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Kohima, 2007. A young man has been gunned down in cold blood - the latest casualty in the conflict that has scarred the landscape and brutalised the people of Nagaland. Easterine Kire's new novel traces the story of one man's life, from 1937 to the present day. The small incidents of Mose's childhood, his family, the routines and rituals of traditional village life paint an evocative picture of a peaceful way of life, now long-vanished. The coming of a radio into Mose's family?s house marks the beginning of the changes that would connect them to the wider world. They learn of partition, independence, a land called America. Growing up, Mose and his friends become involved in the Naga struggle for Independence, and they are caught in a maelstrom of violence - protest and repression, attacks and reprisals- that ends up ripping communities apart. The herb, bitter wormwood, was traditionally believed to keep bad spirits away. For the Nagas, facing violent struggle all around, it becomes a powerful talisman: "We sure could do with some of that old magic now." Bitter Wormwood gives a poignant insight into the human cost behind the political headlines from one of India's most beautiful and misunderstood regions.
"Easterine Kire is the keeper of her people's memory, their griot. She is a master of the unadorned language that moves because of the power of its evocative simplicity." -- Paul Pimomo
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.
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
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.
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
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
As the monsoon rains wash over the city of Kolkata, four women sit and read and talk in the kitchen of Kailash-- the old mansion of the Chattopadhyays where Uma comes to live after her marriage in the summer of 1962. Her husband's silence about his mother and the childhood tragedy that beckons him from the shadowy landing of Kailash, the embroidered handkerchiefs in an old soap box in her father-in-law's room and the presence of the old, green-eyed Pishi intrigue Uma. But it is only as she begins to read aloud the traditional Chandimangal composed by her husband's grandfather to celebrate the goddess that the smothered stories begin to emerge... The novel weaves in the history of the militant goddess recast as wife, the Portuguese in Bengal, the rise of print and the making of memories from the Swadeshi movement to the turbulent sixties in Bengal as Uma discovers that the foundation of Kailash is not only very deep but also camouflages the stench of death.
In Suki, fabulist Suniti Namjoshi weaves a delightful tapestry from threads of longing, loss, memory, metaphor, and contemplation. The whole picture is a stunning evocation of the love and friendship shared between S and her Super Cat, Suki, a lilac Burmese. Suki suggests that she could be a goddess, and S her high priestess. S declines, but as they discuss the merits of vegetarianism, or the meaning of happiness, or morality, or just daily life, it soon becomes clear that the bond between them is a deep and complex one. The days of Suki's life are figured as leaves, which fall vividly but irrevocably into time's stream and are recollected with a wild tenderness by the grieving S, who learns through the disciplines of meditation how to lose what is most loved.
This beautiful narrative, both memoir and elegy, offers solace and celebration to everyone who has felt the trust that passes between a person and a beloved creature.
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
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.
This delicious spread of short stories is now available in a brand new paperback edition as part of Zubaan Classics series to celebrate Zubaan's 10th anniversary.
A young woman, neglected by her rakish husband, decides to 'kill him with kindness' and stuff him with food, another cooks manically, a third helps herself to money and small knick-knacks from her husband's pockets where she finds the different scents of each of the women he has been with... Along with the husband is the ubiquitous mother-in-law who moves into the newly-married couple's bedroom barely a month after they have set up home. Each vignette is, by turns, funny, poignant, macabre - a delicious spread, showcasing Bulbul Sharma's mastery of the stories small actors and the drama of daily life.
"This slim collection of stories is quite like a methodical cook's masala tray, each ingredient and spice in its proper slot - each story retains its unique flavour while contributing to the main dish and the main dish, need we say, is a veritable feast for the senses" -- Kankana Basu, The Hindu
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.
It was on a sabbatical in England in the late seventies that Suniti Namjoshi discovered feminism - or rather, she discovered that other feminists existed, and many among them shared her thoughts and doubts, her questions and visions.
Since then, she has been writing - fables, poetry, prose autobiography, children's stories - about power, about inequality, about oppression, effectively using the power of language and the literary tradition to expose what she finds absurd and unacceptable.
This new collection brings together in one volume a huge range of Namjoshi's writings, starting with her classic collection, Feminist Fables, and coming right up to her latest work.
