india author m 1- a-nan - University of Wollongong

RANI, K. NIRUPA. "Inflash and Orchestra: A Note on K.V.S. Murti's Muse" in DWIVEDI,
A.N ed. Studies in Contemporary Indo-English Verse Bareilly: Prakash Book Depot,
1984:191-209.
Nagarajan, K.
JAGADISAN, S. "Chidambaram: A Vision." JIWE 4, no.2 (1976): 29-31.
Chidambaram: A Chronicle Play (1955) was written for the silver jubilee celebrations
of the Annamalai University, and is ideally suited for the occasion. The play falls into fourteen
episodes, each highlighting a significant event in the history of the town of Chidambaram. The
time Spirit guides a modern student on a journey through the ages, and a host of characters,
legendary and historical, put in brief appearances. There is no conflict or action in the usual
sense of the term. The focal figure of Siva (Nataraja, the Cosmic Dancer) lends unity of tone
and action to the play.
KRISHNAMURTHI, M.G. "The Chronicles of Kedaram: A Question of Form"Indian
Writing Today 4 (1970):27-31.
MENON, K.P.K. Nagarajan's Writings: An Introduction Madras: Emerald Publishers, 1985,
52 pp.
PARAMESWARAN, UMA. "K. Nagarajan's Athawar House: A Study" in GUPTA, G.S.
BALARAMA., ed. Studies in Indian Fiction in English Gulbarga: JIWE Publications, 1987:
142-51.
RAMACHANDRAIAH, P. "The Uses of Chronicle: A Study of the Narrative Method of K.
Nagarajan's Chronicles of Kedaram" The Literary Criterion 22.1 (1987):18-22
Nagpal B.R.
NAIR N. RAMACHANDRAN. "Varied Textures" Littcrit 14.1&2 (1989): 84-7. genre?
review?
Nahal, Chaman
BELLIAPPA, K.C. "The Elusive Classic: Khushwant Singh's Train to Pakistan and Chaman
Nahal's Azadi," The Literary Criterion 15, no.2 (1980): 62-73.
Modern writing tends to produce only minor classics by T.S. Eliot's definitions; we
need Kermode's "plurality of interpretations" plus ideals of authoritative evocation of setting
and comprehensiveness of vision as criteria. Train to Pakistan and Azadi are potential classics.
The former, however, is a sociological period-piece with romantic interest in which only Iqbal
is credibly portrayed. Sides with Kulshrestha in downgrading the novel. Nahal, however,
achieves "comprehensiveness of vision" and dramatizes the meaning of azadi in complex and
human terms (Lala Kanshi Ram provides the focus) that transcend journalistic documentary.
The novel points the irony that azadi, though it produces heroism and kindness, results in
anything but freedom for the suffering people. Nahal avoids simplistic bias, offering multiple
perspectives lamenting the violence but noting a new national dignity. There are flaws in
"loose" passages, unrealized structural potential and unconvincing scenes of intimacy, but the
book meets the criteria of a regional classic.
DEV, JAI. "Form in the Novels of Chaman Nahal" PURBA 16.1 (April 1985):25-9.