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Thank you so much for this introduction, Polly.

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And give me just one moment. Well, I share my is my is my slideshow visible?

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Yes, it's fine. OK, good. Thank you. So I want to begin by thanking the organisers of this workshop,

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Paula O'Hanlan and Sharon Bhandari, as well as other members of this executive committee,

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for giving me this opportunity to present a very early draught of my work pants to also to selfish

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carnesecca for allowing me to see and scan some of an amazing collection of little magazines years ago.

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And to the point, an artist, Mangoush in our own country who shared his images of these little magazines with me as well.

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Again, years ago, his images were better than mine. So I've used a couple of them today.

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And finally, most important, thanks to the God particle and to Professor Episodic,

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who helped me so much in understanding the world of Oring about the writing in the statutory period.

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And after.

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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.

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While the individual issue of ritual is fascinating enough, with its intervention into the political mono linguistic pullet politics of Maharashtra,

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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.

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And I believe it also points towards building different literary coalitions and genealogies that are more that are most readily available.

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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.

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I don't collect current bilingual literary culture and at that time I took this is one more instance of the deliberate,

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multilingual push by these editors and writers in the face of monolingual assertions of community identity.

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Post the creation of the state of Maharastra.

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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.

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And this essay is an early attempt to close to do a close reading of this particular special issue.

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But through it also to reach a larger cultural matrix that energises the creation of such literary publications.

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And I, of course, welcome any corrections, additions, expansions about what I'm about to state below.

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So first, a general introduction to the little magazine as a whole.

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Before we focus on the one special issue, I'm going to talk about,

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Groucho was a liberal magazine started in 1976 by Ramish, Ponson, Sunil, Karnik and Tiny Mumby.

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It lasted three years. And while I haven't been able to access all the issues,

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there is information that there were seven issues published in the first two other pages of covers from three separate issues of Rucha.

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The first one is a table of contents from Rucha three point two, which we will talk about soon.

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That the second is a special issue on our own Coleco, which came out after he got the Commonwealth Award for poetry.

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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.

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This was a little magazine dedicated to literature, specifically poetry, and it had very few advertisements,

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unlike some other little magazines and hardly anything else besides the literary texts that are graphic illustrations and some but not all issues.

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But today's famous names and literary criticism and canonical poets and Bharathi appear in the pages of this issue of this little magazine.

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And you see translations from poets all over the world as just example,

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some examples of names that Rafael Oberti says are by EHO, Louis, Carlos Lopez, Norman MacGregor and so on.

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The special issue on Politico is perhaps the most famous of these issues so far,

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and the essays that continue to be referenced and discussed, it discussed even today.

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And I'm Bob. I believe there was also a special issue on the poetry from Brightwater in the second year,

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but I haven't been able to locate that to show a side note in this special issue.

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In the special issue, three point two on the left hand side that we are going to be looking at,

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there is an there is a brief advertisement asking for submissions to a future Rucha issue,

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which would be title returned with tanks,

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which was supposed to be edited by the elliptically in which solicited all rejected poetry from mainstream Iraqi magazines.

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It doesn't look like that issue saw the light of the day, but I have not yet fully confirmed it.

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The practise of the editors of this little magazine was to do continuous page numbering across these issues.

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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.

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So with this brief introduction.

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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,

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Rucha usually lacked an editorial, but this particular issue is an exception and it actually does have an editorial.

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So here is the table of contents of three point two published in July 1979.

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And on the absurd on this particular special issue you have to do, I asked you to look of it.

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And some McCullin, what I take of it to the table of contents was intriguing for me because of the imbalance

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between the two doing the Moratti points that are intelligent in politics here.

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If you can see it closely,

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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.

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The layout almost boxes you in such a competitor's reading.

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And yet the list of all the points is much longer and more extensively feature than the Moratti counterparts.

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But also the issue features a relatively detailed editorial budget through competition that not only introduces the poetry,

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but relitigate the argument between the progressives and the modernists that had been raging in the literary publications a few years earlier.

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The current work of some scholars, such as Jennifer Newbrough and Zanmi,

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are deals with precisely these debates between the progressives and modernists in the literary sphere.

