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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 Hindu Prize for Fiction, 2015.
A lone hunter, Vilie, sets out to find the river of his dreams: to wrest from its sleeping waters a stone that will give him untold power. It is a dangerous quest, for not only must he overcome unquiet spirits, vengeful sorceresses and daemons of the forest, there are men – armed with guns – on his trail. Easterine Kire’s novel transports the reader to the remote mountains of Nagaland, a place alive with natural wonder and supernatural enchantment. As Vilie treks through the forest on the trail of his dream, we are also swept along in this powerful narrative and walk alongside him in a world where the spirits are every bit as real as men and women, and where danger – or salvation – lies at every turn. Kire’s powerful narrative invites us into the lives and hearts of the people of Nagaland: the rituals and beliefs, their reverence for the land, their close-knit communities – the rhythms of a life lived in harmony with their natural surroundings. It is against this spellbinding backdrop that Kire tells the story of a solitary man driven by the mysterious pull of a dream, who must overcome weretigers and malignant widow-spirits in the search for his heart’s desire.
“...reminiscent of Marquez’s magic realism and Leslie Silko’s Native-American story-telling. At the end, though, this is a Naga story, unmistakably so, in its sense of place, time, and oral traditions.”
Paulus Pimomo, Central Washington University, USA
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).
This touching and at times harrowing glimpse into the conflict-ridden Nagaland is now available in a brand new paperback edition as part of the Zubaan Classics series to celebrate Zubaan's 10th anniversary. More than half a century of bloodshed has marked the history of the Naga people who live in the troubled northeastern region of India. Their struggle for an independent Nagaland and their continuing search for identity provides the backdrop for the stories that make up this unusual collection. Describing how ordinary people cope with violence, how they negotiate power, and force, how they seek and find safe spaces and enjoyment in the midst of terror, the author details a way of life under threat from the forces of modernization and war.
No one -- the young, the old, the ordinary housewife, the willing partner, the militant who takes to the gun, and the young woman who sings even as she is being raped -- is untouched by the violence. Theirs are the stories that form the subtext of the struggles that lie at the internal fault lines of the Indian nation-state. These are stories that speak movingly of home, country, nation, nationality, identity, and direct the reader to the urgency of the issues that lie at their heart.
Temsula Ao is the Dean, School of Humanities and Education, North Eastern Hill University, Shillong.
"Temsula Ao, like many of her predecessors has successfully described the experiences of her people. The struggle for freedom and the search for identity have been discussed by many writers and these are pivotal themes of those who had to pay a heavy price for freedom. To this end Temsula Ao must be praised for her successful attempt." -- Shagufta Yasmeen, Dawn
In which an uncast ballot precipitates social embarrassment and recalls a past love, a young housewife finds her kitchen plagued by unabashed canoodling in the flat next door, an aspiring novelist tries to forget near-manslaughter, a schoolgirl discovers the travails of depilation, and, in a locked room, two medieval noblewomen recount the amorous avowals of a young soldier.
There’s also the small matter of a dead camel lying unattended on the streets of Delhi.
These twelve stories explore the unsaid, the unfinished and the misunderstood, the shocks and nuances of love and sexuality, responsibility and ambition, and our tentative attempts to peel away the layers of stories that make up our lives.
“Beautifully precise writing. These stories capture people with such exactitude that you know they must come from a serious student of life. But this is one of those serious books at which you never stop laughing, for Parvati Sharma’s sense of the world is lively, generous and wickedly original.”
— Rana Dasgupta, author of Solo
PLEASE NOTE: This copy is discounted at 70% and is in saleable but not pristine condition. It may show signs of age or wear.
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.
“…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.
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.
"This volume...is unique because it manages to capture the socio-economic reality of the dispossessed masses without sounding didactic or condescending...Agnihotri seems to have done her research and knows what she is talking about...the first person narrative adds an autobiographical element and makes it that much more convincing." -- The Indian Express
Anita Agnihotri is an IAS officer with numerous short stories and two novels to her credit
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.
