How does a reader learn to read an unfamiliar genre? The Novel in Nineteenth-Century Bengal answers this question by looking at the readers of some of the first Bengali novelists, including Bankimchandra Chattopadhyay and Mir Mosharraf Hossain. Moving from the world of novels, periodicals, letters, and reviews to that of colonial educational policies, this book provides a rich literary history of the reading lives of some of the earliest novel readers in colonial India. Sunayani Bhattacharya studies the ways in which Bengalis thought about reading; how they approached the thorny question of influence; and uncovers that they relied on classical Sanskrit and Perso-Arabic literary and aesthetic models, whose attendant traditions formed not a distant past, but coexisted, albeit contentiously, with the everyday present. Challenging dominant postcolonial scholarship, The Novel in Nineteenth-Century Bengal engages with the lived experience of colonial modernity as it traces the import of the Bengali reader's choices on her quotidian life, and grants access to 19th-century Bengal as a space in which the past is to be found enmeshed with the present.

This history of the changing perceptions of, and attitudes towards Europe in nineteenth-century Bengal among the Bengali intelligentsia examines in detail the ideas of three key men during a time of social, cultural, and intellectual confrontation between the East and the West: Bhudev Mukhopadhyay, Bankim Chandra Chattopadhyay, and Swami Vivekananda. It explores their attempts to grapple with the intellectual dilemma of their times as represented by the East-West encounter. The three men possessed considerable scholarship and erudition, and came from the same social milieu of upper-class urban Bengal, yet each had very different perceptions of the West. The nineteenth-century Bengali experience under colonialism was part of a global phenomenon inasmuch as the province, like many other areas of Asia, was subject to European imperialism. Bengal was thus "perhaps the earliest manifestation of the revolution in the mental world of Asia's elite groups." Nearer home, it represented the general experience of the Indian subcontinent as a whole, but at "its most complex and well informed level." These changing perceptions and attitudes mediated all new initiatives in the society and polity of Asian peoples in modern times. The changes, in their turn, were crucially influenced by perceptions of Europe. The author explores the ideas regarding Europe as presented in the writings of these three very influential writers, who represented as well as shaped widely held opinions. The book touches on orientalism, hermeneutics, cultural contact between Europe and Asia, European expansion, the nineteenth-century 'Renaissance' in India, and the colonial middle classes in Asia. It is a significant addition to the meagre literature available on Indian perceptions of the West. In his new introduction to this new edition the author links the book to the wider themes in his current research; he also explains points in his argument which, he feels, have been misunderstood. Appended to this edition is a memorial lecture by the author in honour of his teacher, Susobhan Sarkar, which reassesses the concept of the 'Bengal Renaissance.'

A wide-ranging and truly interdisciplinary guide to understanding the relationship between India's colonial past and globalized present.

Words of Her Own situates the experiences and articulations of emergent women writers in nineteenth-century Bengal through an exploration of works authored by them. Based on a spectrum of genres—such as autobiographies, novels, and travelogues—this book examines the sociocultural incentives that enabled the dawn of middle-class Hindu and Brahmo women authors at that time. Murmu explores the intersections of class, caste, gender, language, and religion in these works. Reading these texts within a specific milieu, Murmu sets out to rectify the essentialist conception of women’s writings being a monolithic body of works that displays a firmly gendered form and content, by offering rich insights into the complex world of subjectivities of women in colonial Bengal. In attempting to do so, this book opens up the possibility of reconfiguring mainstream history by questioning the scholarly conceptualization of patriarchy being omnipotent enough to shape the intricacies of gender relations, resulting in the flattening of self-fashioning by women writers. The book contends that there were women authors who flouted the norms of literary aesthetics and tastes set by male literati, thereby creating a literary tradition of their own in Bangla and becoming agents of history at the turn of the century.

Periodicals, Readers and the Making of a Modern Literary Culture is a study of literary periodicals and the Bengali public sphere at the turn of the twentieth century, the variety of interests and concerns that animated this domain and how literary relations were seen to constitute new social solidarities.