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And it is. If I had time, I would have gone deeper into that question, but I won't for now.

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The question was, what is the purpose served by this editorial when it came out,

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when when we read it as directed towards the Moratti leader of torture?

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So here are some some sort of readings of this issue on my part.

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This is still speculation,

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but I want to look at the connexions between the expansively understood sort of region area of work known as Mumbai, Marathi,

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Martinus and their associations or connexions with do writing versus the

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interconnections between the Marathi writers from Brightwater and to do literature.

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My suspicion is that such an examination might emphasise a by vocation between the kinds

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of contemporary NITI that the metropolitan Marathi writers were seeing in order to,

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as opposed to the Morato are not Aurangabad writers who were privy to a separate whidden

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window into the culture as opposed to the Marathi writers and their connexion to literature.

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Can one, I wonder, hazard a guess that through the dominant influence of Hindi films,

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which shows up so persistently in the Marathi Modernist texts and the location of Bombay and its importance in the print,

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cultural as well as media, was all too progressive, still held a larger than life.

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Hold on the imaginations of the Bombay Marathi reader and writer as opposed to the ones living and writing from Motaung about.

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Could that be one of the explanations which in the compatable and sodic I'll come to sodic very soon,

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might have felt the need to reinsert the debate between the Progressive's and modernise in this Marathi editorial?

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Is this special issue evidencing through its Marathi pathway distinct spheres of influence within the writing that one can study separately

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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,

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for example, is gender compatible in the special issue, somehow indicating these nuance differences within the larger sphere?

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I don't know. I still have to dig deeper to find this out next.

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If you see on the table of contents, you this is it.

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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.

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This is the page where each of the points is given.

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But it is significant considering there's no such bodycheck for the Moratti points on the other side.

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These brief bios specifically lists the many print cultural rules held by the contributors to this volume.

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For example, Fasel Tabish was the editor of the journal MAGiS by Buckham.

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He was associated with the restaurant.

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Academician and chairman was always associated with the multiplication book, either me and also the editor of a journal.

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Coliban Jarda, Shi'ite Holy was the editor of the June journal Miyata.

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It would be a fascinating exercise to trace the writing was and the publishing networks that a signal to the spiritual.

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But together, definitely they lead us away from the Mumbai centric Moratti security world.

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A third act aspect of this Rucha special issue is the translational exercise undertaken here.

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This special issue was a joint venture, a collaboration between Chandra Confocal and Professor SODIC won a Moratti slash

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Hindi poet and translator and the other ODU slash Hindi poet and translator,

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both influenced by Hindi modernism and specifically by the poetry of Gajanan.

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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.

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The all the poems were transliterated by SODIC for Panopto, who were part of the doesn't read the script.

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Who then translated them into Marathi for this special issue. The slide showed up up here shows you the special issue of Richwine 1979,

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edited by party and its counterpart in the Anthology of Name I Charity, edited by SODIC in 1980.

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And here is the table of contents of the name rightish Heidi on the other side.

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Barton, help choose and curate the Moratti list of books to be translated into the wind,

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perform dissimilarly advisory role as did sodic for the poetry in Marathi.

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There is a fascinating history to be discovered here about Sidekick's Marathi translations and is wrong about the Connexions.

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But for the sake of the short presentation here, I will focus only on the Marathi special issue here.

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It is an example of the collaborative inter lingual exchange with script writing is not the basis of the translation.

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Lawrence Venuti talks about the domesticating of foreignness and all translation in his theory of translation,

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and I quote from his book on scandals of translation, quote,

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Translation is often regarded with suspicion because it inevitably domesticates foreign texts,

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inscribing them with linguistic and cultural values that are intelligible to specific domestic constituencies.

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This process of inscription operates at every stage in the production, circulation and reception of the translation.

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It continues most forcefully in the development of a translation site,

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a translation strategy that rewrites the foreign text in domestic dialects and

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discusses always the choice of certain domestic values to the exclusion of others,

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end quote. But here, in the case of gender gun pakta and SODIC,

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it was a collaborative and shared book project Across Knowledge's and Gaps in Knowledge's on each side.

