Thank you so much for this introduction, Polly.
And give me just one moment. Well, I share my is my is my slideshow visible?
Yes, it's fine. OK, good. Thank you. So I want to begin by thanking the organisers of this workshop,
Paula O'Hanlan and Sharon Bhandari, as well as other members of this executive committee,
for giving me this opportunity to present a very early draught of my work pants to also to selfish
carnesecca for allowing me to see and scan some of an amazing collection of little magazines years ago.
And to the point, an artist, Mangoush in our own country who shared his images of these little magazines with me as well.
Again, years ago, his images were better than mine. So I've used a couple of them today.
And finally, most important, thanks to the God particle and to Professor Episodic,
who helped me so much in understanding the world of Oring about the writing in the statutory period.
And after.
The paper today is about the circuits of interchange between Marathi and 022, as is evident from a special issue of Rucha edited by of counterpart.
While the individual issue of ritual is fascinating enough, with its intervention into the political mono linguistic pullet politics of Maharashtra,
at that moment, this special issue proffers a hinge to open the doors towards the complex, multilingual life world that continues to dwell beyond it.
And I believe it also points towards building different literary coalitions and genealogies that are more that are most readily available.
I came upon this issue as part of my larger study of little magazines in Marathi years ago when I was writing my book, Bombay Model.
I don't collect current bilingual literary culture and at that time I took this is one more instance of the deliberate,
multilingual push by these editors and writers in the face of monolingual assertions of community identity.
Post the creation of the state of Maharastra.
But later, when I went back to this special issue, there were anomalies that I had not heeded initially when I encountered that which are issues.
And this essay is an early attempt to close to do a close reading of this particular special issue.
But through it also to reach a larger cultural matrix that energises the creation of such literary publications.
And I, of course, welcome any corrections, additions, expansions about what I'm about to state below.
So first, a general introduction to the little magazine as a whole.
Before we focus on the one special issue, I'm going to talk about,
Groucho was a liberal magazine started in 1976 by Ramish, Ponson, Sunil, Karnik and Tiny Mumby.
It lasted three years. And while I haven't been able to access all the issues,
there is information that there were seven issues published in the first two other pages of covers from three separate issues of Rucha.
The first one is a table of contents from Rucha three point two, which we will talk about soon.
That the second is a special issue on our own Coleco, which came out after he got the Commonwealth Award for poetry.
And the third is a haiku special which shows the multiple languages on one page, as well as the graphics that sometimes populated these pages.
This was a little magazine dedicated to literature, specifically poetry, and it had very few advertisements,
unlike some other little magazines and hardly anything else besides the literary texts that are graphic illustrations and some but not all issues.
But today's famous names and literary criticism and canonical poets and Bharathi appear in the pages of this issue of this little magazine.
And you see translations from poets all over the world as just example,
some examples of names that Rafael Oberti says are by EHO, Louis, Carlos Lopez, Norman MacGregor and so on.
The special issue on Politico is perhaps the most famous of these issues so far,
and the essays that continue to be referenced and discussed, it discussed even today.
And I'm Bob. I believe there was also a special issue on the poetry from Brightwater in the second year,
but I haven't been able to locate that to show a side note in this special issue.
In the special issue, three point two on the left hand side that we are going to be looking at,
there is an there is a brief advertisement asking for submissions to a future Rucha issue,
which would be title returned with tanks,
which was supposed to be edited by the elliptically in which solicited all rejected poetry from mainstream Iraqi magazines.
It doesn't look like that issue saw the light of the day, but I have not yet fully confirmed it.
The practise of the editors of this little magazine was to do continuous page numbering across these issues.
And while this is confusing, I guess as a reader, I'm at least thankful that the number of pages, unlike some other little magazines.
So with this brief introduction.
Let's look at this, the particular special issue, the three point to the one on the left that we're going to be talking about,
Rucha usually lacked an editorial, but this particular issue is an exception and it actually does have an editorial.
So here is the table of contents of three point two published in July 1979.
And on the absurd on this particular special issue you have to do, I asked you to look of it.
And some McCullin, what I take of it to the table of contents was intriguing for me because of the imbalance
between the two doing the Moratti points that are intelligent in politics here.
If you can see it closely,
the two you'll see the table of Konsta content insists on a comparative reading of the two modern isms in order to in Moratti.
The layout almost boxes you in such a competitor's reading.
