Himanshi shelat biography of michael

To learn more, view our Privacy Policy. To browse Academia. The biofiction is one of the richest and most innovative aesthetic forms of contemporary literature. This paper tries to examine the genre of the biofiction with reference to the Biographical novel of Indian novelist Himanshi Shelat and the autobiographical urge that impels her to write in the fictional form.

This paper tries to

In this paper I explore autobiography, a subgenre of literary writing at the intersection of other disciplines like history and anthropology. Most theoreticians classify autobiography as literary nonfiction; others who refuse to take these self-explorations at face value derisively refer to them as fiction. The most intriguing signifier of an autobiography is the first-person 'I', the subject as well as the object of the autobiographical narrative.

This 'I' is however all the time in a flux and, by definition, the story of a Being written by the person himself-on a daily basis as a diary, in retrospect as memoirs, scattered in the works in a disguised manner or recorded as oral history-is full of contradictions and complexities. The genre is traditionally rooted in the West in the Catholic tradition of confessions.

Like the genre of novel, autobiography too is not indigenous to the Indian literary landscape. The intricate relationship of autobiography to memory is also discussed. My Story is a best-selling woman's autobiography in post-independence India. It follows Kamala Das' life from age four through British colonial and missionary schools favored by the colonial Indian elite; through her sexual awakening; an early and seemingly disastrous marriage; her growing literary career; extramarital affairs; the birth of her three sons; and, finally, a slow but steady coming to terms with her spouse, writing, and sexuality.

On death row for anti-colonial activities, Shekhar recalls his life from childhood to imprisonment, using time and memory to weave a narrative. The similarities can be traced in their mythic personalities, struggles and perspectives on home, religion, love and sexuality, and notably in their rejectionism which forms their artistic vision.

As Shekhar: A Life was written during the struggle for freedom in India, the changing spaces and times also mark a departure in how Shekhar embraces revolution in his art. The narrative of the fictional autobiography of Shekhar, which he frames through the Prologue, becomes a metafiction in its attempt at composition, interjections and grandness, and ultimately his final work of art in the novel.