Speaking Havoc: Social Suffering and South Asian Narratives
Annotation Who has the right to speak about trauma? As cultural products, narratives of social suffering paradoxically release us from responsibility while demanding that we examine our own connectedness to the circumstances that produce suffering. As a result, the text's act of "speaking havoc" rebounds in unsettling ways. Speaking Havoc investigates how literary and cinematic fictions intervene in the politics and reception of social suffering. Amitav Ghosh's modernist novel The Shadow Lines (1988), A Fine Balance (1995) by Rohinton Mistry, the short stories of Saadat Hasan Manto, Salman Rushdie's postmodernist novel Shame (1983), and the "spectacular" films of Maniratnam each bear witness to social violence in South Asia. These works confront squarely the catastrophes and innumerable minor tragedies that arise from clashes among religious and ethnic communities. Focusing on central events such as the Partition of 1947, the assassination of Indira Gandhi in 1984, and more recent religious conflicts between India and Pakistan, Nagappan demonstrates the differing ways that narratives engage the political violence that has marked the last fifty years of South Asian history. Is it possible to tell fully the stories of those who have died and those who have survived? Can writing really act as a counter to silence? In his compassionate engagement with these concerns, Nagappan demonstrates the relevance of literature and literary studies to fundamental sociological, anthropological, and political issues. With its interdisciplinary scope, historical perspective, and lucid style, Speaking Havoc is destined to become a foundational text for scholars of South Asian studies and postcolonial and culturalstudies, and for readers interested in trauma and social suffering as well as in the literature, films, and histories that take this field as their topic.
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aŞective aesthetic Ahmad Amitav Ghosh argues argument Asia asserts attempt audiences becomes Black Margins body Bombay claims critical critique cultural demands describes diŞerent discourse eŞect ethical experience fact female film’s filmmakers Fredric Jameson Ghosh’s Gyanendra Pandey Hindu human ical imagination India Indira Gandhi insists intellectual kind language Maniratnam’s Manto Manto’s fiction Manto’s stories means melodrama Mistry’s mode modern modernist moral Muslim narrative narrator narrator’s nation Nehru novel o‹cial oŞers ofthe one’s Pakistan Pandey Partition political popular cinema postmodern readers realism reality remains represent representation responsibility rhetoric riots Roja Rushdie’s Saadat Hasan Manto Sakina Salman Rushdie Satanic Verses secular seeks sense sexual Shadow Lines Shailabano Shame Shekhar silence social suŞering song South Asian space speak suggests survivors Tamil telling text’s textual tion Toba Tek Singh trauma Tridib truth Valmik Veena Das viewers violence voice women writing