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Srinagar, capital city of the famed 'paradise on earth,' Kashmir. Ailan Gali, a deep, dark narrow lane that lies at its heart, where houses stand on a finger's width of space and lean crookedly against each other, so deep, so narrow, so closely connected that even thieves do not dare enter.
Yet people live and love here, they cling on to their old ways, they share stories and food, joys and sorrows, sufficient unto themselves. But the outside world beckons, youngsters begin to leave, and slowly change makes its way into Ailan Gali only to find its hitherto hidden mirror-image -- the change that has insidiously been working its way into the lives of those who are the gali's permanent residents.
This funny, poignant, evocative story of a Kashmir as yet untouched by violence, but with its shadows looming at the edges, is a classic of Hindi literature, available in English translation for the first time.
This exciting new anthology show-cases 21 of the best short stories by South Asian women under the age of 40. Ranging from the lyrical to the humourous to the darkly disturbing, this collection highlights the desires, concerns and obsessions of young women from the subcontinent. A new generation of writers is emerging who are boldly tackling new forms and styles, including historical detective fiction, graphic short stories, stories intercut with email and sms messages. The stories are as varied as the women themselves, and celebrate the diversity and range of women's literature for the twenty-first century.
Contributors include Ruchika Chanana, Paromita Chakravarti, Roohi Choudhry, Tishani Doshi, Shahnaz Habib, Epsita Halder, Anjum Hasan, Meena Kandasamy, Mridula Susan Koshy, Revati Laul, Madhulika Liddle, Anju Mary Paul, Swarnalatha Rangarajan, Adithi Rao, Diana Romany, Sumana Roy, Ashima Sood, Aishwarya Subramanyam, Nisha Susan, Narmada Thiranagama and Annie Zaidi.
Anita Roy is a freelance critic and writer. Brought up in England, she has been based in New Delhi for over a decade, working as a publisher and editor for a variety of national and international publishing houses. She is currently commissioning editor with Young Zubaan.
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.
A thick mist envelopes an isolated house and a cottage atop a hill. Raseel, looking out from the verandah of the house, watches the mist as it covers first the plants, then the trees and finally the house. Suddenly it parts, and three men come into view, furtive, quick. Then they're gone. Minutes later, Raseel hears the sound of shots. Then there is silence.
The reader is pulled into Bijoya Sawian's tense and dramatic story of the strange death of a dkhar, an outsider, in the beautiful hill town of Shillong in northeastern India. Why was he killed? Who are the killers? Are they known to the housekeeper and driver? As she begins to unravel this mystery, Raseel finds herself caught in a tale of intrigue and violence that mirrors the world of insurgency around her. In lyrical, haunting prose, Bijoya Sawian paints a dark, threatening picture and shows how violence has tainted the very fabric of everyday life in a place that was once peaceful, untroubled and calm.
When nine-year-old Ayman arrives in Hyderabad in the early 1950s to come and live at the Hussaini Alam House, she little realizes that the house, and its many inmates, will come to haunt her life and shape her destiny as she grows to become a woman. The house is ruled over by her grandfather, a dignified despot, whom everyone but Ayman, her mother and sister, call 'Sarkar' (master). Her mother, 'the eternal rebel,' is irreverent, progressive and a communist: a bomb waiting to explode. Ayman herself alternates between being the 'ugly duckling' of the house and its little princess. Huma Kidwai's sensitive and vivid portraits of the characters who teem around the House, offer a window into the customs and mores of a traditional Hyderabadi Muslim family. Narrated by the 40-year-old Ayman as she recalls the events of her past, The Hussaini Alam House is an elegy to a vanished way of life, a lovesong to the people she has loved and lost, and a psychologically nuanced portrait of the women of the household as they tread a fine line between society's expectations and their own yearning for freedom.
Published in March of 1899, Muhammad Hadi Ruswa's famous novel Umrao Jaan Ada created a sensation when it came out, with its candid account of the life of Umrao Jaan, a semi-fictional, possibly real, Lucknow courtesan. Subsequent translations and films based on the book have further extended the fame of both the book and Umrao, the character.
What is less known, however, is that a month after he wrote Umrao Jaan Ada, Ruswa penned a short text, a novella entitled Junun-e-Intezar (The Madness of Waiting, April 1899) in which Umrao avenges herself on her creator, Ruswa, by narrating the story of his life.
Blurring the lines between truth and fiction, narrator and character, this clever narrative strategy gives the courtesan a speaking voice. While Umrao Jaan Ada, continues to evoke interest, this paratext has been completely forgotten. Here, translators and editors Krupa Shandilya and Taimoor Shahid, one a scholar from India and the other from Pakistan, attempt to redress this with their translation of Ruswa's novella and their critical introduction which rethinks Umrao Jaan Ada and the Urdu literary milieu of late nineteenth-century Lucknow.