And yet the list of all the points is much longer and more extensively feature than the Moratti counterparts.
But also the issue features a relatively detailed editorial budget through competition that not only introduces the poetry,
but relitigate the argument between the progressives and the modernists that had been raging in the literary publications a few years earlier.
The current work of some scholars, such as Jennifer Newbrough and Zanmi,
are deals with precisely these debates between the progressives and modernists in the literary sphere.
And it is. If I had time, I would have gone deeper into that question, but I won't for now.
The question was, what is the purpose served by this editorial when it came out,
when when we read it as directed towards the Moratti leader of torture?
So here are some some sort of readings of this issue on my part.
This is still speculation,
but I want to look at the connexions between the expansively understood sort of region area of work known as Mumbai, Marathi,
Martinus and their associations or connexions with do writing versus the
interconnections between the Marathi writers from Brightwater and to do literature.
My suspicion is that such an examination might emphasise a by vocation between the kinds
of contemporary NITI that the metropolitan Marathi writers were seeing in order to,
as opposed to the Morato are not Aurangabad writers who were privy to a separate whidden
window into the culture as opposed to the Marathi writers and their connexion to literature.
Can one, I wonder, hazard a guess that through the dominant influence of Hindi films,
which shows up so persistently in the Marathi Modernist texts and the location of Bombay and its importance in the print,
cultural as well as media, was all too progressive, still held a larger than life.
Hold on the imaginations of the Bombay Marathi reader and writer as opposed to the ones living and writing from Motaung about.
Could that be one of the explanations which in the compatable and sodic I'll come to sodic very soon,
might have felt the need to reinsert the debate between the Progressive's and modernise in this Marathi editorial?
Is this special issue evidencing through its Marathi pathway distinct spheres of influence within the writing that one can study separately
as part of the histories as well in claiming this alignment with or do muddiness with or do modernise and non-member Russia than mirages,
for example, is gender compatible in the special issue, somehow indicating these nuance differences within the larger sphere?
I don't know. I still have to dig deeper to find this out next.
If you see on the table of contents, you this is it.
It lists it's gone back the slide, but it lists but a picture of the points and it is not very long as you can see.
This is the page where each of the points is given.
But it is significant considering there's no such bodycheck for the Moratti points on the other side.
These brief bios specifically lists the many print cultural rules held by the contributors to this volume.
For example, Fasel Tabish was the editor of the journal MAGiS by Buckham.
He was associated with the restaurant.
Academician and chairman was always associated with the multiplication book, either me and also the editor of a journal.
Coliban Jarda, Shi'ite Holy was the editor of the June journal Miyata.
It would be a fascinating exercise to trace the writing was and the publishing networks that a signal to the spiritual.
But together, definitely they lead us away from the Mumbai centric Moratti security world.
A third act aspect of this Rucha special issue is the translational exercise undertaken here.
This special issue was a joint venture, a collaboration between Chandra Confocal and Professor SODIC won a Moratti slash
Hindi poet and translator and the other ODU slash Hindi poet and translator,
both influenced by Hindi modernism and specifically by the poetry of Gajanan.
My mother, Mukti both both bottle and sodic, lived and worked as academics and shouting about where they formed a close association with each other.
The all the poems were transliterated by SODIC for Panopto, who were part of the doesn't read the script.
Who then translated them into Marathi for this special issue. The slide showed up up here shows you the special issue of Richwine 1979,
edited by party and its counterpart in the Anthology of Name I Charity, edited by SODIC in 1980.
And here is the table of contents of the name rightish Heidi on the other side.
Barton, help choose and curate the Moratti list of books to be translated into the wind,
perform dissimilarly advisory role as did sodic for the poetry in Marathi.
There is a fascinating history to be discovered here about Sidekick's Marathi translations and is wrong about the Connexions.
But for the sake of the short presentation here, I will focus only on the Marathi special issue here.
It is an example of the collaborative inter lingual exchange with script writing is not the basis of the translation.
Lawrence Venuti talks about the domesticating of foreignness and all translation in his theory of translation,
and I quote from his book on scandals of translation, quote,
Translation is often regarded with suspicion because it inevitably domesticates foreign texts,
inscribing them with linguistic and cultural values that are intelligible to specific domestic constituencies.
This process of inscription operates at every stage in the production, circulation and reception of the translation.
