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A man lies dying tended by his two daughters. A strangely absent presence, their father has dictated the shape of their lives -- sometimes distorting and at others shaping their hopes, ambitions and desires. To these two narrative strands, Belinder Dhanoa adds a third, that of the girls' mother - a strong and single-minded woman, who defies society's expectations of how a woman should behave.
Set partly in Shillong and partly in the Punjab, Belinder Dhanoa's novel is not only an insightful study of the pressures of living in a patriarchal society, but also a moving account of the complexities of family loyalties, betrayals and love.
'Call Me Confused, Please' requests one of the stories in this insightful and engaging collection from women of South Asian origin living in North America. 'Made in the USA?' wonders another.
Through poems, short stories and scholarly pieces, writers who are in their twenties, thirties and forties share what it is to live and grow up in a country that is your home and yet alien to you. They touch upon issues of culture, belonging, romance, body, race, ethnicity and the notion of 'home'. Moving beyond the idea of ABCDs (America-Born Confused Desi) and the 'identity crisis', the writers grapple with the richness of their diverse inheritances to produce a more nuanced understanding of self.
"Diverse voices challenge social binaries - of race, sexuality, nationality - to showcase the many facets of brown-ness." - Bandana Purkayastha, University of Connecticut
Set in the heady years preceding independence, this is the story of young Binapani growing up in a small Assamese town. Headstrong, stubborn and high-spirited, Binapani is confronted with a world full of confusing questions: why are girls not allowed to study? Why is the nationalist hero, Bullet Kaka hidden away in her grandmother’s shed? Why does Mahendra Barua’s family suffer such humiliation and indignity? Why is the rich Haitha Sarai feted and fawned upon? Why is his daughter tied up and starved in a dark room? Why is the Christian boy, Ratan, an outcaste? Her young mind grapples with countless questions and through it all is the abiding relationship she shares with her old grandmother, Jashodha. Married off to the rich Chaliha whom she has always hated, the ebullient young Bina turns inwards, seeking an inner strength and calm and makes her home ‘an abode of peace’.
Arupa Kalita Patangia is one of Assam’s leading, award winning novelists. She has more than ten novels and short story collections to her credit including Mriganabhi (1987) and Millenniumar Sapon (2002). She teaches English at Tangla College, Assam.
Ranjita Biswas has translated a number of well-known Bengali and Assamese novels into English.
A Dalit, a Buddhist and a feminist: Urmila Pawar's self-definition as all three identities informs her stories about women who are brave in the face of caste oppression, strong in the face of family pressures, defiant when at the receiving end of insult, and determined when guarding their interests and those of their sisters. Using the classic short story form with its surprise endings to great effect, Pawar brings to life strong and clever women who drive the reader to laughter, anger, tears or despair. Her harsh, sometimes vulgar and hard- hitting language subverts another stereotype - that of the soft-spoken woman writer. Pawar's protagonists may not always be Dalit, and the mood not always one of anger, but caste is never far from the context and informs the subtext of each story. As critic Eleanor Zelliot notes, there is 'tucked in every story, a note about a Buddhist vihara or Dr Ambedkar.... All her stories come from the Dalit world, revealing the great variety of Dalit life now.'
"The book gives a wide range of material on one of the important struggles of feminism in India." -- Gail Omvedt, The Hindu
This collection of mind-expanding stories is now available in a brand new paperback edition as part of the Zubaan Classics series to celebrate Zubaan's 10th anniversary.
Already a name in the world of science fiction and fantasy writing, Vandana Singh presents her first collection of stories, bringing this unique imagination to a wider audience. In the title story, a woman tells her husband of her curious discovery: that she is inhabited by small alien creatures. In another, a young girl returning home through the streets of Delhi comes across a mysterious tetrahedron: is it a spaceship? Or a secret weapon? Each story in this fabulous collection opens up new vistas -- from outer space to the inner world -- and takes the reader on an incredible journey to both
"A most promising and original young writer" -- Ursula K. LeGuin, author of The Earthsea Trilogy
"I'm looking forward to the collection despite the fact that I haven't actually read that much of Singh's work, or perhaps because of that fact, because everything I've read has impressed me -- the past and future visions in 'Delhi', the intensity of 'Thirst', the feeling of escape at the end of 'The Tetrahedron'..." -- Niall Harrison, Vector (British Science Fiction Association)
"...attracts all the inadequate adjectives reviewers pull out when rendered nearly speechless: beautiful, evocative, mysterious, brilliant, stunning..." -- www.sfsite.com
"...the first writer of Indian origin to make a serious mark in the SF world, ... she writes with such a beguiling touch of the strange." -- Nilanjana Roy, Business Standard
"Singh says that speculative fiction has a 'unique, revolutionary potential'. If so, The Woman Who Thought She Was a Planet is as enjoyable as a revolutionary text you're likely to find." -- Jess McCabe, The F Word.