This book contains both the Urdu text (in facsimile) and its translation for the bilingual reader.
Twelve short stories about everyday life and the political realities of Assam.
“My stories,” says the author, “are a lot about darkness but they are also about the small sparks of light that occasionally dispel the demons in our souls.”
In this collection, a doctor’s comfortable existence in a tea estate is rudely shattered by violent conflict, a daughter reflects on the failure of her parents’ inter-religious marriage, and children discover how shockingly little time it takes to go from joking to being thrown headlong into bloody carnage.
Sharp and eloquent, Uddipana Goswami’s stories bring into harsh focus how interwoven political violence is with everyday life.
This simple, charming picture book introduces youngsters to the importance of taking care of their own bodies. From simple tips on hygiene to an empowering message of personal safety, Shruti Singhal’s visuals and text provide perfect reading material for talking about health, safety, emotional and physical well-being with very young children.
Set in late 19th century Assam, The Bronze Sword of Tengphakhri Tehsildar is the heroic tale of a Bodo freedom fighter who was, arguably, the first woman revenue collector in British India. It was Indira Goswami's last work of fiction and this is the first-ever English edition, powerfully and sensitively translated from the Assamese by Aruni Kashyap.
"Indira Goswami is one of the pre-eminent literary figures in India and a woman of remarkable courage and conviction... She has also been an important voice in championing women's causes, and has done much to highlight the plight of widows. [She] is one of those rare figures whose achievements as a writer are closely paralleled by their accomplishments as a social and political activist." - Amitav Ghosh
The Blue-necked God (Nilakantha Braja), published in 1976, is one of Indira Goswami's early novels and the first time that a writer highlighted the exploitation and poverty of widows, dumped in a 'sacred' city to eke out their days in prayer by uncaring, callous families under the guise of religious sanction and tradition. It was a book that raised many eyebrows when it was first published for this amazing narrative combined fact and fiction, autobiography and reflection in a fascinating mix as she tried to depict the confusion and the mental agony she herself experienced after the death of her husband through her character Saudamini. The physical, emotional, financial deprivation faced by the young widow has been woven into a perceptive text that drew on the author's own research and experiences as she roamed the streets of Vrindavan and exposed, for the first time, the uglier side of the city and its traditions.
"Indira Goswami is one of the pre-eminent literary figures in India and a woman of remarkable courage and conviction... She has also been an important voice in championing women's causes, and has done much to highlight the plight of widows. [She] is one of those rare figures whose achievements as a writer are closely paralleled by their accomplishments as a social and political activist." -- Amitav Ghosh
This touching and at times harrowing glimpse into the conflict-ridden Nagaland is now available in a brand new paperback edition as part of the Zubaan Classics series to celebrate Zubaan's 10th anniversary. More than half a century of bloodshed has marked the history of the Naga people who live in the troubled northeastern region of India. Their struggle for an independent Nagaland and their continuing search for identity provides the backdrop for the stories that make up this unusual collection. Describing how ordinary people cope with violence, how they negotiate power, and force, how they seek and find safe spaces and enjoyment in the midst of terror, the author details a way of life under threat from the forces of modernization and war.
No one -- the young, the old, the ordinary housewife, the willing partner, the militant who takes to the gun, and the young woman who sings even as she is being raped -- is untouched by the violence. Theirs are the stories that form the subtext of the struggles that lie at the internal fault lines of the Indian nation-state. These are stories that speak movingly of home, country, nation, nationality, identity, and direct the reader to the urgency of the issues that lie at their heart.
Temsula Ao is the Dean, School of Humanities and Education, North Eastern Hill University, Shillong.
"Temsula Ao, like many of her predecessors has successfully described the experiences of her people. The struggle for freedom and the search for identity have been discussed by many writers and these are pivotal themes of those who had to pay a heavy price for freedom. To this end Temsula Ao must be praised for her successful attempt." -- Shagufta Yasmeen, Dawn
A lone hunter, Vilie, sets out to find the river of his dreams: to wrest from its sleeping waters a stone that will give him untold power. It is a dangerous quest, for not only must he overcome unquiet spirits, vengeful sorceresses and daemons of the forest, there are men – armed with guns – on his trail.
Easterine Kire’s novel transports the reader to the remote mountains of Nagaland, a place alive with natural wonder and supernatural enchantment. As Vilie treks through the forest on the trail of his dream, we are also swept along in this powerful narrative and walk alongside him in a world where the spirits are every bit as real as men and women, and where danger – or salvation – lies at every turn.