It continues most forcefully in the development of a translation site,
a translation strategy that rewrites the foreign text in domestic dialects and
discusses always the choice of certain domestic values to the exclusion of others,
end quote. But here, in the case of gender gun pakta and SODIC,
it was a collaborative and shared book project Across Knowledge's and Gaps in Knowledge's on each side.
So it doesn't quite follow. It in fact denies the claim that Lauryn's Banerjee's making.
The result of this linguistic and cultural exchange goes beyond mere descriptions of
domestication and in fact jester's to something shared yet not fully visible in these public.
This set of publications together, the anthology and especially shows Rucha indicate a joint cultural landscape beyond scripts
and monolingual isms that gets split across these two publications and their new worlds.
Translation does not stop at the checkpoints of scripts of language,
and it issues the strict idea of transfer from one discrete space to another by centring the
collaboration and the shared cultural encounters and experience at the base of this exercise.
To dig further into this close connexion of this special issue to a multilingual Ducky's slash and Moratuwa about cultural space.
Let's look at the poems to poems written to other Matsuri and Muhammad Ali.
Written by gender Conforto. This time in Marathi, where he bemoans the fact that they have left his literary world for good.
This these forms were written after the riots in 2003. In the future, a special issue in 1979,
the gun battle with the help of SABIC had published a poem by Mohammad Elvie on the Nature of God Where I'll
Be imagines God's role in man's life as that of an oil lantern to be used only when there's a power outage,
but not otherwise. After the Gujarat riots, Spottily beckons the old poet and remembers this image and says that the God of the oil
lamp has now become an uncontrollable fire that is burning down the society as a whole.
Similarly, addressing the those slash Gujarati poet Abdul Mansouri, whose poetry also appeared in the Special Issue Party,
compares human city's emigration from the drought to the United States to that of walleyed Duchene leaving open
the bag for SUDEP in Gujarat in mediaeval Decken and whose grave was razed to the ground during the drouth riots.
This field of references of that special issue and its all of the modern isms
now shows the expanse of the darkening history and cultures that lay behind it.
A final piece of evidence is the poem that Gender Unpartnered wrote, this time in Hindi,
about the loss of belief that Kinney's world after the Bombay riots in 1992 that shook all of my rostral and the entire nation.
And also after the communion ization of voting about politics by Shiv Sena in the 80s,
starting with the demand to rename the city as somebody another on this slide,
you can see the beginning of the poem, not the vision based vocabulary in the point of the poem that is in Hindi.
The morning both for the city that is in tumult, but also for the darkening culture about culture.
But cultural and pointed Johndroe via the invocation of the Murcia.
Both the city and the linguistic culture, which is unavailable, according to Park Partan in Hindi, Hindi, India,
both of the city Obali the Orkney and the point, two of which is popularly seen as the forefather of varnishing or have disappeared.
And the port can only witness the traces of loss in front of his eyes and on the page on the right side of the slide.
The extreme right is a later translation of the of the same poem into Do published in the journal, a journal Sabras after the 2002 Gujarat riots.
And Mintzer Aslam Beg also included a translation of it in his own edited anthology, Goulder Style Cushman's.
And here is how the poem ends.
As the two banks of a river run away from the midstream, terrorised by a deluge, so are the borderlines running away from your city.
Look how immersed in peace is the city of yours as it changes into a metropolis.
How the crowd wears a mask to cover its face. How people who belong here are turning strangers on their own land.
Muhammad Ali. The words, I believe. I played with my entire life.
Do not know what a dirge slash Marzia is, but it is true that the name of your beloved city now can now remain only in a dirge.
Slash Márcia vishna cut. It translates the mercy as a dirge.
But I am putting this lotion and I want to retain the word Marzia in the translation because
Parton is lamenting the loss of a specific alexandru of a poem associated with the Decken,
even as he's enclosing the Ducati post in that language in time.
The board mourns the lack of the proper language or do or Dockerty and the proper forum,
the Marzia that is unavailable in Hindi or Marathi for the board and the board
specifically refers to the Ganga Germany culture that was part of the heat of the hydro.
But it do seem that tried to separate itself from the Delhi paradigm and establish a separate
Canete would do centre in the sums Heather about as documented by Capital The Butler.
So to return to this special issue on the modern isms,
then the literally cultural work that this special issue does is manifold and it can
contribute to our understanding of morality and regional histories in the following ways.
First, the history of the Sotho three Moratti literally magazines, the modes of transmission, translation and cosmopolitanism,
the two gestures that all the other little magazines, they were all doing this kind of multilingual work, as I write about in my book.
