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One of Hindi's best known writers, Prabha Khaitan spent much of her life as the 'second' woman in a long-term relationship with a married man. Born in a conservative Marwari family, she defied tradition and family expectations, insisting on living life as a single woman, setting up her own business and earning the respect of her peers and colleagues in the corporate world. Despite her yearning to be loved and cherished by the man to whom she gave her life, Prabha Khaitan lived life on her own terms.
With a frankness that is rare in the world of Hindi autobiographical writing by women, Prabha Khaitan here speaks of her feelings, her sense of discomfort and unease at not being the 'legitimate' woman, about what she gained and lost from a relationship that was generally frowned upon by society and how she fought to become her own woman. In doing so, she reflects on marriage, relationships, intimacy and distance, the professional and the personal, and the ways in which women are caught within these often conflicting forces.
"Prabha Khaitan's story of her life and times is possibly one of the most honest books I have ever read. Sometimes it cuts too close to the bone for middle class comfort, unsettling the safety net and entitlements of complacency and convenience. All her life, she swam upstream, defying convention, defying prejudice, questioning choices." -- Namita Gokhale
"One of the most arresting things about feminist writer and poet Prabha Khaitan's autobiography is its naked narrative and almost poetic vulnerability. Simply written, the narrative flows languorously."-- Prerna Kalbag, The Hindustan Times
In 2008, when the Azad Foundation, an NGO based in Delhi, began training poor women to become drivers of commercial and private vehicles, most people thought they were somewhat out of touch with reality. Poor, illiterate women, many of them from violent homes, some of them single mothers, others from families and communities which had never allowed women to step out of the home – how could these women take the wheel, drive around in unsafe cities, be confident and competent, earn money? At the time, there was only one known woman auto driver in Delhi. When Azad turned to radio cab companies to suggest they take in women drivers, there wasn’t much interest. Today, more than 300 women drivers have received training from Azad and are on the roads of several cities. Nine years after radio companies turned Azad away, special services or women with women drivers are being introduced within these same companies. In 2015, the Delhi Transport Corporation got its first woman driver, and in 2016, the Delhi Commission for Women recruited 25 women drivers to be part of their women’s helpline. Clearly, things are changing.
Lady Driver maps the journeys of twelve women from poor, marginalized communities who have transformed their lives by taking up the challenge of becoming women drivers. Each story is unique; there’s no Cinderella effect here. Reality does not change overnight. Instead, as the women featured here painstakingly claim a relationship with the road, it translates into claims for identity, for dignity, for a livelihood. Their stories are about beginnings, but have no endings – there is still quite a way to drive. OR – there are many kilometres to drive yet.
The constructed “naturalness” of a world made up of two sexes, two genders, and heterosexual desire as the only legitimate desire has been continuously questioned and challenged by those marginalised by these norms. This forces us to ask some important questions: How is gender really understood and constructed in the world that we inhabit? How does it operate through the various socio-political-cultural structures around us? And, most crucially, how is it lived?
No Outlaws in the Gender Galaxy answers these questions with a research study that attempts to understand gender through the lives of queer persons assigned gender female at birth. The lived realities of the respondents, echoing in the book through their voices, help to interrogate gender as well as provide clues to how it can be envisioned or revisioned to be egalitarian.
This book explores how gender plays out in public and private institutions like the family, educational institutions, work and public spaces. Looking at each of these independently, it elaborates the specific ways in which binary gender norms are woven into each arena and it also explores the multiple ways in which interlocking systems of heteronormativity, casteism, class and ableism are enmeshed within patriarchy to create exclusion, marginalisation, pathologisation and violence. This book illustrates the multiplicity of ways in which people live gender and testifies that even if there are gender laws, in a just world there can be no gender outlaws.
The dark legacies of Partition have cast a long shadow on the lives of the people of India, Pakistan and Bangladesh. The borders that were drawn in 1947, and redrawn in 1971, divided not only nations and histories but also families and friends.
The essays in this volume explore new ground in Partition research, looking into areas such as art, literature, mirgation, and notions of ‘foreignness’ and ‘belonging’. It brings focus to hitherto unaddressed areas of Partition, just as the northeast and Ladakh.
