Rabindranath Tagore: A Man with Vision

Rabindranath Tagore's creative output tells you a lot about this renaissance man. The variety, quality and quantity are unbelievable. As a writer, Tagore primarily worked in Bengali, but after his success with Gitanjali, he translated many of his other works into English.

An Inimitable Khushwant Singh: The Sikh Heritage

Khushwant Singh is many things to many people. More you read about him, hungrier you get. He is the high priest of journalism and can be said to be India's best. he is a free thinker and an international celebrity.

Chitra Banerjee Divakaruni: Palace of Illusions

Chitra Divakaruni’s books are usually about the Indian immigrant experience in the US. Her stories (mainly told from a woman’s perspective) about coming to terms with a life displaced from a traditional homeland strike a chord with the Indian-American community.

The In-Between World of M. G. Vassanji

M.G. Vassanji is the author of six acclaimed novels: The Gunny Sack, which won the regional Commonwealth Prize; No New Land; The Book of Secrets, which won the very first Giller Prize; Amriika; The In-Between World of Vikram Lall, which also won the Giller Prize, and The Assassin’s Song, which was shortlisted for the Scotiabank Giller Prize and the Governor General’s Award for Fiction.

Vikram Seth: Be(a)stly Tales

His works include The Golden Gate: A Novel in Verse, A Suitable Boy, From Heaven Lake: Travels through Sinkiang and Tibet and four volumes of poetry titled Mappings, The Humble Administrator's Garden, All You Who Sleep Tonight and Beastly Tales From Here And There.

Wednesday 29 June 2011

Rabindranath Tagore: A Man with Wisdom


Rabindranath Tagore was born in Calcutta, India into a wealthy Brahmin family. After a brief stay in England (1878) to attempt to study law, he returned to India, and instead pursued a career as a writer, playwright, songwriter, poet, philosopher and educator. During the first 51 years of his life he achieved some success in the Calcutta area of India where he was born and raised with his many stories, songs and plays. His short stories were published monthly in a friend's magazine and he even played the lead role in a few of the public performances of his plays. Otherwise, he was little known outside of the Calcutta area, and not known at all outside of India.

This all suddenly changed in 1912. He then returned to England for the first time since his failed attempt at law school as a teenager. Now a man of 51, his was accompanied by his son. On the way over to England he began translating, for the first time, his latest selections of poems, Gitanjali, into English. Almost all of his work prior to that time had been written in his native tongue of Bengali. He decided to do this just to have something to do, with no expectation at all that his first time translation efforts would be any good. He made the handwritten translations in a little notebook he carried around with him and worked on during the long sea voyage from India. Upon arrival, his son left his father's brief case with this notebook in the London subway. Fortunately, an honest person turned in the briefcase and it was recovered the next day. Tagore's one friend in England, a famous artist he had met in India, Rothenstein, learned of the translation, and asked to see it. Reluctantly, with much persuasion, Tagore let him have the notebook. The painter could not believe his eyes. The poems were incredible. He called his friend, W.B. Yeats, and finally talked Yeats into looking at the hand scrawled notebook.

The rest, as they say, is history. Yeats was enthralled. He later wrote the introduction to Gitanjali when it was published in September 1912 in a limited edition by the India Society in London. Thereafter, both the poetry and the man were an instant sensation, first in London literary circles, and soon thereafter in the entire world. His spiritual presence was awesome. His words evoked great beauty. Nobody had ever read anything like it. A glimpse of the mysticism and sentimental beauty of Indian culture were revealed to the West for the first time. Less than a year later, in 1913, Rabindranath received the Nobel Prize for literature. He was the first non-westerner to be so honored. Overnight he was famous and began world lecture tours promoting inter-cultural harmony and understanding. In 1915 he was knighted by the British King George V. When not traveling he remained at his family home outside of Calcutta, where he remained very active as a literary, spiritual and social-political force.

In 1919, following the Amritsar massacre of 400 Indian demonstrators by British troops, Sir Tagore renounced his Knighthood. Although a good friend of Mohandas Karamchand Gandhi, most of the time Tagore stayed out of politics. He was opposed to nationalism and miltiarism as a matter of principle, and instead promoted spiritual values and the creation of a new world culture founded in multi-culturalism, diversity and tolerance. He served as a spiritual and creative beacon to his countrymen, and indeed, the whole world. He used the funds from his writing and lecturing to expand upon the school he had founded in 1901 now known as Visva Bharati . The alternative to the poor system of education imposed by the British, combined the best of traditional Hindu education with Western ideals. Tagore's multi-cultural educational efforts were an inspiration to many, including his friend, Count Hermann Keyserling of Estonia. Count Keyserling founded his own school in 1920 patterned upon Tagore's school, and the ancient universities which existed in Northern India under Buddhist rule over 2,000 years ago under the name School of Wisdom. Rabindranath Tagore led the opening program of the School of Wisdom in 1920, and participated in several of its programs thereafter.

