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Narrated in the intimate anger of a young woman's journal-keeping voice, this novel explores the politics of sex and class through the lives of women compelled to live their lives in the seclusion of the inner courtyard or aangan. Set in the thirties India, Inner Courtyard is the story of a dystopic home where the battles of the world are played out. Based on the interiority of women's lives it explores realpolitik through the personal and political affiliations of one family.
A man lies dying tended by his two daughters. A strangely absent presence, their father has dictated the shape of their lives -- sometimes distorting and at others shaping their hopes, ambitions and desires. To these two narrative strands, Belinder Dhanoa adds a third, that of the girls' mother - a strong and single-minded woman, who defies society's expectations of how a woman should behave.
Set partly in Shillong and partly in the Punjab, Belinder Dhanoa's novel is not only an insightful study of the pressures of living in a patriarchal society, but also a moving account of the complexities of family loyalties, betrayals and love.
It is now widely recognized that gender analysis has both challenged and enriched many of the standard assumptions and concepts that inform economic analysis of different kinds, whether to do with paid work or unpaid work, peasant studies, care labour and many other areas. Despite this, changes in economic policies have been few and far between, and most do not translate into women-friendly economics policies. Nor have the important contributions of women's studies research to the field of economics- been given its due importance or recognition.
This collection of essays by some of the best known academics and practitioners in the fields of economics, women's studies and development, examine a wide range of areas in which women's studies has made crucial contribution. They look at the market, the money economy, at the development policies, at water rights and at macroeconomics methodologies, in order to address the question of gender matters. Together they bring new insights and new approaches to the question of how a gender analysis of macroeconomic policies needs to be given wider acceptance and to be integrated into policies and planning. Accessibly written and rigorously researched, this book will be useful for academic and general readers, and for those in the related fields of economics, development and gender studies.
"At various levels, from the city to the institutions and from the neighborhood to the dwelling, the ideal and the real about the social relationship between men and women is expressed in the built form. Cultural rules govern the use of space and codes regulate behavior between genders.
This book examines the role of women as consumers and creators of the built space and focuses particularly on India and parts of South Asia. The essays included here explore the gender perspective from various angles. They cover a wide range of issues such as domesticity and home, women laborers and construction work, the practice of architecture, education in general and in schools of architecture, women and leisure as well as women's relationship to the public sphere and housing in the vernacular mode."
After the success of These Hills Called Home and Once Upon a Life, Temsula Ao returns to her beloved Nagaland to bring readers the beautifully crafted story of Aosenla, a woman who is coming to terms with herself. The novel opens on a typical summer afternoon that soon turns into another oppressive evening. Aosenla sits listening to her children playing nearby and is seized by a great lethargy. As she casts a watchful gaze over the house she has called home for so many years, Aosenla wonders how an inanimate structure like a house can exercise such power over a human being.
Looking down at a wedding invitation in her hands, Aosenla begins to recall her own wedding many years ago, initiating a deep and moving reflection on the life that others made for her and the life that she eventually created for herself.
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 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.
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.
In 1970s Karachi, where violence and political and social uncertainty are on the rise, a talented painter, Tahira, tries to hold her life together as it shatters around her. Her marriage is quickly revealed to be a trap from which there appears no escape. Accustomed to the company of her brother Waseem and friends, Andaleep and Safdar, who are activists, writers and thinkers, Tahira struggles to adapt to her new world of stifling conformity and to fight for her identity as a woman and an artist.
Tragedy strikes when her brother and friends are caught up in the cynically repressive regime. Faced with loss and injustice, she embarks upon a series of paintings entitled ‘The Empty Room’, filling the blank canvases with vivid colour and light.
Elegant, poetic, and powerful, The Empty Room is an important addition to contemporary Pakistani literature, a moving portrait of life in Karachi at a pivotal moment in the nation’s history, and a powerful meditation on art and the dilemmas faced by women who must find their own creative path in hostile conditions.