Kire’s powerful narrative invites us into the lives and hearts of the people of Nagaland: the rituals and beliefs, their reverence for the land, their close-knit communities – the rhythms of a life lived in harmony with their natural surroundings. It is against this spellbinding backdrop that Kire tells the story of a solitary man driven by the mysterious pull of a dream, who must overcome weretigers and malignant widow-spirits in the search for his heart’s desire.
“...reminiscent of Marquez’s magic realism and Leslie Silko’s Native-American story-telling. At the end, though, this is a Naga story, unmistakably so, in its sense of place,
time, and oral traditions.”
Paulus Pimomo, Central Washington University, USA
"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.
Amolik Dey is Everyman. A teacher with a young wife and son, he is dedicated to taking care of his family yet cannot turn a blind eye to the inequalities he sees around him. Torn between his wife's desire for a 'normal' life and his own passion for fighting injustice, he endangers both himself and his family with his increasing militancy. rnrnSet in a small town in the Bengal of the 1960s and 70s, this is a story of unrest and rebellion. It is a time of great upheaval, of violence and agitations, and the author subtly weaves in how the political tensions that threaten to overwhelm the state also impact the ordinary lives of this one family, destroying their world. From Naxalite uprisings which bring brutal conflict to those places that have been ignored by the political mainstream, to the complexities of class and gender, and the post-colonial hangover of a newly independent people, this gritty novel sensitively portrays a town and a people who have one foot in the past and one foot tentatively in the present.
A woman haunted by the wind. A land where ghosts speak for the voiceless. A washer of the dead who begins to hear them speak...These are the stories of the unquiet. Women whisper through this collection. They voice their loves, lives, fears and yearnings. To label this collection as 'ghost stories' or 'feminist stories' is to miss the nuances and range of female experience. As ghost stories they make you look uneasily over your shoulder, as female narrative they stun you with the power of their keen insight. Whimsical, terrifying and compelling, these powerful and haunting tales about our commonplace fears and tragedies provide a scathing commentary on the lives of women in India and are universal in their appeal.
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.
It has been ten years since Ram's return from fallen Lanka. Ayodhya is shining. Ayodhya is prosperous. But darkness lurks at the heart of the victrorious regime. A pointed question piques a young journalist's curiousity: What happened to Sita? Where is Ram's absent wife whose abduction triggered the war with Lanka?
And so begins the journalist's search for the missing queen. Soon her investigation attracts the notice of Ayodhya's all-powerful secret police and its mysterious head, the Washerman. Forced to flee Ayodhya, the journalist makes her way through a war-devastated Lanka in search of answers.
In this stylish speculative thriller, Samhita Arni skilfully combines her love for mythology with riveting storytelling.
"Pacy, gritty and very clever." -- Samit Basu
"Of late, a jungle of mythological retellings seems to have sprouted on Indian bookshelves. But this highly original take by Samhita Arni is a rare exception. A refreshing even radical revisiting brings new insights while providing a thrilling read." -- Ashok Banker
"Samhita Arni started telling stories from the Mahabharata, in an enchanting way, to her grandmother. And here she gets entangled at the same time in the Ramayana and today's world." --Roberto Calasso
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.
Author-artist Manjula Padmanabhan returns with ten stories: five new, five old, some dark, some funny, all edgy.
A vampire visits New Delhi, a space traveller returns to her ancestral home, a character from an ancient epic is transported into the future... To each story Padmanabhan brings an unexpected twist, a touch of satire, a whiff of cynicism, a delicious undercurrent of dark humour.
Drawing on her earlier, highly acclaimed anthology, Hot Death Cold Soup, and adding new stories to it, Padmanabhan presents a potent and sometimes disturbing collection that will leave readers asking for more.
"She revels in the macabre, pushes the envelope on the extreme... Her stories and plays work so masterfully on so many levels?as twist-in-the-tale page-turners, as on-the-edge adventures, as miniature theatres of the absurd that the reader's imagination plays almost as singular a part in them as the writer's." -- Sumana Mukherjee, The Hindu
"The best thing about these stories is their momentum, their narrative drive. You keep turning the pages and there is always a pay-off at the end.... Hot Death, Cold Soup not only stays afloat, it fairly zips along, it flies." -- Mukul Kesavan, Outlook
"Padmanabhan is aware of the fact that a story can grab a reader with the use of humour. But the hooks sink in when even the farfetched sounds plausible?That is her real strength ? to make the reader feel comfortable, and still keep him guessing." -- Arun Katiyar, India Today
“…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.
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