- About Zubaan
- More Information
Loading the content... Loading depends on your connection speed!
Best known as a young revolutionary who took up arms against the British establishment, Bina Das numbers among the heroes of Indian history - alongside Bhagat Singh, Rajguru, Preetilata Wadedar - who took up arms against the colonisers.
This short memoir movingly recounts the story of her involvement in the shooting of the British Governor of Bengal, Stanley Jackson, at the Annual Convocation Meeting of Calcutta University in 1932, her subsequent incarceration, and her growing involvement in politics.
Despite her importance in Indian history, Bina Das disappeared from public view in later life and is rumoured to have passed away in Rishikesh in early 1997. This account captures the early years of her life and gives insights into the context and history of the times that inspired Bina to take the path that she chose.
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.
The midnight knock on the door and the disappearance of a loved one into the hands of authorities is a 20th-century horror story familiar to many destined to “live in interesting times.” Yet, some stories remain untold. Such is the account of the internment of ethnic Chinese who had settled for many years in northern India. When the Sino-Indian Border War of 1962 broke out, over 2,000 Chinese-Indians were rounded up, placed in local jails, then transported over a thousand miles away to the Deoli internment camp in the Rajasthan Desert.
Born in Calcutta, India, in 1949, and raised in Darjeeling, Yin Marsh was just thirteen years old when first her father was arrested, and then she, her grandmother and her eight-year-old brother were all taken to the Darjeeling Jail, then sent to Deoli. Ironically, Nehru – India’s first Prime Minister and the one who had authorized the mass arrests – had once “done time” in Deoli during India’s war for independence. Yin and her family were assigned to the same bungalow where Nehru had also been unjustly held.
Eventually released, Yin emigrated to America with her mother, attended college, married and raised her own family, even as the emotional trauma remained buried. When her own college-age daughter began to ask questions and when a friend’s wedding would require a return to her homeland, Yin was finally ready to face what had happened to her family.
On a cold February night in 1991, a group of soldiers and officers of the Indian Army pushed their way into two villages in Kashmir, seeking out militants assumed to be hiding there. They pulled the men out of their homes and subjected many to torture, and the women to rape. According to village accounts, as many as 31 women were raped.
Twenty-one years later, in 2012, the rape and murder of a young medical student in Delhi galvanized a protest movement so widespread and deep that it reached all corners of the world. In Kashmir, a group of young women, all in their twenties, were inspired to re-open the Kunan-Poshpora case, to revisit their history and to look at what had happened to the survivors of the 1991 mass rape. Through personal accounts of their journey, this book examines questions of justice, of stigma, of the responsibility of the state, and of the long-term impact of trauma.
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.
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 endearing, witty, self-deprecating memoir documents the life of one of the leading feminists of the contemporary Indian women's movement. Vina Mazumdar, one of the key researchers and writers of the landmark report of the Committee on the Status of Women in India, Towards Equality, here documents her early life, her gradual politicization in a household of liberal, educated Bengalis, and her involvement in women's issues and the women's movement.
Brought up to be outspoken and frank, Vinadi, as she is affectionately known, began by becoming involved in university-led politics in Bihar. Marriage and a young family did not prevent her from pursuing her studies and her career, in the teeth of considerable opposition from relatives but with constant support from her mother. On her return to India, Vinadi first moved into the field of education, and then, with her involvement in the research and writing of Towards Equality, was catapulted into the women's movement. An activist and institution builder, Vinadi set up the Centre for Women's Development Studies in Delhi, one of the leading research and outreach institutions for women in the country. In this rare memoir, Vinadi provides a rich history of the contemporary women's movement in India.
Priya Sarukkai Chabria and Ravi Shankar’s elegant new translations of eighth-century Tamil poet and founding saint Andal, cements her status as the South Indian corollary to Mirabai.
In this one volume is her entire corpus, composed before she apocryphally merged with the idol of her chosen god as a young teenager, leaving behind the still popular song of congregational worship, the Thiruppavai, a collection of thirty pasuram (stanzas) sung for Lord Tirumal (Vishnu) and the much less frequently translated and rapturously erotic Nacchiyar Thirumoli.
