Ranjit Hoskote (born 1969) is an Indian poet, art critic, cultural theorist and independent curator. He has been honoured by the Sahitya Akademi, India's National Academy of Letters, with the Sahitya Akademi Golden Jubilee Award and the Sahitya Akademi Prize for Translation. In 2022, Hoskote received the 7th JLF-Mahakavi Kanhaiyalal Sethia Award for Poetry.See
Early life and education
Ranjit Hoskote was born in Mumbai and educated at the Bombay Scottish School, Elphinstone College, where he studied for a BA in Politics, and later at University of Bombay, from where he obtained an MA degree in English Literature and Aesthetics.
Career
As poet Hoskote began to publish his work during the early 1990s.See Wikipedia entry on Indian Writing in English.See He is the author of several collections of poetry including Zones of Assault, The Cartographer's Apprentice, Central Time, Jonahwhale, The Sleepwalker's Archive and Vanishing Acts: New & Selected Poems 1985–2005. Hoskote has been seen as extending the Anglophone Indian poetry tradition established by Dom Moraes, Nissim Ezekiel, A.K. Ramanujan and others through "major new works of poetry". His work has been published in numerous Indian and international journals, including Poetry Review (London), Wasafiri, Poetry Wales, Nthposition, The Iowa Review, Green Integer Review, Fulcrum (annual), Rattapallax, Lyric Poetry Review, West Coast Line, Kavya Bharati, Prairie Schooner, Coldnoon: Travel Poetics, The Four-Quarters Magazine and Indian Literature. His poems have also appeared in German translation in Die Zeit, Akzente, the Neue Zuercher Zeitung, Wespennest and Art & Thought/ Fikrun-wa-Fann. He has translated the Marathi poet Vasant Abaji Dahake, co-translated the German novelist and essayist Ilija Trojanow, and edited an anthology of contemporary Indian verse.See Penguin Books India: Author LoungeSee, also, Rizio Raj's contextualisation of Hoskote's generation of poets His poems have appeared in anthologies including Language for a New Century (New York: W. W. Norton, 2008).Language for a New Century, eds. Tina Chang, Nathalie Handal & Ravi Shankar (New York: W. W. Norton & Company, 2008) and The Bloodaxe Book of Contemporary Indian Poets (Newcastle: Bloodaxe, 2008).The Bloodaxe Book of Contemporary Indian Poets, ed. Jeet Thayil (Newcastle: Bloodaxe, 2008).
Hoskote has also translated the 14th-century Kashmiri mystic-poet Lal Ded, variously known as Lalleshwari, Lalla and Lal Arifa, for the Penguin Classics imprint, under the title I, Lalla: The Poems of Lal Ded. This publication marks the conclusion of a 20-year-long project of research and translation for the author.Kashmir's wise old Grandmother Lal Review by Aditi De, of Ranjit Hoskote’s I, Lalla in The Hindu/ Business Line.Mystic insights Review by Abdullah Khan, of I, Lalla in The Hindu Review by Jerry Pinto, of I, Lalla in Hindustan TimesI, Lalla/ Songs of Kabir Extracts from Ranjit Hoskote's I, Lalla and Arvind Krishna Mehrotra's Songs of Kabir in The Caravan.Lalla and Kabir, resurrected Article by Nilanjana S. Roy, on Ranjit Hoskote's I, Lalla and Arvind Krishna Mehrotra's Songs of Kabir.
Reviewing Hoskote's third volume, The Sleepwalker's Archive, for The Hindu in 2001, the poet and critic Keki Daruwalla wrote: "It is the way he hangs on to a metaphor, and the subtlety with which he does it, that draws my admiration (not to mention envy)... Hoskote’s poems bear the 'watermark of fable': behind each cluster of images, a story; behind each story, a parable. I haven’t read a better poetry volume in years."
Commenting on Hoskote's poetry on Poetry International Web, the poet and editor Arundhathi Subramaniam observes: "His writing has revealed a consistent and exceptional brilliance in its treatment of image. Hoskote’s metaphors are finely wrought, luminous and sensuous, combining an artisanal virtuosity with passion, turning each poem into a many-angled, multifaceted experience."See, also, 'Spy, Interpreter, Double Agent': interview with Ranjit Hoskote by Arundhathi Subramaniam
In 2004, a year in which Indian poetry in English lost three of its most important figures – Ezekiel, Moraes, and Arun Kolatkar – Hoskote wrote obituaries for these "masters of the guild".See Ranjit Hoskote: Obituary essay for Nissim EzekielSee Ranjit Hoskote: Obituary essay for Dom MoraesSee Ranjit Hoskote: Front-page obituary for Dom MoraesSee Ranjit Hoskote: Editorial Page obituary for Arun Kolatkar Hoskote has also written about the place of poetry in contemporary culture.See See
As a literary organiser, Hoskote has been associated with the PEN All-India Centre, the Indian branch of International PEN, since 1986, and is currently its general secretary, as well as Editor of its journal, Penumbra. He has also been associated with the Poetry Circle Bombay since 1986, and was its president from 1992 to 1997.
In 2024, he published "To Break and To Branch: Six Essays on Gieve Patel" and a translation of Mir Taqi Mir’s "The Homeland's an Ocean".