Rabindranath Tagore's creative output tells you a lot about this renaissance man. The variety, quality and quantity are unbelievable. As a writer, Tagore primarily worked in Bengali, but after his success with Gitanjali, he translated many of his other works into English. He wrote over one thousand poems; eight volumes of short stories; almost two dozen plays and play-lets; eight novels; and many books and essays on philosophy, religion, education and social topics. Aside from words and drama, his other great love was music, Bengali style. He composed more than two thousand songs, both the music and lyrics. Two of them became the national anthems of India and Bangladesh. In 1929 he even began painting. Many of his paintings can be found in museums today, especially in India, where he is considered the greatest literary figure of India of all times.

Tagore was not only a creative genius, he was a great man and friend to many. For instance, he was also a good friend from childhood to the great Indian Physicist, Bose. He was educated and quite knowledgeable of Western culture, especially Western poetry and Science. This made him a remarkable person, one of the first of our planet to combine East and West, and ancient and modern knowledge. Tagore had a good grasp of modern - post-Newtonian - physics, and was well able to hold his own in a debate with Einstein in 1930 on the newly emerging principles of quantum mechanics and chaos. His meetings and tape recorded conversations with his contemporaries such Albert Einstein and H.G. Wells, stand as cultural landmarks, and show the brilliance of this great man. Although Tagore is a superb representative of his country - India - the man who wrote its national anthem - his life and works go far beyond his country. He is truly a man of the whole Earth, a product of the best of both traditional Indian, and modern Western cultures. The School of Wisdom is proud to have him as part of its heritage. He exemplifies the ideals important to us of Goodness, Meaningful Work, and World Culture.

Journal of Indian Writing in English

When one thinks of Indian English Literature, one cannot but think of the complexity and difficulty in choosing a name for it. The following names been given with different interpretations suggesting different nuances and shades of meaning.

  • Anglo-Indian Literature
  • Indo-Anglian Literature
  • Indo-English Literature
  • Indian writing in English
  • Indian-English writing
  • Indian English Literature

The journal has an interdisciplinary approach. It focuses on transnational alliances like Indian English literature, Indian theory & criticism networks, which have emerged as an important factor influencing international relations. Along with the theoretical issues on Dalit Literature, Women’s Studies, Diasporas, multiculturalism, globalisation, hybridity, transgression, Feminism etc. the journal covers classical and modern approach from different regions of the world, both in historical and contemporary perspectives. Among these networks, Indian Diaspora is the most recent one. The journal will focus and study by comparing and contrasting it with other literatures like Caribbean, Australian, Third World Literature. It will publish both theoretical and empirical research. However, it encourages comparative and policy perspectives for globalising international system.

Journal of Indian Writing in English is an endeavour of showcasing the rare gems of Indian writing in English. From being a curious native explosion, Indian English has become a new form of Indian culture, and voice in which India speaks. While Indian authors–poets, novelists, essayists, dramatists–have been making significant contributions to world literature since the pre-Independence era, the past few years have seen a massive flourishing of Indian English writing in the international market. Not only are the works of Indian authors writing in English soaring on the best-seller list, they are also receiving a great deal of critical acclaim. Starting from Mulk Raj Anand, R. K. Narayan, Anita Desai, Toru Dutt to Salman Rushdie, Vikram Seth, Allan Sealy, Amitav Ghosh, Jhumpa Lahiri, Chitra Banerjee Divakaruni, Arundhati Roy, Vikram Chandra … the parade of fine Indian writers is long and lengthening. Here, you can explore the interesting history of Indian writing in English, and also experience its various facets, as expressed in Indian English literature, plays and movies, and other media.

The aim of the Journal is to make accessible in clear and concise form a body of material that has become overwhelming. We hope it will continue to have a wide audience in the academy, an audience composed not only of professors and graduate students in literary studies but also of many others working in adjacent fields that have been significantly influenced by recent developments in literary theory and criticism.

Intended for use by scholars as well as by students and others seriously interested in theoretical issues but without specialized knowledge, the Journal endeavours to act as an informative, reliable introduction to the principal manifestations of this large and challenging area of inquiry. Our hope is that the Journal will answer most of the questions that occur to teachers, students, and others as they traverse the critical and theoretical landscape and that it will show them where to turn for instruction beyond the range of the Journal itself.

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