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So it doesn't quite follow. It in fact denies the claim that Lauryn's Banerjee's making.

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The result of this linguistic and cultural exchange goes beyond mere descriptions of

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domestication and in fact jester's to something shared yet not fully visible in these public.

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This set of publications together, the anthology and especially shows Rucha indicate a joint cultural landscape beyond scripts

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and monolingual isms that gets split across these two publications and their new worlds.

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Translation does not stop at the checkpoints of scripts of language,

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and it issues the strict idea of transfer from one discrete space to another by centring the

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collaboration and the shared cultural encounters and experience at the base of this exercise.

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To dig further into this close connexion of this special issue to a multilingual Ducky's slash and Moratuwa about cultural space.

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Let's look at the poems to poems written to other Matsuri and Muhammad Ali.

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Written by gender Conforto. This time in Marathi, where he bemoans the fact that they have left his literary world for good.

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This these forms were written after the riots in 2003. In the future, a special issue in 1979,

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the gun battle with the help of SABIC had published a poem by Mohammad Elvie on the Nature of God Where I'll

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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,

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but not otherwise. After the Gujarat riots, Spottily beckons the old poet and remembers this image and says that the God of the oil

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lamp has now become an uncontrollable fire that is burning down the society as a whole.

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Similarly, addressing the those slash Gujarati poet Abdul Mansouri, whose poetry also appeared in the Special Issue Party,

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compares human city's emigration from the drought to the United States to that of walleyed Duchene leaving open

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the bag for SUDEP in Gujarat in mediaeval Decken and whose grave was razed to the ground during the drouth riots.

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This field of references of that special issue and its all of the modern isms

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now shows the expanse of the darkening history and cultures that lay behind it.

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A final piece of evidence is the poem that Gender Unpartnered wrote, this time in Hindi,

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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.

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And also after the communion ization of voting about politics by Shiv Sena in the 80s,

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starting with the demand to rename the city as somebody another on this slide,

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you can see the beginning of the poem, not the vision based vocabulary in the point of the poem that is in Hindi.

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The morning both for the city that is in tumult, but also for the darkening culture about culture.

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But cultural and pointed Johndroe via the invocation of the Murcia.

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Both the city and the linguistic culture, which is unavailable, according to Park Partan in Hindi, Hindi, India,

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both of the city Obali the Orkney and the point, two of which is popularly seen as the forefather of varnishing or have disappeared.

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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.

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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.

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And Mintzer Aslam Beg also included a translation of it in his own edited anthology, Goulder Style Cushman's.

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And here is how the poem ends.

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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.

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Look how immersed in peace is the city of yours as it changes into a metropolis.

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How the crowd wears a mask to cover its face. How people who belong here are turning strangers on their own land.

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Muhammad Ali. The words, I believe. I played with my entire life.

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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.

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Slash Márcia vishna cut. It translates the mercy as a dirge.

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But I am putting this lotion and I want to retain the word Marzia in the translation because

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Parton is lamenting the loss of a specific alexandru of a poem associated with the Decken,

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even as he's enclosing the Ducati post in that language in time.

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The board mourns the lack of the proper language or do or Dockerty and the proper forum,

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the Marzia that is unavailable in Hindi or Marathi for the board and the board

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specifically refers to the Ganga Germany culture that was part of the heat of the hydro.

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But it do seem that tried to separate itself from the Delhi paradigm and establish a separate

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Canete would do centre in the sums Heather about as documented by Capital The Butler.

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So to return to this special issue on the modern isms,

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then the literally cultural work that this special issue does is manifold and it can

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contribute to our understanding of morality and regional histories in the following ways.

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First, the history of the Sotho three Moratti literally magazines, the modes of transmission, translation and cosmopolitanism,

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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.

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Right. The second, even more important, is the attention to the location of Otunga as an alternative site of Moratti modernism,

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the presence of doing this Moratti Journal and the translation of Marathi in the two anthology bipartisan sladek just due

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to the necessity of heeding the geography's involved in these ventures out of the box with its deep connexion to Muslims.

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Higer about before independence and the multifarious linguistic cultures that jostled

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in the space needs to be taken into account when reading this special issue.

