, moves to rural Bengal and then returns to the city. After his uncle, who was also his father-figure, philosopher and guide, dies, Sachish disappears from Calcutta. When his friend and the narrator of the text, Sribilash, finds him two years later in a village, Sachish has joined a so-called mystic named Leelananda Swami. He has also changed unrecognisably. Sribilash is shocked at his transformation and is distrustful of Leelananda Swami, but he cannot abandon his friend, so he too, joins the guru. He too seems to leave behind his old self and becomes engrossed and entranced in a new, unreal world. It is only when he returns to the city that Sribilash seems to come out of his trance and shake off the false skin; he misses or becomes his former hard-working and useful self again. Sachish’s path, however, is irrevocably changed. In this paper, I wish to examine why and how Tagore, who wrote so many thousands of lines in so many different forms eulogising nature, depicted an apparent divide between nature and human beings in this text: when the men are in the city, they are grounded in reality and engaged in meaningful activity; when they are in the lap of nature, so to speak, they seem to become disoriented escapists. I will also address the importance of the fact that these characters retire froity when they are bereaved and spend their mourning period in the villages, and that their return to Calcutta is closely linked to the appearance of a new love interest in their lives. The paper will explore how, in this particular text, people and places seem to affect each other and what they signify.

The present paper attempts to focus the model of contesting modernities dealing with conceptual problems rather than the importance of logic and science. The Home and the World (1916), written by Rabindanath Tagore, a fictional autobiographical novel can be read as the model of contesting modernities. In the research article, it is an attempt to explore the textual responses to contesting forms of modernity in abstract ideas about the issues of nation and gender in the context of Swadeshi Bengal in the early decades of twentieth century. After re-reading the text, it can be applied to the larger question of formation of nation and true nationalist and liberty of women. The novel grows out of the anti-partition Swadeshi movement, the issues of the home and the world, the tradition and the modern approach of life. The novel focuses the battle of ideas between western culture and revolution against the western culture in colonial period. Two protagonists of the novel such as Nikhilesh and Sandip in the novel represents two kinds of ideas in the light of the spirit of the Modern age as revealed in Sabuj Patra. From their ideas reveal two types of nationalists’ project. Nationalism always can be viewed as a process of cultural invention. Nikhilesh is a logical man and supports for non-violence. He likes true mental freedom that can be achieved by the projects of nationalism full of humanism. At the other hand, Sandip prefers to aggressive political freedom and power after grabbing over other nations and national resources. Bimala, third protagonist, is ultimately disillusioned to the nationalist project of Sandip about the emancipation of gender. So Modernity, the recreated form of culture can be viewed with humanistic features such as love, co-operation, sympathy, sacrifice etc.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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A victim of the partition of Eastern India/undivided Bengal, a refugee is one who has ironically left behind the real but has carried on forever indelibly imprinted in memory that which is lost and remembered in superlatives, thus moving and simultaneously resisting to move. Remaining mentally anchored forever on ‘Bengal’s shore’ and having been denied the moment of adequate articulation of the loss in factual terms partly due to immediate trauma and partly due to the inherent politics of the language of standard literary expression vis-à-vis spoken language (Bangla vs Bangal respectively) with its hierarchic positionings, as well as the politics of state policy that attributed partition of Western India primordial signification, the Bengali Hindu refugee migrating from erstwhile East Pakistan (and now Bangladesh) to India, has never ‘really’ spoken and this is the hypothesis of this argument. Thus, what is heard, being far removed from the historical moment of rupture that was partition and with the loss of that fateful generation is bound to be ‘fiction’ and not ‘fact’. This paper proposes that since the refugee voice was denied adequate articulation of the ‘facts’ and the ‘fears’ resultant from partition in this part of Eastern India, that historical moment of perception and documentation has been irretrievably lost. Hence any attempt at documenting the same now shall obviously result in fictionalization of and fantasizing the loss as is evident in original and translational post-Independence Indian English Fiction -the moment of loss being the moment of fictional genesis. This paper also puts forward the necessity of identifying two specific periods beyond ‘independence’ whose axiomatic point would be the partition of Eastern India/ undivided Bengal viz. pre-partition and post-partition Indian Literature. The same shall apply to Indian English Literature both in original and translation.

Sharmila Ray is an Indian poet and non-fiction essayist writing in English, anthologised and featured in India and abroad. Her poems, short stories and non-fictional essays have appeared in various national and international magazines and journals since the late 1990s. She is an Associate Professor and Head of the Department of History at City College, Kolkata. She was on the English Board of Sahitya Akademi. She was the editor of The Journal (Poetry Society India) and looked after a column ‘Moving Hand Writes’, Times of India, Kolkata. Currently she is the vice-president of the Intercultural Poetry Performance Library, Kolkata and a Board Member of the Poetry Society India. She writes in English and has authored nine books of poetry (listed below). She also writes on Partition and her articles have been published in Bengal Past and Present and Glimpses of Partition in South Asian Fiction: A Critical Re-Interpretation, edited by Farzana S. Ali. She has conducted poetry workshops organized by British Council, the Poetry Society of India and Sahitya Akademi. She has read her poems at various poetry festivals in India. She had been invited to International Struga Poetry Evenings in Macedonia, where she represented India, and International Poets Meet in Kerala to share the stage with Ben Okri. She was the only poet writing in English from West Bengal to participate in VAK –the first poetry biennial held in New Delhi (2017). Her poems have been translated into Hindi, Bengali, Urdu, Manipuri, Slovene, Hebrew and Spanish. Currently she is working on a manuscript of non-fictional essays and poetry.The interview took place at ICCR, Kolkata during our meeting in the month of April 2018.

