india author m 1

134 Pages·2002·0.31 MB·English

Bibliography of Criticism of Indian Literature in English (1970-
1990)
This is a working document still not complete. It is offered as a research
tool and corrections, additions etc. are welcome. Please contact the
coordinator [email protected]
Arranged by Writers’ Names, then alphabetically by critics’ names.
Document one of two: writers A to Nan...
Compilers: Paul Sharrad
Shyamala Narayan
Marvin Gilman
Kerry Lyon
Richard Lever
Contact: A/Prof. Paul Sharrad
English Studies,
University of Wollongong,
Northfields Avenue, Wollongong,
Australia 2522
Phone: [phone]
Fax: [phone]
email: [email protected]
This is a project in process. It will be of use as a preliminary research tool. Feedback is
welcome. Additional annotations can be submitted for inclusion (authors will be
acknowledged at the end of entries).
INDIA
Author
to be clarified
MUKHERJEE, SUJIT. "Man, Poet and Critic" Indian Literature 14.2(1971): 5-11. [who?]
WALSH, W. "Two Indian Poets" The Literary Criterion 11.3 (1974):1-16. [who?]
KARVE, IRAWATI. "Karna's Search for Identity" Vagartha 5 (1974):22-37. (drama?: either
Kailasam or S. Raman)
MAJUMDAR, A.K. "Portrait of an Indian Intellectual" Quest 91 (1974):21-32. check who
and whether in English
MUKHERJEE, M. "Form in The Puppet's Tale" Literary Criterion 12.2-3 The Literary
Criterion 22.1 (1987):76-8.?? review?
CHANDRAN, RAMESH. "The Maverick Master" India Today (November 30, 1987):174-
9. [??who?]
RAMACHANDRAIAH, P. "The Submerged Valley and Other Stories" The Literary
Criterion 22.2 (1987):65-6. review?
GOKAK, V.K. "Meet the Author I: Towards the Integrated Man as the Ideal" Indian
Literature 31.1 (January February 1988):87-102. who? what?
PARASURAM, LAXMI. "Mountain: A New Dimension of Feminine Self-Perception"
Literary Criterion 16.3 (1981):58-64.[author? genre?]
Abbas, Khwaja Ahmad
HASIB, AHMAD. The Novels of Khwaja Ahmad Abbas: A Study in His Art and Vision
Delhi: Seema Publications, 1987, x + 159 pp.
Aiyar, Rajam
ASHOKAMITRAN. "B.R. Rajam Aiyar and His Kamalambal Charitrans" The Literary
Criterion 21.1&2 (1986):86-92.[????]
PARAMESWARAN, UMA. "Rajam Aiyar's Vasudeva Sastry" The Literary Endeavour 6.1
(1985):55-67.
Alexander, Meena
SRIVASTAVA, K.G. "Meena Alexander" in DWIVEDI, A.N. "Eves' Song: Contemporary
English Verse by Indian Women" Studies in Contemporary Indo-English Verse: A
Collection of Critical Essays. Vol. I Female Poets Bareilly: Prakash Book Depot, 1985:
175-81.
Ali, Ahmed
ALI, AHMED. "The Progressive Writer's Movement and Its historical Perspective" Journal of
South Asian Literature 13.1-4 (1977-78):91-7.
Corrects and contests the statements of N. M. Rashed about the origins and motives
of the Progressive Writers Movement. Exposes Rashed's lack of historical and literary validity
and questions his purpose in distorting facts about the progressives. Establishes the non-
Marxist practice and intention of the Angare writers group which preceded the PWA.
COPPOLA, CARLO. "The Poetry of Ahmed Ali" JIWE 8.1-2 (1980):63-76. Reprinted in
SINGH, KIRPAL ed. Through Different Eyes: Foreign Responses to Indian Writing in English
Calcutta: Writers Workshop, 1984: 87-105.
