Modern Indian Poetry in English

Nazareth, Peter; King, Bruce M.

doi:10.2307/40157314

Cited by 12 publications

(2 citation statements)

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“…The widespread adoption of newer printing technology in the second half of the 20 th century assisted the transformation of the anthology from an archival space into a "commodity" that may be mass-produced, mass-circulated, and also mass-consumed. Bruce King (2004) argues that "the poets had to create their own cultural space, start their journals and edit and publish each other's manuscripts" and this precisely was one of the driving forces behind the lack of "continuity between the new poetry and that written before independence" (p. 11). Because the tools of production were at their fingertips, they could not be censored, regulated, or moderated by external agents, and the poets could publish new poetry with a modern idiom.…”

Section: Production (The Commodification Of the Anthology)mentioning

confidence: 99%

“…damn you: a magazine of the Arts (1965-68), Ezra: an imagiste magazine (1967-71), and fakir (1968); the Nissim Ezekiel edited Quest (1955-57), andPoetry India (1966-67); and Pritish Nandy's Dialogue (1968-70) which went bankrupt by 1971. King (2004) argues that the present canon of modern poets were beginning to assemble around these publications (pp. 23-28).…”

Section: Production (The Commodification Of the Anthology)mentioning

confidence: 99%

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Towards a Problematic Canon: Indian Poetry Anthologies and the Construction of Modernism

Karam

2023

rupkatha

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The history of modern Indian poetry in English as evidenced in anthologies is riddled with many modernist tendencies, both linguistic and political. Within anthologies, poetry becomes not merely literary and artistic pieces, but agents in a larger narrative. To establish an argument for Indian poetic modernism (post-1950) in anthologies requires an inquiry into the processes in which editors, through the paratextual matters, (titles, prefaces, introductory notes, headnotes, endnotes etc.) help create a persuasiveness about newness or modernity. With more than 200 Indian poetry anthologies published since 1950, there is also the problem of selecting an authoritative volume that reflects the national canon. By juxtaposing Gérard Genette’s (1991) paratextual theory and Ramond Williams’ (1977) epochal theory of classifying the dominant, residual, and emergent cultural tendencies, this paper attempts to understand poetry anthologies as commodities and cultural vehicles constantly striving for dominance. An argument is made that any canon – modernist or otherwise – is a sub-product of this cultural and material struggle. Thus, the purpose of this paper is to provide an alternate understanding of the arrival of modern Indian English poetry canon as a form of construction that occurs within the pages of anthologies.

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Section: Production (The Commodification Of the Anthology)mentioning

confidence: 99%

Section: Production (The Commodification Of the Anthology)mentioning

confidence: 99%