Shashi Tharoor criticizes R.K. Narayan for using expressions that seemed to have been learnt from a school textbook and have been hollowed by repetition. But he does so using an expression that sounds as if from school. What are we to make of this? I propose that it undermines one of his other criticisms, which is that Narayan’s style reflects his narrow experience and cannot be used beyond that range.

When evaluating R.K. Narayan, Shashi Tharoor seems to commit himself to these theses: Narayan has a natural style of writing, or a style which is second nature to him; to go significantly beyond his limited range he would have to experiment more with language, reducing the accessibility of his fictions. I cast doubt on this combination by proposing that Narayan’s middle-of-the-road style requires suppressing linguistic innovations in earlier drafts.

Shashi Tharoor criticizes R.K. Narayan for ignoring the English canon and for reading like a translation. A question that arises if these criticisms are sound is: why write in English at all? I propose an answer.

I raise a worry that Shashi Tharoor’s criticism that “much of Narayan’s prose reads like a translation” is inconsistent with his criticism “the ABC of bad writing – archaisms, banalities and cliches – abounded” because these things tend to be worded in a way that exploits local linguistic features, such as alliteration, making translation difficult. I also flag another inconsistency worry, but earlier in this paper.

Specialization appears to be a more efficient way to achieve shared ends: you specialize in one task and I in another and we combine our efforts. Specialization in literature would seem to call for a divide between literary critics, who interpret and evaluate fictions, and fiction writers themselves. But such a divide is a disadvantage for assessing some claims made within literary criticism, notably that a certain style goes with a certain content.

Shashi Tharoor criticizes R.K. Narayan in the following way: “Narayan’s prose was like a bullock-cart: a vehicle that can move only in one gear, is unable to turn, accelerate or reverse, and remains yoked to traditional creatures who have long since been overtaken.” I think there is a quick defence, which is that it is very unlikely that one can write the different kinds of works he did without being able to significantly change pace; but there is an objection (...) from Joseph Conrad criticism. (shrink)

This paper offers a review of the catalogue composed by Myriam Vogelaar of one of the largest and most important collections of Fight Books and fencing manuals in the field of Historical European Martial Arts Studies (HEMAS). The Mokken Collection is named after Wiebe Mokken, the man who meticulously built it up over the past decades in Amsterdam. The book also highlights the glaring lack of contemporary knowlegde about other major historical fencing-related collections, like Gotti’s spectacular private collection held at (...) the Museo dell Arte Marziale in Brescia, Italy. Others, such as the Corble collection at the KU Leuven Libraries, recently published their catalogue on line. This catalogue thus constitutes an important milestone for this exciting and still relatively new subdomain in the field of European cultural studies, by making accessible one of the most important collections of source materials dedicated to it. (shrink)

Because we tend to study fight books in isolation, we often forget how difficult it is to understand the precise place they occupy in the sociocultural and historical fabric of their time, and spill the many clues they inevitably contain on their owner, their local society, their precise purpose. In order to unlock that information, we need to study them in their broader sociocultural and historical context. This requires a background and research skills that are not always easily accessible to (...) everyone. To illustrate the point, in this paper I show in some detail what is required to make sense of the claim that Aristotelian philosophy and science influenced the medieval fight books in relevant ways, and that understanding this influence helps us to better understand the fight books per se. I give an outline of the general historical framework, and apply it to a testcase: Talhoffer’s Thott 290 2° Ms., with some interesting results. My hope is that this framework may be of some use to other researchers in HEMA Studies who want to dig deeper in sources of interest to them. (shrink)

This paper responds to Shashi Tharoor’s criticism that “much of Narayan’s prose reads like a translation.” He does not name any writers in another language to back up his claim and without doing so there is an explanation for his impression, but one which leaves it looking misleading.

This paper argues against a thesis that Shashi Tharoor seems to accept: that R.K. Narayan’s style is bound up with a very specific context, of people left behind by the times in South India. It cannot deal with other subject matter. I present a little fiction to challenge the thesis.