Not only books, but also magazines, blogs, opinions, articles written
for newspapers where so many Goans are based on the 5 continents in
their respective languages. For example, in Portugal, the magazine
written by Goans in the Portuguese language "Ecos do Oriente" only
reached the attention of a few Goans in Goa and nothing for Goans in
the USA and UK.
Alberto
----- Mensagem de Frederick Noronha <fredericknoron...@gmail.com> ---------
Data: Thu, 20 Jun 2024 14:02:11 +0530
De: Frederick Noronha <fredericknoron...@gmail.com>
Assunto: Re: [GRN] Goa Book makes the Asian Prize for Fiction longlist
Para: goa-research-net@googlegroups.com
The One Book to read from the Asian Prize for Fiction 2023 Longlist
— Joao-Roque Literary Journal est. 2017[1]
/On Sat, 15 Jun 2024 at 14:23, 'Selma Carvalho' via GoaWriters2
<goawrite...@googlegroups.com> wrote:
/
/"To be honest, this is one of the reasons I wanted to tell this
story. Goa and its diaspora have such a rich tradition of
storytelling but somehow they aren’t reaching the bookshelves
outside of the state."/
That's a good argument, but it somehow makes it sound as if the goal
of a society to write is to reach "the bookshelves outside" the
region.
What strikes me as more important is (i) create a local market for
local writing (ii) build acceptance for the diversity of Goan
writing -- across languages, scripts, even dialects and religions.
At one stage, for a short window in the sixteenth century, Goa was
where the rest of Asia came to get published. Not just religious
texts, but works on language, geographies, plants and more.
Later, Goa shifted to the periphery of the world of printing, and
Goan authors struggled to get published in a wide range of places.
Like Bombay, Delhi, Karachi, Madras, Calcutta, Poona, Mangalore,
Hyderabad, Sawantwadi, Malvan, Jubbulpore (sic), Shimla, Lisbon,
Porto, Coimbra, Luanda, Beira, Lourenco Marques, Nairobi, Rio de
Janiero, London, Paris, Moscow, Singapore, Malaya, Malaysia and even
Praia in Cabo Verde.
All this while, Goans were writing for distant audiences, mediated
by editors and publishers or printers who knew little or nothing of
the local reality. While authors would understandably like to get
the largest audience possible, and feel very "global", this doesn't
come without its price. The latter also comes with the possibility
of prizes and recognition, while Goa remains the classic case of
talent not being recognised at home. A scholar or two (Filipa
Vicente, for example) have also studied how the Goan writer would
need to suit or adapt their work to their distant and even remote
audience.
Till now, Goa is yet to build a sufficiently-large audience, market
or researchers for its own writing -- due to a set of complex
reasons, and which one need not go into here. Meanwhile, writers who
might have little of a lived experience or understanding of the
local reality, continue to define this tiny region. Which could also
be a challenge in terms of how a tiny place ultimately gets defined.
I think there could be a clash between the small-is-beautiful and
the size-does-matter approach to authoring and publishing. To me,
the former has a better chance of authenticity. FN
[1]
THE ONE BOOK TO READ FROM THE ASIAN PRIZE FOR FICTION 2023 LONGLIST — JO...
Longlisted for the Asian Prize for Fiction 2023, Mrinalini
Harchandrai discusses her book. This story was inspir...
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----- Fim da mensagem de Frederick Noronha <fredericknoron...@gmail.com> -----
Ligações:
---------
[1]
https://www.joaoroqueliteraryjournal.com/nonfiction-1/2024/6/15/the-one-book-to-read-for-from-the-asian-prize-for-fiction-2023
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