English literature, after sailing through different courses down the history, has now entered a new space, which may affect its further cruise. The growth of technological space has given rise to a new genre called cyber literature, which plays a significant role in the promotion of literary works. Cyber literature refers to written literary texts, distributed and read on electronic screens. This electronic space provides a more flexible and convenient platform for the artistic expressions of aspiring and budding authors. Cyber literature which emerged towards the end of the 1990s through blogging, later expanded in social media platforms like Facebook, Instagram, Twitter, Myspace etc. While the means and modes of expression changed, literature was again moulded into something else, satisfying the needs of a modern reader. This paper explores the possibility of social media and online communities as the new alternative to print publication, and it also aims at studying the present and upcoming literary trends in the cyber space through a few examples. The case study includes an analysis of the works of Rupi Kaur, an author who paved her way for fame using Instagram; Terribly Tiny Tales and other pages in Facebook which seized the young hearts with relatable snippets and prose poems; applications like "Haiku jam" which bring together people from all over the world to write a Haiku in unison. The modern generation which upgrades their lifestyle along with the technological evolution, and the contemporary issues that affect them, brings out a new literary culture. The unrestrained author-reader interaction further decreases the former gap which held back the readers from voicing their opinions. While it possesses both positive and negative effects, it creates a spacewhere everyone can be a writer, though only the fittest will survive.

The phrase “Science and Imagination”, in the most modern usage, has beckoned the interest of many critics across the globe to dwell on the many possible connections between the two conflicting concepts evoking myriad responses from social commentators. There are those who would dismiss the role of reason in imagination as the infringement of ethics in creative writing. Aesthetic imagination in creative writing perhaps demands going one step beyond the contours of reason to achieve what is artistically termed as the miraculous representation of reality. The juxtaposition of Science and Imagination is well explained in the words of Coleridge in Biographia Literaria as “To make the external internal, the internal external, to make nature thought, and thought nature_this is the mystery of genius in the Fine Arts”[223]. The confluence of science and imagination breaks down the seemingly opaque barrier between the heart and the head leaving the path open for the meeting and merging of intellect and emotion. The present paper works upon the ways by which the writers or artists of absurd literature, especially of drama, have used secondary imagination to recreate the experiences of their conscious will. The proposed paper titled “Navigating the Mechanics of Secondary Imagination in the Select Works of Eugene Ionesco and Harold Pinter” tries to explore the nuances of secondary imagination in Amedee or How to Get Rid of It and Rhinoceros by Eugene Ionesco and The Birthday Party and The Caretaker by Harold Pinter. The paper further intends to focus on how authors of absurd literature, like Ionesco and Pinter, reflect the futility and absurdity of human existence by making use of Secondary Imagination in their work

A road movie is a film genre in which the main characters leave home on a road trip, typically altering their perspective from their everyday lives. A road movie is technically defined as a movie that starts at geographic point A and travels through various pit-stops along the way before reaching geographic point B, the final destination. Road movies are noted for their vivid, dynamic and picturesque narration. Normally the protagonist or traveler is a male and the purpose of journey is self-discovery. Characters’ internal conflicts and transformations are highlighted. The characters in road movies often experience new realities on their trip and often explore the intensity of their alienation and solitude on a possibly long road trip to a remote destination. In road movies, the protagonist is usually considered as on the move. The present paper explores the theme of oppression, rebellion, escape, self-discovery and the metamorphosis of the protagonist as depicted in Frank Capra’s movie It Happened One Night and the Easy Rider by Dennis Hopper. The paper, on a further note, examines the emotional transformations of the protagonists as they sail through varied personal, emotional and social experiences on the way to their destinations. Montage sequences, travelling shots, aerial shots and diegetic music are some of the technical peculiarities employed in road movies. The road movie entered a political phase in the late 1960’s influenced by the low budget biker movies and Jack Kerouac’s novel On the Road. The narrative is somewhat picaresque in almost all road movies that sequentially present certain pertinent events that culminate in a good or bad ending.