- About Zubaan
- All projects
- More Information
Loading the content... Loading depends on your connection speed!
Each story in this anthology testifies to women's many concerns, whether with a way of life, or with being caught inside the four walls of the home, or in a relationship with someone other than the husband, or being caught at the intersection of many forces within a situation of political violence and armed conflict. In one way or another the woman's body becomes a site upon which many battles take place: for control, for power, for progeny, but there is seldom a resolution in which the women remain a mere victim, or more acted upon the acting. Whether she is in the palaces of the gods, or caught in the body of snake, or speaking through the spirit of the countryside which witnessed her rape, the woman's voice is unique, singular and in each story, different. While this gives substance to the cliche that India is a country where many and varied realities exist simultaneously, it gives the lie to the cliche that all women speak with a sameness and a commonality of experience.
Contributors: Vandana Singh, Indira Goswami, Temsula Ao, Mridula Garg, Shama Futehally, Shashi Deshpande, Nayantara Sehgal, Mahasweta Devi, Anjana Appachana, Manjula Padmanabhan, C.S. Lakshmi (Ambai), Bulbul Sharma, Anita Agnihotri, Priya Sarukkai Chabria, Githa Hariharan, Chandrika B.
Urvashi Butalia is a publisher and writer. Co-founder of Kali for Women, India's best-known feminist publisher, and now Director of Zubaan, she is also author of the award winning oral history of Partition, The Other Side of Silence: Voices from the Partition of India. Her other publications include Women and the Hindu Right (co-edited with Tanika Sarkar) and Speaking Peace: Women's Voices from Kashmir (edited).
Amolik Dey is Everyman. A teacher with a young wife and son, he is dedicated to taking care of his family yet cannot turn a blind eye to the inequalities he sees around him. Torn between his wife's desire for a 'normal' life and his own passion for fighting injustice, he endangers both himself and his family with his increasing militancy.
Set in a small town in the Bengal of the 1960s and 70s, this is a story of unrest and rebellion. It is a time of great upheaval, of violence and agitations, and the author subtly weaves in how the political tensions that threaten to overwhelm the state also impact the ordinary lives of this one family, destroying their world. From Naxalite uprisings which bring brutal conflict to those places that have been ignored by the political mainstream, to the complexities of class and gender, and the post-colonial hangover of a newly independent people, this gritty novel sensitively portrays a town and a people who have one foot in the past and one foot tentatively in the present.
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.
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.
Set in mid-nineteenth century Assam when the forces of tradition were being challenged by new concepts of modernity, Swarnalata is the story of three women from very different social backgrounds, each caught in the whirlpool of change, each trying to chart her own course in life, heroically, silently. As the intertwined lives of Swarnalata, Tora and Lakhi unfold, the reader is taken on a fascinating journey into the social milieu of the times where issues like women's education and widow remarriage held centre stage. The plight of indentured labour, peasant resistance against colonial exploitation, the reformist initiatives of the Brahmo Samaj and the proselytizing efforts of the Christian missionaries are themes that run through the narrative. Considered one of the finest historical novels in Assamese, where real historical personages - such as Rabindranath Tagore - are presented side by side with fictional characters, Swarnalata provides a wonderful blend of history and fiction. Swarnalata was first published in Asomiya in 1991. It was awarded the Ishan Puraskar by the Bhartiya Bhasha Parishad in 1995 and translated into Bangla and Hindi under the 'Adaan-Pradaan' programme of the National Book Trust. The Asomiya original is now in its fouth edition and has received wide critical acclaim in the last 15 years.
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.
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.
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.
This delicious spread of short stories is now available in a brand new paperback edition as part of Zubaan Classics series to celebrate Zubaan's 10th anniversary.
A young woman, neglected by her rakish husband, decides to 'kill him with kindness' and stuff him with food, another cooks manically, a third helps herself to money and small knick-knacks from her husband's pockets where she finds the different scents of each of the women he has been with... Along with the husband is the ubiquitous mother-in-law who moves into the newly-married couple's bedroom barely a month after they have set up home. Each vignette is, by turns, funny, poignant, macabre - a delicious spread, showcasing Bulbul Sharma's mastery of the stories small actors and the drama of daily life.
"This slim collection of stories is quite like a methodical cook's masala tray, each ingredient and spice in its proper slot - each story retains its unique flavour while contributing to the main dish and the main dish, need we say, is a veritable feast for the senses" -- Kankana Basu, The Hindu
After the success of her collection The Woman Who Thought She Was a Planet, Vandana Singh returns to the short story in Ambiguity Machines. Her deep humanism interplays with her scientific background in stories that consider and celebrate this world and others, with characters who try to make sense of the people they meet, what they see, and the challenges they face. An eleventh century poet wakes to find he is an artificially intelligent companion on a starship. A woman of no account has the ability to look into the past. And in 'Requiem,' a major new novella, a woman goes to Alaska to try and make sense of her aunt’s disappearance.
Examining the revolutionary potential of speculative fiction, Singh dives deep into the vast strangeness of the universe without and within to explore the ways in which we move through space and time: together, yet always apart.
“A delicate touch and passionately humanist sensibilities sweep through this magnificent collection, which ranges from the near future of our world to eras far away in space and time.”