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It is that non-metropolitan Moratti Space of Modernism heralded by politicians and imadi and turned the gun battle,

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amongst others, when they brought out voxel, for example.

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Right. But all of the above is also the location of a robust Dalip modernism that started with the journalist Mehtar later.

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Without that shop and with M in one katik another Bonton in others but occurred.

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In addition, it is also the place that is home to the Muslim Marathi writers, as noted.

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But they've come out ideally in his essay. The Kunie Bashar al-Assad evolved.

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And I need some ottavi. That's why she could Guren.

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I have a notes that these Muslim writers issued the conventional expectation that as Muslim writers,

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they should live within the Audu writing world and end the Moratti Muslim writers claim a Moratti

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contemporary Nyati way via their location of the blog and its history of the darknet culture and language.

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Similarly, Vernet in the essay vernacular is a space for writing in the dickin.

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Bush consolingly asks us to consider the faith traditions of Aurangabad, then describes them as going beyond handlin Muslim straightjackets.

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He sees them as a radical, quote, vernaculars space that reaches back to the duckweed cultures of mediaeval times.

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I want to add to the compartments work here in the room, just special issue.

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Against that backdrop as a thud trajectory that also look at itself in Aurangabad and reaches out to this complicated,

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darkening history via its alignments. With all due modernist poetry,

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it points to the pendulum and connexions that Moratti had in its presence in

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Hyderabad before the linguistic reorganisation and its subsequent recalibrations,

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something I'm still in the process of educating myself.

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Just to be clear, important number three through its editorial for which we really didn't have time to look at in great detail.

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But I can talk about it in the Cuban.

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A little magazine intervenes and relitigate the battle between the progressivism and the modernism in Moratti here.

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What is the purpose of this and why the debate about modernism? Why is it relevant to Moratti readers?

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That is the question that this issue asks us to address.

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Number four, the issue provides a supplementary claim, as I said earlier, to the syncretic duckweed genealogy of the region.

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And it claims a different kind of approach to multilingualism.

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Then I at least have been adopting in my work so far.

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To go back to go to a poem written by deliberately titled Model Monologue in America, the Lipsett Three,

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a stint at the Iowa workshop in the 80s ruminates on its surreal stay there where he says,

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quote, I have inherited from my ancestors this whole Sadiel mix of monolingual language lessons in a plural lingual world.

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End quote. And recently, I read a wonderful article by my fellow panellist in this workshop, Should Hackenbush Good,

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which you reference the references, the statement by could look shut, refusing to join them.

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Hugel armies push into the Decken. In his response in ducking me, he said, well, local.

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Who ought the hamakua? If it hurts them, it hurts us as well.

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The forthcoming work of Prati this fund day also wonderfully illustrates these multilingual approaches to Moratti in her own book as well.

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So when and how does one separate language culture, politics, writing and speech?

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This presentation today hopefully tries to understand how we need to think of all of these aspects in a holistic way,

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even when on the surface we are separated by disciplinary discipline, Nagati and monolingual territorial separations.

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But it is also important to note that this multilingualism exists within the shadow of the increasingly strident

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demand for a monolingual and one of cultural identity in the post independence spirit in India and in Maharastra.

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The issue of the Kanae exposes a gap in the increasingly heard call for multilingual readings and scholarship.

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The problem here is not just having multiple languages on the page or in view.

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The special issue does that very clearly, which also to see what is attempted to be said here via these multilingual gestures.

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Beyond them both, the drive towards the public monolingualism and the actual multilingual practises of

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daily life coexist in the same space and time and jostle for visibility simultaneously.

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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.

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The Post monolingual in the study refers to a field of tension in which the monolingual

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paradigm continues to assert itself and multilingual bad practises persist.

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Oguri in. End quote. In her study of the idea of the mother tongue,

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she recommends an attention not just to the multiplicity of linguistic practises in any given situation in space,

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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.

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This complex creaming movement across languages in the rich hour special issue should be weighed

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against such a backdrop of the post monolinguals situation in autumn about and in Mumbai.

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It also indirectly hints at a linguistic and cultural afterlives of a cultural identity that falls in between the monolingual,

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the red, the relatively monolingual identities of what to do in Marathi.

