Saikat Majumdar – författare

Everyday life in the far outposts of empire can be static, empty of the excitement of progress. A pervading sense of banality and boredom are, therefore, common elements of the daily experience for people living on the colonial periphery. Saikat Majumdar suggests that this impoverished affective experience of colonial modernity significantly shapes the innovative aesthetics of modernist fiction. Prose of the World explores the global life of this narrative aesthetic, from late-colonial modernism to the present day, focusing on a writer each from Ireland, New Zealand, South Africa, and India. Ranging from James Joyce's deflated epiphanies to Amit Chaudhuri's disavowal of the grand spectacle of postcolonial national allegories, Majumdar foregrounds the banal as a key instinct of modern and contemporary fiction-one that nevertheless remains submerged because of its antithetical relation to literature's intuitive function to engage or excite. Majumdar asks us to rethink the assumption that banality merely indicates an aesthetic failure.If narrative is traditionally enabled by the tremor, velocity, and excitement of the event, the historical and affective lack implied by the banal produces a narrative force that is radically new precisely because it suspends the conventional impulses of narration.

Everyday life in the far outposts of empire can be static, empty of the excitement of progress. A pervading sense of banality and boredom are, therefore, common elements of the daily experience for people living on the colonial periphery. Saikat Majumdar suggests that this impoverished affective experience of colonial modernity significantly shapes the innovative aesthetics of modernist fiction. Prose of the World explores the global life of this narrative aesthetic, from late-colonial modernism to the present day, focusing on a writer each from Ireland, New Zealand, South Africa, and India. Ranging from James Joyce's deflated epiphanies to Amit Chaudhuri's disavowal of the grand spectacle of postcolonial national allegories, Majumdar foregrounds the banal as a key instinct of modern and contemporary fiction-one that nevertheless remains submerged because of its antithetical relation to literature's intuitive function to engage or excite. Majumdar asks us to rethink the assumption that banality merely indicates an aesthetic failure.If narrative is traditionally enabled by the tremor, velocity, and excitement of the event, the historical and affective lack implied by the banal produces a narrative force that is radically new precisely because it suspends the conventional impulses of narration.

Can the criticism of literature and culture ever be completely professionalized? Does criticism retain an amateur impulse even after it evolves into a highly specialized discipline enshrined in the university? The Critic as Amateur brings leading and emerging scholars together to explore the role of amateurism in literary studies. While untrained reading has always been central to arenas beyond the academy – book clubs, libraries, used bookstores – its role in the making of professional criticism is often disavowed or dismissed. This volume, the first on the critic as amateur, restores the links between expertise, autodidactic learning and hobbyist pleasure by weaving literary criticism in and out of the university. Our contributors take criticism to the airwaves, through the culture of early cinema, the small press, the undergraduate classroom and extracurricular writing groups. Canonical critics are considered alongside feminist publishers and queer intellectuals. The Critic as Amateur is a vital book for readers invested in the disciplinary history of literary studies and the public role of the humanities. It is also a crucial resource for anyone interested in how literary criticism becomes a richly diverse yet shared discourse in the 20th and 21st centuries.

Can the criticism of literature and culture ever be completely professionalized? Does criticism retain an amateur impulse even after it evolves into a highly specialized discipline enshrined in the university? The Critic as Amateur brings leading and emerging scholars together to explore the role of amateurism in literary studies. While untrained reading has always been central to arenas beyond the academy – book clubs, libraries, used bookstores – its role in the making of professional criticism is often disavowed or dismissed. This volume, the first on the critic as amateur, restores the links between expertise, autodidactic learning and hobbyist pleasure by weaving literary criticism in and out of the university. Our contributors take criticism to the airwaves, through the culture of early cinema, the small press, the undergraduate classroom and extracurricular writing groups. Canonical critics are considered alongside feminist publishers and queer intellectuals. The Critic as Amateur is a vital book for readers invested in the disciplinary history of literary studies and the public role of the humanities. It is also a crucial resource for anyone interested in how literary criticism becomes a richly diverse yet shared discourse in the 20th and 21st centuries.

