| Specifications |
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Publisher: Harper Collins Publishers |
| Author Mini Krishnan | |
| Language: English | |
| Pages: 268 | |
| Cover: PAPERBACK | |
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8.5x5.5 Inch |
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Weight 260 gm |
| Edition: 2025 | |
| ISBN: 9789365693423 | |
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HBR276 |
| Delivery and Return Policies |
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Ships in 1-3 days |
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Returns and Exchanges accepted within 7 days |
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Free Delivery |
IN KANNADA, THE modern short story is known as sannakathe,
virtually a literal translation from English: sanna for short, and kathe for
story. Differing from the didactic intent in stories of ancient times, the
newer form is closer in theme and treatment to Western short stories. Modern
Kannada stories are divided into distinct phases of development: Navodaya or
Renaissance, Pragatishila or Progressive, Navya or New Age, representing
Modernism, and, of course, the experimentation in newer pathways carries on. The
earliest collection of Kannada stories is Vaddaradhane (The Worship of Elders)
written in the tenth century by Shivakotiacharya. It is a collection of
nineteen long fables and parables exemplifying the precepts of Jainism. Later,
there were the Panchatantra fables by Durgasimha in the eleventh century, and
Dharmamrutha by Nayasena in the twelfth century. Since they were didactic in
purpose, the style is formal, with strong overtones of Sanskrit. Later,
Kannada, as a desi or local language, developed its unique identity while
integrating the influence of Sanskrit considered as the marga or classical
language. Over time, Kannada fiction has been reinventing itself by
internalizing foreign influences too, predominantly from sources such as
British, French and Russian fiction, to rejuvenate the language to refurbish
local sensibilities. Kannada literature of the early 1900s is known as the
Navodaya or the Renaissance phase. With exposure to Western philosophy and
literature, significantly British, Navodaya writers explored local realities
from new, uncommon perspectives. Themes for stories were from real-life
situations and the style, therefore, moved from formal to casual. Eventually,
the somewhat naive representation of local culture by most of the Navodaya
writers led to the Pragathisheela or the Progressive phase. As the ideological
stance moved from the Conservative preoccupations of representing local
situations towards Leftist social concerns, stories tended to become
introspective in style to deal with questioning prevalent conditions and trying
to find ways of confronting social evils. This preoccupation with literature as
a strong agent for change brought in the Navya phase, with stories dealing with
personal and social existential situations, and the narrative style, therefore,
becoming more contemplative. Experiments in early Modern or Navodaya stories
trace their beginnings from stories by Panje Mangesharaya (1874-1937) from
Bantwal, South Karnataka. He published his stories in Suvasini, a monthly
magazine. His 'Kamalapuradha Hotlinalli' (1900) is considered the first modern
Kannada short story. Typically, it deals with a local, real-time situation,
treating it with humour.
A TEASHOP IN KAMALAPURA OVERFLOWS WITH THE LIVES SQUABBLES
AND SOUNDS OF ITS NEIGHBOURHOOD TANSEN SORELY REGRETS ABANDONING HIS GIFTED SON
BILAS KHAN IN A STORY SET IN THE MUGHAL COURT A DOTING FATHER SACRIFICES HIS
CHILDRENS HAPPINESS TO SERVE THE CRUEL DEMANDS OF HIS UPPER-CASTE MASTER AN
INDIA ALMOST UNKNOWN TO US FLOODS THE PAGES OF THIS SIGNIFICANT SERIES OF SHORT
STORIES SOURCED FROM THE LATE NINETEENTH TO THE MID TWENTIETH CENTURIES. RINGING
WITH THE MUSIC OF INDIA'S REGIONAL LANGUAGES, ANI) PEPPERED WITH WIT AND SOCIAL
COMMENTARY THESE STORIES ARE WINDOWS TO THE PAST AND ITS PEOPLE THE EVERYDAY
STRUGGLES AND JOYS THE TIES OF FRIENDSHIP AND FAITH THE POLITICS OF LOVE AND
REJECTION THE INTRICACIES OF BETRAYAL AND ENVY AND THE CONFLICTS OF CLASS AND
CASTE WHILE CONTINUING TO BE RELEVANT TO OUR PRESENT, PUNCTURING THE BOUNDARIES
OF TIME AND SPACE HOW MUCH HAS INDIAN SOCIETY CHANGED? HOW MUCH OF IT HAS NOT?
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