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Double Threat 2022 Hindi

Double Threat 2022 Hindi ===>

Double Threat 2022 Hindi

> H * I z H ^ I < H * H HH QH * H o H modern texts are revelations, confes sions that stun and baffle.At such moments Ban's cool is gone and we realize that a realwriter is atwork here, not just an amazingly clever one. While she no longer has to present her credentials as a scholar, Prbacsomagols contains studies, on Dickens and Goethe's ElectiveAffini ties,thatare properly academic. She is inspired,however, not by scholars but by writers, among them,most conspicuously, two fellow Hungar ians,PeterNdas and Peter Esterh zy. The latter's influence is stylistic. Ban, too, ispartial towordplay and abrupt shifts in voice and diction she peppers her prose with old-time German-Yiddish colloquialisms and interjections to great comic effect. Ndas's influence is more signifi cant. From him she has learned that thegoal of awritermust be toshrink the realm of the indescribable and the unspeakable. We discover, in the stories as well as in the essays, thata number of things in the author's life aren't easy to discuss or be open about. The child of Holocaust survivors, she had to face up to her parents' stubborn silence about the war years and thepersecutions. She found out quite late thather fatherhad been married before thewar and his first wife had perished in theHolocaust. She is also unusual in that she was born and spent her childhood inBra zil. She trieshard to retrievewhat now seems like a lush, fable-like preexistence. She interrogates fam ily photographs and home movies inhopes of learningmore. And then there is her American self; several longish stays in the States brought her closer to thisworld. Running through both books is a search for her true identity; yet her ambiva lence, her awareness of her spiritual and sexual otherness, are the source of her keenest insights in the essays and are behind themost poignant and revelatorypages ofher fiction. Fortunately, Ban doesn't treat us to yet another tale of self-discov ery;her quests are concealed inwild confabulations and penetrating liter ary criticism. In one chapter of Esti iskola, for example, we get a compli cated sequel to Les liaisonsdangere uses in the form of email messages. In another, we are presented with Fidelio as "blog-opera." Here Jaquino is recruited as a secret agent, and in his blogs he whines about thediffi culties of being amole. In "Gustave and Maxime in Egypt," Flaubert's monumental dedication tohis art is debunked. In a takeoffon Goethe, it is the literarygiant who gets his comeuppance. And so on. Writers likeZsfia Ban are often accused ofbeing too self-consciously literaryand therefore not trulyorigi nal. Ban's works give ample proof thatshe is steeped inseveral cultural traditions,yet her voice as a writer is strong, confident, and her own. [Editorial note:A story from Ban's Esti iskolabegins on page 30 of this issue.] Ivan Sanders Columbia University Ha Jin.The Writer as Migrant. Chi cago. University of Chicago Press. 2008. 112 pages. $14. isbn978-0-226-39988-1 Ha Jin'sTheWriter asMigrant is an insightful taxonomy of the experi ence of writing elsewhere. In clear, sparse prose, Ha Jin examines the lives of famous exiled writers and expatriates. Some of these writers, such as V. S. Naipaul, voluntarily lefttheircountries inorder topursue viable literarycareers; others, such as Alexsandr Solzhenitsyn, fled for political reasons. Each faced innu merable hardships. I TheWriter as Migrant Jj^^Tfr Hajin H Authors claiming to write on behalf of theirpeople may find their work criticized by those left behind. "At any moment," Ha Jin writes, "a country can take a writer to task and even accuse him of misdeeds, betrayal, or other crimes against his people." Living abroad for too long can also be soured by nostalgia, in which a static, idealized memory may prevent a writer from recog nizing that the country has evolved since departure. Writers change, but so do their countries. If there is a respite frombeing a migrant, it c


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