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primitive life; and The Apprentice, inspired by Camus's novel The Fall, is a study of belief in karma and the purification of the soul. PRASAD, V. V. N. RAJENDRA. "Arun Joshi: Self as Labyrinth." The Self, the Family and Society in Five Indian Novelists (New Delh Prestige Books, 1990): 108-29. Prasad's analysis follows Rame K. Srivastava and A. Ramakrishna Rao's. The exploration of the self, likened to a labyrinth, is the main theme of Joshi's novels. The usual themes of Indian-English fiction, such as East-West encounter or rural India, do not appear. The word "labyrinth" and its analogues occur frequently in Joshi's texts. Reminiscence is the major fictional device. In The Foreigner, the word "foreign", and its substantive forms, provide an inclusive metaphor that governs the narrative. Joshi's novels present an authentic picture of life in India, and the crisis of character faced by modern man. PRASAD, MADHUSUDAN. "Arun Joshi: The Novelist" Indian Literature 24.4 (July-August 1981):103-14. PRASAD, V.V.N. RAJENDRA, “Arun Joshi: Self as Labyrinth” in The Self, Family and Society in Five Indian Novelists, New Delhi: Prestige Books, 1990:108-129. RADHAKRISHNAN, N. ed. Arun Joshi: A Study of His Fiction Gandhigram: Gandhigram Royal Institute, 1984, 79 pp. RADHAKRISHNAN, N. ed. Arun Joshi: A Study of His Fiction. Gandhigram (Tamilnadu, India): Gandhigram Rural Institute, 1984. 79pp. First published as a special issue of Scholar Critic. Contents: (1) "T. S. Eliot's Shadow on The Foreigner," S. Rangachari: 1-8. (2) "Cornering Arun Joshi: A Critical Perspective on The Last Labyrinth," Madhusudan Prasad: 9-19. (3) "The Crisis of Conscience: A Thematic Analysis of The Last Labyrinth," Hari Mohan Prasad: 20-29. (4) "The Art and Vision of Arun Joshi," O. P. Bhatnagar: 30-43. (5) "Arun Joshi's Novels: An Indeterminate Search for Meaning Life," R. S. Pathak: 44-63. (6) "The Apprentice: An Overview," M. S. Prabhakaran: 64-67. (7) "The Short Stories of Arun Joshi," M. G. Gopalakrishnan: 68-73. (8) "The Women Characters of Arun Joshi," N. Radhakrishnan: 74-79. RAO, A. RAMAKRISHNA. “Arun Joshi’s Voids and Labyrinths”The Literary Endeavour 2.2 (1982): 11-17. Joshi creates an aesthetic pattern of dreams and visions rather than working in realism. The Last Labyrinth continues the “great therapeutic process” of soul scraping/healing of earlier books. Short thematic reading. RAO, A.RAMAKRISHNA. "The Image of Labyrinth in Borges, Durrell and Joshi." Glimpses of Indo-English Fiction, edited by O. P .Saxena (1985) vol.3: 17-28. According to Gabriel Josipovici, "From the cunning passages, contrived corridors and issues of Gerontion, through the mazes of Kafka, Proust, Beckett, Borges and RobbeGrillet, the labyrinth has been the favourite image of modern literature." Rao points out that in Borges's Labyrinths and Lawrence Durrell's The Dark Labyrinth, labyrinths are voids emerging out of the human thirst to know and vindicate oneself. In Joshi's The Last Labyrinth, the image of labyrinth is juxtaposed with the image of void, and both images are used
frequently. The labyrinth is associated with the mysterious Anuradha, "a labyrinthine woman, at once young and old." ROSS, ROBERT. "The Clash of Opposites in Arun Joshi's The Last Labvrinth." The Literary Criterion 25.2 (1990): 1-9. In each of novels, Joshi creates an anti-hero who, like his Western counterpart, stands overlooking the abyss of his time and place. But his protagonists have to come to terms not only with the native heritage, but also the Western influence on it, the clash of opposing traditions. Joshi's achievement in The Last Labyrinth lies in bringing together the disparate parts of the hero's experiences. This clash of opposites finally imprisons Som Bhaskar in the labyrinth of his own mind. SHARMA, D.R. "Arun Joshi and his Reflective Insiders" Literature East and West 21.1-4 (1977):100-111. SHARMA, D.R. "The Fictional World of Arun Joshi" The Indian P.E.N. 43.9&10 (1977):1- 5. SHARMA, D. R. "The Fictional World of Arun Joshi." The Indian P.E.N. 43, no.9/10 (September-October 