So many Indian novels, quite unfairly, do not get the prominence they should because they have been written in a language other than English.
Interpretation
Indian novels often don't receive recognition due to the language barrier.
Vikram Seth highlights the unfortunate reality that many Indian novels, despite their literary merit, are overlooked because they are written in languages other than English. This sentiment underscores the bias in the literary world that privileges English works, leading to a lack of visibility for rich narratives that exist within India's diverse linguistic landscape.
In practice
In a literary forum discussing the global recognition of literature.
I am careful about fiction. A novel is not a tract or an essay. If I want to write about land reforms, or Hindu-Muslim relations, or position of women, I can do it as it affects my characters as in 'A Suitable Boy.' I could only write about issues specifically through essays. But I'll do that only if I have something worthwhile to say.
Music, such music, is a sufficient gift. Why ask for happiness; why hope not to grieve? It is enough, it is to be blessed enough, to live from day to day and to hear such music-not too much, or the soul could not sustain it-from time to time.
But I too hate long books: the better, the worse. If they're bad they merely make me pant with the effort of holding them up for a few minutes. But if they're good, I turn into a social moron for days, refusing to go out of my room, scowling and growling at interruptions, ignoring weddings and funerals, and making enemies out of friends. I still bear the scars of Middlemarch.
I recall drinking sherry in California and dreaming of England, where I ate dalmoth and dreamed of Delhi. What is the purpose, I wonder, of all this restlessness? I sometimes seem to myself to wander around the world merely accumulating material for future nostalgias.
You have to learn a few things, which you do along the way, but basically, poetry is a matter of the ear. Iambic pentameters or what constitutes a stanza comes naturally - your ears will know.
The problem with too beautiful a view is that it's alright for the mulling stage. But for the writing stage, you want to be somewhere without a view, especially if it is very different from what you're writing.
Fiction and nonfiction are not so easily divided. Fiction may not be real, but it's true; it goes beyond the garland of facts to get to emotional and psychological truths.
A people's literature is the great textbook for real knowledge of them. The writings of the day show the quality of the people as no historical reconstruction can.
Is any novelist going to recognize the moment when he or she has nothing more to say? It is a brave thing to admit. And since as a professional writer you are full of anxiety anyway, you could easily misread the signs.
People apparently only read mystery stories of any length. With mysteries, the longer the better, and people will read any damn thing. But the indulgent, 800-page books that were written a hundred years ago are just not going to be written anymore, and people need to get used to that.
Fiction is history, human history, or it is nothing.
Only in the mystery novel are we delivered final and unquestionable solutions. The joke to me is that fiction gives you a truth that reality can't deliver.
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