After the success of These Hills Called Home and Once Upon a Life, Temsula Ao returns to her beloved Nagaland to bring readers the beautifully crafted story of Aosenla, a woman who is coming to terms with herself. The novel opens on a typical summer afternoon that soon turns into another oppressive evening. Aosenla sits listening to her children playing nearby and is seized by a great lethargy. As she casts a watchful gaze over the house she has called home for so many years, Aosenla wonders how an inanimate structure like a house can exercise such power over a human being.
Looking down at a wedding invitation in her hands, Aosenla begins to recall her own wedding many years ago, initiating a deep and moving reflection on the life that others made for her and the life that she eventually created for herself.
Talaash is the second novel of the Bangladeshi writer Shaheen Akhtar. It captures the brutalities of the 1971 war of liberation and its contingent afterlife -- more specifically, the scars it has left on women. For thirty long years, Mariam, the protagonist of the novel, lives with memories of a war that refuses to end for her. The analeptic and proleptic shapings of Shaheen's prose travel in and through those shattered memories (and their public use) to construct a devastating archive of pain and anguish, far beyond the pale of cause and effect. Shaheen Akhtar's mesmerizing and moving novel, set against the background of the Bangladesh war of independence, explores the violence done to women, their courage and heartbreak, their search for love and their betrayal. Taalash (The Search) was awarded the Prothom Alo Literary Prize in 2004.
All Mrinalini Singh wants, she has. A loving husband, a competent cook, the vague hope of a book deal one day. But when her old roommate Jahanara accuses her of being selfish, Mrinalini is forced to practise altruism on the nearest available target: her maid’s toddler. All this caring doesn’t come easy, though; and it hardly helps that her husband Siddhartha has quit his lucrative job and acquired parental ambitions. Or that Brajeshwar Jha, her upstairs tenant and literary rival, has not only published his book before Mrinalini, but also lampooned her and Siddhartha in it. Close to Home is a wry look at the small compromises, manipulations and sustained self-delusion of young men and women possessed of good fortune... and only looking for good lives.
Sita Mirchandani, a Hindu refugee from Singh, now living in India, Salma and Surayya, two Muslim girls from U.P. who are forced to move to Pakistan, Tanvir Fatima is in Karachi and not quite sure why she is there – these are the characters who inhabit these works of fiction. Originally published as “Sitaharan”, “Housing Society” and “Patjhad ki Awaz”, the stories explore the cataclysmic events that have unmoored the lives of these women and how each, in her own way, battles with a state or exile that is more internal than external. Together they unfold a series of betrayals—historical, political, personal—and how the women struggle to come to terms with them.
Qurratulain Hyder is one of the leading writers of Urdu fiction in India. She was awarded the Bhartiya Jnanpith, India’s highest literary award, in 1989. The recipient of a number of other literary awards, she is a Fellow of the Sahitya Akademi, has travelled widely and has worked as a journalist and broadcaster.
C. M. Naim has taught Urdu Language and Literature at the University of Chicago in the Department of South Asian Languages and Civilizations since 1961. He co-founded Mahfil (The Journal of South Asian Literature) in 1963 and the Annual of Urdu Studies in 1981.
This richly descriptive and deeply philosophical novel from Bhutan is now available in a brand new paperback edition as part of the Zubaan Classics series to celebrate Zubaan's 10th anniversary.
As a young girl, Tsomo asks her mother, "Where is the furthest I can travel?"
"Where," her mother responds, "I don't know. Where can a girl travel to?"
Caught in the everyday reality of household life, fifteen-year-old Tsomo is suddenly called upon to travel when her mother dies. She makes her first journey to a faraway village to light the ritual butter lamps in her mother?s memory. Beginning here, her travels take her to distant places, across Bhutan and into India. As she faces the world, a woman alone, Tsomo embarks on what becomes a life journey, in which she begins to find herself, and to grow as a person and a woman.
The first novel by a woman to come out of the Himalayan kingdom of Bhutan, The Circle of Karma, written in English, is rich in detailed descriptions of ritual life. The measured pace of its prose, the many nuances of the story, the different levels at which the narrative works, weave a complex tapestry of life in which the style and content are closely interwoven, each informing and enriching the other.
Kunzang Choden is one of Bhutan's foremost writers. In her early fifties, she has written a number of short stories and has also published collections of folk tales from Bhutan. This is her first novel.