Best known for his fiction, Ali “feels that he best expresses himself” though his poetry
in English. Biographical survey noting his Urdu short stories and 1938 disillusionment with the
prescriptive politicisation of the Progressive Writers Association and the impact on poetry of
his trips to China (Purple Gold Mountain, 1960). Early work of “naked emotion” drew on
Persian rubai but China and translation work gave the model for “impersonalising personal
experience”. Themes cover loss of friends, memories of love and youth, unfulfilled hopes, life’s
evanescence. Illustrative commentary focusing on imagery. Poems grouped as “Exile” divide
into early political didacticism and later working of political and historical critique into
allegorical reference and symbol. Takes “Having been attacked for speaking the truth...” as his
finest poem of this type. Generally, his work blends English Romantic, Chinese lyric and Urdu
traditions, the last most deeply influential and its derivative quality makes it less than his
fictional achievement, but there are individual poetic successes.
GOWDA, H.H. ANNIAH. “Ahmed Ali’s Twilight in Delhi and Chinua Achebe’s Things
Fall Apart” The Literary Half-Yearly 21.1 (1980): 11-18.
Comparison of two treatments of societies disappearing under colonial rule, both
grounded in historical detail and locality (Delhi of 1900-1910 and Iboland 1850-1900) and
embodying the respective cultures in a central hero (Mir Nihal and Okonkwo), following the
Victorian “linear bourgeois familial novel”. Ali alludes to “farangi” incursion but attributes
change to fate, while Achebe shows socio-historical forces at work. Notes the escalating
impact of missions probing the weak points of traditional African society. Both books show
civilisations that “collapse from within and are overwhelmed from without, and what replaces
them appears most opposite to themselves, being built on what they had overlooked”. Lyric
and humour apply to the “ceremonies of innocence” before the Yeatsian tragic collapse. The
authors both step in to explicate material but avoid anthropologising by being part of what they
observe and by concentrating on the human drama.
KING, BRUCE. “From Twilight to Midnight” in HASHMI, ALAMGIR ed. Worlds of the
Muslim Imagination details???
Reads Rushdie’s Midnight’s Children, Ali’s Twilight in Delhi and Ocean of Night,
Attia Hosain’s Sunlight on a Broken Column and Zulfikar Ghose’s The Murder of Aziz Khan
as a collective history of Muslim society from the Moguls to colonial decadence and Partition;
a story of loss, exile, displacement. Ali began with naturalistic Urdu stories moving to a
combination of poetic evocation and social realism carrying an early modernist view of
decadence awaiting cleansing but capitulating to Western ideas. Hosain focusses
impressionistically on the intersections of personal, political and religious independence within
a woman’s love story. Ghose depicts the deleterious effects on Punjab peasantry of
modernising muslim immigrants from Bombay after Partition. Ghose and Rushdie evince a
more complete modernism, separation of heart and mind reflected in expatriation and
Rushdie’s carnivalistic metafictional allegory substituting for loss of faith.
NIVEN, ALISTAIR. "Historical Imagination in the Novels of Ahmed Ali" JIWE 8.1-2
(January-July 1980):3-13. Reprinted in SINGH, KIRPAL ed. Through Different Eyes:
Foreign Responses to Indian Writing in English Calcutta: Writers Workshop, 1984: 1-15.
