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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.
In 1970s Karachi, where violence and political and social uncertainty are on the rise, a talented painter, Tahira, tries to hold her life together as it shatters around her. Her marriage is quickly revealed to be a trap from which there appears no escape. Accustomed to the company of her brother Waseem and friends, Andaleep and Safdar, who are activists, writers and thinkers, Tahira struggles to adapt to her new world of stifling conformity and to fight for her identity as a woman and an artist.
Tragedy strikes when her brother and friends are caught up in the cynically repressive regime. Faced with loss and injustice, she embarks upon a series of paintings entitled ‘The Empty Room’, filling the blank canvases with vivid colour and light.
Elegant, poetic, and powerful, The Empty Room is an important addition to contemporary Pakistani literature, a moving portrait of life in Karachi at a pivotal moment in the nation’s history, and a powerful meditation on art and the dilemmas faced by women who must find their own creative path in hostile conditions.
"‘Regret is only one kind of torment in a world generous with pain’, writes Sadia Abbas. In her debut novel, regret and pain appear in light, luminous hues as the story of a new nation, struggling to retain its democratic resolve, is enmeshed with the story of a rocky marriage. The courage, wit and capacity for love displayed by the characters are sure to linger long after the last chapter has been read."
— Annie Zaidi, author of Gulab and Love Stories #1-14
"A gripping and wonderfully observed account of domestic life and its many perils in Pakistan's early decades. The portrait of a marriage set in the minefield of an extended family, this novel offers us an extraordinarily nuanced view of a woman's life."
— Faisal Devji, author of The Impossible Indian: Gandhi and The Temptation of Violence
"The personal and the political come together in this tale of a nation and a young, newly-married woman, as they push against horizons, stretch boundaries and make painful self-discoveries."
— Rakhshanda Jalil, writer and translator
Sadia Abbas grew up in Pakistan and Singapore. She received her PhD in English literature from Brown University, and she teaches in the English Department at Rutgers University-Newark. Sadia is Adjunct Professor at the Stavros Niarchos Center for Hellenic Studies at Simon Fraser University. She loves long walks, the Mediterranean and, indiscriminately, all sorts of films.
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.
After the success of These Hills Called Home and Once Upon a Life, Temsula Ao returns to her beloved Nagaland to bring readers the beautifully crafted story of Aosenla, a woman who is coming to terms with herself. The novel opens on a typical summer afternoon that soon turns into another oppressive evening. Aosenla sits listening to her children playing nearby and is seized by a great lethargy. As she casts a watchful gaze over the house she has called home for so many years, Aosenla wonders how an inanimate structure like a house can exercise such power over a human being.
Looking down at a wedding invitation in her hands, Aosenla begins to recall her own wedding many years ago, initiating a deep and moving reflection on the life that others made for her and the life that she eventually created for herself.
Avinuo Kire is a fresh, young voice from Nagaland, in India's northeast.
In "The Power to forgive", the title story of this strong collection. Avinuo Kire tells the moving story of a rape survivor who, at the threshold of a new life, looks back on the incident that has shaped nearly two decades of her life and wonders if she made the right choice.
Called from folk and tribal traditions of Naga life, Kire's stories take us into a world where spirits converse with humans, unsuspecting people are drawn into the movement for Naga independence, a man dies quietly of cancer, a mother wonders if she did the right thing in giving her child a name different from the one she intended...
With insight and compassion, Avinuo Kire draws fine portraits of ordinary people in Naga society.
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.
Fateema opened her diary and began writing: “Jihad as mentioned by the Prophet is a war against injustice and oppression. Islam means peace and surrender. Islam does not recommend killing innocent people. The Prophet released hundreds of slaves from bondage and sent themback to their native land.”
There was a lot more she could write. She would one day. Not for others, but to her own people she would explain the meaning of the word ‘Islam’.
For a bright young woman like Fateema Lokhandwala, the idea that one day she might own her own house is a daring dream. Her father has spent his life, slaving away selling scrap metal so that his children might ‘jump the fence of poverty and illiteracy’. Fateema dreams not only of owning her own house, but of higher education, a better job, a wider world. Her brother, Kareem, is persuaded down a very different path – to join the jihad, to become a holy warrior.
Ila Arab Mehta’s moving and sharply observed novel follows one woman’s struggle to find her way in a world torn by communal violence, to reconcile her conflicting loyalties to her family and friends, to find a place that she can ultimately call ‘home’, a place where fences –between communities, between people – are no longer necessary.
This 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.
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.
'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
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.
Winner of the Hindu Prize for Fiction, 2015.
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
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