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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||
All rights available
|ISBN||978 93 83074 89 1|
Set in late 19th century Assam, The Bronze Sword of Tengphakhri Tehsildar is the heroic tale of a Bodo freedom fighter who was, arguably, the first woman revenue collector in British India. It was Indira Goswami's last work of fiction and this is the first-ever English edition, powerfully and sensitively translated from the Assamese by Aruni Kashyap.
"Indira Goswami is one of the pre-eminent literary figures in India and a woman of remarkable courage and conviction... She has also been an important voice in championing women's causes, and has done much to highlight the plight of widows. [She] is one of those rare figures whose achievements as a writer are closely paralleled by their accomplishments as a social and political activist." - Amitav Ghosh
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.
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.
It was on a sabbatical in England in the late seventies that Suniti Namjoshi discovered feminism - or rather, she discovered that other feminists existed, and many among them shared her thoughts and doubts, her questions and visions.
Since then, she has been writing - fables, poetry, prose autobiography, children's stories - about power, about inequality, about oppression, effectively using the power of language and the literary tradition to expose what she finds absurd and unacceptable.
This new collection brings together in one volume a huge range of Namjoshi's writings, starting with her classic collection, Feminist Fables, and coming right up to her latest work.
"Namjoshi is a fabulist who is never preachy. A feminist who is never humourless. A poet who is never arcane. An intellectual who is never pedantic... Her work points to a deeply internalized radicalism, one that has as much depth as it has edge. Quirky, funny, intellectually agile, capable of making connections between the mundane and the metaphysical, adept at sniffing out the archetypal in the culturally particular, they point to a mind that is as engaged as it is engaging." -- Arundhathi Subramaniam
'Call Me Confused, Please' requests one of the stories in this insightful and engaging collection from women of South Asian origin living in North America. 'Made in the USA?' wonders another.
Through poems, short stories and scholarly pieces, writers who are in their twenties, thirties and forties share what it is to live and grow up in a country that is your home and yet alien to you. They touch upon issues of culture, belonging, romance, body, race, ethnicity and the notion of 'home'. Moving beyond the idea of ABCDs (America-Born Confused Desi) and the 'identity crisis', the writers grapple with the richness of their diverse inheritances to produce a more nuanced understanding of self.
"Diverse voices challenge social binaries - of race, sexuality, nationality - to showcase the many facets of brown-ness." - Bandana Purkayastha, University of Connecticut
The Dungri Garasiya, an indigenous group in north Gujarat, believed that the first being to be created was woman and so in their society women were as respected as men and property passed down from mother to daughter.
At the dawn of creation, girls were as desired as sons. It was a time when girls beat boys in games and races: a time when there was no gender divide. And so also in these stories it is the women who are stronger, wiser, faster, sharper, and certainly far more beautiful than their men. It is they who think out of the box, who are imaginative and creative and full of wise ideas.
From tales of ghostly possession to magic mantras, from kings and queens full of passion to village youth bursting with sexual ardour, these timeless folktales are full of the joy of being alive, of sensual enjoyment and pleasure. While Kudrat (God is imagined as being feminine) and Deva conspire and wreak havoc on their people, the dance of life continues with naked young maidens swimming in the streams or being courted by dark handsome youths amidst much laughter and teasing. The forests are full of birds and beasts and fish and life for the tribals is for the most part simple and innocent, truth and right always prevail and defeat the forces of darkness — be it a scheming stepmother, a murderous wife or lover, or a cruel and lustful king.
A Dalit, a Buddhist and a feminist: Urmila Pawar's self-definition as all three identities informs her stories about women who are brave in the face of caste oppression, strong in the face of family pressures, defiant when at the receiving end of insult, and determined when guarding their interests and those of their sisters. Using the classic short story form with its surprise endings to great effect, Pawar brings to life strong and clever women who drive the reader to laughter, anger, tears or despair. Her harsh, sometimes vulgar and hard- hitting language subverts another stereotype - that of the soft-spoken woman writer. Pawar's protagonists may not always be Dalit, and the mood not always one of anger, but caste is never far from the context and informs the subtext of each story. As critic Eleanor Zelliot notes, there is 'tucked in every story, a note about a Buddhist vihara or Dr Ambedkar.... All her stories come from the Dalit world, revealing the great variety of Dalit life now.'
"The book gives a wide range of material on one of the important struggles of feminism in India." -- Gail Omvedt, The Hindu
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.
The Story of Felanee is based on real life events. It is a story of courage, of survival, of ethnic conflict and violence that tears people and communities apart in the most brutal, savage way.
Set in Assam, which has seen two major agitations that have crippled the economy, this is a story that will shock the reader by its sheer passion, and its brutal honesty. The callousness and utter disregard for human life, the ugly play for power, for electoral gain, the sham and petty hypocrisies, the bloody horror of ethnic violence all lie exposed in this powerful novel written by one of Assam’s leading fiction writers.
