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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
|Year of Publication||
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|ISBN||978 93 83074 89 1|
Patriarchy asserts men are superior to women
Feminism clarifies women and men are equal
Queerness questions what constitutes male and female
Queerness isn’t only modern, Western or sexual, says mythologist Devdutt Pattanaik. Take a close look at the vast written and oral traditions in Hinduism, some over two thousand years old, and you will find many overlooked tales, such as those of Shikhandi, who became a man to satisfy her wife; Mahadeva, who became a woman to deliver a devotee’s child; Chudala, who became a man to enlighten her husband; Samavan, who became the wife of his male friend, and many more . . .
Playful and touching—and sometimes disturbing—these stories, when compared with their Mesopotamian, Greek, Chinese and Biblical counterparts, reveal the unique Indian way of making sense of queerness.
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.
December 2012: Tens of thousands of people – women, men, families, young, old, rich, poor – come out onto the streets of towns and cities in India to protest the brutal gang rape and murder of a young medical student in Delhi. For days and months, the protests refuse to die down. People demand change, action, commitment to the ideals of democracy and egalitarianism. And they refuse to be silenced.
Soon, a new law is put in place. More and more people start to report incidents of sexual assault. New conversations, new debates begin: is violence increasing? Are we seeing more of it? Was it previously invisible?
In this bold and brilliant collection of visual stories, fourteen young women respond to the activism and debates on the ground; they negotiate anger, fear, hope, resistance. Created in a week-long workshop, these stories talk to each other as they powerfully describe the fierce determination of the writers/artists to continue the battle for change.
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.
Part memoir, part oral testimony, part eyewitness account, Binodini's The Maharaja's Household provides a unique and engrossingly intimate view of life in the erstwhile royal household of Manipur in northeast India. It brings to life stories of kingdoms long vanished, and is an important addition to the untold histories of the British Raj.
Maharaj Kumari Binodini Devi, who wrote under the single name of Binodini, published The Maharaja's Household as a series of essays between 2002 and 2007 for an avid newspaper reading public in Manipur. Already celebrated across the state for her award-winning novel, short stories, and film scripts, Binodini entranced her readers anew with her stories of royal life, told from a woman's point of view and informed by a deep empathy for the common people in her father's gilded circle.
Elephan hunts, polo matches and Hindu temple performances form the backdrop for palace intrigues, colonial rule and White Rajahs. With gentle humour, piquant obersavations and heartfelt nostalgia, Binodini evokes a lifestyle and era that is now lost. Her book paints a portrait of the household of a king that only a princess - his daughter - could have written.
Sita Mirchandani, a Hindu refugee from Singh, now living in India, Salma and Surayya, two Muslim girls from U.P. who are forced to move to Pakistan, Tanvir Fatima is in Karachi and not quite sure why she is there – these are the characters who inhabit these works of fiction. Originally published as “Sitaharan”, “Housing Society” and “Patjhad ki Awaz”, the stories explore the cataclysmic events that have unmoored the lives of these women and how each, in her own way, battles with a state or exile that is more internal than external. Together they unfold a series of betrayals—historical, political, personal—and how the women struggle to come to terms with them.
Qurratulain Hyder is one of the leading writers of Urdu fiction in India. She was awarded the Bhartiya Jnanpith, India’s highest literary award, in 1989. The recipient of a number of other literary awards, she is a Fellow of the Sahitya Akademi, has travelled widely and has worked as a journalist and broadcaster.
C. M. Naim has taught Urdu Language and Literature at the University of Chicago in the Department of South Asian Languages and Civilizations since 1961. He co-founded Mahfil (The Journal of South Asian Literature) in 1963 and the Annual of Urdu Studies in 1981.
* WINNER OF THE 2011 ECONOMIST-CROSSWORD BOOK AWARD FOR TRANSLATION *
A brother and sister visit the unique crater-lake that their dead, estranged mother had written to them about in her letters. A middle-class employee's orderly life turns upside down when his employer holds back his cheque without an explanation. The employees of a forgotten outpost in a sun-baked town threaten mass suicide because they have no hope of survival.
Seventeen is a collection of short stories from among more than 100 of Anita Agnihotri's published short fiction. By turn intense, brittle, angry sad and torn apart in conflict, the stories bring out the different faces of human hardship and explore the India that is still largely unknown. Set in metros and villages, in small-town India and in international suburbia, the stories run the gamut of experiences both everyday and extraordinary. From deeply personal relationships against the backremove of turmoil to intensely social truths told through the unique life of individuals, each of these stories is a picture of human fragility. This is literary craftsmanship at its best.
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
Amolik Dey is Everyman. A teacher with a young wife and son, he is dedicated to taking care of his family yet cannot turn a blind eye to the inequalities he sees around him. Torn between his wife's desire for a 'normal' life and his own passion for fighting injustice, he endangers both himself and his family with his increasing militancy. rnrnSet in a small town in the Bengal of the 1960s and 70s, this is a story of unrest and rebellion. It is a time of great upheaval, of violence and agitations, and the author subtly weaves in how the political tensions that threaten to overwhelm the state also impact the ordinary lives of this one family, destroying their world. From Naxalite uprisings which bring brutal conflict to those places that have been ignored by the political mainstream, to the complexities of class and gender, and the post-colonial hangover of a newly independent people, this gritty novel sensitively portrays a town and a people who have one foot in the past and one foot tentatively in the present.
The Blue-necked God (Nilakantha Braja), published in 1976, is one of Indira Goswami's early novels and the first time that a writer highlighted the exploitation and poverty of widows, dumped in a 'sacred' city to eke out their days in prayer by uncaring, callous families under the guise of religious sanction and tradition. It was a book that raised many eyebrows when it was first published for this amazing narrative combined fact and fiction, autobiography and reflection in a fascinating mix as she tried to depict the confusion and the mental agony she herself experienced after the death of her husband through her character Saudamini. The physical, emotional, financial deprivation faced by the young widow has been woven into a perceptive text that drew on the author's own research and experiences as she roamed the streets of Vrindavan and exposed, for the first time, the uglier side of the city and its traditions.
"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
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.
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.
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.
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.
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.
A moving memoir by one of the most highly respected and important authors from India’s Northeast.
Temsula Ao was born in 1945 in the Assamese town of Jorhat. Her happy childhood with her five siblings was cut tragically short with the deaths of both their parents. Desperately poor, emotionally scarred, lonely and often hungry, the young Temsula made up for her lack of resources with courage and determination.
From these unpromising beginnings, Ao went on to build a distinguished teaching career, serving as Director of the Northeast Zone Cultural Centre, and finally Dean of the School of Humanities and Education, North- Eastern Hill University, Shillong.
Temsula Ao describes the book as “an attempt to exorcise my own personal ghosts from a fractured childhood that was ripped apart by a series of tragedies... [it] is about love and what it is like to be deprived of it.”
For her readers, Ao’s memoir gives not only an insight into her role as a leading figure in the Northeast, but is also a moving account of a writerly life.
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.
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.
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
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