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Monolingual demands relegated other languages or cultural identities to quote, hodgepodge, as Yildiz says.

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And as scholars like Kulkarni, Sony, Me, Sony, and here they have shown the culture and linguistic space of the duck.

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It becomes that hodgepodge between Marathi and cultural markers.

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But Rojas special issue on today's Dacoit three slash contemporary Marathi poetry presents a third rail, if you will,

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for reaching that, quote, hodgepodge middle that remains unacknowledged and monolingual politics as well as literary histories.

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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.

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Porscha Marathi. Some schoolteaching, some screwed this up.

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I wish Cup, as well as other Marathi writers who worked in Heidelberg during the colonial period,

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were ambivalent towards the Muslim state's connexion to Marathi.

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So I'm not talking about this, you know, uncomplicated by Charra and, you know, kumbayah moment between linguistic cultures.

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They felt that Marathi was being strangled and not given its due importance at that time.

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So they reached to that Kanae as a way to validate their own linguistic genealogy.

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But in 1979, in the special issue and in 1992 and his boy must see my nephew's kindergarten party is

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reaching out to me as a way to reassert the Maraz wider histories in Marathi literature,

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to reclaim the syncretic stories of the region and claim a different Marathi space

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than is afforded in the increasingly Hindu wise and monolingual ised present.

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The special issue of Rucha insists on a cross border reading in terms of these linguistic Mormonism's and cultures,

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both by the visual juxtaposition of the two in the table of contents,

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but also by the translating act of bringing this curated list of modern the boy tree to Moratti redoes

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by the collaborative efforts of gender gunfighting and Professor SODIC and Oughton about its readers.

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Just two minutes. Thank you. Yes. I'm about to finish.

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It reveals a spectral presence of a life word of over naturalist's space that

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occasionally flashes of recognition to us from behind these two linguistic traditions

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and which makes a case for expanding the boundaries of Marathi modernism beyond

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its metropolitan centres and also across the seemingly monolingual barriers.

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To end, then I revert back to my one of my favourite poets, A. Ramanujan.

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He says, When I write in Canada, I'd like all my English, thumma, et cetera, to be at the back of it.

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And when I write in English, I hope my Tumblr and my Canada like my linguistics and anthropology,

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what I know about America and India read the back of it. It's of course, only a hope and not a claim.

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I'm less and less embarrassed of keeping these doors open, even when it's dark outside and it's three a.m. inside.

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Well, it's indeed dark outside right now.

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Metaphorically speaking. And three a.m. inside and like Ramanujan's says, I firmly believe we must keep all our doors open.

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Thank you. Well, thank you very much indeed for that wonderful talk.

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Anthony. Well, whilst others are getting their thoughts in order.

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And just to remind those who are with us, please do send in your questions by the Q&A box.

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I see this question already. Come in. Let me turn to that.

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This is from Maturer Dumbly. Thanks for such a fascinating presentation.

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It reminds me of the 1930s especially might have Julian.

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His attempts to bring Persian words and genres in Marathi, poetry and eventual U-turn and assertion of linguistic purity in this context.

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I'm interested to know what Marathi was used in the translations that the translations of Urdu poetry in this issue, Sanskrit sized, personalised.

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To what extent were Urdu words retained? Thank you so much for this question.

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This is a very. By the way, this this this this audio version and feeling some Moratti.

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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.

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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.

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It's just interesting to see how the, the, the linguistic cultures come together for different reasons at different points.

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Right. So to come back to the question about with what kind of language was used.

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Yes, there is. Or do based or the based language used in the translations.

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But there's a very interesting kind of makes. I have to look at it more closely.

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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.

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It sounds so sloes. Absolutely sensitised.

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And then you've got words like Mahfuz in the bottom, right.

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So that is a jostling of this very purely Sanskrit.

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That is the very sort of a very clearly personalised butko vocabulary in that blood.

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But also in the translations in the future as well.

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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.

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I hope that answers your question. I'm not sure. Thank you very much.

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Well, and others are coming in. We have a question here from Newport.

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Oh, hang on a sec. Thank you, Angelie, for such to prevent a thought provoking presentation.