Contributors include: Sanjb Baruah | Sarah Ghani | Vishwajyoti Ghosh | Sanjeev Jain | Sukeshi Kamra | Rita Kothari | Kavita Panjabi | Prajna Paramita Parasher | Tarun K. Saint | Alok Sarin | Amiya Sen | Jhuma Sen | Jyotirmaya Sharma | Siddiq Wahid | Andrew Whitehead
July 15, 2004, Imphal (Manipur): An amazing scene unfolds in front of Kangla Fort, the headquarters of the Assam Rifles, a unit of the Indian army. Soldiers and officers watch aghast as twelve women, all in their sixties and seventies, position themselves in front of the gates and then, one by one, strip themselves naked. The imas, the mothers of Manipur, are in a cold fury, protesting the custodial rape and murder, by the army, of Thangjam Manorama, a 32-year-old woman suspected of being a militant. The women hold aloft banners and shout, ‘Indian Army Rape Us’, ‘Take Our Flesh’. Never has this happened before: the army is appalled. Very soon, news of the protest goes viral. People around the country are shocked. Can this be possible? A naked protest in India by mothers?
In this unusual book, journalist Teresa Rehman tells the story of these twelve women, the momentous decision they took, and how they carried it out with precision and care. In doing so she connects the reader to the broader history of conflict-torn Manipur and the courage and resistance of its people, in particular its women.
This story of extraordinary courage and survival is now available in a brand new paperback edition as part of the Zubaan Classics series to celebrate Zubaan's 10th anniversary.
This is the story of Baby Halder, a young woman working as a domestic in a home in Delhi. Hurriedly married off at the age of twelve, a mother by the time she was fourteen, Baby writes movingly and evocatively of her life as a young girl, and later as a young woman. The long absences of her father, the hardships faced by her mother, and her decision to walk out of her marriage, leaving Baby and her sister to manage the household, were the realities that shaped Baby's early life.When marriage came, Baby, still a child, yearned to play and study, but was burdened with the responsibility of being wife and mother while facing considerable violence from her husband. Escape finally came many years later, by which time the still young Baby was a mother of three, and she fled to the city in the hope of finding a job. Working in Delhi as a domestic help, Baby was lucky enough to come across an employer who encouraged her to read -- which she did voraciously -- and then to write. The story of Baby's life is a lesson in courage and survival.
Since it was first published in Hindi, this book has become a bestseller, receiving accolades from some of the best-known writers and critics in India and elsewhere. It has also been translated into other Indian languages.
Baby Halder is a writer and a domestic worker who lives and works in a home near Delhi. She is now working on her second book.
Urvashi Butalia is a publisher and writer whose work includes the award-winning oral history of Partition, The Other Side of Silence: Voices from the Partition of India.
Imelda Connor is a classic Irish lass—a fiery, red-headed beauty, quick to anger and fiercely protective of her younger siblings. Growing up on a small farm in the rolling hills of County Cork, she thinks she has her life completely mapped out. But Imelda soon finds that life doesn’t always go according to plan.
Everything is turned upside-down when Imelda moves to England and happens to meet a dashing Bengali man named Shu Bose. Shu is captivated by Imelda’s natural beauty and charm, and the two embark on a whirlwind romance. At the age of eighteen, in the spring of 1932, Imelda boards a ship bound for Calcutta—and a very different life to the one she had always imagined.
Milty Bose’s writing transports readers back to pre-Independence India, to London between the wars, and to the genteel life of bhadralok Bengali high society. From Cork to Calcutta tells the true story of Bose’s parents, their eccentric and unforgettable family, the trauma of loss, and the triumph of one woman’s remarkable spirit.
In the early nineteen thirties Ayi Tendulkar, a young journalist from a small town in Maharashtra, travelled to Germany to study. Within a short time he married Eva Schubring, his professor's daughter. Soon after the short-lived marriage broke up, Tendulkar, by now also a well-known journalist in Berlin, met and fell lin love with the filmmaker Thea von Harbou, divorced wife of Fritz Lang, and soon to be Tendulkar's wife.
