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Ever wondered how to keep your little angel from the negative influences of the world in this challenging time? How to help her grow into a rnresponsible, successful and happy adult you can be proud of? Does it sometimes feel that divine intervention is needed?
Help is at hand in this brilliant new book by the best-selling author, Mridula Agarwal.
In this outstanding book, Farishta flies down from heaven to see for himself how little kids are being brought up, and what is making Almighty so unhappy. What he discovers on his travels surprises and shocks him, but how familiar those scenes are to us! As he moves from home to home, he talks to kids and watches how their moms and dads behave around them. For a divine being, Farishta is thoroughly down-to-earth and the lessons we, as parents, learn through his eyes are invaluable.
The result is a simple, practical set of guiding principles that can help you as a parent understand how to help your child grow in the most positive and successful way possible.
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.
A searing memoir of a political life that took the Telugu literary world by storm.
Well-known as the widow of Kondapalli Seetharamaiah (KS), founder of the Maoist movement in Andhra Pradesh, Koteswaramma’s life spans a tumultuous century of the Independence movement, the Communist insurrection and the Naxalite movement in Andhra Pradesh. A dedicated worker for the Communist Party, she went underground in the difficult years of the late forties, living a secret life, running from safe house to safe house. Throughout, it was the support and companionship of her husband, Seetharamaiah, that gave her strength. And then, everything changed when he deserted her.
Refusing to be cowed down, Koteswaramma rebuilt her life step by painful step. She educated herself, took up a job, raised her grandchildren, wrote poetry and prose and established herself as a thinking person in her own right. This moving memoir is a testimony of her courage and tenacity in the face of overwhelming odds, as well as her understanding of the frailties of human beings and political institutions. That women in India often face incredible suffering is known. That they can fight back and emerge winners is exemplified in Koteswaramma’s life.
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.
"Gulabi Gang! Gulabi Gang!
Watch out, here we come!
Don't try and step out of line
for the Gulabi Gang will win!"
Donning pink saris and holding sticks in their hands, the Gulabi Gang is a threat to every policeman who refuses to file a report on violence against a dalit, every husband who beats up his wife, and every goon who grabs land that does not belong to him. In this recounted autobiographical account, Sampat Pal, the founder and leader of the Gulabi Gang, looks back to trace her journey as a young girl of twelve, forced into child marriage, who later goes on to become the leader of the most feared group of women vigilantes in the country. Her rebellious instinct, fervour for justice and her desire to free women from their everyday oppression led her to organize the women in and around her village in Uttar Pradesh into a gang.
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.
In the early nineteen thirties Ayi Tendulkar, a young journalist from a small town in Maharashtra, travelled to Germany to study. Within a short time he married Eva Schubring, his professor's daughter. Soon after the short-lived marriage broke up, Tendulkar, by now also a well-known journalist in Berlin, met and fell lin love with the filmmaker Thea von Harbou, divorced wife of Fritz Lang, and soon to be Tendulkar's wife.
Many years his senior, Thea became Tendulkar's support and mainstay in Germany, encouraging and supporting him in bringing other young Indian students to the country. Hitler's coming to power put an end to all that, and on Thea von Harbou's advice, Tendulkar returned to India, where he became involved in Gandhi's campaign of non-cooperation with the British and where, with Thea's consent, he soon married Indumati Gunaji, a Gandhian activist.
Caught up in the whirlwind of Gandhi's activism, Indumati and Tendulkar spent several years in Indian prisions, being able to come together as a married couple only after their release -- managing thereby to comply with a condition that Gandhi had put to their marriage, that they remain apart for several years 'to serve the nation?. In this unique account, Indumati and Tendulkar's daughter, Laxmi Tendulkar Dhaul, traces the turbulent lives of her parents and Thea von Harbou against the backremove of Nazi Germany and Gandhi's India, using a wealth of documents, letters, newspaper articles and photographs to piece together the intermeshed histories of two women, the man they loved, their own growing friendship and two countries battling with violence and non-violence, fascism and colonialism.
"Few children are capable of writing about their parents' lives with empathy and clinical precision." --Somak Ghoshal, Live Mint
When Revathi’s powerful memoir, The Truth About Me, first appeared in 2011, it caused a sensation. Readers learned of Revathi’s childhood unease with her male body; her escape from her birth family to a house of hijras (the South Asian generic term for transgender people), and her eventual transition to being the woman she always she knew was. This new book charts her remarkable journey from relative obscurity to becoming India’s leading spokesperson for transgender rights and an inspiration to thousands.
Revathi describes her life, her work in the NGO Sangama, which works with people across a spectrum of gender identities and sexual orientations, and how she rose from office assistant to director in the organization. Today she is an independent activist, theatre person, actor and writer, and works for the rights of transgender persons.
In the second part of the book, Revathi offers the reader insight into one of the least talked about experiences on the gender trajectory, that of being trans men. Calling several female-to-male trans persons her sons, Revathi puts before us their moving, passionate and sometimes tragic stories of marginalisation, courage, resistance and triumph.
An unforgettable book, A Life in Trans Activism will leave the reader questioning the ‘safe’ and ‘comfortable’ binaries of male/female that so many of us take for granted.
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.
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
Toilets, trees and gender? Can there be a connection?
Is there a gender angle to a business story? Is gender in politics only about how many women get elected to parliament? Is osteoporosis a women's disease? Why do more women die in natural disasters?
These are not the questions journalists usually ask when they set out to do their jobs as reporters, sub-editors, photographers of editors. Yet, by not asking, are they missing out on something, perhaps half the story? This is the question this book, edited and written by journalists, for journalists and the lay public interested in media, raises. Through examples from the media, and from their own experience, the contributors explain the concept of gender-sensitive journalism and look at a series of subjects that journalists have to cover - sexual assault, environment, development, business, politics, health, disasters, conflict - and set out a simple way of integrating a gendered lens into day-to-day journalism. Written in a non-academic, accessible style, this book is possibly the first of its kind in India - one that attempts to inject a gender perspective into journalism.
