Mantra Mukim – författare

If "event" is a proper name we reserve for monumental changes, crises, transitions and ruptures that are by their very nature unnameable or unthinkable, then this volume is an attempt to set up an encounter between such eventhood as it comes to have a bearing on literary works and the work of reading literature. As the event continues to provide a valuable analytical paradigm for work undertaken within the newer subdisciplines of literary and critical theory, including close reading, bio- politics, world literature, and eco- criticism, this volume makes a concerted effort to update the scholarship in this area and foreground the recent resurgence of interest in the concept. The book provides both a retrospective appraisal of the significance of events to literary studies and the literary humanities, as well as contemporary and prospective appraisals of the same, and thus would appeal scholars and instructors in the areas of literary theory, comparative literature and philosophical aesthetics alike. Along with a specialist focus on thinkers such as Derrida, Badiou, Deleuze and Malabou, the essays in this volume read a wide corpus of literature ranging from Han Kang, Homer, Renee Gladman, Proust and Flaubert to Yoruba ideophones, Browning, Anne Carson, Jenichiro Oyabe and Ben Lerner.

If "event" is a proper name we reserve for monumental changes, crises, transitions and ruptures that are by their very nature unnameable or unthinkable, then this volume is an attempt to set up an encounter between such eventhood as it comes to have a bearing on literary works and the work of reading literature. As the event continues to provide a valuable analytical paradigm for work undertaken within the newer subdisciplines of literary and critical theory, including close reading, bio- politics, world literature, and eco- criticism, this volume makes a concerted effort to update the scholarship in this area and foreground the recent resurgence of interest in the concept. The book provides both a retrospective appraisal of the significance of events to literary studies and the literary humanities, as well as contemporary and prospective appraisals of the same, and thus would appeal scholars and instructors in the areas of literary theory, comparative literature and philosophical aesthetics alike. Along with a specialist focus on thinkers such as Derrida, Badiou, Deleuze and Malabou, the essays in this volume read a wide corpus of literature ranging from Han Kang, Homer, Renee Gladman, Proust and Flaubert to Yoruba ideophones, Browning, Anne Carson, Jenichiro Oyabe and Ben Lerner.

Glitchwork tracks the uneven lineages of Central India, building on modernist legacies and reckoning with the spectres of the 1984 Bhopal disaster. Mantra Mukim’s debut poetry collection is situated in a timeless, forested grid, poised on the verge of industrial erasure. This grid, a restless site of extraction and production, also brims with potential for lushness, fey ambience, and petite clearings.Its three long poems consist of fragments on a mysterious Cold War ‘plant’, remixes of Surdas (the medieval-Braj poet), notes on palaeolithic hands, philology of the line, anomalies in a lunar-roving vehicle, and the origin myths of Raipur.

Providing one of the first book-length accounts of Samuel Beckett’s poetry, this work illustrates how Beckett's poetry, and its failures, reconfigure the lyric form. Reading Beckett alongside nineteenth and twentieth century European poets such as Hölderlin, Mallarmé, Rimbaud, Montale, and Apollinaire, the book situates failure in the triangulation of the lyric impulse, subjectivity, and the human voice.Beckett, in his poems, employs lyric tactics that range from deixis, parataxis, and caesura to specific kinds of timbre, resonances, and punctuations. These tactics situate the poetic voice in the liminal points between life and death, event and non-event, beginning and ending, and more broadly, between expression and failure. The book frames these liminalities under the rubric of 'lyric failure'.Moving beyond the usual comparisons with his prose and drama, the study highlights failure as a generative force that structures Beckett's anti-expressive poetics.