Tag: Amrita Pritam

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In Translation: Lakhvinder Virk

Story by Lakhvinder Virk, translated from Punjabi by C. Christine Fair

Translator’s note

This story comes from Lakhvinder Virk’s first collection of Punjabi-language short stories titled, Colors that Were Not Red (Rang Jo Suuha Nahin Sin), which was published in 2024 by Ojj Parkashan in India. Punjabi literature, despite the presence of important giants such as Amrita Pritam and Ajeet Cour, is still dominated by male voices and male interiorities. Even when male authors ventrilolocute for female characters, it often feels voyeuristic. Upon reading this story, I was immediately struck by its distinctive voice and storyline. This story is distinctive both because of its adventurous female protagonist, who is willing to explore her own sexuality and negotiate the boundaries of marriage, but also its theme of a husband who seeks an open marriage. In India such concepts are even more rare and controversial than they are in the United States. Upon encountering this story, I was awed by Virk’s brave willingness to engage a subject matter that is so verboten in India. While other stories in her collection of short stories flirt with similarly provocative themes, I believed “Open Marriage” was an important story to translate. While the specificities of this story are rooted in upper-class Mumbai, India, the challenges confronted by the young female protagonist are universal. How do women everywhere negotiate unreasonable demands and behavior from a husband who was heretofore presented as loving and caring? When has the Rubicon been crossed? When does a woman leave a marriage that is destroying her? How much is too much to tolerate? This story presents its own answers.

Lakhvinder Virk
Open Marriage by Lakhvinder Virk

The sound from the phone caught both of their attention. It was likely text message. Indeed, Siddarth got a message on his phone. He did not pick up his phone to look. Tania’s gaze was fixed on the television screen. Because it was Sunday, both were free, and they planned to watch the film Animal on Netflix. They ordered out for food and began watching the movie.

On the TV. screen, there was a scene: the hero, having lied to his wife, formed a physical relationship with another girl. When the wife found out, she was inconsolable. She cried and left the house, taking the children with her.

Siddharth picked up the phone and went to the bathroom. But the sound of the message on his phone kept nagging Tania.

Tania tried to focus on watching the film. “Is it such a big deal if a husband is involved with another woman? He still loved his wife,” she thought to herself. “If what is being depicted is real, then so what?”

*

Siddarth and Tania were married two years ago. Siddarth was the CEO of a multinational company in Mumbai, and Tania was the general manager in a branch of the State Bank of India. They had an arranged marriage through a matchmaking app. After marriage, the husband and wife would clean the kitchen together as well as other household chores. Because Tania shifted from Delhi to Mumbai, she had to work hard to understand the new place and new environment. Siddarth helped her thoroughly in this process.

One day Siddarth asked, “Tania, did you have a boyfriend before marriage?”

“I am not so narrow-minded. Don’t worry. Come on. Tell me.” 

“In truth, no.” Tania was collecting herself.

“This isn’t possible, dear. Don’t lie.”

“No Siddarth, it’s the truth.”

“This means that you don’t trust me, Tania. These days, there’s nothing bad about having relationships. Moreover, in our society, if you don’t have a relationship, it means that there is something wrong with you.” Siddarth wanted to know about Tania’s past.

“I never got the free time, Siddarth. I just focused upon my career and studies,” Tania answered, looking away. She was afraid that Siddarth would read her emotions.

“Tell me about yourself,” Tania asked.

“Yes. I had many. I had my first girlfriend when I was in the sixth grade. Before marriage, I had thirteen girlfriends.” Siddarth answered proudly, counting them on his fingers.

“Oh my god! At such a young age,” Tania said in bewilderment.

“Young?” Siddarth looked at Tania as if she had come out of the jungle and knew nothing about the world. “Some of my friends had several physical relationships by the time they were in the tenth grade. I even had a friend who was caught with his girlfriend in the school toilet. Both of them were kicked out of school. In this regard, I was slow. My friends would make fun of me because I was clueless. Then somehow, during my graduation, I mustered the courage with my fourth girlfriend,” Siddarth explained while laughing. Tania was looking at him, astonished.

“Delhi is also an open environment like this. How is it possible that you did not have a boyfriend? Yaar[1], these days one has to do a lot of things due to peer pressure. Among my friends, if someone didn’t have a girlfriend, they would kick him out of the group. I don’t believe you didn’t have a boyfriend. Come on. Tell me,” Siddarth insisted.

“It’s not necessary that every girl has a relationship.”

