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A many-layered work of historical reportage, Watercolours draws on the real life story of Dina Gottliebova-Babbitt (1923-2009), a Czech-American artist of Jewish ancestry, who was a prisoner at Auschwitz, and whose story came to light in the late nineties. It was at this time that Gottliebova attempted once more to recover the art she had created in the concentration camp, and which had become the property of the Auschwitz-Birkenau State Museum. The dispute escalated into an international scandal, with the American Department of State and the Polish government becoming involved.
Here, journalist Lidia Ostalowska reconstructs Gottliebova’s time in the camp, while looking also at broader issues of historical memory, trauma, racism and the relationship between the torturer and the victim. In Gottliebova’s case, SS Doctor Josef Mengele took a special interest in her talent, commissioning her to paint portraits (the watercolours of the title) of Roma prisoners. Mengele himself is one of the many characters in this narrative.
Ostalowska draws on hundreds of studies and accounts of the hell of the camps, and tells the story of one woman’s incarceration and her battle for survival, bringing in many other supporting lives. Before she worked for Mengele, Gottliebova had decorated the children’s barracks at Auschwitz with of the Disney film, Snow White and The Seven Dwarves. After the war, she worked as an animator for Warner Brothers and married Walt Disney animator Art Babbitt, the man behind many of the world’s best-known cartoon characters including Goofy and Dumbo. Gottlibova (under the name Dina Babbitt) lived in the California until her death in 2009 at the age of 86.
Hansa Wadkar (born Ratan Bhalchandra) was one of Maharashtra's best known stage and screen personalities. By the time she was married to a much older family friend and impressario when she was just 15 she had already starred in nine or ten movies and was becoming a name in the film world. Supporting her family on her earnings, her brother sick with malaria, and both parents having taken to drink, life was not easy for the young woman. But Hansa was not only beautiful and immensely talented, she was tough, willful, capricious and headstrong.
Her autobiography, published in 1970, created a sensation for its frankness and directness. It was later made into a film, Bhumika, by the well-known director Shyam Benegal and starred Smita Patil in the title role.
July 15, 2004, Imphal (Manipur): An amazing scene unfolds in front of Kangla Fort, the headquarters of the Assam Rifles, a unit of the Indian army. Soldiers and officers watch aghast as twelve women, all in their sixties and seventies, position themselves in front of the gates and then, one by one, strip themselves naked. The imas, the mothers of Manipur, are in a cold fury, protesting the custodial rape and murder, by the army, of Thangjam Manorama, a 32-year-old woman suspected of being a militant. The women hold aloft banners and shout, ‘Indian Army Rape Us’, ‘Take Our Flesh’. Never has this happened before: the army is appalled. Very soon, news of the protest goes viral. People around the country are shocked. Can this be possible? A naked protest in India by mothers?
In this unusual book, journalist Teresa Rehman tells the story of these twelve women, the momentous decision they took, and how they carried it out with precision and care. In doing so she connects the reader to the broader history of conflict-torn Manipur and the courage and resistance of its people, in particular its women.
This story of extraordinary courage and survival is now available in a brand new paperback edition as part of the Zubaan Classics series to celebrate Zubaan's 10th anniversary.
This is the story of Baby Halder, a young woman working as a domestic in a home in Delhi. Hurriedly married off at the age of twelve, a mother by the time she was fourteen, Baby writes movingly and evocatively of her life as a young girl, and later as a young woman. The long absences of her father, the hardships faced by her mother, and her decision to walk out of her marriage, leaving Baby and her sister to manage the household, were the realities that shaped Baby's early life.When marriage came, Baby, still a child, yearned to play and study, but was burdened with the responsibility of being wife and mother while facing considerable violence from her husband. Escape finally came many years later, by which time the still young Baby was a mother of three, and she fled to the city in the hope of finding a job. Working in Delhi as a domestic help, Baby was lucky enough to come across an employer who encouraged her to read -- which she did voraciously -- and then to write. The story of Baby's life is a lesson in courage and survival.