Many years his senior, Thea became Tendulkar's support and mainstay in Germany, encouraging and supporting him in bringing other young Indian students to the country. Hitler's coming to power put an end to all that, and on Thea von Harbou's advice, Tendulkar returned to India, where he became involved in Gandhi's campaign of non-cooperation with the British and where, with Thea's consent, he soon married Indumati Gunaji, a Gandhian activist.
Caught up in the whirlwind of Gandhi's activism, Indumati and Tendulkar spent several years in Indian prisions, being able to come together as a married couple only after their release -- managing thereby to comply with a condition that Gandhi had put to their marriage, that they remain apart for several years 'to serve the nation?. In this unique account, Indumati and Tendulkar's daughter, Laxmi Tendulkar Dhaul, traces the turbulent lives of her parents and Thea von Harbou against the backremove of Nazi Germany and Gandhi's India, using a wealth of documents, letters, newspaper articles and photographs to piece together the intermeshed histories of two women, the man they loved, their own growing friendship and two countries battling with violence and non-violence, fascism and colonialism.
"Few children are capable of writing about their parents' lives with empathy and clinical precision." --Somak Ghoshal, Live Mint
Playing with Fire is a chorus where nine voices from varied sociopolitical locations self-reflexively merge themselves to articulate the nuanced intersections of caste, class, gender, religion and socio-spatial location, and their centrality in understanding women's empowerment, NGO activism, and the politics of knowledge production.
Seven of these voices belong to Anupamlata, Ramsheela, Reshma Ansari, Shashibala, Shashi Vaish, Surbala and Vibha Bajpayee - village-level NGO activists from diverse caste and religious backgrounds, who have worked as mobilizers in seventy villages of Sitapur District in India. These women form an alliance with each other; with Richa Singh, a district-level NGO activist; and with Richa Nagar, a teacher at the University of Minnesota to highlight key moments of a collective intellectual and political journey.
The Goddess and the Nation charts the pictorial life and career of Bharat Mata, 'Mother India,' the Indian nation imagined as mother/goddess, embodiment of national territory, and unifying symbol for the country's diverse communities. Soon after Mother India's emergence in the late nineteenth century, artists began to incorporate the map of India into her visual persona. The images they produced enabled patriotic men and women in a heterogeneous population to collectively visualize India, affectively identify with it, and even become willing to surrender their lives for it. Combining visual studies, gender studies, and the history of cartography, The Goddess and the Nation offers a rigorous analysis of Mother India's appearance in painting, print, poster art, and pictures from the late nineteenth century to the present. By exploring the entanglement of the scientifically mapped image of India and a (Hindu) mother/goddess, Sumathi Ramaswamy reveals Mother India as a figure who relies on the British colonial mapped image of her dominion to distinguish her from the other goddesses of India, and to guarantee her novel status as embodiment, sign, and symbol of national territory. Providing an exemplary critique of ideologies of gender and the science of cartography, Ramaswamy demonstrates that images do not merely reflect history, they actively make it.
In the run-up the fourth World Social Forum held in Mumbai, India in January 2004, civil activists and student organised a major series of seminars in Delhi University to discuss the Forum and its politics. The 'Open Space' seminar series, as it came to be called, picked up on the idea of the Forum as a relatively free space, where all kinds of ideas could not meet and be discussed. The book, the first in a series that explore the new ideas generated by the discusssions took place on all these issues, comprises chapters based on the transcripts of presentation made by academics and activists during the seminars, as well as discussions on the questions arising from the presentation. Can the World Social Forum helps us to conceptualise and actualise a new politics? Can this new politics? Can this new politics be free from violence? Can the experience and knowledge of great movements such as the movements for environment, and the women's movement, contribute to the creation of a new politics? How can such a politics be sustained? The essays in this book, written in an easy and accessible style, are informed by these question. they offer the reader different and complex ways of understanding the processes that have helped to shape the world social forum and the new politics that seems to be emerging, and what all this represents, for life, society, and politics more generally.