Tania had two boyfriends. One was in the twelfth grade. When Tania saw him, she fell in love with him. But this was a childhood crush that ended in a few days when he became friends with another girl. The second was when she was doing her MBA. She fell in love with a classmate. She was fairly serious in this relationship. She wanted to marry him, but when she raised this matter with him, he responded in rage. Tania was outdated to him. “I’ve never even thought like this. What does marriage mean?” he had said.

After that, they could never be normal again, and they broke up.

Tania wanted to tell all of this to Siddarth, but she was afraid. She had always heard that a boy could do whatever he wanted, but a boy wouldn’t tolerate hearing this from girls.  Her mom said that talking about such things could lead to a divorce. Thinking about all of this, she kept quiet.

Siddharath brought Tania into his embrace and said, “This is normal, Tania. We go out of the house, it’s natural that we’re attracted to members of the opposite sex. If I can, why can’t you? I am not an old school type.”

Even though Tania didn’t want to, she hid the truth. After this, Siddarth did not raise the issue again.

One night after dinner, when all of the work was finished, Tania came into the bedroom. Siddharth was reclining on the bed, reading a magazine.

“Do you know about open marriages?” Siddharth asked, signaling her to come near him.

“Open marriage?” Tania asked out of great curiosity, sitting beside him. 

“I am reading some stuff about open marriages and…So be it. I myself am thinking about this,” Siddarth said.

For a moment, silence spread between them.

“What is an open marriage?” Tania stood up and started putting on some lotion. She had put on a nightie in Siddarth’s favourite color, but Siddarth had paid it no attention.

“An open marriage means that within the marriage, there are some commitments, but both partners can form relationships apart from the other,” Siddarth explained.  “It’s not cheating but understood as a different aspect of intimacy.” He was looking towards Tania and saying, “In doing this, the couple’s bond can deepen and they never get bored.”

Before responding, Tania was quiet for some time, thinking about this.

“It seems interesting but….is it practical? Moreover, it could bring stress to the couple. And consequently, the marriage will get very complicated.”

Siddarth shook his head, “I know that this isn’t easy, but if one talks openly and honestly with each other, it seems to me that it isn’t so hard.”

For some time, a silence spread between them.

“Tania I don’t want our marriage to become old and conventional, and after some years we fight and become distant. Many of my friends are in open marriages or are into wife swapping. Actually, I didn’t want to get married, but my parents pressured me and I got married.”

“You mean you can have a girlfriend, and I can have a boyfriend. Right?” Tania asked in astonishment.

“Yes. It’s necessary to keep our marriage alive.”

“But how will this work? This seems very awkward to me.” Tania was stuck, conflicted.

“Go back deep into history, there is polygamy in our culture,” he began to explain to Tania. “In our country, there are multiple such examples in which Kings had hundreds of marriages. Apart from this, they had other relations. The queens had relations with the various slaves living in her palace. Were these not open marriages? We boast about that culture. I also want to follow that culture. It’s not impossible.” Siddharth wanted to convince her through whatever means.

Tania, flabbergasted, sat there in silence listening to him speak.

“Then after some time when there are children, nothing can happen anymore. At the very least, until then, we should enjoy our life according to our wishes.”

For some days, this argument went on between them. In the end, after hearing the various arguments, Tania agreed with Siddharth, and they decided to have an open marriage.

Whenever Siddarth had a new girlfriend, he discussed it with Tania. If he went to see a film or went on a date, he definitely told Tania. In the beginning, Tania did not like this. She felt jealous, but this feeling gradually faded. Siddarth kept on asking Tania whether she had a boyfriend. Tania, in those days, was very busy at the office. She didn’t take a liking to any man.

“You are so lazy,” Siddarth teased her, laughing.

“I have made a third girlfriend and tomorrow I am going on a date with her.”

“Well done,” Tania said with great flair. They both began to laugh.

The next day, Tania looked very closely at the men working with her, but none struck her fancy.

For the last few days, Tania had begun taking yoga classes. On that day, she went to her yoga lesson after work, and she saw a new face in the class. He was about 30 years old. He was a tall, attractive young man. Tania’s attention kept floating towards him. As soon as the session finished, people began gathering their mats.

“Hello.” The young man said to Tania, sitting on the same bench where Tania was sitting, and putting on her shoes.

“Oh. Hello, I am Tania.” Tania extended her hand and immediately felt that her hand was the hand that had touched her shoes. She pulled her hand back.

“Gavi.” The young man extended his hand, smiling.  “My hands also touched my shoes. It’s no big deal.”

Tania really liked his style. “This is the first time I am seeing you?” Tania asked.