Abstract In India, where around 19,500 dialects are spoken, there is a great abundance of fiction quite rich in varied descriptions of old age and aging. While scholars like Pramod K. Nayar and Ira Raja have recently begun studying Indian literary texts written in English from the perspective of literary gerontology, those literary experiences of aging (which are originally in languages like Bengali, Tamil, Hindi, Oriya, etc.) are yet to be analyzed from a gerontological point of view. The present paper aims at studying the experiences of old age in two Indian short stories (one from Bengali Literature and another from Tamil Literature) – Bibhutibhusan Bandyopadhyay’s “Drabomoyee Goes to Kashi” (“Drabomoyeer Kashibash” in Bengali) and T. Janakiraman’s “The Puppet” (“Vilayattu Bommai” in Tamil). Regarding “Drabomoyee Goes to Kashi,” the paper interrogates the problems in the emplacement of Hindu older widows to Kashi and explores the possibilities in Drabomoyee from eco-feminist and creatural perspectives. The discussions on “The Puppet” chiefly reflect on the social exclusion of the aging bodies of people living with dementia. Through the story of Venu, the paper shows that what the society or family generally expects from elders suffering from dementia may not do any good to them, and may instead lead to their institutionalization and other forms of exclusion.

Malay Roychoudhury (1939) is an Indian Bengali poet, playwright, short story writer, essayist and novelist who founded the Hungryalist movement in the 1960s which changed the course of avant-garde Bengali literature and painting. His best-known poetry collections are Medhar Batanukul Ghungur, Jakham and Matha Ketey Pathachhi Jatno korey Rekho; and his novels Dubjaley Jetuku Proshwas and Naamgandho. He has written more than hundred books. He was given the Sahitya Academy award, the Indian government's highest honour in the field, in 2003 for translating Dharamvir Bharati's Hindi fiction Suraj Ka Satwan Ghora. However, he declined to accept this award and others. This interview has been executed by the exchange of e mails with the activist-author.

This article considers traumatic representations of violence in the stories of the Bengali writer Mahasweta Devi that do not readily fit into trauma studies discourses which emphasise the aporia and unspeakability of trauma. Instead, the protagonists of these stories gesture towards defiance and agency in the face of trauma, thereby calling for justice and social change. Such portrayals offer us opportunities to decolonize cultural trauma theory by focusing on the unexpected arising of agency and empowerment from victims of gendered violence. The article explores the complex ways in which the trope of rape operates in Devi’s work and posits that it is used by Devi to empower her female protagonists and make them powerful critiques of patriarchal systems of exploitation. In doing so, the article argues, these stories also decolonize established discourses of trauma. In "Draupadi", the protagonist Dopdi Mejhen is a tribal revolutionary who is arrested and gang-raped in custody. In "Behind the Bodice", Gangor, a Dalit woman, is gang-raped by policemen. In these stories, rape functions at two levels: firstly, it functions as a critique of the stark reality and extent of the violence perpetrated daily on the bodies of women; secondly, it works as a trope in which the violation of the woman’s body becomes symptomatic of the violation of the land and its oppressed people by the ruling elite under decolonization. Thus, rape in Devi’s fiction can be read allegorically as a critique from within of nationalism and decolonization. By constituting the female subaltern as a complex figure of femininity whose body is not simply the site of exploitation and torture, but a transformative figure of resistance, Devi’s fiction radically destabilizes the basic premise of female vulnerability and the violent objectification of women in the context of rape as well as the expected traumatic aftermath.

The present paper has been specifically designed to investigate diasporic elements in the selected novel of Amit Chaudhuri’s Odysseus Abroad. Indian diaspora literature has emerged as an academic discipline in the age of multiculturalism and transnationalism. It has been flourished by Indian origin authors who have migrated in different nations for different reasons. The galaxy of Indian Diaspora literature is enriched by notable male-female authors who have projected the trauma and complexities of abroad life in their fictional works. Amit Chaudhuri is a prestigious literary figure in the modern indian diasporic writing. The novel portrays a saga and suffering of young indian Bengali boy Ananda who migrate to the Oxford University, England to peruse his degree in literature. Ananda face many challenges in newly adopted western culture. Throughout his journey in foreign land, Ananda exhibit different tropical issues like identity crisis, homesickness, displacement, exile and alienation. Odysseus Abroad is a conspicuous diasporic text which represents a painful journey of a young indian student in abroad. The selected novel will be scrutinized from the angle of diaspora literary study

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