The Ghosts of Mrs. Gandhi

In his article "The Ghost of Lady Gandhi" (New Yorker, July 1995), Amitaf Gosh introduced the reader to Bosnian writer Dževad Karahasan and his "extraordinary article on literature and war" (published in Sarajevo) To do. "From City Exodus") This produced a significant relationship between contemporary literary aesthetics and indifference of violence in the modern world. "Ghosh keep quoting Karahasan:

Let's not trick yourself ... the world was written for the first time - the Bible says it was created with words, and everything that happens with it will be made first in the language.

When we think about the world, indifferent aesthetic things may happen, and we are aware of the urgency of remembering stories we have never written.

Gauche quoted his long silence here and eventually defeated the publication of his articles in 1995. This is an explanation of the public's response to the massacre of terrorism against the Sikh community in New Delhi in 1984. Copy of Assassin Prime Minister, Mrs Gandhi, her Sikh bodyguard. According to Kalhassan's remarks, Ghosh explained the silence that "the decision to regard everything as an aesthetic phenomenon is a completely artistic decision is an artistic decision". Characteristics of the world He was hesitant to conduct a self-investigation about the writing of the murder case of 1984: he should write about a riot like the former and the latter and its reaction to the riot, whether he is a writer or a citizen Is it? Should he only write about violent affairs and all other incidents? As a result, Gauche who writes is as a citizen, as a person, as a friend, and as a writer.

In doing so, Ghosh described the world infected by participation and attention, not by "indifferent aesthetics", and explained the world of fear, cruelty, and courage. A world full of indifferent aesthetics will be a boring world; it will lack the fear of the world described by Ghosh, but it lacks its vigorous spirit. Kalhassan's comment about the advantage of this word shows that for the undocumented world more radical fate no longer exists.

The thing to say here is that the author is responsible for paying attention to the world around him and for seeing and recording it firmly This is an old problem. Indeed, this is a disappointing tradition: writers need to write; everything else obeys this basic principle; not a writing but an existentialistic crime

Ghosh's own reflections add another twist: the responsibility for writing about disasters has a moral side; writers look for a neutral, "high-level" platform affected to comment You should have their own moral perspective, not necessarily. He introduced written words and his sentences must bear his personal impression. These ideas introduced a glimpse of atrocities originally and a very necessary correction: they mysterize things that are easy to understand with humans. In the world surrounded by indifferent aesthetics, we see frightening things without fear, but our line of sight is mediocre and boring. It looks a little bit but it feels less. Are there any other worse things?

In another older article, "Ghost of Lady Gandhi", Ghosh himself became part of action. Gosch, which explains the influence of Indiana Gandhi assassination by the Hindu mob and subsequent Sikh killings, wrote that the role in securing the safety of the Sikhs is incredibly too late. They may be the target of the wrath of the mob. However, despite the drama in this part, the core of this article is the genocide of small resistance by the general public.

In his article "The Ghost of Lady Gandhi" (New Yorker, July 1995), Amitaf Gosh introduced the reader to Bosnian writer Dževad Karahasan and his "extraordinary article on literature and war" (published in Sarajevo) To do. "From City Exodus") This creates an amazing relationship between contemporary literary aesthetics and indifference of violence in the contemporary world "Ghosh continues to quote Karahasan: Ghosh eventually ended up with his own long Destroyed by the publication of his paper in 1995 which quotes silence lost, this is a description of the public's reaction to the terrible massacres of the Sikh community in New Delhi in 1984 - the body of her Sikhs Because the guard assassinated Indian Prime Minister Gandhi it will get revenge. According to Kalhassan, Ghosh explained this silence, "a decision to treat everything as an aesthetic phenomenon - completely avoiding good and true problems" is an artistic decision