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to the real problems of life; in her personal life she was a rebel, but in poetry she calmly accepts the low place accorded to women in India. "The Immortal Bird" O P MATHUR 188-196 "Sarojini Naidu's Poetry: An Evaluation" D.C.AGRAWALA 197-205 Agrawala makes a distinction between true and great poetry; in great poetry, ideas are as important as words, and Sarojini' work does not belong to this category, as she has no view of life to present, and evades fundamental issues. However, she has written many beautiful lyrics, many of them using Indian rhythms "Salaam for Sarojini: Towards a Revaluation" SISRKUMAR GHOSE 206-216. See GHOSE above p.3. Select Bibliography 217-221. SAXENA, SANJAY. "The Poetry of Sarojini Naidu: A Revaluation." Poetry no.10 (1985): 14-23. The contemporary Indian reaction to the poetry of Naidu is unsympathetic. Saxena pleads for the evaluation of her work with reference to the times in which she lived and wrote. He follows received opinion of older critics in his evaluation--Naidu's genius was essentially lyrical, her verse gives the impression of unpremeditated art. SENGUPTA, PADMINI. Sarojini Naidu. New Delhi: Sahitya Akademi, 1974, 92pp. Reprinted 1981."Makers of Indian Literature" Series, meant for the general reader. SHAHANE, VASANT A. "Sarojini Naidu: The Rare Person." Osmania Journal of English Studies l6, no.1 (1980): 1-9. Shahane presents insights into her personality and family life as well as her poetry. Sarojini was a cosmopolitan person, free of casteism or regionalism, deeply influenced by Gokhale's liberalism, though she had no less attachment towards Mahatma Gandhi or Jawaharlal Nehru in the struggle against the British. She was friendly with the Nizam of Hyderabad and the aristocracy, and took no part in the struggle for freedom of the people of Hyderabad. Shahane presents a short evaluation of her as a writer of melodious metrical verse, a "surface-grace, lyrical poet." SHAHANE, VASANT A. and M. N. SARMA, eds. Osmania Journal of English Studies 16, no.1 (1980). A special issue devoted to Sarojini Naidu. It contains articles on the person ("Sarojini Naidu, The Rare Person" by VASANT A.SHAHANE, "Sarojini Naidu: A Political Profile" by RAM JOSHI, "Sarojini Naidu, the woman" by TARA ALI BAIG), three articles on her poetry, and a selection of her poems. Reprinted as The Flute and the Drum: Studies in Sarojini Naidu's Poetry and Politics, edited by M. N. Sarma and V. A. Shahane. Hyderabad: Osmania University, 1980, 104pp. Namjoshi, Suniti DWIVEDI, A.N. "Suniti Namjoshi - Art and Artifice in Her Work" 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, 1984: 227-39. Poems (1967), Cyclone in Pakistan (1971) and More Poems (1971) show promise in their terse suggestive debunking wit and lyrical alliterated cadence, but decline unevenly into limited flat literary affectation and cynical parading of life’s cruelty. Moves from descriptive commentary following Monika Varma’s review to moral and formalist condemnation.