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I'm curious to know more about the circulation of little magazines like Rucha.

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Who were the readers? Where was it circulated? Which which parts of my Austra and even outside of it,

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which would help us understand the ways in which multiple public spheres that

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were formed in so totally period were moving away from the metropolis of Bombay.

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Interestingly, Rucha was published in Tiny, if I remember correctly, reading from one of the slides.

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Yes. Newport, thank you so much for this question. And again, I can only partially answer the question.

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I'm still trying to source more issues of Regina.

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I've not been able to do that.

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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.

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So Richard, was Groucho circulated both in Bombay, but very much so in got in.

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But I tried out and so on because it was a collaboration, all of which I was published by Bunson Karnik.

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But it was also edited by Bhakta, who wasn't knowing about it that time.

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Right. So in in the history of Meraki modernism, you have this very strong Mumbai centre where the public,

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the tools of publication, the resources of publication are available.

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But then you have these generative spaces outside Mumbai from where not only the material,

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but the work, the actual editorial work and and the circulation is also happening.

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I haven't I don't have specific details of exactly where and how much it's circulated.

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It's a very important question. But I would suspect that knowing the circulation of something like say Watchout, which came from Aurangabad,

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but which was very much in conversation and dialogue with the Mumbai Marathi modernism.

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Right. And they might a lend their group of people.

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It was the collaboratively I did edited a little magazine, Neung from the circulation of that little magazine.

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I would say that Rucha would have something similar where the web.

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It had one leg outside Mumbai and one leg within Mumbai to access the resources and the visibility here.

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But then also to bring in the outsides of Mumbai into the conversation of modernist poetry in this three moment.

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I wonder, is that even partially answers your question? Why, it seems so to me at.

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Well, whilst we wait for other others and and do do do send in your questions and thoughts,

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man, I put a question which is, am I not being a literary person at all?

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I wonder. Have you looked at to have have scholars looked at the sort of educational and

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family backgrounds of the people who contributed to these literary enterprises?

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I mean, are these are these poets and publishers from families that have a kind of deep connexion,

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a deeper and older connexion with the literary culture?

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Going back some decades or all these folks who are just extraordinarily well read and this is the media,

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which seems to them congenial, eclectic, it's still too politically progressive.

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I wonder where that kind of sensibility comes from. Thank you so much for this question, Pauline.

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Thank you for giving me the opportunity to talk about something for which I didn't have time in my presentation.

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I did ask this question of Barkdull and SODIC, and I wanted to talk more.

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I wanted to ask more of other people as well.

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But I can talk about them. And it's so fascinating that the.

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For example, with Trump and. He's got such a close connexion.

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He talked about this. This boy must amendment floozies, a dedicated to his friend,

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a boy with whom he used to spend the night chatting away in the cemetery beside the cover of Saraj.

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That's what he said.

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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.

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Right. So and then to the gun battle. Also had very close collaboration with others,

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like there was a lecturer and writer called Cellcom with whom web of Silk and wrote essays

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on literature and then turned the gun battle spontaneously translated them into Bharathi.

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They never ended up publishing it. But there's a whole collection of these things that he has.

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And then he collaborated. SODIC was a lecturer in the College of Law in order about that.

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Now, Professor SABIC lives in Delhi, but at that time he was an Aurangabad.

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And so they formed the collaboration and then started was an author poet

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translated large parts of Marathi into the published them in all the journals.

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He's translated surveys translated Gullett Good Dessau. All the others.

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Right. And so you have this kind of thing. It's wet. He didn't read Marathi the way popular read Marathi.

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He didn't read the script at all.

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And yet they have this kind of cultural, translational, collaborative space which they very strongly share the volumes,

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the space, the culture, the genealogy, the background.

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And so I'm trying to find the language to to describe that in my work, but also to see that spectral presence beside.

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Behind a special issue like this little just special issue.

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But on the surface, it looks like all the modernism, Marathi modernism, putting them to together.

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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.

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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.

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There's a whole cultural matrix that needs to be studied and more multilingualism, spectral, multilingual, Zoom's lingual isms.

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If, if, if one can call them that behind the visible multilingualism slept there.

