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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.
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
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.
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
Each story in this anthology testifies to women's many concerns, whether with a way of life, or with being caught inside the four walls of the home, or in a relationship with someone other than the husband, or being caught at the intersection of many forces within a situation of political violence and armed conflict. In one way or another the woman's body becomes a site upon which many battles take place: for control, for power, for progeny, but there is seldom a resolution in which the women remain a mere victim, or more acted upon the acting. Whether she is in the palaces of the gods, or caught in the body of snake, or speaking through the spirit of the countryside which witnessed her rape, the woman's voice is unique, singular and in each story, different. While this gives substance to the cliche that India is a country where many and varied realities exist simultaneously, it gives the lie to the cliche that all women speak with a sameness and a commonality of experience.
Contributors: Vandana Singh, Indira Goswami, Temsula Ao, Mridula Garg, Shama Futehally, Shashi Deshpande, Nayantara Sehgal, Mahasweta Devi, Anjana Appachana, Manjula Padmanabhan, C.S. Lakshmi (Ambai), Bulbul Sharma, Anita Agnihotri, Priya Sarukkai Chabria, Githa Hariharan, Chandrika B.
Urvashi Butalia is a publisher and writer. Co-founder of Kali for Women, India's best-known feminist publisher, and now Director of Zubaan, she is also author of the award winning oral history of Partition, The Other Side of Silence: Voices from the Partition of India. Her other publications include Women and the Hindu Right (co-edited with Tanika Sarkar) and Speaking Peace: Women's Voices from Kashmir (edited).
Rabia is growing up in a conservative community in southern India. One day, she
and her friends sneak off to the pictures. Caught on her return home, Rabia gets a beating from her mother, Zohra, who cries as she beats her daughter into submission. Firdaus is beautiful and of marriageable age. A groom is found for her, a wealthy man who lives abroad. On her wedding night, she takes one look at him and says, 'I’m not going to live with you, don’t touch me!’ Inside their male dominated world, Rabia,
Zohra, Firdaus, and many others make their small rebellions and compromises, friendships are made and broken, families come together and fall apart, and almost imperceptibly change creeps in. Salma’s beautiful, evocative, poetic novel recreates the sometimes suffocating, and sometimes heartbreaking world of Muslim women in southern India. The Hour Past Midnight is translated into English by Lakshmi Holmstrom.
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.
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.
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
This richly descriptive and deeply philosophical novel from Bhutan is now available in a brand new paperback edition as part of the Zubaan Classics series to celebrate Zubaan's 10th anniversary.
As a young girl, Tsomo asks her mother, "Where is the furthest I can travel?"
"Where," her mother responds, "I don't know. Where can a girl travel to?"
Caught in the everyday reality of household life, fifteen-year-old Tsomo is suddenly called upon to travel when her mother dies. She makes her first journey to a faraway village to light the ritual butter lamps in her mother?s memory. Beginning here, her travels take her to distant places, across Bhutan and into India. As she faces the world, a woman alone, Tsomo embarks on what becomes a life journey, in which she begins to find herself, and to grow as a person and a woman.
The first novel by a woman to come out of the Himalayan kingdom of Bhutan, The Circle of Karma, written in English, is rich in detailed descriptions of ritual life. The measured pace of its prose, the many nuances of the story, the different levels at which the narrative works, weave a complex tapestry of life in which the style and content are closely interwoven, each informing and enriching the other.
Kunzang Choden is one of Bhutan's foremost writers. In her early fifties, she has written a number of short stories and has also published collections of folk tales from Bhutan. This is her first novel.
"Kunzang Choden has given us an unforgettable tale of a simple woman's pilgrimage and journey to self-realisation." -- Anna Sujata Mathai, The Hindu
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
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.
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.
“…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.
'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
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.
Lifelines is an enthralling collection of short stories that will take you on some unforgettable journeys - journeys that span continents and decades, transgressing social boundaries and raising ethical dilemmas along the way.
The protagonists of these tales find themselves re-drawing their own destinies as they map their lifelines in unique, often unanticipated ways. The rapidly changing realities of the 21st-century require these individuals to navigate through uncharted waters, in a world increasingly shaped by the forces of globalisation, development and migration. One where the old ways are being challenged as never before, even in the traditionalist heartlands of South Asia.
Lifelines portrays the trials and triumphs of men, women and children who find themselves facing unexpected challenges - and discover that the decisions that they take, for better or worse, have consequences they never envisaged.
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.
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
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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