Since it was first published in Hindi, this book has become a bestseller, receiving accolades from some of the best-known writers and critics in India and elsewhere. It has also been translated into other Indian languages.
Baby Halder is a writer and a domestic worker who lives and works in a home near Delhi. She is now working on her second book.
Urvashi Butalia is a publisher and writer whose work includes the award-winning oral history of Partition, The Other Side of Silence: Voices from the Partition of India.
Set in the forests of northern Odisha, Mahuldia Days is the moving story of a young civil servant caught between her commitment to the tribal communities she knows are the original inhabitants of the forest, and the monolithic state, oblivious to the diverse realities of life on the ground. The moonlit Brahmani river snakes through the story with a life of its own while the city of the narrator’s childhood returns to her in dreams. Agnihotri creates a poignant, intense narrative layered with an awareness of the pressures of motherhood and personal love.
Praise for Anita Agnihotri:
“Agnihotri draws you in with her well fleshed out characters. Their dreams, idiosyncrasies and disappointments are all too real; as are their failures.”
—Aparna Singh, Women’s Web
“Urgently told and precise in their direction... Each story crackles with intensity and purpose.”
—Mike McClelland, Spectrum Culture
“[Anita Agnihotri] sensitively and beautifully chronicles the plight of a major chunk of the country’s population.”
—Abdullah Khan, The Hindu
Anita Agnihotri works in the Ministry of Social Justice in India. She is a Bengali writer of over twenty-five books, including Seventeen and The Awakening, both also published by Zubaan. Seventeen won the Economist-Crossword Book Award for translation in 2011.
Kalpana Bardhan is a writer and translator based in San Francisco.
This unique autobiography by veteran BBC and Associated Press journalist Sabita Goswami documents the extraordinary, single-handed fight of an ordinary woman in the heart of Assam, against family and social obstacles, to establish herself emotionally and professionally.
An unbiased and ruthless no-holds-barred account of turbulent contemporary Assam in particular and the Northeast in general, the book covers more than three decades of events in this volatile region and insightful analyses of its complex social and political history. The racy and strong narrative, recounted simply and with rare passion, makes this book a compelling read.
"Crafted with skill and full of lyrical prose, the best thing about this memoir is its honesty, as the author doesn't flinch from telling the truth." -- Abdullah Khan, Earthen Lamp Journal
PLEASE NOTE: This copy is discounted at 70% and is in saleable but not pristine condition. It may show signs of age or wear.
Incisive, eclectic and politically engaged, Seeing like a Feminist is a bold and wide-ranging book that reorders contemporary society.
For Nivedita Menon, feminism is not about a moment of final triumph over patriarchy but about the gradual transformation of the social field so decisively that old markers shift forever. From sexual harassment charges against international figures to the challenge that caste politics poses to feminism, from the ban on the veil in France to the attempt to impose skirts on international women badminton players, from queer politics to domestic servants' unions to the Pink Chaddi campaign, Menon deftly illustrates how feminism complicates the field irrevocably.
"Wonderfully engaging and perfectly lucid."" - Tanika Sarkar
Feminist artists have always been bold, original and outspoken, and The Elephant in the Room honours this legacy by offering up a delightfully thought-provoking, myth-busting visual feast. Across its pages, sixteen comic artists from India and Germany explore how women see the world and themselves, taking apart and repurposing ideas of identity, power and love; sex, family, and bodies.
Confronting the elephant with humour and passion, these graphic artists insistently draw the awkward and the difficult. As feminist art has always done, this book reminds us that the personal is the political. Exploring taboos, exploding myths, raising awkward questions and posing visionary answers, each story shines a light on the 'elephant in the room'–what does it mean to be a woman?
