In 1963, Zulfikar Ghose received a special award from the E. C. Gregory Trust that was judged by T. S. Eliot, Henry Moore, Herbert Read and Bonamy Dobrée. A year earlier, in an issue devoted to the newly emerging Commonwealth literature, the Times Literary Supplement featured Zulfikar Ghose as the most prominent poet from the former British colonies by conspicuously printing three of his poems spread across half a page. By the time he was featured in The Review of Contemporary Fiction, Ghose had been accorded major status as a writer of international repute: the editors of The Review of Contemporary Fiction noted that “Zulfikar Ghose has both ranked with and outranked several of the best English language writers in England and America,” and went on to present him as “a unique figure in contemporary literature,” whose “evolution across languages and national boundaries” was comparable to Conrad, Nabokov and Beckett. In spite of receiving such notable attention, Ghose has remained a marginal presence and, in fact, an “untouchable,” among writers accorded a world-class status. Of the several reasons suggested for Ghose’s marginalization by scholars of world literature and post-colonial studies, the most significant one is that his oeuvre resists categorisation. For Ghose, to use Proust’s phrases, “Quality of language and the beauty of an image are the heart of great writing.” Ghose’s work is full of meditative reverberations and has a fastidious style that scintillates the reader’s mind with its brilliance. His genius lies in the construction of a language that is lyrical and full of vivid imagery. He captures the images of his native Punjab as well as the South American landscape, and imbues the air with the fragrance of Amazon rainforest while his prose sends a shiver between the “shoulder blades.” In his experimentation with form, he “make[s] it new,” to use Pound’s phrase. His literary journey from the imitation of nineteenth-century realism to his most experimental and ambitious works like Hulme’s Investigations into the Bogart Script and The Triple Mirror of the Self reflects his wide range of experimentation with form and style. This book investigates the structural patterns in the novels of Zulfikar Ghose that give each of his works its peculiar aesthetic design. While on the one hand, this work notes his role as a pioneer among South Asian writers of the post-colonial era, on the other hand, his novels are examined in the critical framework erected by the writer himself with its emphasis on style: that is the central concern of this study.
In Pakistan’s Pathway to the Bomb, author Mansoor Ahmed provides a groundbreaking account of Pakistan’s rise as a nuclear power. By drawing on elite interviews and previously untapped primary sources, Ahmed reveals how bureaucratic politics shaped the nuclear program’s development–and where it stands today.
A comparative historical analysis of the social changes that have affected the Islamic world in modern times & of the failure to achieve consensus on important social issues such as the form of government, the status of women, national identity & rule making.
UNIX: The Textbook, Third Edition provides a comprehensive introduction to the modern, twenty-first-century UNIX operating system. The book deploys PC-BSD and Solaris, representative systems of the major branches of the UNIX family, to illustrate the key concepts. It covers many topics not covered in older, more traditional textbook approaches, such as Python, UNIX System Programming from basics to socket-based network programming using the client-server paradigm, the Zettabyte File System (ZFS), and the highly developed X Windows-based KDE and Gnome GUI desktop environments. The third edition has been fully updated and expanded, with extensive revisions throughout. It features a new tutorial chapter on the Python programming language and its use in UNIX, as well as a complete tutorial on the git command with Github. It includes four new chapters on UNIX system programming and the UNIX API, which describe the use of the UNIX system call interface for file processing, process management, signal handling, interprocess communication (using pipes, FIFOs, and sockets), extensive coverage of internetworking with UNIX TCP/IP using the client-server software, and considerations for the design and implementation of production-quality client-server software using iterative and concurrent servers. It also includes new chapters on UNIX system administration, ZFS, and container virtualization methodologies using iocage, Solaris Jails, and VirtualBox. Utilizing the authors’ almost 65 years of practical teaching experience at the college level, this textbook presents well-thought-out sequencing of old and new topics, well-developed and timely lessons, a Github site containing all of the code in the book plus exercise solutions, and homework exercises/problems synchronized with the didactic sequencing of chapters in the book. With the exception of four chapters on system programming, the book can be used very successfully by a complete novice, as well as by an experienced UNIX system user, in both an informal and formal learning environment. The book may be used in several computer science and information technology courses, including UNIX for beginners and advanced users, shell and Python scripting, UNIX system programming, UNIX network programming, and UNIX system administration. It may also be used as a companion to the undergraduate and graduate level courses on operating system concepts and principles.
In 1963, Zulfikar Ghose received a special award from the E. C. Gregory Trust that was judged by T. S. Eliot, Henry Moore, Herbert Read and Bonamy Dobrée. A year earlier, in an issue devoted to the newly emerging Commonwealth literature, the Times Literary Supplement featured Zulfikar Ghose as the most prominent poet from the former British colonies by conspicuously printing three of his poems spread across half a page. By the time he was featured in The Review of Contemporary Fiction, Ghose had been accorded major status as a writer of international repute: the editors of The Review of Contemporary Fiction noted that “Zulfikar Ghose has both ranked with and outranked several of the best English language writers in England and America,” and went on to present him as “a unique figure in contemporary literature,” whose “evolution across languages and national boundaries” was comparable to Conrad, Nabokov and Beckett. In spite of receiving such notable attention, Ghose has remained a marginal presence and, in fact, an “untouchable,” among writers accorded a world-class status. Of the several reasons suggested for Ghose’s marginalization by scholars of world literature and post-colonial studies, the most significant one is that his oeuvre resists categorisation. For Ghose, to use Proust’s phrases, “Quality of language and the beauty of an image are the heart of great writing.” Ghose’s work is full of meditative reverberations and has a fastidious style that scintillates the reader’s mind with its brilliance. His genius lies in the construction of a language that is lyrical and full of vivid imagery. He captures the images of his native Punjab as well as the South American landscape, and imbues the air with the fragrance of Amazon rainforest while his prose sends a shiver between the “shoulder blades.” In his experimentation with form, he “make[s] it new,” to use Pound’s phrase. His literary journey from the imitation of nineteenth-century realism to his most experimental and ambitious works like Hulme’s Investigations into the Bogart Script and The Triple Mirror of the Self reflects his wide range of experimentation with form and style. This book investigates the structural patterns in the novels of Zulfikar Ghose that give each of his works its peculiar aesthetic design. While on the one hand, this work notes his role as a pioneer among South Asian writers of the post-colonial era, on the other hand, his novels are examined in the critical framework erected by the writer himself with its emphasis on style: that is the central concern of this study.
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