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Twelve short stories about everyday life and the political realities of Assam.
“My stories,” says the author, “are a lot about darkness but they are also about the small sparks of light that occasionally dispel the demons in our souls.”
In this collection, a doctor’s comfortable existence in a tea estate is rudely shattered by violent conflict, a daughter reflects on the failure of her parents’ inter-religious marriage, and children discover how shockingly little time it takes to go from joking to being thrown headlong into bloody carnage.
Sharp and eloquent, Uddipana Goswami’s stories bring into harsh focus how interwoven political violence is with everyday life.
In the 1950s, ten-year-old Dayamoyee watches with bewilderment and curiosity as her village, Dighpait, begins to change and people she knows and loves start to pack their belongings and move away. India has been partitioned, and Dighpait has now become part of a new country, (East) Pakistan. Soon, Dayamoyee's aunt, with whom she lives, also begins to prepare to travel across the border, to Hindustan where Dayamoyee's parents, both teachers, have made their home. Forced to leave her beloved home, her friends, and especially their family retainer, Majam, whom she calls Dada, Dayamoyee resolves, on her journey from Pakistan to Hindustan, never to mention the home they have left behind. And so, from childhood to adulthood, from adulthood to middle age, Dayamoyee never speaks of Dighpait. And then, in the early 1990s, she hears of Majam's death and the floodgates of memory open. Sunanda Sikdar's beautiful and moving memoir A Life Long Ago (Dayamoyeer Katha in Bengali) was awarded the Lila Puraskar by Calcutta University in 2008, and the Ananda Puraskar in 2010.
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.
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.
Author-artist Manjula Padmanabhan returns with ten stories: five new, five old, some dark, some funny, all edgy.
A vampire visits New Delhi, a space traveller returns to her ancestral home, a character from an ancient epic is transported into the future... To each story Padmanabhan brings an unexpected twist, a touch of satire, a whiff of cynicism, a delicious undercurrent of dark humour.
Drawing on her earlier, highly acclaimed anthology, Hot Death Cold Soup, and adding new stories to it, Padmanabhan presents a potent and sometimes disturbing collection that will leave readers asking for more.
"She revels in the macabre, pushes the envelope on the extreme... Her stories and plays work so masterfully on so many levels?as twist-in-the-tale page-turners, as on-the-edge adventures, as miniature theatres of the absurd that the reader's imagination plays almost as singular a part in them as the writer's." -- Sumana Mukherjee, The Hindu
"The best thing about these stories is their momentum, their narrative drive. You keep turning the pages and there is always a pay-off at the end.... Hot Death, Cold Soup not only stays afloat, it fairly zips along, it flies." -- Mukul Kesavan, Outlook
"Padmanabhan is aware of the fact that a story can grab a reader with the use of humour. But the hooks sink in when even the farfetched sounds plausible?That is her real strength ? to make the reader feel comfortable, and still keep him guessing." -- Arun Katiyar, India Today
It was on a sabbatical in England in the late seventies that Suniti Namjoshi discovered feminism - or rather, she discovered that other feminists existed, and many among them shared her thoughts and doubts, her questions and visions.
Since then, she has been writing - fables, poetry, prose autobiography, children's stories - about power, about inequality, about oppression, effectively using the power of language and the literary tradition to expose what she finds absurd and unacceptable.
This new collection brings together in one volume a huge range of Namjoshi's writings, starting with her classic collection, Feminist Fables, and coming right up to her latest work.
"Namjoshi is a fabulist who is never preachy. A feminist who is never humourless. A poet who is never arcane. An intellectual who is never pedantic... Her work points to a deeply internalized radicalism, one that has as much depth as it has edge. Quirky, funny, intellectually agile, capable of making connections between the mundane and the metaphysical, adept at sniffing out the archetypal in the culturally particular, they point to a mind that is as engaged as it is engaging." -- Arundhathi Subramaniam
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 long time ago, a young prince, the heir to a great South-Asian kingdom, wielded Siva's mighty bow and won the heart of a brave princess.
The story of what happened next to the married couple, the Ramayana, told and re-told countless times over the centuries, begins where most stories end. The twenty-five stories in Breaking the Bow take a similar courageous leap into the unknown. Inspired by the Ramayana and its cultural importance, the anthology dares to imagine new worlds.
