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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|
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.
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.
Four musicians: a bright, young, aspiring student, two highly respected gurus married to each other, and a globe-trotting star, each deeply immersed in the tradition of Hindustani shastriya sangeet. Their lives intersect in the small mofussil town of Tamulbari on the banks of the Brahmaputra.
Against the backdrop of a magnificent musical heritage and the haunting and timeless ragas that sweep through the pages of this wonderfully evocative novel, Mitra Phukan presents the ambitious sitarist Kaushik Kashyap, already a 'name,' who tours the world with his beautiful Italian student, Nomita, the shy, small-town vocalist, whom Kaushik's parents have chosen for him, Nomita's Guruma, the beautiful, calm Sandhya Senapati, and her husband, the handsome Tridib Barua, who seem to be hiding deep, dark secrets, and Guruma's friendship with the well-known industrialist Deepak Rathod.
As the eventful monsoon months give way to autumn, the characters come to a deeper understanding of themselves even as their lives change dramatically and forever. By turns serious, deeply moving and utterly irreverent, Mitra Phukan's eye for detail, her immense knowledge of Hindustani classical music and her profound understanding of human nature come together in this remarkable novel.
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 magnificent, sprawling novel, a classic of Hindi literature, spans almost an entire century in the lives of several families and generations of Kashmiri Hindus and Muslims. As it opens, Lalli, in her seventh month of pregnancy, is preparing to leave for her married home for the traditional curd ceremony. The constellation of planets is right and the moment is auspicious; it must not be lost. But even as her family prepares for her departure, there is fear in their hearts: storm clouds darken the sky and there is news of political disturbances in the city. Between them, the midwife, Khurshid, and Rehman, the tongawalla, ensure that Lalli is safely brought to her destination, and even that the pots of curd are undisturbed.
As the story unfolds, the ties between Kashmir’s close-knit communities slowly begin to unravel. The politics of religion, and religious identity, take centre stage and begin to spread their insidious poison in people’s lives. At the end of the novel Lalli, now a grandmother, sees a world in which the much-loved Kashmiriyat, a shared and intermeshed heritage, seems little more than a distant memory. A passionate cry for a lost legacy, Chandrakanta’s magnum opus, winner of both the prestigious Vyas Samman and the Mahatma Gandhi Sahitya Samman, is a must-read for those interested in the story and history of Kashmir.
CHANDRAKANTA is one of India’s foremost Hindi writers, with over 50 books to her credit. Her work has been translated into many languages. The English translation of her novel, Ailan Gali Zinda Hai (A Street in Srinagar) was published by Zubaan and shortlisted for the DSC award for literature in 2011. Among Chandrakanta’s many other awards are the prestigious Vyas Samman (2005) and the Mahatama Gandhi Sahitya Samman (2011) as well as the Subramanya Bharathi award.
RANJANA KAUL teaches literature at the University of Delhi and translates from Hindi to English when she can find the time.
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.
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.
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.
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.
This simple, charming picture book introduces youngsters to the importance of taking care of their own bodies. From simple tips on hygiene to an empowering message of personal safety, Shruti Singhal’s visuals and text provide perfect reading material for talking about health, safety, emotional and physical well-being with very young children.
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.
Set in the heady years preceding independence, this is the story of young Binapani growing up in a small Assamese town. Headstrong, stubborn and high-spirited, Binapani is confronted with a world full of confusing questions: why are girls not allowed to study? Why is the nationalist hero, Bullet Kaka hidden away in her grandmother’s shed? Why does Mahendra Barua’s family suffer such humiliation and indignity? Why is the rich Haitha Sarai feted and fawned upon? Why is his daughter tied up and starved in a dark room? Why is the Christian boy, Ratan, an outcaste? Her young mind grapples with countless questions and through it all is the abiding relationship she shares with her old grandmother, Jashodha. Married off to the rich Chaliha whom she has always hated, the ebullient young Bina turns inwards, seeking an inner strength and calm and makes her home ‘an abode of peace’.
Arupa Kalita Patangia is one of Assam’s leading, award winning novelists. She has more than ten novels and short story collections to her credit including Mriganabhi (1987) and Millenniumar Sapon (2002). She teaches English at Tangla College, Assam.
Ranjita Biswas has translated a number of well-known Bengali and Assamese novels into English.
In Other Words brings you 14 of the most innovative and adventurous contemporary Indian women writers. The stories in this collection are remarkable not only for this richness of subject and style, but also for the confidence and poise of their writing. All the authors, except two, belong to the post-Independence generation. Their preoccupations range from an observation of the past through the lives of their ancestresses, to that of the present, sparkling, but exquisitely poignant vignette of growing up urban in the 80's. For some, fiction writing- and the short story in particular- is relatively new; each writer approaches the language in which she has chosen to write-English-and the art and craft of fiction writing, with a confidence and panache that is hard to match.
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.
A man lies dying tended by his two daughters. A strangely absent presence, their father has dictated the shape of their lives -- sometimes distorting and at others shaping their hopes, ambitions and desires. To these two narrative strands, Belinder Dhanoa adds a third, that of the girls' mother - a strong and single-minded woman, who defies society's expectations of how a woman should behave.
Set partly in Shillong and partly in the Punjab, Belinder Dhanoa's novel is not only an insightful study of the pressures of living in a patriarchal society, but also a moving account of the complexities of family loyalties, betrayals and love.
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.
Who is the 'Good Indian Girl?' What does she look like? How does she dress? Is she real -- or is she a myth? In this funny, wicked, touching, irreverent, poignant collection of stories, Annie Zaidi and Smriti Ravindra lift the veil (or sari pallu) on the lives and loves of girls who have been born or raised in the subcontinent. The niceties have to be observed, but the urge to subvert is often overwhelming. As they shimmy down drainpipes at midnight, or steal covert glances at the boys across the street, the real life incidents from which these stories are drawn will ring a bell with any woman who has negotiated the minefield of family love and romantic longing and desire that lies between childhood and womanhood.
All Mrinalini Singh wants, she has. A loving husband, a competent cook, the vague hope of a book deal one day. But when her old roommate Jahanara accuses her of being selfish, Mrinalini is forced to practise altruism on the nearest available target: her maid’s toddler. All this caring doesn’t come easy, though; and it hardly helps that her husband Siddhartha has quit his lucrative job and acquired parental ambitions. Or that Brajeshwar Jha, her upstairs tenant and literary rival, has not only published his book before Mrinalini, but also lampooned her and Siddhartha in it. Close to Home is a wry look at the small compromises, manipulations and sustained self-delusion of young men and women possessed of good fortune... and only looking for good lives.
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
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