Reading a writer and locating him in his own times is not the only idea of delving into this narrative. Being aware of the aesthetic shifts that have taken place in Indian Writing in English from its beginning to its present avatar, it is necessary to go back and reassess the hidden layers of our past and therefore Kylas Chunder Dutt’s narrative needs to be studied more carefully now.
Though it bears the significance as the first ever fictional narrative in English penned by an Indian writer, it was written at a time when this new genre of writing in English did not even have a commonly agreed nomenclature. Without any logical categorization and historiographical organization, it was labelled by scholars as ‘Indo-Anglian Literature,’ ‘Indo-English Literature’ and now as ‘Indian Writing in English.’ The only common factor is that it is entirely desi, and reading an Indian text written under the hegemony of British imperialism in the early nineteenth century now in the postcolonial ambience of the twenty-first century globalized India is indeed an interesting exercise.
|Dimensions||8.5 × 5.5 × 0.25 in|
Shambhabi – The Third Eye Imprint
The edition has come to us as a complete package. The mere seventeen page narrative has been supplemented with all that a researcher would require to map the text in the history of Indian Fiction in English and gauge its importance: apart from the biographical details of Kylas Chunder Dutt, we have in the Foreword, sections containing succinct analyses of the Young Bengal Movement and its role in shaping the early strands of Indian Literature in English as a whole — Muse India
It is a futuristic narrative of a revolt by the natives of Calcutta under the leadership of a daring “nationalist” young man called Bhoobun Mohun who was educated at the Anglo-Indian College. It was originally published in 1835 in Calcutta Literary Gazette, or Journal of Belles Lettres, Science, and the Arts (June 1835) edited by David Lester Richardson who was the Principal of the Hindoo College where [the author] himself was a student. Its content was considered to be “seditious” by the British colonial establishment — Asiatic
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