How do you attempt to understand testimonies of mass public trauma?

Like many veterans, I joined a creative writing MFA program because I wanted to evolve as a writer.

When I read the title of Charlotte Stroud’s article “The curse of the cool girl novelist” and the accompanying description of said type of novelist, I had a solid image of what she was referring to. Stroud describes “cool girl novelists” as “depressed and alienated”, “incurably downcast”, and “terminally sad”. It had similarities with “sad girl” literature, a supposedly new genre captivating readers and publishers alike.

Readers often look for relatability in the stories and characters they are reading but Nabokov doesn’t give his readers that comfort or spoon feed them. Rather, he challenges them to eschew feeling compelled by Humbert’s justification of his innocence

Making sure to stick to the prompt and ticking all your requirements can massively streamline your writing process.

These words are not just some veils adorning the valour and victory of our freedom fighters; they're not just tributes but testaments to the rare occasion of the oppressed overpowering the oppressor.

An interesting concern in contemporary children’s literature criticism is the discussion of power. Do the fictive children in children’s books, conceived and delivered by the adult author, have the ability to exercise their will and possess a voice?

“They should not do anything, excuse me; they are fit for nothing.”

What do we make of the mysterious thread that connects these stories not by genre, but by an imagination so wondrous they leave room for an underlying horror, and the many things that can mean?

In some ways, Sharatchandra places the blame for Devdas's ensuing sorrow on his lack of courage, made all the more noticeable in comparison to Parbati's courage in breaking social norms despite the dire consequences it could have for her.

As the title suggests, I am a third culture kid, a TCK, or a TCI (I for individual), the phrase literally translates to “people who were raised in a culture other than their parents’ or the culture of their country of nationality, and also those who live in a different environment during a significant part of their child development years”.

I cannot, for the life of me, definitively describe what makes music. Growing up in a family where music of any form was not typically paid any reverence, my exposure to it was tunnelled into mainstream pop songs for the longest time.

I once again find myself drawn to "The Waste Land"—though this isn’t about just the one poem, not really—where so much of the old world exists in motifs in a tattered landscape.

Even if you are not a film enthusiast, chances are high that you have watched the 2022 Telegu blockbuster RRR. At the very least, you should have heard about it.

In two of the more prominent fictional works that are part of the diasporic South Asian literary production, Jhumpa Lahiri’s The Namesake and Mohsin Hamid’s The Reluctant Fundamentalist, food is presented as a conceptual apparatus that makes palatable the tensions of ‘multiculturalism’ and offers a critique of class barriers—if not always at the level of economics, but at the level of consciousness.

I was a little anxious. It was only the second day of my life at the University of Cambridge, and I was already bombarded with instructions on how to dine.

Listening is stretching beyond ourselves and another, and if we were to listen to printed words on paper as non-verbal cues of communication, it too emits lower frequencies that moves us, beyond the I, towards new modes of knowledge.

There is an element of the unexpected in the twinning of fiction and ecology. A sense of unease of sorts exists in the pairing together of fiction, a form of narrative that is untrue, with the imminent ecological disaster, an environmental inevitability that is true.

“How tragic it would be if you were wasted”, made me smile in a melancholic way. I know moments when “unnecessary things are our only necessities”. And I’ve not been hesitant to give “rebellion its fascination” and “disobedience its charm.”

Indigenous women are read even less. There are multiple root causes–lack of editorial support for indigenous authors writing in their mother tongues, the predominance of oral traditions, gender inequality and bias.