This unique autobiography by veteran BBC and Associated Press journalist Sabita Goswami documents the extraordinary, single-handed fight of an ordinary woman in the heart of Assam, against family and social obstacles, to establish herself emotionally and professionally.
An unbiased and ruthless no-holds-barred account of turbulent contemporary Assam in particular and the Northeast in general, the book covers more than three decades of events in this volatile region and insightful analyses of its complex social and political history. The racy and strong narrative, recounted simply and with rare passion, makes this book a compelling read.
"Crafted with skill and full of lyrical prose, the best thing about this memoir is its honesty, as the author doesn't flinch from telling the truth." -- Abdullah Khan, Earthen Lamp Journal
Shardaben's autobiography, originally written in Gujarati and published in 1938, describes the life of an Indian woman at the turn of the twentieth century. She describes her childhood, and her innermost feelings and emotions. Despite considerable opposition from society, in 1902, Shardaben and her sister became the first women graduates in Gujarat. This marked the beginning of her lifelong commitment to the cause of women's education. Here, she documents both that and the political and social changes that were sweeping over India. For over half a century, she and her husband interacted and worked in close association with many important political leaders and literary figures of India.
Purnima Bhatt is a Professor of History, Anthropology and Interdisciplinary Studies at Hood College, U.S.A. Her publications include Scholar's Guide to Washington, D.C., African Studies and Sharadabehn Mehta: Una Mujer Exceptional en al India de su Tiempo.
Svati Joshi is Professor of English Literature at Miranda House College, Delhi University.
The essential guide to the who, why, what, when, where and how of sexuality education. Talking to children and young people about sexuality is never easy. This non-nonsense, straightforward and accessible guide will help adults get across the necessary information in the best way possible. Since 1996, TARSHI has been counseling and supporting people - young and not-so-young - on issues to do with sexual health. Building on the success of the highly popular Red Book (for 10-14-year-olds) and Blue Book (for 15+), the team have put together The Yellow Book specifically for parents and teachers. The Yellow Book is full of tips and tools, information and advice to help you talk to your children about sexuality at every stage of their lives.
For more than ten years now Irom Sharmila, a young woman from Manipur, has been on hunger strike, demanding the removal of the Armed Forces (Special Powers) Act, a draconian law that allows the army unfettered powers in areas that are considered politically sensitive or disturbed. Taken into custody and released every twelve months by the State for attempting suicide (considered illegal in India) Sharmila is being force fed to keep her alive. Her unique battle for peace in her strife torn homeland, has become a powerful symbol for all those engaged in fighting for peace in the northeast of India. As she fulfils her chosen role in this movement, Sharmila sometimes longs for all those things that young women treasure love, freedom, the sheer joy of living a free life, even simple things like being able to drink water, to brush her teeth. This small compilation of twelve of her poems in her native language Meiteilon and in English translation, provides a moving account of the underbelly of one woman's lone struggle for peace.
All proceeds from the sale of this book will go towards supporting Sharmila's campaign.
India is changing.
At the heart of the change are its women.
The change is widespread and varied, individual and collective and is reflected across the spectrum of women’s lives, whether in politics or in economics, in their daily lives, in business, or the field of work within the home and outside.
This book attempts to map – in words and photographs – some of the change that is both visible and invisible in the India of today. Six writers from India write the stories that six photographers from the world-renowned Magnum
Photos Agency capture. Their beautiful and evocative photographs focus on the world of women working with microcredit, participating in grassroots governance, moving into new jobs, working behind the scenes in the male world of the Mumbai film industry, making their individual contributions in varied fields and imagining a new future for themselves and their sisters.
Published to celebrate 150 years of BNP Paribas in India and to mark the 25th anniversary of the feminist publishing house, Kali for Women/Zubaan,
Women Changing India offers a window into the lives of women living in India today and brings to public attention their complex realities and their aspirations for a better world.
A moving memoir by one of the most highly respected and important authors from India’s Northeast.
Temsula Ao was born in 1945 in the Assamese town of Jorhat. Her happy childhood with her five siblings was cut tragically short with the deaths of both their parents. Desperately poor, emotionally scarred, lonely and often hungry, the young Temsula made up for her lack of resources with courage and determination.
