Thanks to art, instead of seeing one world only, our own, we see that world multiply itself and we have at our disposal as many worlds as there are original artists, worlds more different one from the other than those which revolve in infinite space, worlds which, centuries after the extinction of the fire from …
In a Q&A session with the Booker Prize, Avni Doshi talked about the centrality of art in the narrative as such; “On the level of story, art plays a central role in how the characters develop in Burnt Sugar. The major conflicts between characters are framed by the artistic production of the narrator. On a …
The past is not dead. In fact, it is not even past. William Faulkner, Requiem for a Nun (1951) Amidst the clamorous turbulence, turmoil and tumult of the Partition, Basti sits in a sombre, solemn, albeit ruptured, landscape. At the outset, the reader encounters a mythic, almost mystic echo-chamber of voices of a reminiscing history …
Memory and Memoir in Intizar Husain’s Basti: A Study of Memory in Exile – Aditi Singh Read More »
What are collective memories of the past and how are they remembered? A. Assmann has argued that collective memories must be defined in terms of the function they play in society. “Just as autobiographical memories are individually held memories that bear on the identity of an individual, collective memories are widely held memories of community …
Remembering and Forgetting: Collective Memory – Angel Maria Varghese Read More »