Here you will find magic realist and surreal stories. Robot and cyberpunk stories. Fantasy and science fiction stories. Hard-to-classify stories.
Stories by some of the best writers in contemporary south-Asian fiction, including Abha Dawesar, Rana Dasgupta, Priya Sarukkai Chabria, Tabish Khair, Kuzhali Manickavel, Mary Anne Mohanraj and Manjula Padmanabhan. Stories not only from India, Sri Lanka and Thailand, but also Dubai, Israel, Holland, the United Kingdom, Canada and the United States.
Breaking the Bow is a collection of brilliant, original and beautifully told tales, guaranteed to enlighten and entertain.
All Mrinalini Singh wants, she has. A loving husband, a competent cook, the vague hope of a book deal one day. But when her old roommate Jahanara accuses her of being selfish, Mrinalini is forced to practise altruism on the nearest available target: her maid’s toddler. All this caring doesn’t come easy, though; and it hardly helps that her husband Siddhartha has quit his lucrative job and acquired parental ambitions. Or that Brajeshwar Jha, her upstairs tenant and literary rival, has not only published his book before Mrinalini, but also lampooned her and Siddhartha in it. Close to Home is a wry look at the small compromises, manipulations and sustained self-delusion of young men and women possessed of good fortune... and only looking for good lives.
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
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.
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.
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.
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.
As the monsoon rains wash over the city of Kolkata, four women sit and read and talk in the kitchen of Kailash-- the old mansion of the Chattopadhyays where Uma comes to live after her marriage in the summer of 1962. Her husband's silence about his mother and the childhood tragedy that beckons him from the shadowy landing of Kailash, the embroidered handkerchiefs in an old soap box in her father-in-law's room and the presence of the old, green-eyed Pishi intrigue Uma. But it is only as she begins to read aloud the traditional Chandimangal composed by her husband's grandfather to celebrate the goddess that the smothered stories begin to emerge... The novel weaves in the history of the militant goddess recast as wife, the Portuguese in Bengal, the rise of print and the making of memories from the Swadeshi movement to the turbulent sixties in Bengal as Uma discovers that the foundation of Kailash is not only very deep but also camouflages the stench of death.
Be transported into dystopian cities and alternate universes.
Hang out with unicorns, cyborgs and pixies.
Learn how to waltz in outer space.
Be amazed and beguiled by a fairy tale with an unexpected twist,
a futuristic take on a TV cooking show,
and a playscript with tentacles.
In other words, get ready for a wild ride!
This collection of sci-fi and fantasy writing, including six graphic stories, showcases twenty of the most exciting writers and artists from India and Australia, in an all-female, all-star line-up!
Samhita Arni, Kuzhali Manickavel, Manjula Padmanabhan, Vandana Singh, Payal Dhar, Anita Roy, Annie Zaidi, Penni Russon, Kate Constable, Isobelle Carmody, Justine Larbalestier, Alyssa Brugman, Kirsty Murray, Margo Lanagan, Priya Kuriyan, Prabha Mallya, Amruta Pail, Lily Mae Martin, Nicki Greenberg and Mandy Ord.
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.
SHORTLISTED FOR 2007 CROSSWORD BOOK PRIZE
It's raining in Shillong. Eight-year-old Sophie Das has just realised she is adopted, but there is also the baby kicking inside her mother's stomach whom she's dying to meet. IAS aspirant Aman Moondy is planning a first-of-its-kind Happening and praying the lovely Concordella will come. College lecturer Firdaus Ansari is going to finish her thesis, have a hard talk with her boyfriend, and then get out.
Poetic, funny, tender, Lunatic in my Head is a moving portrait of a small town and of three people joined to each other in an intricate web, determined to break out of their small town destinies.
"A classic" -- BIBLIO
"Here is a writer of worth, and worth reading" -- The Hindu
"The delicacy and pungency of her portraits of these characters is very striking, as is her evocation of the provincial milieu of 'the hill-encircled town' in which they live, and against whose ingrained codes they beat their wings" -- Mint
"Compelling" -- Hindustan Times
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.
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.
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.
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