Can the criticism of literature and culture ever be completely professionalized? Does criticism retain an amateur impulse even after it evolves into a highly specialized discipline enshrined in the university? The Critic as Amateur brings leading and emerging scholars together to explore the role of amateurism in literary studies. While untrained reading has always been central to arenas beyond the academy – book clubs, libraries, used bookstores – its role in the making of professional criticism is often disavowed or dismissed. This volume, the first on the critic as amateur, restores the links between expertise, autodidactic learning and hobbyist pleasure by weaving literary criticism in and out of the university. Our contributors take criticism to the airwaves, through the culture of early cinema, the small press, the undergraduate classroom and extracurricular writing groups. Canonical critics are considered alongside feminist publishers and queer intellectuals. The Critic as Amateur is a vital book for readers invested in the disciplinary history of literary studies and the public role of the humanities. It is also a crucial resource for anyone interested in how literary criticism becomes a richly diverse yet shared discourse in the 20th and 21st centuries.

Can the criticism of literature and culture ever be completely professionalized? Does criticism retain an amateur impulse even after it evolves into a highly specialized discipline enshrined in the university? The Critic as Amateur brings leading and emerging scholars together to explore the role of amateurism in literary studies. While untrained reading has always been central to arenas beyond the academy – book clubs, libraries, used bookstores – its role in the making of professional criticism is often disavowed or dismissed. This volume, the first on the critic as amateur, restores the links between expertise, autodidactic learning and hobbyist pleasure by weaving literary criticism in and out of the university. Our contributors take criticism to the airwaves, through the culture of early cinema, the small press, the undergraduate classroom and extracurricular writing groups. Canonical critics are considered alongside feminist publishers and queer intellectuals. The Critic as Amateur is a vital book for readers invested in the disciplinary history of literary studies and the public role of the humanities. It is also a crucial resource for anyone interested in how literary criticism becomes a richly diverse yet shared discourse in the 20th and 21st centuries.

Included in "The Best Scholarly Books of 2024" - The Chronicle of Higher Education Can ignorance, mistake, failure shape ways of reading, or do they disrupt its proper practice? What happens when the authority of modern education and culture places canonical western texts in the way of readers who live in worlds remote from their material contexts?The Amateur reads patterns of autodidactism and intellectual self-formation under systems of colonial education that are variously repressive, exclusionary, broken, or narrowly instrumental. It outlines the development of a wide range of writers, activists, and thinkers whose failed relationships with institutions of knowledge curiously enabled their later success as popular intellectuals. Bringing current debates around reading together with the history of higher education in the postcolony, it focuses on three primary locations: Black intellectuals in apartheid-era South Africa in the aftermath of the Bantu Education Act of 1953, 20th century Caribbean writers who sought to understand the disembodied legacy of the diaspora through accidental encounters with literature and history, and writers from late-colonial and postcolonial India whose disruptive self-formation departed from the administrative project of professionalizing a particular kind of colonial subject. Celebrating flawed and accidental forms of reading, writing, and learning along the periphery of the historical British Empire, Majumdar reveals an unexpected account of the humanities in the postcolony.

Included in "The Best Scholarly Books of 2024" - The Chronicle of Higher Education Can ignorance, mistake, failure shape ways of reading, or do they disrupt its proper practice? What happens when the authority of modern education and culture places canonical western texts in the way of readers who live in worlds remote from their material contexts?The Amateur reads patterns of autodidactism and intellectual self-formation under systems of colonial education that are variously repressive, exclusionary, broken, or narrowly instrumental. It outlines the development of a wide range of writers, activists, and thinkers whose failed relationships with institutions of knowledge curiously enabled their later success as popular intellectuals. Bringing current debates around reading together with the history of higher education in the postcolony, it focuses on three primary locations: Black intellectuals in apartheid-era South Africa in the aftermath of the Bantu Education Act of 1953, 20th century Caribbean writers who sought to understand the disembodied legacy of the diaspora through accidental encounters with literature and history, and writers from late-colonial and postcolonial India whose disruptive self-formation departed from the administrative project of professionalizing a particular kind of colonial subject. Celebrating flawed and accidental forms of reading, writing, and learning along the periphery of the historical British Empire, Majumdar reveals an unexpected account of the humanities in the postcolony.