This is the memoir of a remarkable woman, Begum Kurshid Mirza, the daughter of Sheikh Abdullah and Waheed Jahan Begu, the founders of Aligarh Women's College. An intimate of an upper class Muslim family in India and Pakistan from until the recent past, this narrative is much more than an account of Kurshid Mirza's personal life. It spans the years from 1857 to 1983 and provides an insight into the the social conditions of Indian Muslims, the state of Muslim women's education, and the transition to Pakistan, while illuminating Kurshid Mirza's rich and tried life as an actor, activist, radio and TV artiste, a writer, a devoted daughter, wife and mother. Kurshid Mirza's vitality and dynamism, her pioneering spirit and unconventionally led her to leave the cloistered world of Aligarh after an early marriage to a police officer and then pursue a career in films in Bombay. She rapidly climbed the ladder to sardom as Renuka Devi and worked alongside well-known actors and directors of the time. Partition cut short her film career and she left for the new country Pakistan, where she remained deeply engaged as ever and contributed to many worthy causes, especially for the benefit of the women. The coming of Pakistan to gave her a fresh opportunity to express her theatrical talents and she soon became one of Pakistan's best known television actors winning many award in 1985. A true Woman of Substance.
The Goddess and the Nation charts the pictorial life and career of Bharat Mata, 'Mother India,' the Indian nation imagined as mother/goddess, embodiment of national territory, and unifying symbol for the country's diverse communities. Soon after Mother India's emergence in the late nineteenth century, artists began to incorporate the map of India into her visual persona. The images they produced enabled patriotic men and women in a heterogeneous population to collectively visualize India, affectively identify with it, and even become willing to surrender their lives for it. Combining visual studies, gender studies, and the history of cartography, The Goddess and the Nation offers a rigorous analysis of Mother India's appearance in painting, print, poster art, and pictures from the late nineteenth century to the present. By exploring the entanglement of the scientifically mapped image of India and a (Hindu) mother/goddess, Sumathi Ramaswamy reveals Mother India as a figure who relies on the British colonial mapped image of her dominion to distinguish her from the other goddesses of India, and to guarantee her novel status as embodiment, sign, and symbol of national territory. Providing an exemplary critique of ideologies of gender and the science of cartography, Ramaswamy demonstrates that images do not merely reflect history, they actively make it.
Radhaben Garva lives in a small village in Kutch. She’s an artist who has for long years documented the rural women’s movement in her area and beyond in her paintings.
These unique pictures—more than 200 of them—tell stories of the involvement of women from her village, and from the Kutch Mahila Vikas Sangathan, the NGO she works with, in campaigns for women’s rights, for economic empowerment, for resistance to globalizing corporations.
In one sequence of pictures, Radhaben receives a phone call inviting her to a meeting abroad, and she paints the entire journey from village to town to airport to the international destination and her first ride in an elevator. In another, she depicts the Chipko movement, in a third, the fragmentation of fields and farming activity as a result of globalization.
This unusual and beautiful document provides that rare thing, a political perspective from below and a vibrant portrait of the rural women’s movement in India.
With a domestic market of around 70 billion dollars, the Indian fashion industry employs over 60 million people and accounts for a sizeable chunk of the country’s GDP. Despite this, models—the most visible yet voiceless actors of the industry—are rarely given the recognition they deserve. It is this overlooked demographic that forms the focus of Manjima Bhattacharjya’s remarkable study, bringing these women’s voices and perspectives to us.
Tracing the rise of the modelling and beauty industry from the 1960s to the present day, Bhattacharjya argues that modelling is work, and should be recognized as such. At the heart of the book lies a difficult question: should the industry be seen as objectifying women or as acknowledging their agency? Mannequin is also an individual’s personal exploration of the changing relationship between fashion and feminism.
“This book does an impossible thing — bridge the gap between fashion and feminism. Manjima Bhattacharjya offers us a sweeping history of India’s beauty industry, but more precious are the stories she brings from behind the catwalk — stories from small towns, stories of osmosis, desire, and ultimately, empowerment. “
—Tishani Doshi, poet and writer
“Mannequin attempts to decode the link between fashion and feminism and emerges as an important voice in the struggle toward empowerment through its intensive research and empathy.”
