Interesting formulation of an eternal tension. What's that about a 'prophet
is not recognised in his own place's. Lots of imponderables.

Tagore wrote about this tension in the 'Home and the World', 'ghare baire'.
Amartya Sen's memoir is titled 'Home in the World'. Small is beautiful,
very true, but how does one avoid becoming the frog in the well. And of
course we have a Fernando Pessoa who is an inconvenient fact. Considered
one of the great modernists of Europe he wrote having never left Lisbon,
except in his early years. Who did he write for?



On Thu, Jun 20, 2024, 10:32 Frederick Noronha <fredericknoron...@gmail.com>
wrote:

> The One Book to read from the Asian Prize for Fiction 2023 Longlist —
> Joao-Roque Literary Journal est. 2017
> <https://www.joaoroqueliteraryjournal.com/nonfiction-1/2024/6/15/the-one-book-to-read-for-from-the-asian-prize-for-fiction-2023>
>
>
>
> *On Sat, 15 Jun 2024 at 14:23, 'Selma Carvalho' via GoaWriters2
> <goawrite...@googlegroups.com <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
>
> 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...
>
> <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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