Unlike much Third World fiction recording the disappearing past, Ali’s novels
Twilight in Delhi and Ocean of Night are not rural, but celebrate two centres of urban
civilisation: Delhi and Lucknow, fatalistically hymning the fading glories of indian islamic culture
and the plight of individuals cut off from tradition. The novels were both written in the late
thirties (though Ocean only appeared in 1964) still in an Indian context (notes metaphysical
simliarities between Rao and Ali in Ocean and engagé echoes of Anand) . Later poetry
conventionally reproduces a muslim theme of mortal transience and death. Images of darkness
envelop the novels but are related to linked private and public events and reistered in Asghar’s
swings between fantasy, self-pity and nostalgia, and Mir Nihal’s growing old. The mass of
humanity lives on in unaltered rhythm of rise and fall, reflecting LAi’s essentially classical
outlook. Notes a “kinship of mood” to Eliot, especially in Ocean with its images of time as
dance. Ali’s writing in English threatens to become part of the cultural decline from Urdu
classical culture into modernity, just as its prose can become slack and its elegiac tone
bathetic. Ocean moves to symbolism and dreams but is not altogether the lesser work; both
novels are saved by the affirmation of God’s constancy and human nobility in endurance and
the dignity of Biblical-Koranic cadence.
SHANKAR, D.A. "Ahmed Ali's Twilight in Delhi" Literary Criterion 15.1 (1980):73-80.
Descriptive appreciation of Ali’s detailing of the texture of a lost way of life. A classic
relies on provincial rootedness, grounding ideas in individual sensibility as well as collective
social history. Details of pigeons show the personalities of people around them and the values
of a class and period now crumbling under foreign intrusion. The novel remains a minor classic
limited by its closeness to its central family: it needs irony, humour and “comprehensiveness of
understanding”.
STILZ, GERHARD. “‘Live in Fragments No Longer’: A Conciliatory Analysis of Ahmed
Ali’s Twilight in Delhi” in DAVIS, GEOFFREY & MAES-JELINEK, HENA eds. Crisis and
Creativity in the New Literatures in English Amsterdam’Atlanta: Rodopi, 1990: 369-387.
Bio-bibliographic survey of contradictions in Ali’s life (India/Pakistan, Urdu/English,
politics/Art) including his espousing both modern change and nostalgia for romantic beauty.
His twilight metaphor corresponds to an “existential ambivalence” that reconciles opposites
Narrative modes derive from the psychological novel offset by repetetive emphasis of a
message and swinging from realism to romantic pathos. Twilight shows “the decline of a world
that places art above reality”.
Alkazi, Roshen
DUBEY, SURESH CHANDRA. "Roshen Alkazi and Mamta Kalia" in DWIVEDI, A.N.
"Eves' Song: Contemporary English Verse by Indian Women" Studies in Contemporary Indo-
English Verse: A Collection of Critical Essays. Vol. I Female Poets Bareilly: Prakash Book
Depot, 1985: 201-16.
Amanuddin, [Syed? or Urdu? Pakistan?]
AMANUDDIN, SYED. "The Image of Woman in My Poetry" SARev (July 1979): 36-42.
DIESENDORF, MARGARET. "Early Love Poems of Amanuddin" Creative Moment 3.1
(1974):35-41.
DWIVEDI, A.N. "Re-creating 'The Living Scenes of Contemporary Life": The Poetry of
Syed Amanuddin" in DWIVEDI, A.N ed. Studies in Contemporary Indo-English Verse
Bareilly: Prakash Book Depot, 1984:349-68.
DWIVEDI, A.N. "Poetry of Syed Amanuddin: A Study in Diction and Versification" Journal
of Indian Writing in English 13.2 (1985):56-67.
Amanuddim follows the Modernist (especially American) turning to anti-sentimentalist
colloquial language, innovative coinings and abbreviations and free form, varying his output
across a wide range of topics from love to science. His most figurative language accurs in
poems of spiritual adventure likened to Browning’s dramatic monologues and Pound’s
Cantos.
DWIVEDI, A.N. Syed Amanuddin: His Mind and Art New Delhi: Sterling, 1988, 160 pp.
Ameeruddin, Syed
DWIVEDI, A.N. "Imagery in the Poetry of Syed Ameeruddin" in RAM, ATMA. ed.
Contemporary Indian-English Poetry Calcutta: Writers Workshop, 1989: 136-48.