Right. The second, even more important, is the attention to the location of Otunga as an alternative site of Moratti modernism,
the presence of doing this Moratti Journal and the translation of Marathi in the two anthology bipartisan sladek just due
to the necessity of heeding the geography's involved in these ventures out of the box with its deep connexion to Muslims.
Higer about before independence and the multifarious linguistic cultures that jostled
in the space needs to be taken into account when reading this special issue.
It is that non-metropolitan Moratti Space of Modernism heralded by politicians and imadi and turned the gun battle,
amongst others, when they brought out voxel, for example.
Right. But all of the above is also the location of a robust Dalip modernism that started with the journalist Mehtar later.
Without that shop and with M in one katik another Bonton in others but occurred.
In addition, it is also the place that is home to the Muslim Marathi writers, as noted.
But they've come out ideally in his essay. The Kunie Bashar al-Assad evolved.
And I need some ottavi. That's why she could Guren.
I have a notes that these Muslim writers issued the conventional expectation that as Muslim writers,
they should live within the Audu writing world and end the Moratti Muslim writers claim a Moratti
contemporary Nyati way via their location of the blog and its history of the darknet culture and language.
Similarly, Vernet in the essay vernacular is a space for writing in the dickin.
Bush consolingly asks us to consider the faith traditions of Aurangabad, then describes them as going beyond handlin Muslim straightjackets.
He sees them as a radical, quote, vernaculars space that reaches back to the duckweed cultures of mediaeval times.
I want to add to the compartments work here in the room, just special issue.
Against that backdrop as a thud trajectory that also look at itself in Aurangabad and reaches out to this complicated,
darkening history via its alignments. With all due modernist poetry,
it points to the pendulum and connexions that Moratti had in its presence in
Hyderabad before the linguistic reorganisation and its subsequent recalibrations,
something I'm still in the process of educating myself.
Just to be clear, important number three through its editorial for which we really didn't have time to look at in great detail.
But I can talk about it in the Cuban.
A little magazine intervenes and relitigate the battle between the progressivism and the modernism in Moratti here.
What is the purpose of this and why the debate about modernism? Why is it relevant to Moratti readers?
That is the question that this issue asks us to address.
Number four, the issue provides a supplementary claim, as I said earlier, to the syncretic duckweed genealogy of the region.
And it claims a different kind of approach to multilingualism.
Then I at least have been adopting in my work so far.
To go back to go to a poem written by deliberately titled Model Monologue in America, the Lipsett Three,
a stint at the Iowa workshop in the 80s ruminates on its surreal stay there where he says,
quote, I have inherited from my ancestors this whole Sadiel mix of monolingual language lessons in a plural lingual world.
End quote. And recently, I read a wonderful article by my fellow panellist in this workshop, Should Hackenbush Good,
which you reference the references, the statement by could look shut, refusing to join them.
Hugel armies push into the Decken. In his response in ducking me, he said, well, local.
Who ought the hamakua? If it hurts them, it hurts us as well.
The forthcoming work of Prati this fund day also wonderfully illustrates these multilingual approaches to Moratti in her own book as well.
So when and how does one separate language culture, politics, writing and speech?
This presentation today hopefully tries to understand how we need to think of all of these aspects in a holistic way,
even when on the surface we are separated by disciplinary discipline, Nagati and monolingual territorial separations.
But it is also important to note that this multilingualism exists within the shadow of the increasingly strident
demand for a monolingual and one of cultural identity in the post independence spirit in India and in Maharastra.
The issue of the Kanae exposes a gap in the increasingly heard call for multilingual readings and scholarship.
The problem here is not just having multiple languages on the page or in view.
The special issue does that very clearly, which also to see what is attempted to be said here via these multilingual gestures.
Beyond them both, the drive towards the public monolingualism and the actual multilingual practises of
daily life coexist in the same space and time and jostle for visibility simultaneously.
Therefore, a concept like Yassmin Yildiz is idea of the post monolingual proofs to be very useful for me here quote and I'm quoting yielders here.
The Post monolingual in the study refers to a field of tension in which the monolingual
paradigm continues to assert itself and multilingual bad practises persist.
Oguri in. End quote. In her study of the idea of the mother tongue,
she recommends an attention not just to the multiplicity of linguistic practises in any given situation in space,
but the dussel of the push and pull between the forces of monolingual ization and those of multilingualism that she calls as the post monolingual.
