‘Calcutta is a Great Gallery’: chaloman shilpa andolan, or The Dynamic Art Movement
The year was 1970 – the Naxalite movement was ebbing in Calcutta. I left my home in College Street for Tripura: a kind of exile.
The year was 1970 – the Naxalite movement was ebbing in Calcutta. I left my home in College Street for Tripura: a kind of exile.
Last summer, while preparing a chronology of the life of Charles Baudelaire, I hit upon a fact which I had not found in any book: Baudelaire and Dostoyevsky were born in the same year.
I was formally introduced to Baudelaire in the last year of the last century. I was a university student, and, the nature of such an introduction being what it is, chose to look away.
Literary and intellectual history is neither an evolution nor a linear movement. It’s a narrative of stops and starts, mainly because it’s shaped by, and dependent on...
My two-volume book, Europe: A Philosophical History (Routledge, 2021), explores the vicissitudes of the modern European idea of Europe’s exemplary modernity...
The first time I read Madame Bovary I was fourteen or fifteen. My family lived in England; at school I was learning French. Denise King, my French teacher, lent me her copy of the book...
There are, in India, two kinds of criticism. The first kind is criticism as unconsidered praise, in which the writer, having done little more than give documentary confirmation...
I was at the Museum of Modern Art, looking at their Surrealism collection. I'm not sure how long it took me to notice there were no women in it...
I have lived my life half in this world, half out of it. Hours, weeks, by now it must be years, have been spent in imagined elsewheres. Sometimes these other worlds have been invented by me—although 'invented' seems too deliberate a word. I daydream.
When I was nine, my father overheard me bragging to friends, children of his colleagues in the army. Though he had not been injured in battle, he had fought in all three wars India had waged in the 1960s and 70s
Must the earliest experience of artistic representation be such a menagerie of the senses? “When you wet the bed first it is warm then it gets cold.”
I’m looking back at the title to remind myself of what it is. ‘Possible, not Alternative, Histories’. I want to do something here that’s reckless because it’s very ambitious.
From the mid-1990s onwards, we witnessed a convergence between literary language and the language of publishing, for it was publishers, increasingly, who told us about the ‘masterpieces’ they were publishing (the word, like the literary itself, had by then been disowned by most literature departments).
In his mission statement, Amit Chaudhuri identifies what he calls ‘market activism’ primarily with publishers and literary agents, or, perhaps more specifically, with the large publishing corporations and ‘super-agents’ who began to reshape the literary world during the early 1990s. But he also looks briefly askance at universities in order to point out an implicitly fatal coincidence.
I would like to evoke the extraordinary work, life, and career of the bilingual English-Marathi poet Arun Kolatkar (1931-2004) and of his generation of poets, writers, publishers, and artists who started producing their work in the 1950s and 1960s, mostly in Bombay, and which I designate here as the little magazine ‘conspiracy’.
It was 1989. I was a graduate student at Oxford. I had made little progress with my doctoral dissertation and I had written a novel that had almost, but not quite, found a publisher. One of the routes that had taken me in my fiction towards Calcutta was Irish literature – its provincialism and cosmopolitanism, its eccentricity and refinement.
Many years ago – in the days before email – I found myself engaged in correspondence with the postcolonial critic Benita Parry. She had visited Rutgers University, where I was teaching, and had given a paper on the fiction of J.M. Coetzee, in which I too had an interest. We had a friendly disagreement about the question of silence in Coetzee’s novels...
I am a market activist. I make no apology for that – though I may apologise for some of the unintended consequences of my activity. I’ve worked in publishing all my adult life and, for the past fifteen years or so, have managed independent publishing companies that have – to a greater or lesser extent – been engaged in the pursuit of trying to make a business out of literary activity. In this respect, I think, I am perhaps an outsider at this symposium.
The year was 1970 – the Naxalite movement was ebbing in Calcutta. I left my home in College Street for Tripura: a kind of exile.
Last summer, while preparing a chronology of the life of Charles Baudelaire, I hit upon a fact which I had not found in any book: Baudelaire and Dostoyevsky were born in the same year.
I was formally introduced to Baudelaire in the last year of the last century. I was a university student, and, the nature of such an introduction being what it is, chose to look away.