1977): 1-5. It is not correct to treat Joshi's heroes as the Indian kinsmen of the Western existentialist "outsiders". In their persistent quest for decent alternatives in an amoral world, Joshi's protagonists are reflective insiders. Joshi resembles Manohar Malgonkar in his social satire and fictional technique, the major difference being that Malgonkar's action is "out there", while the action in Joshi is primarily in the psychic arena of his characters. Joshi's protagonists strive for an enduring dialogue with life. Sindi of The Foreigner realises that detachment "consisted in getting involved with the world." In The Strange Case of Billy Biswas, Billy opts out of the prevailing social order when he finds it impossible to change it. Joshi's third novel, The Apprentice, is a confessional novel, which explores the evil in the protagonist as well as the horror of an imperfect social order. SHARMA, D R. "Arun Joshi and His Reflective Insiders." Literature East and West no. 21 (1977): 100-109. Somewhat amplified version of "The Fictional World of Arun Joshi" (see item). SHETTIGARA, TINA. "Arun Joshi's The Foreigner: The Protagonist in Search of Meaning." In Cultural Reflections, edited by Paul Sharrad, Honolulu: East West Centre, 1981: pp.50-58. The central characters of Joshi's novels are all individuals in some way alienated from the world around them. The protagonist of The Strange Case of Billy Biswas is the most extraordinary of Joshi's heroes; Billy, an anthropologist, is overcome by his primordial urge to be free of the veneer of urban society, and disappears. Ratan Rathor, of The Apprentice, is "Mr Ordinary" who is corrupted by the material world. Som Bhaskar, a rich businessman, the protagonist of Joshi's fourth novel, The Last Labyrinth, is subject to the craving of a nameless desire. He is obsessed by Anuradha, a mysterious character in this novel of enigmas. The novel's structure is as labyrinthine as the processes of Som Bhaskar's mind. Though the treatment is growingly sophisticated, Joshi's interest has always been the alienated individual, present as Sindi Oberoi, the protagonist-narrator of his first novel, The Foreigner. The Foreigner is constructed on two cross-cutting time spans, in America and in New Delhi. Sindi observes with objectivity the culture of both societies, but the novel should not be treatbd as
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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
Page 35 and 36: SHARMA, K. K.Bhabani Bhattacharya:
Page 37 and 38: Chattopadhyaya, Harindranath GUPTA,
Page 39 and 40: An appreciative close reading arran
Page 41 and 42: Chinmoy, Sri BENNET, MEREDITH. "The
Page 43 and 44: REDDY, P. BAYAPPA. "Asif Currimbhoy
Page 45 and 46: INAMDAR, F.A. "K.N. Daruwalla's Poe
Page 47 and 48: the external world of phenomena”
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Page 55 and 56: PRASAD, MADHUSUDAN. "Anita Desai's
Page 57 and 58: KUMAR, SHIV K. "Desai's Games at Tw
Page 59 and 60: NAIK, M.K. "The Method in His Madne
Page 61 and 62: Response to de Souza’s poetry fix
Page 63 and 64: DWIVEDI, SURESH CHANDRA. ed. Perspe
Page 65 and 66: Claims his poetry attempts to harmo
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Page 71 and 72: Ghosh, Amitav KAPADIA, NOVY. "Imagi
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Page 75 and 76: DUDT, CHARMAZEL. "Jhabvala's Fictio
Page 77 and 78: MUKHERJEE, MEENAKSHI. "Journey's En
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Page 84 and 85: MOHAN, DEVINDER. "Arun Joshi: The F
Page 88 and 89: one of "East West encounter"; Sindi
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Page 102 and 103: Criticism ABIDI, S.Z.H. Kamala Mark
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Page 106 and 107: this theme skilfully in his short s
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Page 116 and 117: widely used. Light humnour is almos
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 130 and 131: to the real problems of life; in he
Page 132 and 133: JUSSAWALLA, ADIL. "One Woman's Poet
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