What We Are Reading Today: Required Reading: The Life of Everyday Texts in the British Empire

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Updated 30 August 2024
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What We Are Reading Today: Required Reading: The Life of Everyday Texts in the British Empire

  • Mukhopadhyay’s account is populated by a cast of characters that spans the ranks of colonial society, from bored soldiers to frustrated bureaucrats

Author: Priyasha Mukhopadhyay

In Required Reading, Priyasha Mukhopadhyay offers a new and provocative history of reading that centers archives of everyday writing from the British empire. Mukhopadhyay rummages in the drawers of bureaucratic offices and the cupboards of publishers in search of how historical readers in colonial South Asia responded to texts ranging from licenses to manuals, how they made sense of them, and what this can tell us about their experiences living in the shadow of a vast imperial power.
Taking these engagements seriously, she argues, is the first step to challenging conventional notions of what it means to read.
Mukhopadhyay’s account is populated by a cast of characters that spans the ranks of colonial society, from bored soldiers to frustrated bureaucrats. These readers formed close, even intimate relationships with everyday texts. She presents four case studies: a soldier’s manual, a cache of bureaucratic documents, a collection of astrological almanacs, and a women’s literary magazine. Tracking moments in which readers refused to read, were unable to read, and read in part, she uncovers the dizzying array of material, textual, and aural practices these texts elicited.

 


What We Are Reading Today: ‘The Bell Jar’

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Updated 20 December 2025
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What We Are Reading Today: ‘The Bell Jar’

  • The bell jar — clear, enclosing, and distorting the air she breathes — becomes the perfect image of Greenwood’s entrapment. Just as telling is the fig tree she imagines, with each fig representing a possible future: writer, traveler, mother, lover

Author: Sylvia Plath

Sylvia Plath’s “The Bell Jar” (1963) is a raw and luminous portrait of a young woman standing at the edge of adulthood, grappling with ambition, doubt, and the suffocating weight of expectation. 

Through the eyes of the novel’s troubled protagonist Esther Greenwood, Plath reveals the loneliness that can lie hidden beneath achievement and the unease brought on by future expectations.  

The novel opens in New York, where Greenwood’s magazine internship seems the gateway to success. Yet the city’s glamor soon feels hollow, and the confidence around her thin and brittle. 

Her sense of direction begins to fade, and the life laid out before her starts to feel both too small and impossibly distant.  

The bell jar — clear, enclosing, and distorting the air she breathes — becomes the perfect image of Greenwood’s entrapment. Just as telling is the fig tree she imagines, with each fig representing a possible future: writer, traveler, mother, lover. 

Torn between these possibilities, she hesitates until the figs shrivel and drop. This image, perhaps more than any other, reveals how fear of choice can quietly undo a person.   

Plath’s writing is sharp and deeply humane. She exposes the subtle pressures shaping women’s lives at that time without sentiment or complaint. 

The narrative’s erratic rhythm mirrors the character’s disoriented state of mind, where thought and memory blur at the edges. 

“The Bell Jar” speaks to anyone who has felt caught between possibility and paralysis, between who they are and who they are expected to be. 

Plath writes with precision and compassion, turning confusion into clarity and despair into something almost inspiring.