"‘Regret is only one kind of torment in a world generous with pain’, writes Sadia Abbas. In her debut novel, regret and pain appear in light, luminous hues as the story of a new nation, struggling to retain its democratic resolve, is enmeshed with the story of a rocky marriage. The courage, wit and capacity for love displayed by the characters are sure to linger long after the last chapter has been read."
— Annie Zaidi, author of Gulab and Love Stories #1-14
"A gripping and wonderfully observed account of domestic life and its many perils in Pakistan's early decades. The portrait of a marriage set in the minefield of an extended family, this novel offers us an extraordinarily nuanced view of a woman's life."
— Faisal Devji, author of The Impossible Indian: Gandhi and The Temptation of Violence
"The personal and the political come together in this tale of a nation and a young, newly-married woman, as they push against horizons, stretch boundaries and make painful self-discoveries."
— Rakhshanda Jalil, writer and translator
Sadia Abbas grew up in Pakistan and Singapore. She received her PhD in English literature from Brown University, and she teaches in the English Department at Rutgers University-Newark. Sadia is Adjunct Professor at the Stavros Niarchos Center for Hellenic Studies at Simon Fraser University. She loves long walks, the Mediterranean and, indiscriminately, all sorts of films.
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
This volume documents the focus on the widow, regarded as the dark half of womankind in tradition, the structural counterpart of the sumangali or the auspicious married woman, and to provide an archive on widowhood. The archive comprises prescriptions, injunctions, laws and other accounts dating back to the 5th century BC from Sanskrit texts as well as extracts from official documents, pamphlets and essays in many languages, published in the 19th and 20th centuries. The material is arranged in three parts: documents, personal narratives and creative writing in an attempt to capture the complexities of the experience of widowhood, its diversity and range across India. With the emergence of the women's movement in the last quarter of the 20th century, the terms of analysis have changed and feminist inspired scholarship has raised new questions. In the anthology the widow comes across not just as a passive 'pitiable' object, oppressed, victimised and patronised but as an active resisting survivor - it is this last image that stays with the reader.
Avinuo Kire is a fresh, young voice from Nagaland, in India's northeast.
In "The Power to forgive", the title story of this strong collection. Avinuo Kire tells the moving story of a rape survivor who, at the threshold of a new life, looks back on the incident that has shaped nearly two decades of her life and wonders if she made the right choice.
Called from folk and tribal traditions of Naga life, Kire's stories take us into a world where spirits converse with humans, unsuspecting people are drawn into the movement for Naga independence, a man dies quietly of cancer, a mother wonders if she did the right thing in giving her child a name different from the one she intended...
With insight and compassion, Avinuo Kire draws fine portraits of ordinary people in Naga society.
Set in late 19th century Assam, The Bronze Sword of Tengphakhri Tehsildar is the heroic tale of a Bodo freedom fighter who was, arguably, the first woman revenue collector in British India. It was Indira Goswami's last work of fiction and this is the first-ever English edition, powerfully and sensitively translated from the Assamese by Aruni Kashyap.
"Indira Goswami is one of the pre-eminent literary figures in India and a woman of remarkable courage and conviction... She has also been an important voice in championing women's causes, and has done much to highlight the plight of widows. [She] is one of those rare figures whose achievements as a writer are closely paralleled by their accomplishments as a social and political activist." - Amitav Ghosh
Twelve-year-old Sarojini’s best friend, Amir, might not be her best friend any more. Ever since Amir moved out of the slum and started going to a posh private school, it seems like he and Sarojini have nothing in common. Then Sarojini finds out about the Right to Education, a law that might help her get a free seat at Amir’s school – or, better yet, convince him to come back to a new and improved version of the government school they went to together. As she struggles to keep her best friend, Sarojini gets help from some unexpected characters, including Deepti, a feisty classmate who lives at a construction site; Vimala Madam, a human rights lawyer who might also be an evil genius; and Mrs. Sarojini Naidu, a long-dead freedom fighter who becomes Sarojini’s secret pen pal. Told through letters to Mrs. Naidu, this is the story of how Sarojini learns to fight – for her friendship, her family, and her future.
