2018 has been a good year for Indian English literature. For the first time, the Jnanpith Award was given to an Indian English writer: Amitav Ghosh. Finely chiselled poetry by some new poets appeared in book form: Huzaifa Pandit (Green Is the Colour of Memory) and Arathy Asok (Lady Jesus and Other Poems) write resistance poetry with a sharp edge. Introspective thoughts in crisp lines are seen in Sujatha Warrier and Satyajit Sarna’s debut collections. Collaborative poems (including the Indo-Welsh project) and the use of illustrations has resulted in some very interesting collections. Collected poems by established poets like Keki N. Daruwalla, Gieve Patel, Gopikrishnan Kottoor, the late Vijay Nambisan, D. C. Chambial and A. N. Dwivedi appeared. In fiction, Neelum Saran Gour at last got some recognition when her sixth novel, Requiem in Raga Janki, won The Hindu Prize for fiction. Tabish Khair presents memorable characters in his seventh novel Night of Happiness, a nuanced portrayal of Hindu-Muslim relations in contemporary India. Many other established novelists — including Anjum Hasan, Keki N. Daruwalla, Upamanyu Chatterjee, Amitabha Bagchi, Anita Nair, Anuradha Roy, Andaleeb Wajid and Mahesh Rao — have also published new work. Radhika Oberoi’s debut novel, Stillborn Season, is an impressive study of the anti-Sikh riots of 1984. Two books of nonfiction stand out: Shashi Deshpande’s autobiography, Listen to Me, and Why I Am a Hindu by Shashi Tharoor. Jasbir Jain’s Subcontinental Histories: Literary Reflections on the Nineteenth and Twentieth Centuries and Indigenous Imaginaries: Literature, Region, Modernity by E. V. Ramakrishnan are the most significant books of literary criticism. In Order of Appearance: A Compendium of Indian Playwrights in English 1947–2010 by Abhijit Sengupta provides a road map for researchers of Indian English drama. Poetry is flourishing; poetry clubs in several Indian towns meet regularly and many prizes have been instituted to encourage poetry. More than 140 volumes of poetry appeared in 2018. Due to space constraints, it is not possible to discuss all the significant poets. The following new poets are promising: Bivin A. Peter, Sufia Khatoon, Raja Chakraborty, Gayatri Lakhiani Chawla, and A. Annapurna Sharma. Other poets who

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印度

2018 年对于印度英语文学来说是丰收的一年。Jnanpith 奖首次授予印度英语作家：Amitav Ghosh。一些新诗人精雕细琢的诗歌以书本的形式出现：Huzaifa Pandit（绿色是记忆的颜色）和 Arathy Asok（耶稣夫人和其他诗歌）以锋利的方式写出反抗诗歌。在 Sujatha Warrier 和 Satyajit Sarna 的首个系列中可以看到线条清晰的内省思想。合作诗歌（包括印度威尔士项目）和插图的使用产生了一些非常有趣的收藏。出现了 Keki N. Daruwalla、Gieve Patel、Gopikrishnan Kottoor、已故的 Vijay Nambisan、DC Chambial 和 AN Dwivedi 等知名诗人的诗集。在小说中，尼勒姆·萨兰·古尔 (Neelum Saran Gour) 的第六部小说《拉加·扬基安魂曲》(Raga Janki) 终于得到了一些认可 获得印度小说奖。塔比什·凯尔 (Tabish Khair) 在他的第七部小说《幸福之夜》(Night of Happiness) 中呈现了令人难忘的人物，这是对当代印度印度教与穆斯林关系的细致描绘。许多其他知名小说家——包括 Anjum Hasan、Keki N. Daruwalla、Upamanyu Chatterjee、Amitabha Bagchi、Anita Nair、Anuradha Roy、Andaleeb Wajid 和 Mahesh Rao——也出版了新作品。Radhika Oberoi 的处女作《死胎季节》是对 1984 年反锡克教骚乱的令人印象深刻的研究。两本非小说类书籍脱颖而出：Shashi Deshpande 的自传《听我说》和 Shashi Tharoor 的《为什么我是印度教徒》。Jasbir Jain 的次大陆历史：19 世纪和 20 世纪的文学反思和土著想象：EV Ramakrishnan 的文学、地区、现代性是最重要的文学批评著作。按外观顺序：Abhijit Sengupta 的 1947-2010 年英语印度剧作家纲要为印度英语戏剧研究人员提供了路线图。诗词兴盛；印度几个城镇的诗歌俱乐部定期举行会议，并设立了许多奖项来鼓励诗歌。2018 年出现了 140 多卷诗歌。由于篇幅所限，无法讨论所有重要诗人。以下新诗人很有前途：Bivin A. Peter、Sufia Khatoon、Raja Chakraborty、Gayatri Lakhiani Chawla 和 A. Annapurna Sharma。其他诗人 印度几个城镇的诗歌俱乐部定期举行会议，并设立了许多奖项来鼓励诗歌。2018 年出现了 140 多卷诗歌。由于篇幅所限，无法讨论所有重要诗人。以下新诗人很有前途：Bivin A. Peter、Sufia Khatoon、Raja Chakraborty、Gayatri Lakhiani Chawla 和 A. Annapurna Sharma。其他诗人 印度几个城镇的诗歌俱乐部定期举行会议，并设立了许多奖项来鼓励诗歌。2018 年出现了 140 多卷诗歌。由于篇幅所限，无法讨论所有重要诗人。以下新诗人很有前途：Bivin A. Peter、Sufia Khatoon、Raja Chakraborty、Gayatri Lakhiani Chawla 和 A. Annapurna Sharma。其他诗人