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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.
First published in Marathi in 1966, this unique novella in free verse tells an age-old story: that of a woman’s deep desire to be a mother
Setting out life as a game in which the moves are predetermined, and yet where rules exist only to be twisted, perhaps negotiated, sometimes even changed, Anuradha Vaidya deftly engages the reader in a sort of play, suggesting a joining of the dots, a connecting of line endings that lead the reader deeper into the story.
As the story traces a relationship that begins with unquestioning love that, over time, transforms into tension and distance, the reader is encouraged to linger, or jump back and forth across stanzas and lines, to navigate, interpret, and savour the beauty of the expression, both in the turn of phrase and the coinage of new words.
The sheer beauty of the almost allegorical imagery of life as a game played on the worldly board by people who are actually pawns, marks every page of this poetic narrative.
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.
In which an uncast ballot precipitates social embarrassment and recalls a past love, a young housewife finds her kitchen plagued by unabashed canoodling in the flat next door, an aspiring novelist tries to forget near-manslaughter, a schoolgirl discovers the travails of depilation, and, in a locked room, two medieval noblewomen recount the amorous avowals of a young soldier.
There’s also the small matter of a dead camel lying unattended on the streets of Delhi.
These twelve stories explore the unsaid, the unfinished and the misunderstood, the shocks and nuances of love and sexuality, responsibility and ambition, and our tentative attempts to peel away the layers of stories that make up our lives.
“Beautifully precise writing. These stories capture people with such exactitude that you know they must come from a serious student of life. But this is one of those serious books at which you never stop laughing, for Parvati Sharma’s sense of the world is lively, generous and wickedly original.”
— Rana Dasgupta, author of Solo
'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
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.
Be transported into dystopian cities and alternate universes.
Hang out with unicorns, cyborgs and pixies.
Learn how to waltz in outer space.
Be amazed and beguiled by a fairy tale with an unexpected twist,
a futuristic take on a TV cooking show,
and a playscript with tentacles.
In other words, get ready for a wild ride!
This collection of sci-fi and fantasy writing, including six graphic stories, showcases twenty of the most exciting writers and artists from India and Australia, in an all-female, all-star line-up!
Samhita Arni, Kuzhali Manickavel, Manjula Padmanabhan, Vandana Singh, Payal Dhar, Anita Roy, Annie Zaidi, Penni Russon, Kate Constable, Isobelle Carmody, Justine Larbalestier, Alyssa Brugman, Kirsty Murray, Margo Lanagan, Priya Kuriyan, Prabha Mallya, Amruta Pail, Lily Mae Martin, Nicki Greenberg and Mandy Ord.
These deceptively simple stories uncover both the complexity and irony of women's lives in Bhutan today. They show how ordinary lives, choices and experiences are both remarkable and poignant. In I am a Small Person, a despised woman uses her femininity as a means to control a man, the young girl in I Won't ask Mother suddenly feels empowered and confident when she makes a decision without consulting her mother.
All the stories take place in rural settings, to which creeping urbanisation brings gradual change, and tensions surface between the new and the old, or the traditional and the modern. For many rural women, being able to connect to the city and all its perceived power and glamour is a very real aspiration. This yearning is exemplified in Look at her Belly Button, where a young woman effortlessly slips out of the role of a farmer to become a 'real Bhutanese' urbanite.
Susan Visvanathan's new work, Phosphorus and Stone is composed in the lucid but subversive style that characterises her feminist writings. In this novella she examines a fishing hamlet from the startling perspectives of the bourgeois enclaves set both in a village called Valli, Kerala, and in the suburbs of Chennai and Bangalore.
This is the story of a young woman and her refusal to be betrayed by death, obsession or love. It engages with the activist concern for the fisherpeople as well as the problematic of middle-class loyalties and the antagonisms of sect and gender. The most complex narrative, in this slim volume, is the apocryphal reading, from a feminist perspective, of Jesus's resurrection.
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
A postman turns up with an unexpected letter one rainy afternoon in Cherrapunji, a letter that will turn fourteen-year-old Saphira’s world upside down.
Dalinia’s life seems perfect, with a successful husband, beautiful children and a well-appointed home. But the arrival of a handsome competitor on the manicured greens of the Shillong golf course brings back a flood of unwanted memories of her troubled past.
Told in a simple, lyrical style, Bijoya Sawian’s collection of ten short stories is not only an enthralling read but, like her debut novel Shadow Men, transports the reader to a place little known to outsiders: Meghalaya.
Strains of love, loss and longing run through all these stories, whose endings are not mere shocks, but revelations. Both her books should be read for a better understanding of India’s Northeast – its communities, its landscape, and in particular, the lives of the women who live there.
“Love, loss and longing are the predominant emotions in these tales. With a touch of Blakesian magic, Sawian’s songs of innocence and experience are lyrical and pantheistic. [The] stories, like vintage wine, have a mature blend of wit and irony, sense and sensibility and the ability to stay with the reader long after the covers are closed.”—Sudipta Bhattacharjee, Telegraph
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.
SHORTLISTED FOR 2007 CROSSWORD BOOK PRIZE
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.
"A classic" -- BIBLIO
"Here is a writer of worth, and worth reading" -- The Hindu
"The delicacy and pungency of her portraits of these characters is very striking, as is her evocation of the provincial milieu of 'the hill-encircled town' in which they live, and against whose ingrained codes they beat their wings" -- Mint
"Compelling" -- Hindustan Times
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.
Set 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.
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.