“I have just joined. Actually, I just shifted from Chandigarh a few days ago,” he replied.

“Oh nice. Chandigarh is a happening place. I wonder how people from Chandigarh can live in a congested place like Mumbai,” Tania said as they were heading towards the parking.

“You are right, but this is my first required posting outside of the state. No doubt, Chandigarh is a very beautiful and peaceful city, with zero crime. But you have to leave it for career growth. Chandigarh is a city of retired people. After retirement, I will definitely shift to Chandigarh,” Gavi looked toward Tania while smiling.

“In which department are you?” Tania asked.

“I am an Indian Police Service Officer.”

“Oh Wow!” Tania said happily.

“And you?” Gavi also wanted to learn about her.

“I am a general manager at the State Bank of India.”

“Good post.”

“Thank you. My flat is just here, and where do you live?” Tania asked as she was opening the car door.

“My flat is a five-minute drive from here.”

“Nice to meet you. See you soon.” Saying this, Tania sat in the car.

“Same here.” And as he said this, Gavi closed Tania’s car door.

After some days, Gavi and Tania became good friends.  They sat side by side doing yoga. Sometimes, after class, they would stop to drink organic juice, and they would make small talk. Because he was newly arrived in the city, Gavi had no friends, but because of Tania he felt no loneliness. Tania also felt a lot of affection for Gavi. When she was with Gavi, she felt very special herself which she had never felt with anyone else.

On a vacation day, they planned to see a movie.

Tania had a message from Gavi on her phone that they would leave their homes at 10 o’clock. First, they would see the movie, then they would have lunch together. Siddarth read this message.

“You are dating someone?” Siddarth asked over dinner.

“Not exactly dating, but something like that. It’s nothing like this. We are good friends.”

“Hmmm. So you are going?”

“Yes. We made a plan.”

“Listen. I don’t like this,” Siddarth said, twirling his fork on his plate.

“What?” Tania asked with inquisitive eyes.

“This open marriage…Let’s close it.” Siddarth said.

“So…You have been enjoying the open marriage. I am just going to see a movie, and you want to close it?” There was bitterness in Tania’s voice.

“Yes. I want to close it. I cannot now live in an open marriage. You yourself were saying that marriage would get very complicated. Now I think the same.” Siddharth announced his decision.

“OK. No problem.” Tania agreed. “But it should be closed from your side too.”

“Yes. Done.”

Tania messaged Gavi that she was busy and, for this reason, she couldn’t come. After that, on several occasions, Gavi tried to make plans with her, but Tania made some excuse or another. She began to ignore Gavi.

For some days, Siddarth was working from home. One day, Tania finished her work early and returned home quickly so that she could spend some time with Siddarth. She took the duplicate key from her purse, unlocked the door, and went inside.

From inside, she heard a girl’s voice filled with anger. “Bastard. Scumbag. Have you no shame in having relations with me even though you are married? Did you tell me that you are married? I didn’t know anything. Either divorce your wife and marry me, or give me 2 Crore Rupees. Otherwise, I am going to the police station.”

Tania was astonished hearing this.

She went to the bedroom from which this noise was coming. She saw Siddarth begging this girl to forgive him. Tania didn’t know what she should do. She felt pity for Siddarth as well as anger.

Seeing Tania, the girl left quietly.

Siddarth told Tonia that he had been in a relationship with her for the past five months, and now this girl was blackmailing him. “She kept some videos and photos of our private moments, which she is threatening to make viral,” he added.

Tania didn’t know how to help Siddharth.

During this dilemma, she went to her evening yoga class. When the class finished, Gavi asked her why she was so sad, “What happened. Is your health okay? You are absolutely ashen. What happened?”

Tania needed a friend at this time. She went with him to a nearby coffeehouse. While drinking coffee, Tania told Gavi everything. It was like icing on the cake that Gavi was a friend but also a police officer.

Gavi listened to the entire thing and said, “Don’t worry, Tania. These kinds of groups, which ensnare people, are very active these days. They take their photos. Make videos. Then they blackmail them. Sometimes, these people don’t personally meet the victim. They do sexting and then record the phone sex. On this basis, they blackmail them. This is an elaborate net that has been cast. Our entire department is searching for these people. Don’t you worry. I will help you as much as possible.”

“Thank you so much, Gavi. I had no idea what I should do.” Tania felt as if a burden would be lifted.

The next day, Gavi called Tania and Siddarth to the police station. Sitting them in his office, he took the First Information Report and began to take action. It turned out that the girl was a member of such a group. The police wiretapped the entire group and arrested them.