This complex creaming movement across languages in the rich hour special issue should be weighed
against such a backdrop of the post monolinguals situation in autumn about and in Mumbai.
It also indirectly hints at a linguistic and cultural afterlives of a cultural identity that falls in between the monolingual,
the red, the relatively monolingual identities of what to do in Marathi.
Monolingual demands relegated other languages or cultural identities to quote, hodgepodge, as Yildiz says.
And as scholars like Kulkarni, Sony, Me, Sony, and here they have shown the culture and linguistic space of the duck.
It becomes that hodgepodge between Marathi and cultural markers.
But Rojas special issue on today's Dacoit three slash contemporary Marathi poetry presents a third rail, if you will,
for reaching that, quote, hodgepodge middle that remains unacknowledged and monolingual politics as well as literary histories.
I must note here, though, that Sritharan not good Kerney, who was amongst the earliest to write about the darkening connexion to Moratti in the CME.
Porscha Marathi. Some schoolteaching, some screwed this up.
I wish Cup, as well as other Marathi writers who worked in Heidelberg during the colonial period,
were ambivalent towards the Muslim state's connexion to Marathi.
So I'm not talking about this, you know, uncomplicated by Charra and, you know, kumbayah moment between linguistic cultures.
They felt that Marathi was being strangled and not given its due importance at that time.
So they reached to that Kanae as a way to validate their own linguistic genealogy.
But in 1979, in the special issue and in 1992 and his boy must see my nephew's kindergarten party is
reaching out to me as a way to reassert the Maraz wider histories in Marathi literature,
to reclaim the syncretic stories of the region and claim a different Marathi space
than is afforded in the increasingly Hindu wise and monolingual ised present.
The special issue of Rucha insists on a cross border reading in terms of these linguistic Mormonism's and cultures,
both by the visual juxtaposition of the two in the table of contents,
but also by the translating act of bringing this curated list of modern the boy tree to Moratti redoes
by the collaborative efforts of gender gunfighting and Professor SODIC and Oughton about its readers.
Just two minutes. Thank you. Yes. I'm about to finish.
It reveals a spectral presence of a life word of over naturalist's space that
occasionally flashes of recognition to us from behind these two linguistic traditions
and which makes a case for expanding the boundaries of Marathi modernism beyond
its metropolitan centres and also across the seemingly monolingual barriers.
To end, then I revert back to my one of my favourite poets, A. Ramanujan.
He says, When I write in Canada, I'd like all my English, thumma, et cetera, to be at the back of it.
And when I write in English, I hope my Tumblr and my Canada like my linguistics and anthropology,
what I know about America and India read the back of it. It's of course, only a hope and not a claim.
I'm less and less embarrassed of keeping these doors open, even when it's dark outside and it's three a.m. inside.
Well, it's indeed dark outside right now.
Metaphorically speaking. And three a.m. inside and like Ramanujan's says, I firmly believe we must keep all our doors open.
Thank you. Well, thank you very much indeed for that wonderful talk.
Anthony. Well, whilst others are getting their thoughts in order.
And just to remind those who are with us, please do send in your questions by the Q&A box.
I see this question already. Come in. Let me turn to that.
This is from Maturer Dumbly. Thanks for such a fascinating presentation.
It reminds me of the 1930s especially might have Julian.
His attempts to bring Persian words and genres in Marathi, poetry and eventual U-turn and assertion of linguistic purity in this context.
I'm interested to know what Marathi was used in the translations that the translations of Urdu poetry in this issue, Sanskrit sized, personalised.
To what extent were Urdu words retained? Thank you so much for this question.
This is a very. By the way, this this this this audio version and feeling some Moratti.
It goes back a long way in. So many poets have used it right. Mother of Julian, Multicar, Serration parrot, big block of him on Mohun.
I mean, there's so many boys who abuse it in different ways. So I'm not claiming that bottle is doing something that no one else has done before.
It's just interesting to see how the, the, the linguistic cultures come together for different reasons at different points.
Right. So to come back to the question about with what kind of language was used.
Yes, there is. Or do based or the based language used in the translations.
But there's a very interesting kind of makes. I have to look at it more closely.
But there are points even in that boy museum in Mahfuz where there are words like bra, which sound to my years and correct me if I'm wrong.
It sounds so sloes. Absolutely sensitised.