In this new collection by well- known author Nighat Gandhi, the private worlds of women open themselves up to the reader. Inside their homes are women trapped in a state of continuous limbo, waiting for change; young girls struggling for the ‘purity’ that religion demands of them; new mothers who wonder at the absence of desire. Outside, the seasons change, trees shed their leaves, the sky becomes overcast, sounds float in to them and they wonder about the meaning of life. Each of the stories bring questions for the reader, their nuanced telling and their unsparing truthfulness leave readers with a sense of discomfort as they confront their own demons. Love, longing, loss, aging, survival, hope and self-invention—in other words, life— are what these stories are about.
“A clear-eyed view of life’s innate contradictions”
—Mita Ghose, The Hindu
“Allahabad may just have found her Chekov”
— Irwin Allan Sealy
“Touches of poetry”
— Anjana Basu, Outlook
NIGHAT GANDHI is a mental health counsellor, a mother, a South Asian, queer-feminist, Vipassana meditator, and a student of Taṣawwuf (Sufism). She wrote many of these stories armed with cups of Leo coffee, riddled with self-doubt, and bothered by back pain as a result of spending hours hunched over her laptop, in the comforting company of her two dearest companions, Dodi and Heidu, who snoozed on the floor and kept sleepful watch over her. Waiting is her fourth book.
"A wise and wonderful insight into modern motherhood"" - Farah Khan.
What do you call a feminist who is a mother? A femimom? A mominist? Or just a confused woman balancing the many roles in her life: working professional, mother, wife, daughter...
Meet Tara Mistri, stay-at-home mom and frustrated architect: a baker of biscuits and maker of bricks.
Inspired by and in total awe of the Salk Institute in California, Tara hankers to replicate its clean lines and perfect symmetry in her own life. But with two small children to look after, her set squares and scales are used for scraping plasticine out of the carpet and her career looks like it may remain on the backburner forever. Then, one day, she is offered a job and finds herself on the horns of a dilemma.
Goaded by her own personal demon — a nagging Yakshi who just won’t let her alone — Tara’s struggle to balance life and love, work and playdoh will have readers nodding in recognition, wincing in sympathy and laughing along with her.
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.
A revolutionary take on the classic dystopian science fiction novel, Clone inaugurates a new kind of writing in India. Priya Sarukkai Chabria weaves the tale of a fourteenth-generation clone in twenty-fourth-century India who struggles against imposed amnesia and sexual taboos in a species-depleted world. With resonant and allusive prose, Chabria takes us along as the clone hesitantly navigates through a world rendered unfamiliar by her expanding consciousness. This slow transformation is mirrored in the way both she and her world appear to the reader. The necessary questions Chabria raises revolve around a shared humanity, the necessity of plurality of expression, the wonder of love, and the splendour of difference.
Clone’s adventurous forays into vastly different times, spaces, and consciousness—animal, human, and post-human—build a poetic story about compassion and memory in the midst of all that is grotesque.
Note: A different version of this book was previously published under the title Generation 14.
— Sudipta Dutta, The Financial Times
"A poetic imagination"
— Tim Parks, translator and author
"Ambitious and inventive"
— George Szirtes, translator and poet
— Rashmi Vasudeva, Deccan Herald
Priya Sarukkai Chabria is a writer, poet and translator. She has written several books, including Dialogues and Other Poems, Not Springtime Yet, and Generation 14. She is also the co-author / co-translator of Andal: The Autobiography of a Goddess, published by Zubaan in 2016.
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.
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.
These deceptively simple stories uncover both the complexity and irony of women's lives in Bhutan today. They show how ordinary lives, choices and experiences are both remarkable and poignant. In I am a Small Person, a despised woman uses her femininity as a means to control a man, the young girl in I Won't ask Mother suddenly feels empowered and confident when she makes a decision without consulting her mother.
All the stories take place in rural settings, to which creeping urbanisation brings gradual change, and tensions surface between the new and the old, or the traditional and the modern. For many rural women, being able to connect to the city and all its perceived power and glamour is a very real aspiration. This yearning is exemplified in Look at her Belly Button, where a young woman effortlessly slips out of the role of a farmer to become a 'real Bhutanese' urbanite.
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.
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.
PLEASE NOTE: This copy is discounted at 70% and is in saleable but not pristine condition. It may show signs of age or wear.
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.
PLEASE NOTE: This copy is discounted at 70% and is in saleable but not pristine condition. It may show signs of age or wear.
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