"Set in Aligarh in the early 1960s, after the dust of Partition has ostensibly settled, Topi Shukla is a story of two friends - one Hindu and the other Muslim." "Through the characters of people like Topi and Iffan, the novel looks at the lives of ordinary people trying to survive in a society that insists on a brutal conformity of behaviour. It is about individuals whose spirits are paralysed because they cannot conform, and about history's inability to teach mankind any worthwhile lessons." "Language plays an important part in this narrative, operating almost as a character in its own right. Topi, as a Hindi bull in the Urdu china shop, invokes the historical stand-off between the two languages. The novel also explores the culture and psyche of Uttar Pradesh with its very Muslim Aligarh, its very Hindu Benares, and their exotic confluence in Lucknow."--BOOK JACKET.

This book explores narratives of nationalism in the Hindi novel (1940s–80s), engaging with mainstream, populist, political conceptualisation of a postcolonial nation and local, cultural, often marginalised fictional parallels and alternatives to it. Analysing processes of nation-formation and nationalism(s) via experiments with the novel form and versions of realism in Hindi, conversations between the political and the cultural, rural/borders and the urban/central spaces, individual subjectivity and social structures, and the challenges Hindi novels' internal linguistic diversity poses to formalised Hindi's hegemony, Imagining a Postcolonial Nation: Hindi Novels and Forms of India (1940s–80s) traces Hindi fiction's history of postcolonial India. The multiplicity of realisms indicates significant responses to postcolonial nationalism, idealistic, critical, regional, satirical and psychological. Looking at indigenous narrative methods employed by authors to critically evolve Western ideas of the nation and novel, the book explores the simultaneous convergences and divergences between literary and political understandings of ideological, religious and linguistic nationalisms. Surveying the broad sentiments of idealism, enchantment and disenchantment with freedom and postcoloniality, it studies the possibilities of fiction embodying national history without an outright commitment to mainstream nationalism or nationalist literary canon formation. It also briefly tries to understand the repercussions of nationalism as a masculinist project and its gendered nature affecting a section of writing, novels by women authors, to present counter-narratives to both national and literary canons. Choosing a fairly broad historical timeframe, the book reveals the radical potential of narratives that have over the years been critically categorised as canonical. It reopens discussions around nationalism within novels that have been often canonised as apparently uncritically nationalist.

This book interrogates representations – fiction, literary motifs and narratives – of the Partition of India. Delving into the writings of Khushwant Singh, Balachandra Rajan, Attia Hosain, Abdullah Hussein, Rahi Masoom Raza and Anita Desai, among many others, it highlights the modes of ‘fictive’ testimony that sought to articulate the inarticulate – the experiences of trauma and violence, of loss and longing, and of diaspora and displacement. The author discusses representational techniques and formal innovations in writing across three generations of twentieth-century writers in India and Pakistan, invoking theoretical debates on history, memory, witnessing and trauma. With a new afterword, the second edition of this volume draws attention to recent developments in Partition studies and sheds new light as regards ongoing debates about an event that still casts a shadow on contemporary South Asian society and culture. A key text, this is essential reading for scholars, researchers and students of literary criticism, South Asian studies, cultural studies and modern history.

A no-holds-barred expose of the Hindi film industry's sordid underbelly. Ali Amjad comes from Benares to make it as a scriptwriter in Bombay, only to experience the absurd and tragic reality behind the film world's glamour as he navigates through it with his fellow strugglers. A short, fascinating novel set in the Bombay of the 1970s, Rahi Masoom Raza's Scene: 75 is a crazy kaleidoscope of stories within stories populated by a cast of extraordinary and memorable - but also cynical and manipulative - characters, from struggling directors and wealthy lesbians to film-obsessed social climbers and sleazy producers. In this irreverent, surreal, deeply satirical and darkly humorous work, the author's biting prose takes an unflinching look at both Hindu-Muslim and class relations, as well as at how human ties corrode and wither because of ambition and self-interest. Superbly translated by Poonam Saxena, this lost classic from Rahi Masoom Raza rips off the tinsel curtain that hides the film industry's hypocrisy, insecurity and desperation for success. It is a novel that will delight and disturb in equal measure.

This collection is about those on the wrong side of the border. Apart from offering a perspective on displaced people and communities, the stories talk about people as religious and linguistic minorities in post-Partition India and Pakistan. These narratives offer insights into individual experience, and break the silence of the collective sphere.

Id love to tell you who or why the story is being told and who I am, but that may just spoil the fun. So Ill leave it unto you to decide in the end who I am and why you love me so much. If that last part doesnt make sense, then that is the whole point. Youll catch on soon. Now well begin with a guy named Jake. He still makes me laugh.