— Publishers Weekly
“Singh is laying the groundwork attempt to re-write the plots of Chosen Ones, dystopian governments, and self-actualizing hero tropes common to Western literature, where the quest for “the meaning of life” is often seeking a single endpoint, an origin. Singh’s characters wish only to know for the sake of knowing. Life isn’t defined by linear time, it is the richness of experience.”
Vandana Singh was born and raised in New Delhi, and currently lives in the United States near Boston, where she professes physics and writes. Her short stories have appeared in numerous venues and several Best of Year anthologies, including the Best American Science Fiction & Fantasy. She is the author of the ALA Notable book Younguncle Comes to Town (Young Zubaan/Puffin India, 2004) and a previous short story collection, The Woman Who Thought She Was a Planet and Other Stories (Zubaan/Penguin India, 2009).
Patriarchy asserts men are superior to women
Feminism clarifies women and men are equal
Queerness questions what constitutes male and female
Queerness isn’t only modern, Western or sexual, says mythologist Devdutt Pattanaik. Take a close look at the vast written and oral traditions in Hinduism, some over two thousand years old, and you will find many overlooked tales, such as those of Shikhandi, who became a man to satisfy her wife; Mahadeva, who became a woman to deliver a devotee’s child; Chudala, who became a man to enlighten her husband; Samavan, who became the wife of his male friend, and many more . . .
Playful and touching—and sometimes disturbing—these stories, when compared with their Mesopotamian, Greek, Chinese and Biblical counterparts, reveal the unique Indian way of making sense of queerness.
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 the mid-nineties, Birjees Dawar Ali returns to Pakistan to seek out a history left unfinished long ago, a history from which, nursing heartbreak and betrayal, she had once earlier fled, back to her home in partitioned India. Will she find the family that so generously gave her succour, the home that became her own, the people who gave her unquestioning love? Or, will all these certainties have fled with the march of history? A deeply moving narrative of love and loss, All Passion Spent focuses on the unresolved question of the 1947 Partition of India and the emergence of India and Pakistan as two separate countries. Zaheda Hina's richly layered narrative brought alive in this lyrical and poetic translation by Neelam Hussain, touches on the many unanswered questions that surround this painful history: the profound sense of grief and displacement, the lives sundered midstream, the lost friendships and the quest for new roots and lands under different skies.
This anthology is not only about what Gujarati women speak, but also what they don’t. In a state that registers increasing cases of violence against women, what kind of truths does its literature embody?
If malestream writing in Gujarat seldom mirrors its everyday truths, do the women risk unpleasantness? Kothari’s introduction builds upon such premises and leads the reader to a trajectory of women writers from the beginning of the twentieth century to the present day, starting with the journal entries of a dancer at the end of the nineteenth century, to the journal entries of an academic woman at the end of the twentieth century. The wide range of stories and fictional excerpts show how Gujarati women inhabit their fictional worlds. The trajectory hints at an imperceptible shift from muffled voices to more candid ways of being, and yet it never loses completely the middle-class genteelness that characterizes literary discourses in Gujarat.
Rita Kothari teaches at St. Xavier’s College, Ahmedabad. Her publications on literary sociology of Gujarat and translation include Translating India, Modern Gujarati Poetry: A Selection, Coral Island: Poems by Niranjan Bhagat, Angaliyat (a Gujarati Dalit novel). Her forthcoming book is Stigmatised Identities: The Sindhis of Gujarat.
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.
Count Jorge was a fabulously wealthy, devastatingly good-looking socialite, a leading figure in the South American city of San Felice. When he is found brutally stabbed to death, it soon becomes clear that ‘polite’ society in San Felice is anything but.
Is the murder linked to the Indian Ambassador, himself a victim of blackmail? Why is his wife, whom he suspects of having an affair with the Count, so apparently unaffected by his death? Who is the young man with the honey-coloured hair who takes the news, by contrast, so terribly badly? As for the Commissioner of Police, he is trying to decide which discovery is the more problematic: the corpse lying on the bed, or the Ambassador’s daughter’s riding boots lying underneath it.
There’s plenty of intrigue, backstabbing (literal as well as metaphorical), gossip and drama to enjoy in Chandralekha Mehta’s sparkling debut novel.
Rukmini is married to the District Collector of a small town in Assam, and teaches in the local college. On the surface her life is settled and safe, living in the big beautiful bungalow on the hill above the cremation ground, seemingly untouched by the toil and sufferings of the common folk living 'below’. And yet there is an atmosphere of fear and uncertainty that grips the town each time there is an 'incident’ and this has its repercussions on her life too—for Assam is in the grip of insurgency and it is this thread that runs like a dark river through the novel and forms its plot.
The Assam students’ agitation of the 1970s and 1980s has grown into a full-blown agitation today with kidnappings, extortions, and political instability being the order of the day. The meaninglessness of the violence, the complexities that divide 'them’ and 'us’ and the point at which the two merge are all explored here and the final dénouement is horrifying and yet true–for there can be no other 'end’ to such a tale both in personal and political terms.
Mitra Phukan is a well-known Assamese writer and contributes regularly to prominent English dailies in the North East. She has recently edited a collection of Assamese short stories and published a number of books for children.
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.
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.
128 B, First Floor
New Delhi 110 049
(Near Slice of Italy, Rangoli Square, round the corner from The Paper Store)
Tel: +91-11-26494613 / 26494618