From these unpromising beginnings, Ao went on to build a distinguished teaching career, serving as Director of the Northeast Zone Cultural Centre, and finally Dean of the School of Humanities and Education, North- Eastern Hill University, Shillong.
Temsula Ao describes the book as “an attempt to exorcise my own personal ghosts from a fractured childhood that was ripped apart by a series of tragedies... [it] is about love and what it is like to be deprived of it.”
For her readers, Ao’s memoir gives not only an insight into her role as a leading figure in the Northeast, but is also a moving account of a writerly life.
This is the memoir of a remarkable woman, Begum Kurshid Mirza, the daughter of Sheikh Abdullah and Waheed Jahan Begu, the founders of Aligarh Women's College. An intimate of an upper class Muslim family in India and Pakistan from until the recent past, this narrative is much more than an account of Kurshid Mirza's personal life. It spans the years from 1857 to 1983 and provides an insight into the the social conditions of Indian Muslims, the state of Muslim women's education, and the transition to Pakistan, while illuminating Kurshid Mirza's rich and tried life as an actor, activist, radio and TV artiste, a writer, a devoted daughter, wife and mother. Kurshid Mirza's vitality and dynamism, her pioneering spirit and unconventionally led her to leave the cloistered world of Aligarh after an early marriage to a police officer and then pursue a career in films in Bombay. She rapidly climbed the ladder to sardom as Renuka Devi and worked alongside well-known actors and directors of the time. Partition cut short her film career and she left for the new country Pakistan, where she remained deeply engaged as ever and contributed to many worthy causes, especially for the benefit of the women. The coming of Pakistan to gave her a fresh opportunity to express her theatrical talents and she soon became one of Pakistan's best known television actors winning many award in 1985. A true Woman of Substance.
With independence, India experienced a dramatic social rupture but also a recuperation of political autonomy and a new sense of optimism that promised opportunities. The country became a crucible for experimentation in modern and utopian architecture with new buildings, cities and museums giving public face to the nation. Indian architects and architectural projects claimed international attention, and a generation of women entered professions such as architecture and design that had previously been closed to them. They emerged as a pronounced political force, and important patrons of art, architecture and public space.
The mid-19th and 20th centuries saw a significant increase in women acting as arbiters of taste and shapers of the built environment. The emerging groups of female designers and female patrons were enabled by new norms for women.
The essays in this volume address these developments, posing the important question : did, and do, women produce art and architecture that reflect a feminine perspective ? How did women, otherwise invisible and denied attention in the public sphere, gain voice? The writers look at these questions through both the political frame of gender as well as through family lineage and dynastic connections, and their importance in women's patronage of the arts.
Radhaben Garva lives in a small village in Kutch. She’s an artist who has for long years documented the rural women’s movement in her area and beyond in her paintings.
These unique pictures—more than 200 of them—tell stories of the involvement of women from her village, and from the Kutch Mahila Vikas Sangathan, the NGO she works with, in campaigns for women’s rights, for economic empowerment, for resistance to globalizing corporations.
In one sequence of pictures, Radhaben receives a phone call inviting her to a meeting abroad, and she paints the entire journey from village to town to airport to the international destination and her first ride in an elevator. In another, she depicts the Chipko movement, in a third, the fragmentation of fields and farming activity as a result of globalization.
This unusual and beautiful document provides that rare thing, a political perspective from below and a vibrant portrait of the rural women’s movement in India.
Hansa Wadkar (born Ratan Bhalchandra) was one of Maharashtra's best known stage and screen personalities. By the time she was married to a much older family friend and impressario when she was just 15 she had already starred in nine or ten movies and was becoming a name in the film world. Supporting her family on her earnings, her brother sick with malaria, and both parents having taken to drink, life was not easy for the young woman. But Hansa was not only beautiful and immensely talented, she was tough, willful, capricious and headstrong.
Her autobiography, published in 1970, created a sensation for its frankness and directness.
It was later made into a film, Bhumika, by the well-known director Shyam Benegal and starred Smita Patil in the title role
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