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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 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.
"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.
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.
'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
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.
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.
This collection of mind-expanding stories is now available in a brand new paperback edition as part of the Zubaan Classics series to celebrate Zubaan's 10th anniversary.
Already a name in the world of science fiction and fantasy writing, Vandana Singh presents her first collection of stories, bringing this unique imagination to a wider audience. In the title story, a woman tells her husband of her curious discovery: that she is inhabited by small alien creatures. In another, a young girl returning home through the streets of Delhi comes across a mysterious tetrahedron: is it a spaceship? Or a secret weapon? Each story in this fabulous collection opens up new vistas -- from outer space to the inner world -- and takes the reader on an incredible journey to both
"A most promising and original young writer" -- Ursula K. LeGuin, author of The Earthsea Trilogy
"I'm looking forward to the collection despite the fact that I haven't actually read that much of Singh's work, or perhaps because of that fact, because everything I've read has impressed me -- the past and future visions in 'Delhi', the intensity of 'Thirst', the feeling of escape at the end of 'The Tetrahedron'..." -- Niall Harrison, Vector (British Science Fiction Association)
"...attracts all the inadequate adjectives reviewers pull out when rendered nearly speechless: beautiful, evocative, mysterious, brilliant, stunning..." -- www.sfsite.com
"...the first writer of Indian origin to make a serious mark in the SF world, ... she writes with such a beguiling touch of the strange." -- Nilanjana Roy, Business Standard
"Singh says that speculative fiction has a 'unique, revolutionary potential'. If so, The Woman Who Thought She Was a Planet is as enjoyable as a revolutionary text you're likely to find." -- Jess McCabe, The F Word.
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.
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.
“…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.
The Sexual Violence and Impunity in South Asia research project (coordinated by Zubaan and supported by the International Development Research Centre) brings together, for the first time in the region, a vast body of knowledge on this important – yet silenced – subject. Six country volumes (one each on Bangladesh, Nepal, Pakistan, Sri Lanka, and two on India) comprising over fifty research papers and two book-length studies detail the histories of sexual violence and look at the systemic, institutional, societal, individual and community structures that work together to perpetuate impunity for perpetrators.
This volume, the second on India, addresses the question of state impunity, suggesting that on the issue of the violation of human and civil rights, and particularly in relation to the question of sexual violence, the state has been an active and collusive partner in creating states of exception, where its own laws can be suspended and the rights of its citizens violated. Drawing on patterns of sexual violence in Kashmir, the Northeast of India, Chhattisgarh, Haryana and Rajasthan, the essays together focus on the long histories of militarization and regions of conflict, as well as the ‘normalized’ histories of caste violence which are rendered invisible because it is convenient to pretend they do not exist. Even as the writers note how heavily the odds are stacked against the victims and survivors of sexual violence, they turn their attention to recent histories of popular protest that have enabled speech. They stress that while this is both crucial and important, it is also necessary to note the absence of sufficient attention to the range of locations where sexual violence is endemic and often ignored. Resistance, speech, the breaking of silence, the surfacing of memory: these, as the writers powerfully argue, are the new weapons in the fight to destroy impunity and hold accountable the perpetrators of sexual violence.
Who is the 'Good Indian Girl?' What does she look like? How does she dress? Is she real -- or is she a myth? In this funny, wicked, touching, irreverent, poignant collection of stories, Annie Zaidi and Smriti Ravindra lift the veil (or sari pallu) on the lives and loves of girls who have been born or raised in the subcontinent. The niceties have to be observed, but the urge to subvert is often overwhelming. As they shimmy down drainpipes at midnight, or steal covert glances at the boys across the street, the real life incidents from which these stories are drawn will ring a bell with any woman who has negotiated the minefield of family love and romantic longing and desire that lies between childhood and womanhood.
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
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.
The Story of Felanee is based on real life events. It is a story of courage, of survival, of ethnic conflict and violence that tears people and communities apart in the most brutal, savage way.
Set in Assam, which has seen two major agitations that have crippled the economy, this is a story that will shock the reader by its sheer passion, and its brutal honesty. The callousness and utter disregard for human life, the ugly play for power, for electoral gain, the sham and petty hypocrisies, the bloody horror of ethnic violence all lie exposed in this powerful novel written by one of Assam’s leading fiction writers.
The story revolves around the experiences of one woman: Felanee. Her name means ‘thrown away’—so called because as her mother lay dying in the burning riot-torn village, Felanee was thrown into a swamp and left to die. But against all odds, Felanee—and thousands like her—survived.
Like the reeds that grow in such profusion along the bank of Assam’s rivers, the rootless inhabitants of the refugee camps and makeshift shanties, whose stories form the core of Felanee, are swept along by the wind and thrown onto new hostile terrain but they cling on with tenacity to take root again and again.
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.
PLEASE NOTE: This copy is discounted at 70% and is in saleable but not pristine condition. It may show signs of age or wear.
Sheba Chhachhi's piece offers an alternative to the visual landscape of Kashmir which, in the popular imagination of people today, is occupied by the ravages of war and countless martyred men. By placing itself as an invitation into a private space that is rarely, if ever, breached by dominant media discourses, this photo-essay highlights the absences in the pictures of carnage that are used to fuel propaganda on both sides of the conflict.
The piece – comprising of a critical essay and a series of personal testimonies which are interspersed with photographs – seeks to bring human figures back into the landscape and give voice to those whose lives have been obscured in the din of a prolonged war. It makes space for the individual in a history of representation that is populated with recurring tropes and warring stereotypes which, Chhachhi argues, depersonalise the Valley and its conflicts. In her work, women are no longer silent victims, they emerge as textured human beings, not only with voices with which to speak, but also with eyes that are wide open. The testimonies have been taken over a period of six years and reflect varying positions, and the interviewees are students and professionals, Muslims and Pandits, teenagers and the aged.
The photographs are extracted from a larger work which was initially presented as a photo-installation by Sheba Chhachhi and Sonia Jabbar. The photo-essay as a whole captures the life and times of women during conflict, including during the attempted implementation of the burqa diktat in the Valley. These individuated women stand out in the frames as they look back at the viewer in more ways than one.
Please note that the photographs contained in this essay have been directly scanned from the printed book due to the non-availability of the originals.
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.
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.
* 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.
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