| Editor's Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 1 |
| Guest Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 3 |
| Abstracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 7 |
Secularism and Contemporary Art: M. F. Husain and his Mother Teresa Series
by Rochelle Almeida. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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REMIX! Negotiating Assimilation, Identity, Secularism, and Otherness the Second Time Around: The Subculture of Desi Music by Prathim Anandan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Redefining Secularism: A People's Theatre from New Delhi in Alliance with the Women's Movement by Kanika Batra. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Woman, Quam, Nation in Qurratulain Hyder's Fiction by Karni Bhati. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 11 |
Meera's Poetics as an Instance of Secularism in South Asia by Rashmi Bhatnagar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 12 |
Believers/Skeptics/Fundamentalists, and the Limits of Secularism by Hema Chari . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 15 |
The Fissures of Pakistan: Bangladesh as/and Secularity in Recent Pakistani Fiction by Cara Cilano. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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The "Sacred" and the "Secular": Gender and Resistance in Rashsundari Devi's Amar Jiban by Nandini Dhar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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R. K. Narayan's "The Gateman's Gift" and "Such Perfection": Ironic Allegories of the Secular and the Religious in Cultural and Political Institutions by Brewster E. Fitz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Religious Absolutism and Secularist Polemic in Rushdie, Kureishi, and Smith by Bed Giri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Tariq Ali's Islam Quintet and the Role of the Secular in Islam by John C. Hawley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 20 |
Producing the Grhalakshmi: Religious Nationalism and Colonial Modernity by Kellie Holzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Beyond "Aitch(Indus)es and Em(uslims)" to I-Thou: Interrogating Secularism in Mariam Karim's My Little Boat and Githa Hariharan's In Times of Siege by Rajender Kaur. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Nationalism vs. Universalism: Amitav Ghosh's The Shadow Lines by Nyla Khan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 23 |
The Humanist Agenda in Shaukat Osman's Janani by Saiyeda Khatun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 24 |
Secularism and the Shifting Category of Caste
by Revathi Krishnaswamy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 25 |
Secular Isn't Sexy: The Promotion of Pan-Hinduism in Kuch Kuch Hota Hai
by Kerry Luck and Bonnie Zare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Racial Minorities and Secular Modernities
by Robert McNamara. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 26 |
Viewing the (Secular) Other: Interstitial Spaces and Liminal Hybridities in Mr. and Mrs. Iyer
by Parvinder Mehta. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Secularism via the Hollywood/Bollywood Adaptation
by Blair Orfall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 28 |
Dharamputra and Gadar: Two Outposts of Secularism in Hindi Cinema
by Prabhjot Parmar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 29 |
Deleuzian Secularism in Hanif Kureishi's The Black Album
by Summer Pervez. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 29 |
Teaching Diaspora Literature in a Non-Secular Setting
by Moumin Quazi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 30 |
Holy Trinities, Satanic Verses: the Postcolonial, the Postmodern, and the Post-Secular
by Manav Ratti. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Rage, Riots, and Religion: Witnessing Films and Films as Witness
by Sangeeta Ray. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 32 |
Losing a Village to Make a Nation in Shauna Singh Baldwin's What the Body Remembers
by Maya Sharma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Hindutva and Tamil Dalit Literature
by Anushiya Sivanarayan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 35 |
Intersections of Marxism, Humanism, Secularism, and Indian Thought in "An Apology for Heroism"
by K. D. Verma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Conference Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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| Membership Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 51 |
| Conference Registration Form. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 53 |
| Poetry Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 55 |