—Nonita Kalra, editor, Harper’s Bazaar India
“An extraordinary and unputdownable deep dive into the fascinating world of Indian fashion.”
—Sonia Faleiro, author of The Girl and Beautiful Thing: Inside the Secret World of Bombay’s Dance Bars
Manjima Bhattacharjya is a feminist researcher, writer and activist. She has been part of the Indian women’s movement for over two decades. She holds a PhD in sociology. Her areas of specialization include gender and sexuality, and labour and the body. Her first book, an edited volume Sarpanch Sahib was long-listed for the Crossword Best Non-Fiction Book of 2009. She has written for several publications including the Times of India, ELLE and Info-change India. She lives and works out of Mumbai. Find her on Twitter @manzibarr.
With independence, India experienced a dramatic social rupture but also a recuperation of political autonomy and a new sense of optimism that promised opportunities. The country became a crucible for experimentation in modern and utopian architecture with new buildings, cities and museums giving public face to the nation. Indian architects and architectural projects claimed international attention, and a generation of women entered professions such as architecture and design that had previously been closed to them. They emerged as a pronounced political force, and important patrons of art, architecture and public space.
The mid-19th and 20th centuries saw a significant increase in women acting as arbiters of taste and shapers of the built environment. The emerging groups of female designers and female patrons were enabled by new norms for women.
The essays in this volume address these developments, posing the important question : did, and do, women produce art and architecture that reflect a feminine perspective ? How did women, otherwise invisible and denied attention in the public sphere, gain voice? The writers look at these questions through both the political frame of gender as well as through family lineage and dynastic connections, and their importance in women's patronage of the arts.
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.
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).
One of Hindi's best known writers, Prabha Khaitan spent much of her life as the 'second' woman in a long-term relationship with a married man. Born in a conservative Marwari family, she defied tradition and family expectations, insisting on living life as a single woman, setting up her own business and earning the respect of her peers and colleagues in the corporate world. Despite her yearning to be loved and cherished by the man to whom she gave her life, Prabha Khaitan lived life on her own terms.
With a frankness that is rare in the world of Hindi autobiographical writing by women, Prabha Khaitan here speaks of her feelings, her sense of discomfort and unease at not being the 'legitimate' woman, about what she gained and lost from a relationship that was generally frowned upon by society and how she fought to become her own woman. In doing so, she reflects on marriage, relationships, intimacy and distance, the professional and the personal, and the ways in which women are caught within these often conflicting forces.
"Prabha Khaitan's story of her life and times is possibly one of the most honest books I have ever read. Sometimes it cuts too close to the bone for middle class comfort, unsettling the safety net and entitlements of complacency and convenience. All her life, she swam upstream, defying convention, defying prejudice, questioning choices." -- Namita Gokhale
"One of the most arresting things about feminist writer and poet Prabha Khaitan's autobiography is its naked narrative and almost poetic vulnerability. Simply written, the narrative flows languorously."-- Prerna Kalbag, The Hindustan Times
PLEASE NOTE: This copy is discounted at 70% and is in saleable but not pristine condition. It may show signs of age or wear.
Toilets, trees and gender? Can there be a connection?
Is there a gender angle to a business story? Is gender in politics only about how many women get elected to parliament? Is osteoporosis a women's disease? Why do more women die in natural disasters?
These are not the questions journalists usually ask when they set out to do their jobs as reporters, sub-editors, photographers of editors. Yet, by not asking, are they missing out on something, perhaps half the story? This is the question this book, edited and written by journalists, for journalists and the lay public interested in media, raises. Through examples from the media, and from their own experience, the contributors explain the concept of gender-sensitive journalism and look at a series of subjects that journalists have to cover - sexual assault, environment, development, business, politics, health, disasters, conflict - and set out a simple way of integrating a gendered lens into day-to-day journalism. Written in a non-academic, accessible style, this book is possibly the first of its kind in India - one that attempts to inject a gender perspective into journalism.
