Mohan Das

Uday Prakash is a fabulist whose intimacy with the Indian rural landscape is a protest against the rationalising arrogance of the western gaze, its abstract, and ultimately brute, powers of surveillance, and its defiling avarice. In his short story Warren Hastings ka Saand, Uday Prakash mixes history with a surrealist imagination to produce a moving account of the dehumanising encounter of the British East India Company and Indian peasantry. This work takes on the character of reportage and journalism, fiction and conventional historiography, art history and anthropology. Can we see in such formal innovations in narrative the marks of a canny response to the stunning, blinding developments of late capitalism itself? Does his faction of criticism not in some way mock what we have accepted so far as the criticism of fiction?” Amitava Kumar (Author of The Passport Photograph and Husband of a Fanatic) “पाकिस्तान में वह सभी कुछ है, जो कुछ हिन्दुस्तान में है...सिर्फ़ उदय प्रकाश जैसे अफ़सानानिगार को olische I” अजमल कमाल uday prakash is a fabulist whose intimacy with the indian rural landscape is a protest against the rationalising arrogance of the western gaze, its abstract, and ultimately brute, powers of surveillance, and its defiling avarice. in his short story warren hastings ka saand, uday prakash mixes history with a surrealist imagination to produce a moving account of the dehumanising encounter of the british east india company and indian peasantry. this work takes on the character of reportage and journalism, fiction and conventional historiography, art history and anthropology. can we se in such formal innovations in narrative the marks of a canny response to the stunning, blinding developments of late capitalism itself? Does his faction of criticism not in some way mock what we have accepted so far as the criticism of fiction?” amitava kumar (author of the passport photograph and husband of a fanatic) “pakistan mein vah sabhi kuchh hai, jo kuchh hindustan mein hai. . . sirf uday prkaash jaise afsananigar ko olische i” ajmal kamal