And then you've got words like Mahfuz in the bottom, right.
So that is a jostling of this very purely Sanskrit.
That is the very sort of a very clearly personalised butko vocabulary in that blood.
But also in the translations in the future as well.
To what extent? I want to be able to tell you, I still have to look deeply into the poems and look at the details.
I hope that answers your question. I'm not sure. Thank you very much.
Well, and others are coming in. We have a question here from Newport.
Oh, hang on a sec. Thank you, Angelie, for such to prevent a thought provoking presentation.
I'm curious to know more about the circulation of little magazines like Rucha.
Who were the readers? Where was it circulated? Which which parts of my Austra and even outside of it,
which would help us understand the ways in which multiple public spheres that
were formed in so totally period were moving away from the metropolis of Bombay.
Interestingly, Rucha was published in Tiny, if I remember correctly, reading from one of the slides.
Yes. Newport, thank you so much for this question. And again, I can only partially answer the question.
I'm still trying to source more issues of Regina.
I've not been able to do that.
All my book, although material I've found is from the Southeast Coast collection, where there weren't all the issues available when I went there.
So Richard, was Groucho circulated both in Bombay, but very much so in got in.
But I tried out and so on because it was a collaboration, all of which I was published by Bunson Karnik.
But it was also edited by Bhakta, who wasn't knowing about it that time.
Right. So in in the history of Meraki modernism, you have this very strong Mumbai centre where the public,
the tools of publication, the resources of publication are available.
But then you have these generative spaces outside Mumbai from where not only the material,
but the work, the actual editorial work and and the circulation is also happening.
I haven't I don't have specific details of exactly where and how much it's circulated.
It's a very important question. But I would suspect that knowing the circulation of something like say Watchout, which came from Aurangabad,
but which was very much in conversation and dialogue with the Mumbai Marathi modernism.
Right. And they might a lend their group of people.
It was the collaboratively I did edited a little magazine, Neung from the circulation of that little magazine.
I would say that Rucha would have something similar where the web.
It had one leg outside Mumbai and one leg within Mumbai to access the resources and the visibility here.
But then also to bring in the outsides of Mumbai into the conversation of modernist poetry in this three moment.
I wonder, is that even partially answers your question? Why, it seems so to me at.
Well, whilst we wait for other others and and do do do send in your questions and thoughts,
man, I put a question which is, am I not being a literary person at all?
I wonder. Have you looked at to have have scholars looked at the sort of educational and
family backgrounds of the people who contributed to these literary enterprises?
I mean, are these are these poets and publishers from families that have a kind of deep connexion,
a deeper and older connexion with the literary culture?
Going back some decades or all these folks who are just extraordinarily well read and this is the media,
which seems to them congenial, eclectic, it's still too politically progressive.
I wonder where that kind of sensibility comes from. Thank you so much for this question, Pauline.
Thank you for giving me the opportunity to talk about something for which I didn't have time in my presentation.
I did ask this question of Barkdull and SODIC, and I wanted to talk more.
I wanted to ask more of other people as well.
But I can talk about them. And it's so fascinating that the.
For example, with Trump and. He's got such a close connexion.
He talked about this. This boy must amendment floozies, a dedicated to his friend,
a boy with whom he used to spend the night chatting away in the cemetery beside the cover of Saraj.
That's what he said.
So this this kind of a melding of this is not the kind of practised cultural practise one would expect, say, importing Mumbai, for example.
Right. So and then to the gun battle. Also had very close collaboration with others,
like there was a lecturer and writer called Cellcom with whom web of Silk and wrote essays
on literature and then turned the gun battle spontaneously translated them into Bharathi.
They never ended up publishing it. But there's a whole collection of these things that he has.
And then he collaborated. SODIC was a lecturer in the College of Law in order about that.
Now, Professor SABIC lives in Delhi, but at that time he was an Aurangabad.
And so they formed the collaboration and then started was an author poet
translated large parts of Marathi into the published them in all the journals.
He's translated surveys translated Gullett Good Dessau. All the others.
Right. And so you have this kind of thing. It's wet. He didn't read Marathi the way popular read Marathi.
He didn't read the script at all.
And yet they have this kind of cultural, translational, collaborative space which they very strongly share the volumes,
the space, the culture, the genealogy, the background.
And so I'm trying to find the language to to describe that in my work, but also to see that spectral presence beside.
Behind a special issue like this little just special issue.