YASEEN, MOHAMMED. "Syed Ameeruddin's Poetry: A Critical Appraisal" in DWIVEDI,
A.N ed. Studies in Contemporary Indo-English Verse Bareilly: Prakash Book Depot,
1984:369-78.
Anand, Mulk Raj
ABIDI, S.Z.H. 'Coolie': A Critical Study Bareilly: Prakash Book Depot, 1978.
Repeats the generalised opinion on Anand's fiction as based on his beliefs in
humanism, socialism and bhakti-yoga. Covers all aspects of critical perspectives in an
extensive appraisal of 'Coolie'.Confirms accepted analysis of Anand's work as social critique.
AGNIHOTRI, H.L. “Gandhian Ethos in Mulk Raj Anand” Journal of Literature and
Aesthetics 3.1 (1083):43-53.
Interested in economic and material reforms, Anand was not inclined to Gandhi’s spiritual and
moral programme but could not be indifferent to him as a nationalist leader. Details the
biographical connections between the two and surveys Untouchable(Gandhi’s appeal is
through human warmth and popular myth but Anand allows practical questioning of his ideals),
Coolie (shows the effect of the Left on the Union movement to be better than that of Gandhi’s
following), Two Leaves and a Bud (Gandhi wallahs try to imporve conditions on tea estates)
and The Sword and the Sickle (Gandhi warped by revolutionary assimilation of his
reputation, and as someone demanding personal reverence despite ideological difference).
The last work fails to integrate its material into its aartistic structure.
ANAND, MULK RAJ. Author to Critic: The Letters of Mulk Raj Anand, with introduction
and notes by S. Cowasjee. Calcutta: Writers Worshop, 1973, 125 pp.
A self-confessed erratic editing of Anand's letters, useful for finding views of the
writer's sense of his own commitment to causes, his critique of "Vedantist" obfuscation over
Indian cultural identity and social change, his position within Indian politics. Expresses real
sympathy for the Indian peasant without putting aside some rather unfavourable traits. Totally
rejects any easy us/them, East/West oppositions in embracing wholehearted support for an
unconquerable humanism still occupying the centre of his worldview.
ANAND, MULK RAJ. "Roots and Flowers: Content and Form in Untouchable and
Kanthapura" Littcrit 8.1 (1982):47-60.
see under Rao, Raja
ANAND, MULK RAJ. "The Sources of Protest in my Novels" The Literary Criterion 18.4
(1983):1-12.
Argument: Expresses his concerns as a novelist based on commitment to the common
folk and his writing as the articulation of holy anger against the dehumanization of lower class
Indians by the powerful elite few. Critical Focus: Provides context to overall assessment by
differentiating himself from western critical categorization in pleading for special treatment
within an Indian perspective. Critical Mode: Sociological analysis of Indian society as a site of
struggle between the traditional force of the powerful and the emergin groups seeking change
and improvement for the masses. 4) Not Applicable! [MG>RL]
ASNANI, SHYAM M. "Untouchability and Mulk Raj Anand's Untouchable" Banasthali
Patrika 6.16 (1971):31-6.
Argues that untouchability is really not an honourable Hindu belief and its continuing
hold on the religious impairs any attempt to eradicate the problem and its unjustifiable
suffering. Thematic critique of Hinduism itself and the rigid intolerance that the higher castes
continue to hold. Moral valuation based on Brahminical investigation of Hindu holy books
denies traditional religious support to untouchability as a tenet of Hinduism.
ASNANI, SHYAM. "Socio-Political Concerns in the Novels of Mulk Raj Anand" Triveni 45
.1 (1976):38-50.
Praises Anand as a champion of the underprivileged lower castes of India but does
not assert any political motivation for this stance. Thematic unity established in the so-called
early trilogy, Untouchable, Coolie, and Two Leaves and a Bud. Attempts sociological analysis
of the caste system and its effect on India's millions of underprivileged.
ASNANI, S.M. "The Theme of East-West Encounter in the Novels of Mulk Raj Anand"
Littcrit 7 (1978):11-19.