Rajmohan’s Wife and Sultana’s Dream (1864/1908) features the debut novel of Indian writer Bankim Chandra Chatterjee and a story by Bengali writer, feminist, and educator Rokeya Sakhawat Hossain. Rajmohan’s Wife, Chattopadhyay’s only work in English, launched his career as a leading Bengali intellectual and political figure. Written in English, Sultana’s Dream originated as a way of passing time for its young author while her husband was away on work. Initially published in The Indian Ladies Magazine, Sultana’s Dream helped establish Rokeya’s reputation as a leading figure in Bengali arts and culture. Rajmohan’s Wife is the story of Matangini, a beautiful woman married to a violent, jealous man. Unable to marry the man she loves—who happens to be her own sister’s husband—she settles for the villainous Rajmohan, an abusive man who rules his middle-class Bengali household with an iron fist. With the help of her friend Kanak, Matangini does her best to avoid her husband’s wrath, illuminating the importance of solidarity among women faced with oppression. Vindictive and cruel, Rajmohan secretly enacts a plan to rob Madhav, his brother-in-law, in order to obtain and invalidate a will. Sultana’s Dream is set in Ladyland is a feminist utopia ruled by women, a perfect civilization with no need for men, who remain secluded and without power. Free to develop their own society, women have invented flying cars, perfected farming to the point where no one must work, and harnessed the energy of the sun. With men under control, there is no longer fear, crime, or violence. Ultimately, Ladyland is a world made to mirror our own, a satirical exploration of the absolute power wielded by men over women, and a political critique of Bengali society at large. Sultana’s Dream is more than a science fiction story; it is an act of resistance made by a woman who would shape the lives of her people through advocacy, education, and activism for generations to come. With a beautifully designed cover and professionally typeset manuscript, this edition of Bankim Chandra Chatterjee and Rokeya Sakhawat Hossain’s Rajmohan’s Wife and Sultana’s Dream is a classic of Bengali literature and utopian science fiction reimagined for modern readers.

The Indian Ocean was global long before the Atlantic, and today the countries bordering the Bay of Bengal—India, Bangladesh, Burma, Sri Lanka, Thailand, and Malaysia—are home to one in four people on Earth. Crossing the Bay of Bengal places this region at the heart of world history for the first time. Integrating human and environmental history, and mining a wealth of sources, Sunil Amrith gives a revelatory and stirring new account of the Bay and those who have inhabited it. For centuries the Bay of Bengal served as a maritime highway between India and China, and then as a battleground for European empires, all while being shaped by the monsoons and by human migration. Imperial powers in the nineteenth century, abetted by the force of capital and the power of steam, reconfigured the Bay in their quest for coffee, rice, and rubber. Millions of Indian migrants crossed the sea, bound by debt or spurred by drought, and filled with ambition. Booming port cities like Singapore and Penang became the most culturally diverse societies of their time. By the 1930s, however, economic, political, and environmental pressures began to erode the Bay’s centuries-old patterns of interconnection. Today, rising waters leave the Bay of Bengal’s shores especially vulnerable to climate change, at the same time that its location makes it central to struggles over Asia’s future. Amrith’s evocative and compelling narrative of the region’s pasts offers insights critical to understanding and confronting the many challenges facing Asia in the decades ahead.

Dangerous Outcast traces prostitution in Bengal from precolonial times through the arrival of the British, examining how the profession was reordered to suit British desires. Drawing on nineteenth-century popular and folk culture, Sumanta Banerjee also makes impressive use of both standard archival records and a surprisingly substantial body of writing by prostitutes themselves, including voices often cast out of the historical record.

In the nineteenth century, Bengal witnessed an extraordinary intellectual flowering. Bengali prose emerged, and with it the novel and modern blank verse; old arguments about religion, society, and the lives of women were overturned; great schools and colleges were created; new ideas surfaced in science. And all these changes were led by a handful of remarkable men and women. For the first time comes a gripping narrative about the Bengal Renaissance recounted through the lives of all its players from Rammohun Roy to Rabindranath Tagore. Immaculately researched, told with colour, drama, and passion, Awakening is a stunning achievement.

The sequel to the award-winning and critically-acclaimed Those Days, First Light is a magnificent novel set at the turn of the twentieth century in a Bengal where the old and young India are jostling for space. Prominent among its many characters are Rabindranath Tagore or Robi, the young, dreamy poet, torn between his art and the love for his beautiful, ethereal sister-in-law, Kadambari Devi, and the handsome, dynamic Naren Datta, later to become Swami Vivekananda, who abandons his Brahmo Samaj leanings and surrenders himself completely to his Guru, Sri Ramakrishna. The story also touches upon the lives of the men and women rising to the call of nationalism; the doctors and scientists determined to pull their land out of the morass of superstition and blind beliefs, and the growing theatre movement of Bengal, with its brilliant actors and actresses who leave behind the squalor of their lives every night to deliver lines breathtaking in their beauty. Through all this runs the story of Bharat and Bhumisuta - one an illegitimate prince, the other a slave who rises to become the finest actress of her age - who cling to their self-respect and love in a society which has little time for people like them. Grand in its scale and crackling with the energy of its prose, First Light is a rich and comprehensive portrait of Bengal, from its sleepy, slow-changing villages to the bustling city of Calcutta where the genteel and the grotesque live together. Equally, it is a chronicle of a whole nation waking up to a new, modern sensibility.