The midnight knock on the door and the disappearance of a loved one into the hands of authorities is a 20th-century horror story familiar to many destined to “live in interesting times.” Yet, some stories remain untold. Such is the account of the internment of ethnic Chinese who had settled for many years in northern India. When the Sino-Indian Border War of 1962 broke out, over 2,000 Chinese-Indians were rounded up, placed in local jails, then transported over a thousand miles away to the Deoli internment camp in the Rajasthan Desert.
Born in Calcutta, India, in 1949, and raised in Darjeeling, Yin Marsh was just thirteen years old when first her father was arrested, and then she, her grandmother and her eight-year-old brother were all taken to the Darjeeling Jail, then sent to Deoli. Ironically, Nehru – India’s first Prime Minister and the one who had authorized the mass arrests – had once “done time” in Deoli during India’s war for independence. Yin and her family were assigned to the same bungalow where Nehru had also been unjustly held.
Eventually released, Yin emigrated to America with her mother, attended college, married and raised her own family, even as the emotional trauma remained buried. When her own college-age daughter began to ask questions and when a friend’s wedding would require a return to her homeland, Yin was finally ready to face what had happened to her family.
PLEASE NOTE: This copy is discounted at 70% and is in saleable but not pristine condition. It may show signs of age or wear.
Best known as a young revolutionary who took up arms against the British establishment, Bina Das numbers among the heroes of Indian history - alongside Bhagat Singh, Rajguru, Preetilata Wadedar - who took up arms against the colonisers.
This short memoir movingly recounts the story of her involvement in the shooting of the British Governor of Bengal, Stanley Jackson, at the Annual Convocation Meeting of Calcutta University in 1932, her subsequent incarceration, and her growing involvement in politics.
Despite her importance in Indian history, Bina Das disappeared from public view in later life and is rumoured to have passed away in Rishikesh in early 1997. This account captures the early years of her life and gives insights into the context and history of the times that inspired Bina to take the path that she chose.
On a cold February night in 1991, a group of soldiers and officers of the Indian Army pushed their way into two villages in Kashmir, seeking out militants assumed to be hiding there. They pulled the men out of their homes and subjected many to torture, and the women to rape. According to village accounts, as many as 31 women were raped.
Twenty-one years later, in 2012, the rape and murder of a young medical student in Delhi galvanized a protest movement so widespread and deep that it reached all corners of the world. In Kashmir, a group of young women, all in their twenties, were inspired to re-open the Kunan-Poshpora case, to revisit their history and to look at what had happened to the survivors of the 1991 mass rape. Through personal accounts of their journey, this book examines questions of justice, of stigma, of the responsibility of the state, and of the long-term impact of trauma.
In the run-up the fourth World Social Forum held in Mumbai, India in January 2004, civil activists and student organised a major series of seminars in Delhi University to discuss the Forum and its politics. The 'Open Space' seminar series, as it came to be called, picked up on the idea of the Forum as a relatively free space, where all kinds of ideas could not meet and be discussed. The book, the first in a series that explore the new ideas generated by the discusssions took place on all these issues, comprises chapters based on the transcripts of presentation made by academics and activists during the seminars, as well as discussions on the questions arising from the presentation. Can the World Social Forum helps us to conceptualise and actualise a new politics? Can this new politics? Can this new politics be free from violence? Can the experience and knowledge of great movements such as the movements for environment, and the women's movement, contribute to the creation of a new politics? How can such a politics be sustained? The essays in this book, written in an easy and accessible style, are informed by these question. they offer the reader different and complex ways of understanding the processes that have helped to shape the world social forum and the new politics that seems to be emerging, and what all this represents, for life, society, and politics more generally.
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