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At sixteen I was funnelled into one of the many preparatory institutions for Engineering exams. It was a matter of course for a promising young man to enter prep school. After months of depression resulting from fatigue, a teacher caught me writing poems during class. My parents eventually allowed me to leave the prep school, and I decided to pursue writing full-time. I went on to do a B.A. (Hons) in English Lit. at Calcutta University and a post graduate diploma at University of Hyderabad in the same. I am currently enrolled in the University of East Anglia as part of the Master’s program in Prose Fiction. While my curricula have offered me a broad perspective on literature, in my personal reading the works of Natsume Soseki, Evelyn Waugh, and F. Scott Fitzgerald have profoundly shaped my understanding of narrative. Soseki’s Sanshiro showed me how a character’s complex interiority could be captured subtly, through an engagement with this inner world instead of overt action. Waugh’s Brideshead Revisited inspired me to intertwine personal conflict with historical tension. If I identified with Amory Blaine on first reading of This Side of Paradise, what has remained helpful is Monsignor Darcy’s advice to Amory: “(…)at fifteen you had the radiance of early morning, at twenty you will begin to have the melancholy brilliance of the moon, and when you are my age you will give out, as I do, the genial golden warmth of 4 P.M.” So, I have become conscious of narrative time as not just the moment of a character’s helplessness but as all time. To be aware in this way that there is life before and after a turbulent period makes my narrative voice better equipped to explore the cause and nature of the turbulence.…At sixteen I was funnelled into one of the many preparatory institutions for Engineering exams. It was a matter of course for a promising young man to enter prep school. After months of depression resulting from fatigue, a teacher caught me writing poems during class. My parents eventually allowed me to leave the prep school, and I decided to pursue writing full-time. I went on to do a B.A. (Hons) in English Lit. at Calcutta University and a post graduate diploma at University of Hyderabad in the same. I am currently enrolled in the University of East Anglia as part of the Master’s program in Prose Fiction. While my curricula have offered me a broad perspective on literature, in my personal reading the works of Natsume Soseki, Evelyn Waugh, and F. Scott Fitzgerald have profoundly shaped my understanding of narrative. Soseki’s Sanshiro showed me how a character’s complex interiority could be captured subtly, through an engagement with this inner world instead of overt action. Waugh’s Brideshead Revisited inspired me to intertwine personal conflict with historical tension. If I identified with Amory Blaine on first reading of This Side of Paradise, what has remained helpful is Monsignor Darcy’s advice to Amory: “(…)at fifteen you had the radiance of early morning, at twenty you will begin to have the melancholy brilliance of the moon, and when you are my age you will give out, as I do, the genial golden warmth of 4 P.M.” So, I have become conscious of narrative time as not just the moment of a character’s helplessness but as all time. To be aware in this way that there is life before and after a turbulent period makes my narrative voice better equipped to explore the cause and nature of the turbulence.

Bitan Marik

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At sixteen I was funnelled into one of the many preparatory institutions for Engineering exams. It was a matter of course for a promising young man to enter prep school. After months of depression resulting from fatigue, a teacher caught me writing poems during class. My parents eventually allowed me to leave the prep school, and I decided to pursue writing full-time. I went on to do a B.A. (Hons) in English Lit. at Calcutta University and a post graduate diploma at University of Hyderabad in the same. I am currently enrolled in the University of East Anglia as part of the Master’s program in Prose Fiction. While my curricula have offered me a broad perspective on literature, in my personal reading the works of Natsume Soseki, Evelyn Waugh, and F. Scott Fitzgerald have profoundly shaped my understanding of narrative. Soseki’s Sanshiro showed me how a character’s complex interiority could be captured subtly, through an engagement with this inner world instead of overt action. Waugh’s Brideshead Revisited inspired me to intertwine personal conflict with historical tension. If I identified with Amory Blaine on first reading of This Side of Paradise, what has remained helpful is Monsignor Darcy’s advice to Amory: “(…)at fifteen you had the radiance of early morning, at twenty you will begin to have the melancholy brilliance of the moon, and when you are my age you will give out, as I do, the genial golden warmth of 4 P.M.” So, I have become conscious of narrative time as not just the moment of a character’s helplessness but as all time. To be aware in this way that there is life before and after a turbulent period makes my narrative voice better equipped to explore the cause and nature of the turbulence.…At sixteen I was funnelled into one of the many preparatory institutions for Engineering exams. It was a matter of course for a promising young man to enter prep school. After months of depression resulting from fatigue, a teacher caught me writing poems during class. My parents eventually allowed me to leave the prep school, and I decided to pursue writing full-time. I went on to do a B.A. (Hons) in English Lit. at Calcutta University and a post graduate diploma at University of Hyderabad in the same. I am currently enrolled in the University of East Anglia as part of the Master’s program in Prose Fiction. While my curricula have offered me a broad perspective on literature, in my personal reading the works of Natsume Soseki, Evelyn Waugh, and F. Scott Fitzgerald have profoundly shaped my understanding of narrative. Soseki’s Sanshiro showed me how a character’s complex interiority could be captured subtly, through an engagement with this inner world instead of overt action. Waugh’s Brideshead Revisited inspired me to intertwine personal conflict with historical tension. If I identified with Amory Blaine on first reading of This Side of Paradise, what has remained helpful is Monsignor Darcy’s advice to Amory: “(…)at fifteen you had the radiance of early morning, at twenty you will begin to have the melancholy brilliance of the moon, and when you are my age you will give out, as I do, the genial golden warmth of 4 P.M.” So, I have become conscious of narrative time as not just the moment of a character’s helplessness but as all time. To be aware in this way that there is life before and after a turbulent period makes my narrative voice better equipped to explore the cause and nature of the turbulence.

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At sixteen I was funnelled into one of the many preparatory institutions for Engineering exams. It was a matter of course for a promising young man to enter prep school. After months of depression resulting from fatigue, a teacher caught me writing poems during class. My parents eventually allowed me to leave the prep school, and I decided to pursue writing full-time.

I went on to do a B.A. (Hons) in English Lit. at Calcutta University and a post graduate diploma at University of Hyderabad in the same. I am currently enrolled in the University of East Anglia as part of the Master’s program in Prose Fiction.

While my curricula have offered me a broad perspective on literature, in my personal reading the works of Natsume Soseki, Evelyn Waugh, and F. Scott Fitzgerald have profoundly shaped my understanding of narrative.

Soseki’s Sanshiro showed me how a character’s complex interiority could be captured subtly, through an engagement with this inner world instead of overt action. Waugh’s Brideshead Revisited inspired me to intertwine personal conflict with historical tension.

If I identified with Amory Blaine on first reading of This Side of Paradise, what has remained helpful is Monsignor Darcy’s advice to Amory:
“(…)at fifteen you had the radiance of early morning, at twenty you will begin to have the melancholy brilliance of the moon, and when you are my age you will give out, as I do, the genial golden warmth of 4 P.M.”
So, I have become conscious of narrative time as not just the moment of a character’s helplessness but as all time. To be aware in this way that there is life before and after a turbulent period makes my narrative voice better equipped to explore the cause and nature of the turbulence.