But on the surface, it looks like all the modernism, Marathi modernism, putting them to together.
But the kind of deep interconnections to a portable spectral presence behind it is what is fascinating and what I'm trying to sort of get towards.
So that when we study multilingual isms, as I have been studying so far, it is not just discrete languages that are on this page together.
There's a whole cultural matrix that needs to be studied and more multilingualism, spectral, multilingual, Zoom's lingual isms.
If, if, if one can call them that behind the visible multilingualism slept there.
Does that. Does that. I mean, this is absolutely I mean,
it's a sort of fascinating vision of a whole hinterland of sensibility as sort of the drive to find something which is beyond bilingualism.
Yes, it is. Yes, it is. Is there a religious dimension to this at all in any of the work of these people?
A kind of, you know, a Sufi sensibility is do you do you get any sense of a push gospel?
He writes beautifully about this in his essay, which looks at the faith traditions, which he says should not be bracketed in Hindu and Muslim.
And he goes precisely to that Sufi sort of connexion there.
So he's got an essay there. And then they come out. He's a he's got this.
I think it was in the last more restaurant studies conference that he presented on this, actually,
where he talks about the Marathi Muslim writers who actually don't who have sort
of very assertively say we don't need to go in order to be Moratti Muslim.
OK.
So separating the script and religion together and then go back to that Kanae, that is, I hear these essays claim, which I found really fascinating.
Yeah. Well, that's that is. And is there anything is there anything like that now.
I mean that was a particular moment that you're describing has.
Has that kind of collaboration. Did it have any kind of long life span or is that.
I am sure. Like the there are some really, really fascinating histories to be studied in the Moratti Muslim writers that he writes about.
I haven't studied them. I have another friend. I shall go.
I was worked very closely with one Moratti.
I tried to Marathi Delaporte Muslim Dalip Boyte called Chargin Day and the kind of identities that, you know,
one sees as kind of separate or not separate, but that they're not talked about in the same breath that chargin based poetry, for example, brings.
Right. Marathi, Muslim, Dalit. And what are the kinds of issues that come because of this location in Morada?
Yeah, I mean, I haven't studied that yet. Mm hmm. Mm hmm.
A note from Shaalan, I recall that was Moufid MUJAO.
So I'm not quite sure what that is a reference to. But, uh, so all that we've got time for, if you like, so many small things first.
Yeah. Yeah. How does this this translate noom multilingualism that you find in non-metropolitan spaces?
How does that relate to the metropolitan thrust of modernism, something that you applied Bombay mortar.
So especially kind of cosmopolitanism that you associate with Bombay.
What done and and Nonnemaker. But it didn't modernism very often relied upon the rhetoric of nativism.
Yes. So if this translational activity is happening in the pilgrimage site of nativism, what does it tell us about Natives admits?
Is it a kind of considered nationalism that seems to be operating because you're
open to translating from Indian languages like DO or other Indian languages?
But at the same time, you are extremely critical of English or English based Bombay Modular.
So is there some tension that you can see in these two strands of modernism?
I accept. Mm hmm. Thank you, Sachin.
That's such a broad and a huge question. But an important question to ask, and I'm not sure I can fully sort of.
Give a satisfactory answer, but I'll try. So my understanding.
Firstly, I'm not claiming that a Bombay Morgan done the kind of modernism I wrote about in that book is is parochial in its own way,
that it does not have these these kind of connexions to the hinterland, that all of these connexions, though.
That's precisely the thrust of my book in Bombay,
that this idea of Bombay extends talking about extends to all these other regions because they want a connexion.
Like how? What do you say about something like Lortel by name I.D.?
Even if brought out they might and popular in others. I should say it is a collaborative thing, not by one person.
So it is, but it sort of brought out by this grouping out of the bag.
But it is not good. The visibility, the subcommission, the resources are with people in Bombay and China and those were as closely connected with that
in the circulation and in the distribution and in the contribution to that little magazine.
So I don't think Bombay Madone is necessarily sort of limited to only anglicised Westernised.
I don't think so. No, no, no. That was a great question. My question was, I don't know if it was the point of separation.
Yeah, I'm sorry. Things aren't working in spaces. That's where strict blando.
Sorry. Such a wheel a. Yeah. So, yeah. Otherwise we shall run into your time for your paper.
How do we get out of this conversation later. Absolutely. Absolutely.
Well thank you very much. And defence for a wonderful paper Angelie.