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.
On Feb 6th 2003, Anjum Zamarud Habib, a young woman political activist from Kashmir, was arrested in Delhi and jailed under the Prevention of Terrorism Act (POTA). Her crime? Being in the wrong place at the wrong time. And being the Chairperson of the Muslim Khawateen Markaz and in that capacity, a member of the Hurriyat Conference.
In this passionate and moving account of her days in prison, Anjum Zamarud Habib describes the shock and bewilderment of arrest, the pain of realizing that there is no escape for not days, not weeks, but years, the desperation for contact with the outside world and the sense of deep betrayal at being abandoned by her political comrades. Her story is both a searing indictment of draconian state policies and expedient political practices, and a moving account of one woman's extraordinary life.
"Prisoner No 100 illuminates the darkest corners of Kashmir's political experience. A brilliant critique of patriarchy in politics, a searing tale of the terrible humiliations visited upon political prisoners, a poignant story of a woman who dedicated her life to political change in Kashmir, a passionate love letter to Kashmir. Everyone interested in Kashmir should read it." -- Basharat Peer, author of Curfewed Nights
A true-life ‘rags to riches’ story of the First Lady of Bengali Cinema. Kanan Devi, one of the early singing stars, came into the film world in the silent era and, unlike many others, survived the transition to talkies.
Reduced to working as a domestic help after the death of her father, her life took a dramatic turn when she was offered a film role and, encouraged by her uncle, took it.
In this lively and candid account of her experiences (originally published in 1973 as Shobarey Aami Nomi), Kanan Devi recalls the early days of cinema in Bengal, analysing and comparing conditions of film acting in the early 1930s with what she saw about two or three decades later when she herself was a producer and director, with her own film company, Shrimati Pictures.
This fascinating and unusual story offers not only a different perspective on the growth of the film industry in Bengal, but also a first-hand account of the position of women who came into the public sphere in the early decades of the last century.
In Queer Activism in India, Naisargi N. Dave examines the formation of lesbian communities in India from the 1980s to the early 2000s. Based on ethnographic research conducted with activist organizations in Delhi, a body of letters written by lesbian women, and research with lesbian communities and queer activist groups across the country, Dave studies the everyday practices that constitute queer activism in India.
Dave argues that activism is an ethical practice comprising critique, inven- tion, and relational practice. She investigates the relationship between the ethics of activism and the existing social norms and conditions from which activism emerges. Through her analysis of different networks and institutions, Dave documents how activism oscillates between the potential for new social arrangements and the questions that arise once the activists’ goals have been achieved. Queer Activism in India addresses a relevant and timely phenomenon and makes an important contribution to the anthropology of queer communi- ties, social movements, affect, and ethics.
“The exciting aspect of this book is how Dave draws on the everyday practices of queer activism, in particular lesbian activism in India, to expose the deeply considered and ethical positions that they take. . . . Dave’s book marks a significant contribution to the archive of queer scholarship generally, but more importantly to making visible a postcolonial perspective in this scholarship.” — Ratna Kapur, Journal of Anthropological Research
“A beautifully written ethnography, offering a passionately detailed ethnographic perspective on queer politics, feminism, and social movements in India.” — Kamala Visweswaran, author of Un/common Cultures: Racism and the Rearticulation of Cultural Difference
“Dave’s book, with its anecdotes, observations, and rich endnotes, will no doubt add to our understanding of urban lesbian activism while compelling us to reflect about methods and ethics in the age of “affect.”” — Shohini Ghosh, Journal of Asian Studies
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.
Part memoir, part oral testimony, part eyewitness account, Binodini's The Maharaja's Household provides a unique and engrossingly intimate view of life in the erstwhile royal household of Manipur in northeast India. It brings to life stories of kingdoms long vanished, and is an important addition to the untold histories of the British Raj.
Maharaj Kumari Binodini Devi, who wrote under the single name of Binodini, published The Maharaja's Household as a series of essays between 2002 and 2007 for an avid newspaper reading public in Manipur. Already celebrated across the state for her award-winning novel, short stories, and film scripts, Binodini entranced her readers anew with her stories of royal life, told from a woman's point of view and informed by a deep empathy for the common people in her father's gilded circle.
Elephan hunts, polo matches and Hindu temple performances form the backdrop for palace intrigues, colonial rule and White Rajahs. With gentle humour, piquant obersavations and heartfelt nostalgia, Binodini evokes a lifestyle and era that is now lost. Her book paints a portrait of the household of a king that only a princess - his daughter - could have written.
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. Mengle 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.
'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
With independence, India experienced a dramatic social rupture but also a recuperation of political autonomy and a new sense of optimism that promised opportunities. The country became a crucible for experimentation in modern and utopian architecture with new buildings, cities and museums giving public face to the nation. Indian architects and architectural projects claimed international attention, and a generation of women entered professions such as architecture and design that had previously been closed to them. They emerged as a pronounced political force, and important patrons of art, architecture and public space.
The mid-19th and 20th centuries saw a significant increase in women acting as arbiters of taste and shapers of the built environment. The emerging groups of female designers and female patrons were enabled by new norms for women.
The essays in this volume address these developments, posing the important question : did, and do, women produce art and architecture that reflect a feminine perspective ? How did women, otherwise invisible and denied attention in the public sphere, gain voice? The writers look at these questions through both the political frame of gender as well as through family lineage and dynastic connections, and their importance in women's patronage of the arts.
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.
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