"Kunzang Choden has given us an unforgettable tale of a simple woman's pilgrimage and journey to self-realisation." -- Anna Sujata Mathai, The Hindu
Fateema opened her diary and began writing: “Jihad as mentioned by the Prophet is a war against injustice and oppression. Islam means peace and surrender. Islam does not recommend killing innocent people. The Prophet released hundreds of slaves from bondage and sent themback to their native land.”
There was a lot more she could write. She would one day. Not for others, but to her own people she would explain the meaning of the word ‘Islam’.
For a bright young woman like Fateema Lokhandwala, the idea that one day she might own her own house is a daring dream. Her father has spent his life, slaving away selling scrap metal so that his children might ‘jump the fence of poverty and illiteracy’. Fateema dreams not only of owning her own house, but of higher education, a better job, a wider world. Her brother, Kareem, is persuaded down a very different path – to join the jihad, to become a holy warrior.
Ila Arab Mehta’s moving and sharply observed novel follows one woman’s struggle to find her way in a world torn by communal violence, to reconcile her conflicting loyalties to her family and friends, to find a place that she can ultimately call ‘home’, a place where fences –between communities, between people – are no longer necessary.
“…the story transcends linguistic and geographical boundaries. It is a story of virtually every Indian home…The discussion -which makes up the Afterword also seeks to put the story in a historical and anthropological perspective which makes Shree’s Mai an academic study.” The Hindu
“…it is eminently readable … The Book Review
“seeks to assert the humanness of mother. Maternalism with a human face, perhaps is feminism for hard times.” The Tribune
Geetanjali Shree is a well-known Hindi novelist and short story writer, who has also written a critical work on Premchand.
Nita Kumar is the author of The Artisans of Banaras: Friends, Brothers and Informants, Lessons from School, and editor of Women as Subjects.
Count Jorge was a fabulously wealthy, devastatingly good-looking socialite, a leading figure in the South American city of San Felice. When he is found brutally stabbed to death, it soon becomes clear that ‘polite’ society in San Felice is anything but.
Is the murder linked to the Indian Ambassador, himself a victim of blackmail? Why is his wife, whom he suspects of having an affair with the Count, so apparently unaffected by his death? Who is the young man with the honey-coloured hair who takes the news, by contrast, so terribly badly? As for the Commissioner of Police, he is trying to decide which discovery is the more problematic: the corpse lying on the bed, or the Ambassador’s daughter’s riding boots lying underneath it.
There’s plenty of intrigue, backstabbing (literal as well as metaphorical), gossip and drama to enjoy in Chandralekha Mehta’s sparkling debut novel.
Lifelines is an enthralling collection of short stories that will take you on some unforgettable journeys - journeys that span continents and decades, transgressing social boundaries and raising ethical dilemmas along the way.
The protagonists of these tales find themselves re-drawing their own destinies as they map their lifelines in unique, often unanticipated ways. The rapidly changing realities of the 21st-century require these individuals to navigate through uncharted waters, in a world increasingly shaped by the forces of globalisation, development and migration. One where the old ways are being challenged as never before, even in the traditionalist heartlands of South Asia.
Lifelines portrays the trials and triumphs of men, women and children who find themselves facing unexpected challenges - and discover that the decisions that they take, for better or worse, have consequences they never envisaged.
It's raining in Shillong. Eight-year-old Sophie Das has just realised she is adopted, but there is also the baby kicking inside her mother s stomach whom she s dying to meet. IAS aspirant Aman Moondy is planning a first-of-its-kind Happening and praying the lovely Concordella will come. College lecturer Firdaus Ansari is going to finish her thesis, have a hard talk with her boyfriend, and then get out.
Poetic, funny, tender, Lunatic in my Head is a moving portrait of a small town and of three people joined to each other in an intricate web, determined to break out of their small town destinies.
Each story in this anthology testifies to women's many concerns, whether with a way of life, or with being caught inside the four walls of the home, or in a relationship with someone other than the husband, or being caught at the intersection of many forces within a situation of political violence and armed conflict. In one way or another the woman's body becomes a site upon which many battles take place: for control, for power, for progeny, but there is seldom a resolution in which the women remain a mere victim, or more acted upon the acting. Whether she is in the palaces of the gods, or caught in the body of snake, or speaking through the spirit of the countryside which witnessed her rape, the woman's voice is unique, singular and in each story, different. While this gives substance to the cliche that India is a country where many and varied realities exist simultaneously, it gives the lie to the cliche that all women speak with a sameness and a commonality of experience.
