A Story Ably Tabled: A Critical Perspective on K. Srilatha’s Novel Table for Four
DOI:
https://doi.org/10.56062/gtrs.2022.1.2.1Keywords:
Table for Four, Nikolai, Kamalakka, exile, self-purificationAbstract
A close look at the history of Indian English writing, especially the genre of fiction, reveals that till the late 80’s only a few names of women writers surfaced regularly. However, as the century wore on a new dynamism was visible that prompted the younger generation of women writers to experiment, innovate and create an identity for themselves. Writers belonging to this latter group extended their range from creative writing to criticism, translation and even free-lance journalism. Each activity of theirs seems to be a tributary for their total contribution to writing. Among the vibrant literary personalities of our time the name of Dr. K. Srilatha stands out distinctly. A novel that makes us pass through four chambers of horror before ending on a note of ambiguity is not an ordinary novel. The stories are also very different from one another as they focus on multiple socio-political and psychological issues and the writer has to a large extent succeeded in holding them together in a credible manner.
References
Primary Sources:
K. Srilatha (2011). Table for Four, New Delhi: Penguin Books India Ltd.
Secondary Sources:
Bal, Mieke (1993). His master’s eye. In Levin, David Michael (ed.) Modernity and the Hegemony of Vision. Berkeley: University of California Press.
Banfield Ann (1982). Unspeakable Sentences: Narration and Representation in the Language of Fiction. London: Routledge.
Brooks, Peter (1984). Psychoanalysis and Storytelling. Oxford: Blackwell.
Cohen, Tom (1998). Ideology and Inscription: ‘Cultural Studies’ after Benjamin, de man and Bakhtin. Cambridge. Cambridge University Press.
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