Reiterates previous commentary by Cowasjee, Naik and Sinha on the 1930s novels.
‘East-West encounter’ is between culture of birth and culture of education operating at
personal (social), racial (cultural) and philosophic (religious) levels. Anand espouses an Indian
modernity but in revolting against negative aspects of tradition neglects nobler elements of
Eastern heritage and favours Western materialism. Thematic criticism focussed on Coolie,
Two leaves and a Bud and The Big Heart..
ASNANI, S.M. "A Critique of Mulk Raj Anand's Literary Creed" Commonwealth Quarterly
4.15 (1980):64-85.
Assembles Anand’s views on the novel to argue a “steadfast consistency” across his
work. The artist is a heroic striver for all-encompassing comprehension of human experience
within prohetic vision. The novel manages contrasts of inner emotion and outer reality,
Western modern and Eastern traditional narrative forms, passion and reason, not as didactic
moralising but as a dialectic tension introducing new areas of human experience to Indian
writing in English. Notes Anand’s oppositio to Rao’s preachy abstraction, the modernist use
of detached first-person veiwpoint and stream of consciousness. Basically a novelist of
character, Anand mixes realism with dream and memory and creates his ‘Pigeon English’ as a
way of conveying localised speech and thinking.
BALD, SURESH RENJEN. "Politics of a Revolutionary Elite: A Study of Mulk Raj Anand's
Novels" Modern Asian Studies 8(1974):473-89.
Offers incisive evidence of the basic conflicts debilitating the aggressive Marxist
revolutionary position present in Anand's pre-1945 fiction. Focuses on the theme of revolution
as the only way to real social change for the underprivileged Indian masses. Selects elitism,
paternalism, industrialism and collectivism as the major components in the totality of Anand's
revolutionary stance. Bald's critical perceptions are of primary importance in thorough analysis
of Anand's politics.
BANERJEE, SURABI. "Irony as a Stylistic Device: A Note on the Opening Chapter of
Across the Black Waters" Journal of Literature and Aesthetics 2. 2&3 (1982):63-6.
Criticism concentrates on Anand’s social and historical, though he himself emphasises
“how one says it”. Study of the narrative stance of the opening of Across the Black Waters
(1940) reveals shifts from omniscient narration to Lalu’s thoughts to dialogue. These are
echoed in the plotlessness and reflect ironically the general confusion in the uneducated Indian
troops set down in Europe and in the war itself.
BERRY, MARGARET. Mulk Raj Anand: The Man and the Novelist Amsterdam: Oriental
Press, 1971, 114 pp.
Probes the question of values in Anand himself and in his writing and seeks to
determine whether they have been transmitted through his fiction. Examines the details of the
novels in pursuit of the messages of Anand's non-fictional views and theories. Finds Anand
failed to achieve detachment, disinterestedness and freedom from commitment to causes.
Universalist standards upheld as basis of critical assessments.
CARTER, D. "Probing Identities: Untouchable, Things Fall Apart, and This Earth My
Brother" The Literary Criterion 14.3 (1979):14-29.
Correlates individual identity and national identity as primary concern for fictions from
within the New Literatures in English. Focuses on individual's quest as a microcosm for the
national identity under the stress of imperialism. Examines the similarities of sociological and
psychological traits of African and Indian fictional representations.
CHAUDHURY, JASBIR. "Images of Women in the Novels of Mulk Raj Anand" PURBA
16.2 (October 1985):47-56.
CHELLAPPAN, K. "The Child Archetype in the Commonwealth Short Stories: Katherine
Mansfield, Janet Frame and Mulk Raj Anand" The Commonwealth Review 1.1 (1989): 60-
68.
CHINESWARARAO, G.J. “Anand’s Private Life and Malgonkar’s Princes’Journal of
Indian Writing in English 4.1 (1976): 15-20.