Chabria and Shankar employ a radical new method of revitalizing classical verse by shifting it into a contemporary poetic idiom in another language. Some of the hymns are translated collaboratively, others by one or another of the translators, and others separately by each. This kaleidoscopic approach allows the reader multiple perspectives on the rich sonic and philosophical complexity of Andal’s classical Tamil.
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.
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.
'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
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.
Vibrant, dynamic, spirited and forceful. The contemporary women's movement in India, which began in the late 1970s protested against the dark times, the violence and the misogyny. It also colourfully celebrated liberation, solidarity among women and breaking the shackles of patriarchy. It sang, performed and painted, to draw attention to the burning issues of the time: dowry death, widow immolation, acid throwing and rape.
Over the past three decades, the women's movement has matured and broadened to include a gamut of issues related to women's health, sexuality, the environment, literacy, the impact of religion and communalism on women's lives, political participation, labour rights, disability rights, class and caste issues, and many more. Indeed, feminism meant looking at the world through women's eyes.
This book constructs a pictorial history of the complex and multi-layered women's movement through its visual representation: posters, drawings, pamphlets, reports, brochures, stickers, all writing and photographs. The posters reproduced here are part of Zubaan's Poster Women project, which has attempted to locate and archive as many posters of the movement as possible to be able to visually map the women?s movement and its concerns.
The Poster Women archive can be accessed at www.posterwomen.org.
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.
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
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.
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.
A many-layered work of historical reportage, Watercolours draws on the real life story of Dina Gottliebova-Babbitt (1923-2009), a Czech-American artist of Jewish ancestry, who was a prisoner at Auschwitz, and whose story came to light in the late nineties. It was at this time that Gottliebova attempted once more to recover the art she had created in the concentration camp, and which had become the property of the Auschwitz-Birkenau State Museum. The dispute escalated into an international scandal, with the American Department of State and the Polish government becoming involved.
Here, journalist Lidia Ostalowska reconstructs Gottliebova’s time in the camp, while looking also at broader issues of historical memory, trauma, racism and the relationship between the torturer and the victim. In Gottliebova’s case, SS Doctor Josef Mengele took a special interest in her talent, commissioning her to paint portraits (the watercolours of the title) of Roma prisoners. Mengele himself is one of the many characters in this narrative.
Ostalowska draws on hundreds of studies and accounts of the hell of the camps, and tells the story of one woman’s incarceration and her battle for survival, bringing in many other supporting lives. Before she worked for Mengele, Gottliebova had decorated the children’s barracks at Auschwitz with of the Disney film, Snow White and The Seven Dwarves. After the war, she worked as an animator for Warner Brothers and married Walt Disney animator Art Babbitt, the man behind many of the world’s best-known cartoon characters including Goofy and Dumbo. Gottlibova (under the name Dina Babbitt) lived in the California until her death in 2009 at the age of 86.
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
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.
The first full-length autobiography in Bengali, Amar Jiban (My Life) was written in the early nineteenth century by an upper-caste rural housewife named Rashundari Debi. Published in 1868 when she was 88 years old, the book is a fascinating snapshot of life for women in the nineteenth century. Debi, who gave birth to eleven children—her first was born when she was 18-years-old, the last when she was forty-one—ruminates on her very individual understanding of bhakti as well as the new times that were unfolding around her.
Offering a translation of major sections of this remarkable autobiography, Words to Win is a portrait of a woman who wants to compose a life of her own, wishes to present it in the public sphere, and eventually accomplishes just that. The words, in the end, win out. First published in 1999, the book is a must-read for anyone interested in nineteenth-century Indian history. The classic text is reissued here in a new paperback format.
"Sarkar's dissection of the text - the autobiography of an upper-caste East Bengali widow from a family of landlords, who teaches herself to read and write in secrecy as it's a taboo to do so - yields a cracking yarn of social history." -- Pothik Ghosh, Outlook
128 B, First Floor
New Delhi 110 049
(Near Slice of Italy, Rangoli Square, round the corner from The Paper Store)
Tel: +91-11-26494613, 26494617 and 26494618