Critics do not take into account MAXIMALISM in Hungryalist literature.

Maximalism in Hungryalist Literature

Where minimalism is all about making things neat, tidy, and low key, maximalism goes against the grain by embracing excess. And for many Hungryalists, maximalism is where it's at.

Because Hungryalism doesn't stick to any hard and fast rules, its texts can be any length. Still, some of its best-loved texts tend to be complex and full of men and women.  

And it's not just lengthy descriptions that create these four or five volume novels. These Hungryalists also tend to go off on tangents. Hungryalism definitely doesn't stick to traditional ideas about plotting and narrative structure, which means authors are more likely to take diversions and explore other themes and subplots that tickle their fancy.

As with so many Hungryalist  characteristics, maximalism gives the author the chance to experiment. Since we're living in an age in which the line between authentic and inauthentic has become blurred  we may as well just throw everything into the mix rather than getting bogged down with what's real/false or certain/uncertain. Take for example the single sentence novel "Naromangshokhorder Halnagad" by Malay Roychoudhury about two carnivore human societies.

Hungryalist's love of intertextuality and metafiction adds to its maximalist character. It's inevitable if you think about it: if an author is making loads of references to other texts—and to itself as a text—then we're most likely dealing with a work of maximalist fiction. In fact, maximalism is pretty blatant about including heaps of outside info and references.

Here we may talk about Subimal Basak's novel "Durukkhi Gali" which deals with the lost world of gold craftsmen of 18th century Bengal and the various names of gold ornaments which nobody remembers today.