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But now one can no longer look down one’s long English nose at literature in the “vernaculars”, for it has emerged as fully an equal of Indian writing in English and enjoys, besides, a substantial demographic dividend. The difference between the “vernacular” writers and Indians writing in English has, therefore, not been so much of sensibility or quality as of linguistic affiliation and often social class. They included Premchand, Buddhadev Bose, U R Ananthamurthy, Ayyappa Paniker and Arun Kolatkar, among numerous others. The fact is that ever since Bankim (1834-94), the founder of the Indian novel, and Michael Madhusudan Dutt (1824-73), the founder of modern Indian poetry, a great majority of writers in all Indian languages have read voraciously in English and through English, other European literatures, while preferring to write in their own languages. In this novel, the hero and his college friends debate Hindu and Muslim notions of food and they cite not only Marx but also Intellectuals: From Marx and Tolstoy to Sartre and Chomsky, an irreverent account of these hallowed figures by Paul Johnson (2007). And The Paradise of Food offers an unsettling meditation on food as cooked and eaten over half a century in a Muslim household. The Bride is about incompatible marriages between a college-educated bridegroom and an illiterate wife.
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Phoolsunghi depicts indigo cultivation and the coming of the railways in Bihar.
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All these novels were written in the twentieth or the twenty-first century in a recognisably Western-realist mode, and they all deal with modern social-historical themes. Don't miss | Tomb of Sand’s Booker win has brought South Asian literature into world’s purview, says author Geetanjali Shreeīy translating these “regional” or “vernacular” novels into English, we are not digging deep into our backyard to come up with antique or primitive objects for display before Anglophone readers in India or abroad as arresting exotica.
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