'There were no longer any signs of the house we stayed in, no doorway with its low entrance, no weeping willow or cryptomeria tree from which the caterpillars fell. The ramshackle cottage that housed my earliest friends and shaped my memories lay bare and forgotten. Only the flying termites remained, fluttering below the street lights outside the property.'In this novella, Daribha Lyndem gently lifts the curtain on the coming of age of a young Khasi woman and the politically charged city of Shillong in which she lives. Like the beloved school game from which it takes its name, the book meanders through ages, lives and places. The interconnected stories build on each other to cover the breadth of a childhood, and move into the precarious awareness of adulthood.A shining debut, Name Place Animal Thing is an elegant examination of the porous boundaries between the adult world and that of a child’s.
“...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
"I was the youngest in a family of five children. I sometimes felt I was an afterthought, and maybe Father and Mother didn't quite know what to do with me. Also, because I was a girl after four boys they never seemed to be sure whether to buy me girls' clothing or let me wear leftover boys' clothing."Young Dielieno is five years old when she is sent off to live with her disciplinarian grandmother who wants her to grow up to be a good Naga wife and mother. According to Grandmother, girls didn't need an education, they didn't need love and affection or time to play or even a good piece of meat with their gravy! Naturally Dielieno hates her with a vengeance.This is the evocative tale of a young girl growing up in a traditional society in India's Northeast, which is in the midst of tremendous change.Easterine Kire writes about a place and a people that she knows well and is a part of and brings to the storytelling a lyrical beauty which can on occasion chill the reader with its realistic portrayals of the spirits of the dead that inhabit the quiet hills and valleys of Nagaland._____________________________________________________________________________________EASTERINE KIRE has written and published a number of short stories and anthologies of poetry. She was a guest of Norwegian PEN from 2005-2007 and during this period, travelled and spoke extensively on the idea of self-exile, writing in another country, Naga literature and the conflicted state of Nagaland. She is author of A Naga Village Remembered, Mari and Bitter Wormwood.
"Temsula Ao, like many of her predecessors has successfully described the experiences of her people. The struggle for freedom and the search for identity have been discussed by many writers and these are pivotal themes of those who had to pay a heavy price for freedom. To this end Temsula Ao must be praised for her successful attempt." -- Shagufta Yasmeen, Dawn
Food Journeys is a powerful collection that draws on personal experiences, and the meaning of grief, rage, solidarity, and life. Feminist anthropologist Dolly Kikon and peace researcher Joel Rodrigues present a wide-ranging set of stories and essays accompanied by recipes. They bring together poets, activists, artists, writers, and researchers who explore how food and eating allow us to find joy and strength while navigating a violent history of militarization in Northeast India. Food Journeys takes us to the tea plantations of Assam, the lofty mountains of Sikkim, the homes of a brewer and a baker in Nagaland, a chef’s journey from Meghalaya, a trip to the paddy fields in Bangladesh, and many more sites, to reveal why people from Northeast India intimately care about what they eat and consider food an integral part of their history, politics, and community. Deliciously feminist and bold, Food Journeys is both an invitation and a challenge to recognize gender and lived experiences as critical aspects of political life.
PARISMITA SINGH is a writer, graphic novelist and educationist. Her graphic novel The Hotel at the End of the World was shortlisted for the Shakti Bhatt First Book Award (2009-10). She helped conceptualise the Pao Anthology of Comics. Her publications include graphic novels for children Mara and the Clay Cows, Crab Chronicles and Fat King Thin Dog. She has been working on a primary school education project in Assam with the NGO Pratham since 2009.
Contributors: Zubeni Lotha | Minam Apang | Alyen Leeachum Foning | Aheli Moitra | Soibam Haripriya | Gertrude Lamare | Rini Barman | Nitoo Das | Thingnam Anjulika Samom | Parismita Singh | Dolly Kikon | Ayangbe Mannen | Aungmakhai Chak | Jacqueline Zote | Meena Laishram | Prashansa Gurung | Shreya Debi and Bilseng R Marak | Mona Zote | Nabina Das | Mamang Dai | Sanatombi Ningombam | Kundo YumnamStories abound in Assam’s fields, ponds, rivers, forests, hills and cities. Most of its people wear each other’s clothes, eat each other’s food and speak each other’s languages. Diversity and amalgamation are the primarily identifiable elements of people from Assam. Yet, everyday patriarchy and politics of boundaries have resulted in so much confusion and conflict. Thankfully, we are witnessing emerging voices of people who experience life differently because of their own identities and locations and propose an inclusive space for us all. The women and transpeople who have contributed to Riverside Stories come from this diversity and bring their stories of multiple experiences from Assam to the world. This collection of fiction, non-fiction, poetry and visual stories, puts on record the experiences of the self, the very personal, within homes, in the environment, with politics, and with disappointments, desires, hopes and memories for a future. In putting together this anthology, it is our hope that we have complicated—more than it already is—the notion of whose and which stories can be told.
______________________________________________________________________________________BANAMALLIKA is mostly a disheartened feminist activist from Assam. She has used storytelling as a tool for questioning power in her personal life and professional work. To her ever-expanding array of activities, she has added drawing, filmmaking, entrepreneurship, gardening, theatre, cooking, research, writing and, very recently, playing with clay. She draws her sustenance from the feminist movement and its solidarity. She is currently fantasising about not having to write another proposal or project report and living on a farm on a foothill by a spring.
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