This magnificent, sprawling novel, a classic of Hindi literature, spans almost an entire century in the lives of several families and generations of Kashmiri Hindus and Muslims. As it opens, Lalli, in her seventh month of pregnancy, is preparing to leave for her married home for the traditional curd ceremony. The constellation of planets is right and the moment is auspicious; it must not be lost. But even as her family prepares for her departure, there is fear in their hearts: storm clouds darken the sky and there is news of political disturbances in the city. Between them, the midwife, Khurshid, and Rehman, the tongawalla, ensure that Lalli is safely brought to her destination, and even that the pots of curd are undisturbed.
As the story unfolds, the ties between Kashmir’s close-knit communities slowly begin to unravel. The politics of religion, and religious identity, take centre stage and begin to spread their insidious poison in people’s lives. At the end of the novel Lalli, now a grandmother, sees a world in which the much-loved Kashmiriyat, a shared and intermeshed heritage, seems little more than a distant memory. A passionate cry for a lost legacy, Chandrakanta’s magnum opus, winner of both the prestigious Vyas Samman and the Mahatma Gandhi Sahitya Samman, is a must-read for those interested in the story and history of Kashmir.
CHANDRAKANTA is one of India’s foremost Hindi writers, with over 50 books to her credit. Her work has been translated into many languages. The English translation of her novel, Ailan Gali Zinda Hai (A Street in Srinagar) was published by Zubaan and shortlisted for the DSC award for literature in 2011. Among Chandrakanta’s many other awards are the prestigious Vyas Samman (2005) and the Mahatama Gandhi Sahitya Samman (2011) as well as the Subramanya Bharathi award.
RANJANA KAUL teaches literature at the University of Delhi and translates from Hindi to English when she can find the time.
Rukmini is married to the District Collector of a small town in Assam, and teaches in the local college. On the surface her life is settled and safe, living in the big beautiful bungalow on the hill above the cremation ground, seemingly untouched by the toil and sufferings of the common folk living 'below’. And yet there is an atmosphere of fear and uncertainty that grips the town each time there is an 'incident’ and this has its repercussions on her life too—for Assam is in the grip of insurgency and it is this thread that runs like a dark river through the novel and forms its plot.
The Assam students’ agitation of the 1970s and 1980s has grown into a full-blown agitation today with kidnappings, extortions, and political instability being the order of the day. The meaninglessness of the violence, the complexities that divide 'them’ and 'us’ and the point at which the two merge are all explored here and the final dénouement is horrifying and yet true–for there can be no other 'end’ to such a tale both in personal and political terms.
Mitra Phukan is a well-known Assamese writer and contributes regularly to prominent English dailies in the North East. She has recently edited a collection of Assamese short stories and published a number of books for children.
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.
In the 1950s, ten-year-old Dayamoyee watches with bewilderment and curiosity as her village, Dighpait, begins to change and people she knows and loves start to pack their belongings and move away. India has been partitioned, and Dighpait has now become part of a new country, (East) Pakistan. Soon, Dayamoyee's aunt, with whom she lives, also begins to prepare to travel across the border, to Hindustan where Dayamoyee's parents, both teachers, have made their home. Forced to leave her beloved home, her friends, and especially their family retainer, Majam, whom she calls Dada, Dayamoyee resolves, on her journey from Pakistan to Hindustan, never to mention the home they have left behind. And so, from childhood to adulthood, from adulthood to middle age, Dayamoyee never speaks of Dighpait. And then, in the early 1990s, she hears of Majam's death and the floodgates of memory open. Sunanda Sikdar's beautiful and moving memoir A Life Long Ago (Dayamoyeer Katha in Bengali) was awarded the Lila Puraskar by Calcutta University in 2008, and the Ananda Puraskar in 2010.
Who is the 'Good Indian Girl?' What does she look like? How does she dress? Is she real -- or is she a myth? In this funny, wicked, touching, irreverent, poignant collection of stories, Annie Zaidi and Smriti Ravindra lift the veil (or sari pallu) on the lives and loves of girls who have been born or raised in the subcontinent. The niceties have to be observed, but the urge to subvert is often overwhelming. As they shimmy down drainpipes at midnight, or steal covert glances at the boys across the street, the real life incidents from which these stories are drawn will ring a bell with any woman who has negotiated the minefield of family love and romantic longing and desire that lies between childhood and womanhood.
Four musicians: a bright, young, aspiring student, two highly respected gurus married to each other, and a globe-trotting star, each deeply immersed in the tradition of Hindustani shastriya sangeet. Their lives intersect in the small mofussil town of Tamulbari on the banks of the Brahmaputra.
Against the backdrop of a magnificent musical heritage and the haunting and timeless ragas that sweep through the pages of this wonderfully evocative novel, Mitra Phukan presents the ambitious sitarist Kaushik Kashyap, already a 'name,' who tours the world with his beautiful Italian student, Nomita, the shy, small-town vocalist, whom Kaushik's parents have chosen for him, Nomita's Guruma, the beautiful, calm Sandhya Senapati, and her husband, the handsome Tridib Barua, who seem to be hiding deep, dark secrets, and Guruma's friendship with the well-known industrialist Deepak Rathod.
As the eventful monsoon months give way to autumn, the characters come to a deeper understanding of themselves even as their lives change dramatically and forever. By turns serious, deeply moving and utterly irreverent, Mitra Phukan's eye for detail, her immense knowledge of Hindustani classical music and her profound understanding of human nature come together in this remarkable novel.
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