Nandy, Pritish AGRAWAL, I.N. "Tonight This Savage Rite: A Perspective of Pritish Nandy's Love Poems" Studies in Contemporary Indo-English Verse (1984):252-58. DASGUPTA, SUBHORANJAN. "Politics and the Poetry of Pritish Nandy" in KULSHRESHTHA, CHIRANTAN., ed Contemporary Indian-English Verse: An Evaluation New Delhi: Arnold-Heinemann, 1980: 215-26. Also Atlantic Highlands: Humanities, 1981. DASGUPTA, SUBHORANJAN. Pritish Nandy (1976) (??) SAHA, SUBHAS CHANDRA. "The Love Poetry of Pritish Nandy" in Korld of New Sensibility" Indian Literature 20.5 (1978):97-100.[english? probably Das/Bengali] VARMA, URMILA. "Modernity in Theme and Technique in Pritish Nandy" in RAM, ATMA. ed. Contemporary Indian-English Poetry Calcutta: Writers Workshop, 1989: 79-85. Modern Indian poetry in English follows a nineteenth-century and classical tradition of love lyrics while breaking with the mellifluous romanticism of the past. Nandy’s verse differs again from his contemporaries in its extreme passion. Examples are cited from Riding the Midnight River. The poet, using free verse and colloquial bluntness, quests after objects of desire and passionate release figured as dramatic physical action and inexhaustible natural energy. CHECK!!! HARREX, S.C. "Some Miscellaneous Writings" JCL 8.1 (1979):65-76. {Narayan??} RAJ, KRISHNA. "Stray Notes on the East-West Syndrome in Maitraye Devi's It Does Not Die" Commonwealth Quarterly 4.13 (1979):99-105. [english?] ASNANI, S.M. "Prison and Chocolate Cake: A Study" Journal of Indian Writing in English 7.1 (1979):47-60. [nehru??] MEHTA, P.P. "The Devil's Wind: The First Great Indo-Anglian Historical Novel" __Triveni 48.2 (1980):72-9.who? DAS, B.K. "The Pattern of Thought in 'Poet, Lover, Birdwatcher'" Journal of Indian Writing in English 7.2 (1980):46-9. [who?] KUNDARGI, DILIP. "Ash Flowers: Reflections of a Poet" Commonwealth Quarterly 13 (1980):106-12.[???] JOSHI, NAVIN CHANDRA. "A Historical Novel" I&FR 19.7 (January 15-31, 1982):23. [???] GANGULI, CHANDRA. & JAIN, SUNITA. "A World Crumbles: The Song of Anasuya" Journal of Indian Writing in English 10.1&2 (1982): 34-8. [check]
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Bibliography of Criticism of Indian
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Corrects and contests the statement
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DWIVEDI, A.N. "Re-creating 'The Liv
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ASNANI, SHYAM. "Socio-Political Con
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dismissing any criticism of it as "
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GUPTA, G.S. BALARAMA. Mulk Raj Anan
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Character study of Bakha based on C
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the writer’s ‘own terms’. 3)
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Chinua Achebe. The fundamental guid
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Forster: A Centenary Volume New Del
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Reveals the later and more complex
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SUDHAKAR, PREMILA PAUL. "Major Them
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DEVY, G.M. "Sri Aurobindo's 'Source
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Perseus is primarily an instrument
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RAMAMURTI, K.S. & KAMALANI N. “Sr
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BHATNAGAR, O.P. "Urbanity and Rural
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BHATT, P.N. "The Impact of Gandhi o
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SHARMA, K. K.Bhabani Bhattacharya:
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Chattopadhyaya, Harindranath GUPTA,
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An appreciative close reading arran
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Chinmoy, Sri BENNET, MEREDITH. "The
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REDDY, P. BAYAPPA. "Asif Currimbhoy
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INAMDAR, F.A. "K.N. Daruwalla's Poe
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the external world of phenomena”
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Heinemann, 1980: 201-07. Also Atlan
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AFZAL-KHAN, FAWZIA. "Genre and Ideo
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KIRPAL, VINEY. "An Image of India:
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PRASAD, MADHUSUDAN. "Anita Desai's
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KUMAR, SHIV K. "Desai's Games at Tw
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NAIK, M.K. "The Method in His Madne
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Response to de Souza’s poetry fix
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DWIVEDI, SURESH CHANDRA. ed. Perspe
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Claims his poetry attempts to harmo
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SREENIVASAN, S. "The Self and Its E
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Ghose, Sudin N. KATAMBLE, V.D. "Vil
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Ghosh, Amitav KAPADIA, NOVY. "Imagi
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Jhabvala, Ruth Prawer AGARWAL, R. "
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DUDT, CHARMAZEL. "Jhabvala's Fictio
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MUKHERJEE, MEENAKSHI. "Journey's En
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Page 82 and 83: RAIZADA, HARISH. "Double Vision of
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Page 86 and 87: primitive life; and The Apprentice,
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Page 102 and 103: Criticism ABIDI, S.Z.H. Kamala Mark
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Page 112 and 113: onslaught on the autochthonic cultu
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Page 118 and 119: Close readings from The Nine Enclos
Page 120 and 121: RANI, K. NIRUPA. "Inflash and Orche
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Page 124 and 125: poetry, "the audience, enveloped in
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Page 128 and 129: NARAVANE, VISHWANATH S. Sarojini Na
Page 132 and 133: JUSSAWALLA, ADIL. "One Woman's Poet
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