As art critic Hoskote has been placed by research scholars in a historic lineage of five major art critics active in India over a sixty-year period: "William George Archer, Richard Bartholomew, Jagdish Swaminathan, Geeta Kapur, and Ranjit Hoskote... played an important role in shaping contemporary art discourse in India, and in registering multiple cultural issues, artistic domains, and moments of history." Hoskote was principal art critic for The Times of India, Bombay, from 1988 to 1999. In his role as religion and philosophy editor for The Times, he began a popular column on spirituality, sociology of religion, and philosophical commentary, "Speaking Tree" (he named the column, which was launched in May 1996, after the benchmark 1971 study of Indian society and culture, The Speaking Tree, written by scholar and artist Richard Lannoy).See Richard Lannoy, The Speaking Tree Hoskote was an art critic and senior editor with The Hindu, from 2000 to 2007, contributing to its periodical of thought and culture, Folio.See
In his role as an art critic, Hoskote has authored a critical biography as well as a major retrospective study of the painter Jehangir Sabavala, and also monographs on the artists Atul Dodiya, Tyeb Mehta, Sudhir Patwardhan, Baiju Parthan, Bharti Kher and Iranna GR. He has written major essays on other leading Indian artists, including, among others, Gieve Patel, Bhupen Khakhar, Akbar Padamsee, Mehlli Gobhai, Vivan Sundaram, Laxman Shreshtha, Surendran Nair,See Ranjit Hoskote, "The Openness of Secrecy: Soliloquy and Conversation in the Art of Surendran Nair". Jitish Kallat, the Raqs Media Collective, Shilpa Gupta and Sudarshan Shetty. Hoskote has also written a monographic essay on the Berlin-based artists Dolores Zinny and Juan Maidagan.See Extract from Ranjit Hoskote, "The Irresistible Call of the Future: On Zinny + Maidagan's Das Abteil/ Compartment".
As cultural theorist As a cultural theorist, Hoskote has addressed the cultural and political dynamics of postcolonial societies that are going through a process of globalisation, emphasising the possibilities of a 'non-western contemporaneity',See Concept note for Heinrich Böll Stiftung international conference on "Identities versus Globalisation" (Chiang Mai, 2004). "intercultural communication"See Proceedings of Res Artis annual meeting (New Delhi, 1998). and "transformative listening".See Ranjit Hoskote, "Notes towards the Possibility of Transformative Listening" (Initiative Humboldt-Forum, Berlin, April 2010). He has also returned often to the theme of the "nomad position"See Reflection by Ranjit Hoskote on "The Nomad Position" See Essay by Ranjit Hoskote on the Raqs Media Collective. and to the polarity between "crisis and critique".See Essay by Ranjit Hoskote in Sarai Reader 04/ "Crisis/Media". In many of his writings and lectures, Hoskote examines the relationship between the aesthetic and the political, describing this as a tension between the politics of the expressive and the expressivity of the political. He has explored, in particular, the connections between popular visual art, mass mobilisations and the emergence of fluid and fluctuating identities within the evolving metropolitan cultures of the postcolonial world, and in what he has called the nascent "third field" of artistic production by subaltern producers in contemporary India, which is "neither metropolitan nor rural, neither (post)modernist nor traditional, neither derived from academic training nor inherited without change from tribal custom" and assimilates into itself resources from the global archive of cultural manifestations.See Ranjit Hoskote's review of Christopher Pinney's Photos of the Gods: The Printed Image and Political Struggle in India. See Ranjit Hoskote's essay, "Performing a Life, Living a Performance", on Alex Fernandes: Tiatristes See Ranjit Hoskote, "Now that the trees have spoken".
Hoskote has also speculated, in various essays, on the nature of a "futurative art" possessed of an intermedia orientation, and which combines critical resistance with expressive pleasure.See Essay by Ranjit Hoskote for the Jochen Gerz Foundation's Anthology of Art project (2001) He writes that "the modern art-work is often elegiac in nature: it mourns the loss of beauty through scission and absence; it carries within its very structure a lament for the loss of beauty."See Essay by Ranjit Hoskote: "Experiences Parallel to Beauty" See, also, Review in The Hindu: "Battling with beauty"
In a series of essays, papers and articles published from the late 1990s onward, Hoskote has reflected on the theme of the asymmetry between a 'West' that enjoys economic, military and epistemological supremacy and an 'East' that is the subject of sanction, invasion and misrepresentation. In some of these writings, he dwells on the historic fate of the "House of Islam" as viewed from the West and from India, while in others, he retrieves historic occasions of successful cultural confluence, when disparate belief systems and ethnicities have come together into a fruitful and sophisticated hybridity.See Broadcast by Ranjit Hoskote for BBC
Hoskote, in collaboration with his wife, Nancy Adajania, has focused on transcultural artistic practice, its institutional conditions, systems of production and creative outcomes, and the radical transformations that it brings about in the relationship between regional art histories and a fast-paced global art situation that is produced within the international system of biennials, collaborative projects, residencies and symposia.See Ranjit Hoskote, "Signposting the Indian Highway" See Nancy Adajania & Ranjit Hoskote, "Notes towards a Lexicon of Urgencies" (Independent Curators International, Dispatch. See Ranjit Hoskote & Nancy Adajania, in NJP Reader # 1: Contributions to an Artistic Anthropology. See The Biennial Reader, edited by Marieke van Hal and Solveig Ovstebo
As curator Hoskote was co-curator of the 7th Gwangju Biennale (2008) in South Korea, collaborating with Okwui Enwezor and Hyunjin Kim.