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Does that. Does that. I mean, this is absolutely I mean,

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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.

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Yes, it is. Yes, it is. Is there a religious dimension to this at all in any of the work of these people?

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A kind of, you know, a Sufi sensibility is do you do you get any sense of a push gospel?

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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.

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And he goes precisely to that Sufi sort of connexion there.

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So he's got an essay there. And then they come out. He's a he's got this.

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I think it was in the last more restaurant studies conference that he presented on this, actually,

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where he talks about the Marathi Muslim writers who actually don't who have sort

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of very assertively say we don't need to go in order to be Moratti Muslim.

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OK.

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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.

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Yeah. Well, that's that is. And is there anything is there anything like that now.

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I mean that was a particular moment that you're describing has.

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Has that kind of collaboration. Did it have any kind of long life span or is that.

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I am sure. Like the there are some really, really fascinating histories to be studied in the Moratti Muslim writers that he writes about.

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I haven't studied them. I have another friend. I shall go.

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I was worked very closely with one Moratti.

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I tried to Marathi Delaporte Muslim Dalip Boyte called Chargin Day and the kind of identities that, you know,

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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.

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Right. Marathi, Muslim, Dalit. And what are the kinds of issues that come because of this location in Morada?

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Yeah, I mean, I haven't studied that yet. Mm hmm. Mm hmm.

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A note from Shaalan, I recall that was Moufid MUJAO.

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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.

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Yeah. Yeah. How does this this translate noom multilingualism that you find in non-metropolitan spaces?

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How does that relate to the metropolitan thrust of modernism, something that you applied Bombay mortar.

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So especially kind of cosmopolitanism that you associate with Bombay.

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What done and and Nonnemaker. But it didn't modernism very often relied upon the rhetoric of nativism.

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Yes. So if this translational activity is happening in the pilgrimage site of nativism, what does it tell us about Natives admits?

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Is it a kind of considered nationalism that seems to be operating because you're

384
00:42:06,610 --> 00:42:11,350
open to translating from Indian languages like DO or other Indian languages?

385
00:42:11,350 --> 00:42:20,080
But at the same time, you are extremely critical of English or English based Bombay Modular.

386
00:42:20,080 --> 00:42:26,360
So is there some tension that you can see in these two strands of modernism?

387
00:42:26,360 --> 00:42:30,010
I accept. Mm hmm. Thank you, Sachin.

388
00:42:30,010 --> 00:42:38,800
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.

389
00:42:38,800 --> 00:42:42,670
Give a satisfactory answer, but I'll try. So my understanding.

390
00:42:42,670 --> 00:42:52,530
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,

391
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that it does not have these these kind of connexions to the hinterland, that all of these connexions, though.

392
00:43:00,910 --> 00:43:03,520
That's precisely the thrust of my book in Bombay,

393
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that this idea of Bombay extends talking about extends to all these other regions because they want a connexion.

394
00:43:10,460 --> 00:43:14,830
Like how? What do you say about something like Lortel by name I.D.?

395
00:43:14,830 --> 00:43:21,370
Even if brought out they might and popular in others. I should say it is a collaborative thing, not by one person.

396
00:43:21,370 --> 00:43:25,990
So it is, but it sort of brought out by this grouping out of the bag.

397
00:43:25,990 --> 00:43:37,000
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

398
00:43:37,000 --> 00:43:43,120
in the circulation and in the distribution and in the contribution to that little magazine.

399
00:43:43,120 --> 00:43:52,870
So I don't think Bombay Madone is necessarily sort of limited to only anglicised Westernised.

400
00:43:52,870 --> 00:44:01,260
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.

401
00:44:01,260 --> 00:44:06,370
Yeah, I'm sorry. Things aren't working in spaces. That's where strict blando.

402
00:44:06,370 --> 00:44:12,970
Sorry. Such a wheel a. Yeah. So, yeah. Otherwise we shall run into your time for your paper.

403
00:44:12,970 --> 00:44:17,500
How do we get out of this conversation later. Absolutely. Absolutely.

404
00:44:17,500 --> 00:44:23,053
Well thank you very much. And defence for a wonderful paper Angelie.