A Quote by Parul Sehgal

As the 'critic of color,' I'm frequently asked to review Indian and Pakistani writers. — © Parul Sehgal
As the 'critic of color,' I'm frequently asked to review Indian and Pakistani writers.
Certainly, historically, there has been more attention given in the international media to Indian English-language writers than to Pakistani English-language writers. But that, in my opinion, was justified by the sheer number of excellent writers coming from India and the Indian diaspora.
There are distinctions between Indian and Pakistani writers.
The people who review my books, generally, are kind of youngish culture writers who aspire to write books. When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.
There have always been elements in the Pakistani state that have been hostile to India; which is not to say that the Pakistani government as a whole is responsible for bombing Indian cities. But I think there are entities in the Pakistani security services that operate more or less autonomously. Their role certainly needs looking into.
Let's stop reflexively comparing Chinese writers to Chinese writers, Indian writers to Indian writers, black writers to black writers. Let's focus on the writing itself: the characters, the language, the narrative style.
At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.
Hindi films are watched with keen interest in Pakistan, as Pakistani plays are watched in India. Pakistani actors also work in the Indian entertainment industry.
Reviewing books is all about coziness. It is all of it a kind of caucus race. Women review women, Jewish writers review and praise Jewish writers, blacks review blacks, etc.
I feel like a lot of Indian fans don't know about my Indian background, so it's funny online that a lot of fans call me this Pakistani dude. No, I'm Indian, too.
I think my favorite fact about myself is that I have never been dismayed by a critic's bilge or bile, and have never once in my life asked or thanked a reviewer for a review.
The critic leaves at curtain fall To find, in starting to review it, He scarcely saw the play at all For starting to review it.
I see so many talented writers of color struggling to get their work out to an audience. I know that's the case for all writers - everyone's struggling for attention - but I do think that for writers of color it's harder, and for women it's harder, and for regional writers it's harder, too.
[To the critic who wrote a negative review:] I am sitting in the smallest room of the house. Your review is before me. Soon it will be behind me.
A police officer asked me why I agreed to play a Pakistani in my films. I told him that someone has to do different, na. If everyone will become Indian army officer then how the story will proceed?
I wish I could be like Shaw who once read a bad review of one of his plays, called the critic and said: 'I have your review in front of me and soon it will be behind me.'
I know you were surprised when, after the fall of Dacca, Pakistani and Indian officers shook hands. But do you realize that, up until 1965, in our army and the Pakistani one you could come across generals who were brothers? Blood brothers, sons of the same father and the same mother.
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