Anand offers a study of lonely, troubles character; Malgonkar is distant from his more
confident character, commenting on events of the time.
COWASJEE, SAROS. "Mulk Raj Anand: The Early Struggles of a Novelist" The Journal of
Commonwealth Literature 7.1(1972):49-56.
Asserts commitment as primary motivation for Anand's writing. Presents background
material on Anand's attempt to locate a publisher, especially for 'Untouchable', from factual
evidence contained in letters by E.M. Forster, Bonamy Dobree and others.
COWASJEE, SAROS. "Anand's Literary Creed" The Journal of Indian Writing in English
1.1(1973):66-70.
Cowasjee claims no development in theory or attitude throughout Anand's writing.
Anand's principles about fiction owe much to Flaubert and his readings of Marxist dialectics.
Analysis centred on Anand as a committed political writer and his contribution to the evolving
nationalism of India under the dominance of British colonialism.
COWASJEE, SAROS. "Mulk Raj Anand's Untouchable: An Appraisal" Literature East and
West 17.2-4 (December 1973):199-211.
Examines the three solutions proffered by Anand's text to the problem of the
untouchable. Character study based on the situation of the untouchable and the choice of
possibilities which may alleviate the problem. Includes an evaluation of Hindu morality with the
Mahatma's teachings praised as offering guidelines to the eventual resolution of the
untouchable situation.
COWASJEE, SAROS. "Anand's Two Leaves and a Bud" Indian Literature
16.3&4(1973):134-47.
A discussion of fiction as propaganda with a comparison to Orwell's 'Burmese Days'
(1934) used as example. In vestigates Anand's writing style, especially his choice of language,
dismissing any criticism of it as "babu-like". Analyses the morality of British and Indian
characters built upon biblical concepts of good and evil.
COWASJEE, SAROS. "Mulk Raj Anand's Coolie: an Appraisal" Banasthali Patrika 8.19
(1972; pub. 1974):8-19.
Cowasjee continues his assessment of Anand's fiction as propaganda with nationalistic
overtones. Examines colonialism as a system of repression and exploitation. Offers
sociological analysis of the effects of British rule on the caste system.
COWASJEE, S. "Mulk Raj Anand's The Sword and the Sickle" in RAO, K.S.
NARAYANA. ed. World Literature Written in English 14.2 (1975): 267-277.
1) Seeks to clarify earlier misreadings by insisting on the author’s considerable
achievement in using thoroughly accurate historical material to remarkable effect. 2) Perceives
lalu, the main character, represents Anand’s sounding board to test various revolutionary
approaches to the Indian problem. 3) Focuses on the nationalist perspective by asserting the
novel’s factual correctness based on Nehru’s “An Autobiography” (1936) and Svetlana (?)
Alliluyeva’s “Only One Year” (1969).
COWASJEE, SAROS. "Mulk Raj Anand's The Big Heart: A New Perspective" ACLALS
Bulletin 4th Series, No. 2 (1975):83-6.
1) Reiterates previous treatments of Anand’s work as dominated by concern for the
poor and underprivileged trapped by India’s class and caste systems. 2) closely examines the
character of Ananta and finds him a victim of rage and insanity, not of religious or political
creed, and his sacrifice is the sacrifice of the unselfish man for humanity. 3) sociological
analysis based on economic determinism as fundamental principle in a capitalist society. 4)
See also Kakatiya Journal of English Studies volume 11 (II?) no.1 Spring 1977, 85-92.
COWASJEE, S. Mulk Raj Anand, Coolie, An Assessment Delhi: OUP, 1976, 62 pp.
(NB. annotation says An Appraisal, not ‘assessment’]. Continuing assessment of
Anand’s fiction as propaganda with nationalistic overtones. 2) Examines colonization as a
system of repression and exploitation. 3) Sociological analysis of the effects of British rule in
the caste system.