The story revolves around the experiences of one woman: Felanee. Her name means ‘thrown away’—so called because as her mother lay dying in the burning riot-torn village, Felanee was thrown into a swamp and left to die. But against all odds, Felanee—and thousands like her—survived.
Like the reeds that grow in such profusion along the bank of Assam’s rivers, the rootless inhabitants of the refugee camps and makeshift shanties, whose stories form the core of Felanee, are swept along by the wind and thrown onto new hostile terrain but they cling on with tenacity to take root again and again.
Talaash is the second novel of the Bangladeshi writer Shaheen Akhtar. It captures the brutalities of the 1971 war of liberation and its contingent afterlife -- more specifically, the scars it has left on women. For thirty long years, Mariam, the protagonist of the novel, lives with memories of a war that refuses to end for her. The analeptic and proleptic shapings of Shaheen's prose travel in and through those shattered memories (and their public use) to construct a devastating archive of pain and anguish, far beyond the pale of cause and effect. Shaheen Akhtar's mesmerizing and moving novel, set against the background of the Bangladesh war of independence, explores the violence done to women, their courage and heartbreak, their search for love and their betrayal. Taalash (The Search) was awarded the Prothom Alo Literary Prize in 2004.
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.
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.
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.
Rukmini is married to the District Collector of a small town in Assam, and teaches in the local college. On the surface her life is settled and safe, living in the big beautiful bungalow on the hill above the cremation ground, seemingly untouched by the toil and sufferings of the common folk living 'below’. And yet there is an atmosphere of fear and uncertainty that grips the town each time there is an 'incident’ and this has its repercussions on her life too—for Assam is in the grip of insurgency and it is this thread that runs like a dark river through the novel and forms its plot.
The Assam students’ agitation of the 1970s and 1980s has grown into a full-blown agitation today with kidnappings, extortions, and political instability being the order of the day. The meaninglessness of the violence, the complexities that divide 'them’ and 'us’ and the point at which the two merge are all explored here and the final dénouement is horrifying and yet true–for there can be no other 'end’ to such a tale both in personal and political terms.
Mitra Phukan is a well-known Assamese writer and contributes regularly to prominent English dailies in the North East. She has recently edited a collection of Assamese short stories and published a number of books for children.
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.
This exciting new anthology show-cases 21 of the best short stories by South Asian women under the age of 40. Ranging from the lyrical to the humourous to the darkly disturbing, this collection highlights the desires, concerns and obsessions of young women from the subcontinent. A new generation of writers is emerging who are boldly tackling new forms and styles, including historical detective fiction, graphic short stories, stories intercut with email and sms messages. The stories are as varied as the women themselves, and celebrate the diversity and range of women's literature for the twenty-first century.
Contributors include Ruchika Chanana, Paromita Chakravarti, Roohi Choudhry, Tishani Doshi, Shahnaz Habib, Epsita Halder, Anjum Hasan, Meena Kandasamy, Mridula Susan Koshy, Revati Laul, Madhulika Liddle, Anju Mary Paul, Swarnalatha Rangarajan, Adithi Rao, Diana Romany, Sumana Roy, Ashima Sood, Aishwarya Subramanyam, Nisha Susan, Narmada Thiranagama and Annie Zaidi.
Anita Roy is a freelance critic and writer. Brought up in England, she has been based in New Delhi for over a decade, working as a publisher and editor for a variety of national and international publishing houses. She is currently commissioning editor with Young Zubaan.
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.
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.
It's raining in Shillong. Eight-year-old Sophie Das has just realised she is adopted, but there is also the baby kicking inside her mother s stomach whom she s dying to meet. IAS aspirant Aman Moondy is planning a first-of-its-kind Happening and praying the lovely Concordella will come. College lecturer Firdaus Ansari is going to finish her thesis, have a hard talk with her boyfriend, and then get out.
Poetic, funny, tender, Lunatic in my Head is a moving portrait of a small town and of three people joined to each other in an intricate web, determined to break out of their small town destinies.
Be transported into dystopian cities and alternate universes.
Hang out with unicorns, cyborgs and pixies.
Learn how to waltz in outer space.
Be amazed and beguiled by a fairy tale with an unexpected twist,
a futuristic take on a TV cooking show,
and a playscript with tentacles.
In other words, get ready for a wild ride!
This collection of sci-fi and fantasy writing, including six graphic stories, showcases twenty of the most exciting writers and artists from India and Australia, in an all-female, all-star line-up!
Samhita Arni, Kuzhali Manickavel, Manjula Padmanabhan, Vandana Singh, Payal Dhar, Anita Roy, Annie Zaidi, Penni Russon, Kate Constable, Isobelle Carmody, Justine Larbalestier, Alyssa Brugman, Kirsty Murray, Margo Lanagan, Priya Kuriyan, Prabha Mallya, Amruta Pail, Lily Mae Martin, Nicki Greenberg and Mandy Ord.
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