Contributors: Vandana Singh, Indira Goswami, Temsula Ao, Mridula Garg, Shama Futehally, Shashi Deshpande, Nayantara Sehgal, Mahasweta Devi, Anjana Appachana, Manjula Padmanabhan, C.S. Lakshmi (Ambai), Bulbul Sharma, Anita Agnihotri, Priya Sarukkai Chabria, Githa Hariharan, Chandrika B.
Urvashi Butalia is a publisher and writer. Co-founder of Kali for Women, India's best-known feminist publisher, and now Director of Zubaan, she is also author of the award winning oral history of Partition, The Other Side of Silence: Voices from the Partition of India. Her other publications include Women and the Hindu Right (co-edited with Tanika Sarkar) and Speaking Peace: Women's Voices from Kashmir (edited).
This anthology is not only about what Gujarati women speak, but also what they don’t. In a state that registers increasing cases of violence against women, what kind of truths does its literature embody?
If malestream writing in Gujarat seldom mirrors its everyday truths, do the women risk unpleasantness? Kothari’s introduction builds upon such premises and leads the reader to a trajectory of women writers from the beginning of the twentieth century to the present day, starting with the journal entries of a dancer at the end of the nineteenth century, to the journal entries of an academic woman at the end of the twentieth century. The wide range of stories and fictional excerpts show how Gujarati women inhabit their fictional worlds. The trajectory hints at an imperceptible shift from muffled voices to more candid ways of being, and yet it never loses completely the middle-class genteelness that characterizes literary discourses in Gujarat.
Rita Kothari teaches at St. Xavier’s College, Ahmedabad. Her publications on literary sociology of Gujarat and translation include Translating India, Modern Gujarati Poetry: A Selection, Coral Island: Poems by Niranjan Bhagat, Angaliyat (a Gujarati Dalit novel). Her forthcoming book is Stigmatised Identities: The Sindhis of Gujarat.
The Dungri Garasiya, an indigenous group in north Gujarat, believed that the first being to be created was woman and so in their society women were as respected as men and property passed down from mother to daughter.
At the dawn of creation, girls were as desired as sons. It was a time when girls beat boys in games and races: a time when there was no gender divide. And so also in these stories it is the women who are stronger, wiser, faster, sharper, and certainly far more beautiful than their men. It is they who think out of the box, who are imaginative and creative and full of wise ideas.
From tales of ghostly possession to magic mantras, from kings and queens full of passion to village youth bursting with sexual ardour, these timeless folktales are full of the joy of being alive, of sensual enjoyment and pleasure. While Kudrat (God is imagined as being feminine) and Deva conspire and wreak havoc on their people, the dance of life continues with naked young maidens swimming in the streams or being courted by dark handsome youths amidst much laughter and teasing. The forests are full of birds and beasts and fish and life for the tribals is for the most part simple and innocent, truth and right always prevail and defeat the forces of darkness — be it a scheming stepmother, a murderous wife or lover, or a cruel and lustful king.
The Story of Felanee is based on real life events. It is a story of courage, of survival, of ethnic conflict and violence that tears people and communities apart in the most brutal, savage way.
Set in Assam, which has seen two major agitations that have crippled the economy, this is a story that will shock the reader by its sheer passion, and its brutal honesty. The callousness and utter disregard for human life, the ugly play for power, for electoral gain, the sham and petty hypocrisies, the bloody horror of ethnic violence all lie exposed in this powerful novel written by one of Assam’s leading fiction writers.
The story revolves around the experiences of one woman: Felanee. Her name means ‘thrown away’—so called because as her mother lay dying in the burning riot-torn village, Felanee was thrown into a swamp and left to die. But against all odds, Felanee—and thousands like her—survived.
Like the reeds that grow in such profusion along the bank of Assam’s rivers, the rootless inhabitants of the refugee camps and makeshift shanties, whose stories form the core of Felanee, are swept along by the wind and thrown onto new hostile terrain but they cling on with tenacity to take root again and again.
In the mid-nineties, Birjees Dawar Ali returns to Pakistan to seek out a history left unfinished long ago, a history from which, nursing heartbreak and betrayal, she had once earlier fled, back to her home in partitioned India. Will she find the family that so generously gave her succour, the home that became her own, the people who gave her unquestioning love? Or, will all these certainties have fled with the march of history? A deeply moving narrative of love and loss, All Passion Spent focuses on the unresolved question of the 1947 Partition of India and the emergence of India and Pakistan as two separate countries. Zaheda Hina's richly layered narrative brought alive in this lyrical and poetic translation by Neelam Hussain, touches on the many unanswered questions that surround this painful history: the profound sense of grief and displacement, the lives sundered midstream, the lost friendships and the quest for new roots and lands under different skies.
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