COWASJEE, S. So Many Freedoms: A Study of the Major Fiction of Mulk Raj Anand
New Delhi: OUP, 1977, x + 205 pp.
Suggests the social impulse conditioned by Marxist dialectics occupies the centre of
meaning in Anand's writing. Categorises Anand as a political novelist, connecting his fiction to
the social, economic and political events of his time. Claims the author's extensive use of irony
destroys the mythic romanticisation of India by Western writers. Follows no particular school
of criticism by utilising many approaches in an eclectic mix of critical strategies.
COWASJEE, S. "Mulk Raj Anand's Confession of a Lover" International Fiction Review 4
(1977):18-22.
Contextualises autobiographical details in this third volume of Anand's mammoth
project in seven volumes, Seven Ages of Man.Extremely detailed authorial examination of
himself as debilitated by self-praise and self-deception. Psychological analysis of author's
character hindered by simplistic interpretation.
COWASJEE, SAROS. "Mulk Raj Anand: The Hard Road to Fiction": 82-96.
in DWIVEDI, A.N. (ed) Studies in Contemporary Indian Fiction in English, Allahabad: Kitab
Mahal, 1987, pp.358
DAS, G.K. "Between Two Heritages: A Note on Mulk Raj Anand's Confession of a Lover"
The Indian Literary Review I.2 (1978):6-14.
DHAR, T.N. "The Big Heart" The Indian Literary Review 5.3 (1987):33-8.
DHAWAN, R.K. "Mulk Raj Anand: Coolie" in PRADHAN, N.S. ed. Major Indian Novels:
An Evaluation New Delhi: Arnold-Heinemann, 1986: 1-21. Also Atlantic Highlands, New
Jersey: Humanities, 1986.
DOMMERGUES, A. "An Interpretation of Mulk Raj Anand's Untouchable" Commonwealth
8.1 (1985):14-23.
1) Reiterates previously expressed opinions without offering any new considerations.
2) Discusses the character of Bakha (?) and the gradual shift in his perspective due to the
experiences undergone during the time frame of the novel to a probable breakthrough based
on shattering the codes of silence and submission surrounding untouchability. 3) Places great
emphasis on language, especially the spoken word and its potentialities to liberate, as a vital
component in coming to grips with the author’s implied suggestion that education is the most
powerful force available to counteract the vicious cycle of untouchability.
FISHER, M. "Interview with Mulk Raj Anand" WLWE 13 (1974):109-22.
Discusses Anand's ideas about literature as organicist and motivated by passion for
writing and a commitment to life. Provides context by the author himself into various aspects
of influence, politics and personalities which have played significant roles in shaping his writing
career.
FISHER, M. "The Shape of Lostness: Mulk Raj Anand's Short Stories" Journal of Indian
Writing in English 2.2 (1974):1-11.
Anand's short stories exhibit variety and control of form and tone. They reinterpret old
myths by recreating new ones suitable to contemporary experience. The theme of inner
lostness has genuinely universal significance. Close reading of selected short stories establishes
comparative aspects relating to moral condition of fictive subjects.
FISHER, MARLENE. The Wisdom of the Heart: A Study of the Works of Mulk Raj Anand
New Delhi: Sterling, 1985, xi + 207.
1) Again points to humanism as the driving force for Anand’s work centred on the
need for social justice. 2) An in-depth investigation based on expansive (?) personal
interviews with the author. Devotes considerable attention to Anand’s preoccupation with
Indian art.3) Establishes interrelatedness of author’s biodata with strategic developments in
content and control of his works of fiction.
FISHER, MARLENE. "Mulk Raj Anand: A Study in his Confessional Novels":97-106. in
DWIVEDI, A.N. (ed) Studies in Contemporary Indian Fiction in English, Allahabad: Kitab
Mahal, 1987, pp.358
GUPTA, G.S. "Dr Mulk Raj Anand's Prose-poems" Contemporary Indian Literature 3
(1971):13-15.