"Namjoshi is a fabulist who is never preachy. A feminist who is never humourless. A poet who is never arcane. An intellectual who is never pedantic... Her work points to a deeply internalized radicalism, one that has as much depth as it has edge. Quirky, funny, intellectually agile, capable of making connections between the mundane and the metaphysical, adept at sniffing out the archetypal in the culturally particular, they point to a mind that is as engaged as it is engaging." -- Arundhathi Subramaniam
A Dalit, a Buddhist and a feminist: Urmila Pawar's self-definition as all three identities informs her stories about women who are brave in the face of caste oppression, strong in the face of family pressures, defiant when at the receiving end of insult, and determined when guarding their interests and those of their sisters. Using the classic short story form with its surprise endings to great effect, Pawar brings to life strong and clever women who drive the reader to laughter, anger, tears or despair. Her harsh, sometimes vulgar and hard- hitting language subverts another stereotype - that of the soft-spoken woman writer. Pawar's protagonists may not always be Dalit, and the mood not always one of anger, but caste is never far from the context and informs the subtext of each story. As critic Eleanor Zelliot notes, there is 'tucked in every story, a note about a Buddhist vihara or Dr Ambedkar.... All her stories come from the Dalit world, revealing the great variety of Dalit life now.'
"The book gives a wide range of material on one of the important struggles of feminism in India." -- Gail Omvedt, The Hindu
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
"I was the youngest in a family of five children. I sometimes felt I was an afterthought, and maybe Father and Mother didn't quite know what to do with me. Also, because I was a girl after four boys they never seemed to be sure whether to buy me girls' clothing or let me wear leftover boys' clothing."
Young Dielieno is five years old when she is sent off to live with her disciplinarian grandmother who wants her to grow up to be a good Naga wife and mother. According to Grandmother, girls didn't need an education, they didn't need love and affection or time to play or even a good piece of meat with their gravy! Naturally Dielieno hates her with a vengeance.
This is the evocative tale of a young girl growing up in a traditional society in India's Northeast, which is in the midst of tremendous change.
Easterine Iralu writes about a place and a people that she knows well and is a part of and brings to the storytelling a lyrical beauty which can on occasion chill the reader with its realistic portrayals of the spirits of the dead that inhabit the quiet hills and valleys of Nagaland.
Avinuo Kire is a fresh, young voice from Nagaland, in India's northeast.
In "The Power to forgive", the title story of this strong collection. Avinuo Kire tells the moving story of a rape survivor who, at the threshold of a new life, looks back on the incident that has shaped nearly two decades of her life and wonders if she made the right choice.
Called from folk and tribal traditions of Naga life, Kire's stories take us into a world where spirits converse with humans, unsuspecting people are drawn into the movement for Naga independence, a man dies quietly of cancer, a mother wonders if she did the right thing in giving her child a name different from the one she intended...
With insight and compassion, Avinuo Kire draws fine portraits of ordinary people in Naga society.
December 2012: Tens of thousands of people – women, men, families, young, old, rich, poor – come out onto the streets of towns and cities in India to protest the brutal gang rape and murder of a young medical student in Delhi. For days and months, the protests refuse to die down. People demand change, action, commitment to the ideals of democracy and egalitarianism. And they refuse to be silenced.
Soon, a new law is put in place. More and more people start to report incidents of sexual assault. New conversations, new debates begin: is violence increasing? Are we seeing more of it? Was it previously invisible?
In this bold and brilliant collection of visual stories, fourteen young women respond to the activism and debates on the ground; they negotiate anger, fear, hope, resistance. Created in a week-long workshop, these stories talk to each other as they powerfully describe the fierce determination of the writers/artists to continue the battle for change.
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.
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.
Early twentieth century Madras. In a dark room in the corner of a house, Goutami's mother dies in childbirth. Barely a year old, Goutami, or Goutu as everyone calls her, crawls into the birth-death room, seeing and smelling death, loss, fear -- things she does not then understand but which will mark her for life. A motherless child, a rebellious girl, a headstrong woman who will not deny her sexuality, a fighter for whom lying becomes a strategy for survival: Goutami's search for love leads her to Krishnanand, cousin and ladies' man, suave and practiced, who beds all young cousins before they marry. But life intervenes and Goutami marries Seshadri. Solid, steady, ambitious, a good husband and an adequate father, Seshadri is nonetheless unable to give her one thing she craves: love. The ins and outs of family's relationships. The search for love and a sense of belonging, form the subtext of this beautifully crafted novel by first time novelist Prema Raghunath. In the end for Goutu, as for her lovers, siblings and children, salvation comes from the very stuff of life itself.
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