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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.
The body as social and cultural text provides a rich site for creative experimentation in this collection of short stories by contemporary women writers of South Asia. In a world that tends to equate the body with biology, and femininity with the reproductive function, these writers from Bangladesh, Bhutan, India, Nepal, Pakistan and Sri Lanka interrogate these assumptions and reinscribe the body as a source of resistance and self-empowerment. Identity, history, myth, scientific experiment, social heirarchies, sexuality, nationalism, violence, ethics and ecology are interwoven issues for which the body in these stories becomes a powerful signifier. Together, these bodymaps chart a subversive female geography that startles with its boldly inclusive vision.
Radha Chakravary teaches English at Gargi College, University of Delhi. She translates major Bengali writers such as Mahasweta Devi, Rabindranath Tagore and Bankimchandra into English. She was nominated for the Crossword Translation Award (2004) and received the Dr Radhakrishnan Memorial Award in 2006.
Contributors: Indira Goswami, Amrita Pritam, Bhuwan Dhungana, Ismat Chughtai, Mahasweta Devi, Ambai, Yashodhara Mishra, Kunzang Choden, Kathleen Jayawardene, Manjula Padmanabhan, Selina Hossain, Asha Kardaley, Easterine Iralu, Zaheda Hina and Kamala Das. The translators include Hina Nandrajog, Manjushree Thapa, Anjana Srivastava, Lakshmi Holmstrom, Mahasweta Baxipatra, Vijita Fernando, Keerti Ramachandra, Muhammad Umar Memon, V.C. Harris and C.K. Mohamed Ummer.
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.
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.
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
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.
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
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.
"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
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.
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.
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.
At twenty-one, Deen is dismayed by the poverty around him and trapped in negativity. Alienated from family and society, heroin is his drug of choice.
Deen and his partner in crime, AJ, ride high on acid and amphetamines, philosophize in the university canteen, party in a politician’s posh pad and contemplate God at a roadside tea stall. From Maria, a chemically imbalanced diva, to a rickshaw-walla who reflects on the importance of positive energy, to a group of fakirs who sing about love, and a detective who has his own take on addiction, the characters in Shazia Omar’s debut novel crackle with life.
They represent the despair, hopes and aspirations of a generation struggling to survive in the harsh realities of life in modern Dhaka. Hard-hitting and intensely moving, this is an extraordinary novel, and one that is destined to launch Omar as a major contemporary voice from South Asia.
"Shazia Omar's energetic debut novel heralds a new voice in Bangaldeshi fiction. Located in the urban chaos of Dhaka city, Like a Diamond in the Sky shines a light on the crime, drug addiction, love, and loneliness at the heart of the modern metropolis."- TAHMIMA ANAM, author of A Golden Age
It has been ten years since Ram's return from fallen Lanka. Ayodhya is shining. Ayodhya is prosperous. But darkness lurks at the heart of the victrorious regime. A pointed question piques a young journalist's curiousity: What happened to Sita? Where is Ram's absent wife whose abduction triggered the war with Lanka?
And so begins the journalist's search for the missing queen. Soon her investigation attracts the notice of Ayodhya's all-powerful secret police and its mysterious head, the Washerman. Forced to flee Ayodhya, the journalist makes her way through a war-devastated Lanka in search of answers.
In this stylish speculative thriller, Samhita Arni skilfully combines her love for mythology with riveting storytelling.
"Pacy, gritty and very clever." -- Samit Basu
"Of late, a jungle of mythological retellings seems to have sprouted on Indian bookshelves. But this highly original take by Samhita Arni is a rare exception. A refreshing even radical revisiting brings new insights while providing a thrilling read." -- Ashok Banker
"Samhita Arni started telling stories from the Mahabharata, in an enchanting way, to her grandmother. And here she gets entangled at the same time in the Ramayana and today's world." --Roberto Calasso
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.
East is East and West is West, but the twain meet with a crash in Gurgaon - the epicentre of the outsourcing revolution in India, where thousands of the country's youth live with their bodyclocks set to US time zones and their cultural antennae pointing west. Into this maelstrom walk three very different young women:
Ayra, the golden girl: with a high profile job and a fancy title, everything seems to be going her way, until she finds herself at the helm of what could be the worst disaster of her career,
Shivaa, the perfect housewife turned desperate career woman who has to fight life, marriage and her irrational new boss to make sense of her existence, and
Sara, the shy college graduate turned spunky office-goer, who is willing to risk it all rather than be pushed into an early marriage by her anxious parents.
Debut author, Shruti Saxena weaves a very modern fairytale of professional jealousy and ruthless manipulation, heroic victories and egoistic cowardice, unfulfilled dreams and desires and raw, unadulterated ambition as seen though the eyes of these three extraordinary woman and the men who love them.
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.
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.
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.
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.
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.
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