Included in "The Best Scholarly Books of 2024" - The Chronicle of Higher Education Can ignorance, mistake, failure shape ways of reading, or do they disrupt its proper practice? What happens when the authority of modern education and culture places canonical western texts in the way of readers who live in worlds remote from their material contexts?The Amateur reads patterns of autodidactism and intellectual self-formation under systems of colonial education that are variously repressive, exclusionary, broken, or narrowly instrumental. It outlines the development of a wide range of writers, activists, and thinkers whose failed relationships with institutions of knowledge curiously enabled their later success as popular intellectuals. Bringing current debates around reading together with the history of higher education in the postcolony, it focuses on three primary locations: Black intellectuals in apartheid-era South Africa in the aftermath of the Bantu Education Act of 1953, 20th century Caribbean writers who sought to understand the disembodied legacy of the diaspora through accidental encounters with literature and history, and writers from late-colonial and postcolonial India whose disruptive self-formation departed from the administrative project of professionalizing a particular kind of colonial subject. Celebrating flawed and accidental forms of reading, writing, and learning along the periphery of the historical British Empire, Majumdar reveals an unexpected account of the humanities in the postcolony.

Included in "The Best Scholarly Books of 2024" - The Chronicle of Higher Education Can ignorance, mistake, failure shape ways of reading, or do they disrupt its proper practice? What happens when the authority of modern education and culture places canonical western texts in the way of readers who live in worlds remote from their material contexts?The Amateur reads patterns of autodidactism and intellectual self-formation under systems of colonial education that are variously repressive, exclusionary, broken, or narrowly instrumental. It outlines the development of a wide range of writers, activists, and thinkers whose failed relationships with institutions of knowledge curiously enabled their later success as popular intellectuals. Bringing current debates around reading together with the history of higher education in the postcolony, it focuses on three primary locations: Black intellectuals in apartheid-era South Africa in the aftermath of the Bantu Education Act of 1953, 20th century Caribbean writers who sought to understand the disembodied legacy of the diaspora through accidental encounters with literature and history, and writers from late-colonial and postcolonial India whose disruptive self-formation departed from the administrative project of professionalizing a particular kind of colonial subject. Celebrating flawed and accidental forms of reading, writing, and learning along the periphery of the historical British Empire, Majumdar reveals an unexpected account of the humanities in the postcolony.

Literary Activism – activism that revisits and interrogates an idea of literature – emerges from a radically altered landscape for both publishing and academia, where market pressures are effecting changes – on language, on the measuring of value, on the concept of influence – we might struggle to recognise.Taking in the roles of writer, critic, translator, academic and publisher, the essays in this volume follow no single line of enquiry. Rather, they offer the beginnings of an analysis of the literary world at a certain moment of globalization, while also questioning whether a literary world exists and, if it does, where its boundaries lie.The collection moves in many directions – from Arun Kolatkar and his near-heroic refusal of both market place and reputation; to Derek Attridge, who argues for a form of affirmative criticism which positions the critic as a ‘lover of the text’; while, from Amsterdam, Dubravka Ugrešić;reflects on life in a literary ‘out of nation zone’, adrift in a territory where intellectual protest has been stripped of ideological impetus and subsumed by the voraciousness of the market.Taken together, these essays initiate a series of conversations about who reads what and why, about the practice of writing and criticism at this particular contemporary moment, and about the activities and institutions that shape an understanding of what literature is and what it can do.Literary Activism, edited by Amit Chaudhuri, features writing from Derek Attridge, Tim Parks, Dubravka Ugrešić, Laetitia Zecchini, Peter D. Macdonald, Saikat Majumdar, Jamie McKendrick, and Swapan Chakravorty, with an afterword byJon Cook.

In an elite all-boys’ boarding school run by a Hindu monastic order in late-twentieth century India, things aren’t what they look like on the surface… Anirvan, a young student, is fascinated by the music and silence of spiritual life. He dreams of becoming a monk. But as he seeks his dream, he finds himself drawn to a fellow student, and they come together to form an intimate and unspeakable relationship. The boys sweat at cricket and football, crack science and mathematics in pursuit of golden careers, and meditate to the aroma of incense and flowers. It’s a world of ruthless discipline shaped by monks in flowing saffron. A sceptical teacher mentors Anirvan and reveals his suspicion of this vigilant atmosphere. Does the beating of the boys reveal urges that cannot be named? What is the meaning of monastic celibacy? What, indeed, holds the brotherhood together? Against himself, Anirvan gets sucked into a whirl of events outside the walls of the monastery, in the midst of prostitutes, scheming politicians and the impoverished Muslims of the villages surrounding the school. When the love of his life returns to him, the boys’ desire for each other push them towards a wild course of action. But will that give them a life together in a world that does not recognize their kind of love?