Funny, sensitively-told and easy to relate to, this novel is perfect for YA fans who want to see a strong, flawed, compassionate brown girl at the centre of the stories they read.
A woman haunted by the wind. A land where ghosts speak for the voiceless. A washer of the dead who begins to hear them speak...These are the stories of the unquiet. Women whisper through this collection. They voice their loves, lives, fears and yearnings. To label this collection as 'ghost stories' or 'feminist stories' is to miss the nuances and range of female experience. As ghost stories they make you look uneasily over your shoulder, as female narrative they stun you with the power of their keen insight. Whimsical, terrifying and compelling, these powerful and haunting tales about our commonplace fears and tragedies provide a scathing commentary on the lives of women in India and are universal in their appeal.
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.
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.
A great resource for teaching children about good touch/bad touch and consent.
"Drawing from field research in Cameroon, Ghana, Viet Nam and the Amazon forests of South America, this book explores the relationship between gender and land, revealing the workings of global capital and of people's responses to it.
A central theme is the people's resistance to global forces, frequently through an insistence on the uniqueness of their livelihoods.
The book addresses a gap in the literature on land tenure and gender in developing countries. It raises new questions about the process of globalization, particularly about who the actors are (local people, the state, NGOs, multinational companies) and the shifting relations among them. The book also challenges the very concepts of gender, land and globalization. "
Dzodzi Tsikata is a senior Research Fellow at Institute of Statistical, Social and Economic Research(ISSER) and Deputy Head of the Centre for Gender Studies and Advocacy (CEGENSA) at the University of Ghana. Her research interests are the areas of gender and livelihoods, gender and development policy and practice, land and resources tenure reforms. She has several publications on these subjects including a book, Living in the Shadow of the Large Dams: Long Term Responses of Lakeside and Downstream Communities of Ghana's Volta River Project(2006).
Pamela Gholah worked as Program Officer with the Women's Rights and Citizenship Program at the International Development Research Centre, Canada. In 2009, she joined the Research and Evaluation Branch at Citizenship and Immigration Canada as a Policy and Research Analyst.
'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
Very little is known about Aesop who was supposed to have been a slave on the island of Samos in the sixth century BC. It is his fables (and those attributed to him) that have come down to us through the centuries.
In this version, a fabulist from the future, referred to as Sprite, hoicks herself back to his century. “Why didn’t you save the world?” That’s the Sprite’s cry. Aesop, meanwhile, is trying to save his skin, make up his fables and live his life. Given the pitfalls of human nature, are the fables an Instruction Manual for staying out of trouble? What about morals, what about reform, what about the castigation of social evils? Sprite nags and cajoles and begins to wonder how much power a writer really has. The book offers a virtuoso display of how the building blocks of a fable can be used in a variety of ways. It’s witty, it’s satirical and the Sprite herself is a comical figure. But at the end, when she has to return to her own time, that is to our own time and to our broken world, her central question suddenly seems less absurd, and far more urgent.
“Think of the vicious wit of Virginia Woolf, laced with the tender melancholia of Hélène Cixous, spiked with the subtle eroticism of Anaïs Nin.”
— Somak Ghoshal, Livemint
“Her writing is both wry and brave, rooted and uprooting. It is, in fact, as the title suggests fabulous writing.”
—Annie Zaidi, author of Gulab and Love Stories #1-14
“Namjoshi’s radicalism is not simply one of overturning structures, or of arguing for the recognition of women but, in the best practice of feminism, investigates, rethinks and revalues.”
—Robyn Cadwallader, Verity La
Suniti Namjoshi is a poet, a fabulist and a children’s writer who has written over thirty books. A selection of her writings is published in The Fabulous Feminist (Zubaan, 2012). Suki (Zubaan, Penguin India, 2013), a memoir about her beloved cat is both a book about a relationship and an elegy. Her latest work, Foxy Aesop, asks point-blank whether it is the function of writers to save the world. She has recently completed a dramatic sequence, ‘The Dream Book,’ which is based on the dream imagery in The Tempest and is also concerned with saving the world – over and over and over again.
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