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Set in the heady years preceding independence, this is the story of young Binapani growing up in a small Assamese town. Headstrong, stubborn and high-spirited, Binapani is confronted with a world full of confusing questions: why are girls not allowed to study? Why is the nationalist hero, Bullet Kaka hidden away in her grandmother’s shed? Why does Mahendra Barua’s family suffer such humiliation and indignity? Why is the rich Haitha Sarai feted and fawned upon? Why is his daughter tied up and starved in a dark room? Why is the Christian boy, Ratan, an outcaste? Her young mind grapples with countless questions and through it all is the abiding relationship she shares with her old grandmother, Jashodha. Married off to the rich Chaliha whom she has always hated, the ebullient young Bina turns inwards, seeking an inner strength and calm and makes her home ‘an abode of peace’. Arupa Kalita Patangia is one of Assam’s leading, award winning novelists. She has more than ten novels and short story collections to her credit including Mriganabhi (1987) and Millenniumar Sapon (2002). She teaches English at Tangla College, Assam. Ranjita Biswas has translated a number of well-known Bengali and Assamese novels into English.
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
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
* WINNER OF THE 2011 ECONOMIST-CROSSWORD BOOK AWARD FOR TRANSLATION *
A brother and sister visit the unique crater-lake that their dead, estranged mother had written to them about in her letters. A middle-class employee's orderly life turns upside down when his employer holds back his cheque without an explanation. The employees of a forgotten outpost in a sun-baked town threaten mass suicide because they have no hope of survival.
Seventeen is a collection of short stories from among more than 100 of Anita Agnihotri's published short fiction. By turn intense, brittle, angry sad and torn apart in conflict, the stories bring out the different faces of human hardship and explore the India that is still largely unknown. Set in metros and villages, in small-town India and in international suburbia, the stories run the gamut of experiences both everyday and extraordinary. From deeply personal relationships against the backremove of turmoil to intensely social truths told through the unique life of individuals, each of these stories is a picture of human fragility. This is literary craftsmanship at its best.
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.
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.
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.
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.
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.
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
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
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.
In Other Words brings you 14 of the most innovative and adventurous contemporary Indian women writers. The stories in this collection are remarkable not only for this richness of subject and style, but also for the confidence and poise of their writing. All the authors, except two, belong to the post-Independence generation. Their preoccupations range from an observation of the past through the lives of their ancestresses, to that of the present, sparkling, but exquisitely poignant vignette of growing up urban in the 80's. For some, fiction writing- and the short story in particular- is relatively new; each writer approaches the language in which she has chosen to write-English-and the art and craft of fiction writing, with a confidence and panache that is hard to match.
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.
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 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.
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.
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.
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.
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.
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.
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