During this, the way Gavi took care of Tania drew her even closer to him. She felt as if she had always needed a wise companion like him. She saw in Gavi’s eyes love and honour for her, something she had always wanted to see in Siddharth’s eyes. But apart from emptiness, there was nothing in his eyes.

*

Siddarth returned from the bathroom and became engrossed again in watching a movie.

Siddarth had taken his phone to the bathroom. She was very bothered by this. For the past few days, she was feeling that Siddarth was hiding something from her, whereas they both had agreed that they would not hide anything from each other.

“Should I ask him straightaway?” Tania thought to herself, but she thought it better to wait a bit. He may tell me himself. Is he still?…”

“Tania, tomorrow I am going to Pune for two days, for a workshop,” Siddarth told Tania while looking at his screen.

“Okay. Alone?” Tania asked.

“Of course. Can I take friends to a workshop?” Siddharth said in irritation.

The film was over, but in Tania’s mind, the phone’s notification kept playing. She could not stop thinking about this.

In the evening, when Tania was in the kitchen working, Siddharth’s phone was on the dining room table when a message came. Tania saw that Siddarth was taking clothes out of the armoire and packing them.

Tania picked up the phone, but it was locked. She was very baffled. Previously, Siddarth did not lock his phone. She tried to unlock it. After some efforts, she managed to unlock the phone. She saw that a message had come on WhatsApp.  When she opened the message, she saw a girl in a transparent nightie. The girl wanted to confirm that she should bring this nightie to Lohkhandwala if Siddharth liked it.

Tania, seeing this, was stunned. She messaged Gavi, “Can I stay in your house tonight?”

“Why not. But what happened?” Gavi quickly responded.

“I’ll tell you when I get there.” After messaging Gavi, she went to her armoire and took out clothes and necessary documents and began to pack them in a bag.

Seeing her do this, Siddarth repeatedly asked her where she was going? Why is she packing?

Tania did not answer. When she was leaving the house, she left the key to the flat on the shoe rack, and Siddarth grabbed her arm.

“Where are you going? What happened to you?  Why aren’t you talking?” Siddarth didn’t understand what was going on.

“Wherever I may be going, I am definitely not going to Lokhandwala,” she said looking straight into Siddarth’s eyes.

Hearing this, Siddharth knew he was busted. He said nothing, and his grip loosened.

Tania left, closing the door behind her.

[1] Friend

Lakhvinder Virk obtained her PhD from Punjabi University, Patiala in the department of linguistics and lexicography under the supervision of Professor Joga Singh. She lives in Chandigarh and serves as the head of the Punjabi Department in JDSD College in Kheri Gurana, Banur in Punjab. Her first book of short stories, Colors That Were Not Red, (Rang Jo Suuha Nahin sin) was published in 2024. This story was published in that volume.

Christine Fair did her Ph.D. in South Asian Languages and Civilizations at the University of Chicago. She is currently a professor of Security Studies at Georgetown University. Her translations have appeared in LIT Magazine, Muse India, Orientalia Suecana, The Bangalore Review, Borderless, The Punch Magazine, The Bombay Literary Magazine, and The Bombay Review.

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Review

Mahasweta Devi: Writer, Activist, Visionary

Book Review by Meenakshi Malhotra

Title: Mahasweta Devi: Writer, Activist, Visionary

Editor: Radha Chakravarty

Publisher: Routledge

Mahashweta Devi (1916-2016) was a renowned and much awarded writer-activist-translator who was reputed for her close observation and documentation of tribal life and its marginalisation and willed forgetting by dominant power systems. Among the many awards received by her were the Padma Vibhushan, the Ramon Magsaysay, the Jnanpith and the Sahitya Akademi Award. The stated aim of the present volume — in keeping with the overall objectives of the Writer in Context Series — is to present a more rounded, multidimensional image of Mahasweta Devi. This has been admirably accomplished by Prof Radha Chakravarty who is an eminent translator and academic herself.

In the ‘Introduction’, she unpacks the partial truths that underlie the stereotypical image of Mahasweta Devi as an activist. Highlighting the fact that Mahashweta’s representations of different forms of mar­ginality bring together “the aesthetic and the political in ways that demand a more nuanced reading”, she reinforces the need to read Devi’s oeuvre as literature, and not only as “forms of social documentation or ‘wit­nessing’”. She interrogates the stereotype of the activist-writer and opens up the possibility of re-reading Mahasweta Devi’s life and work in “newer, more unsettling ways”. Further, Chakravarty highlights how her (Devi’s) creative writings in particular emerge as “ambivalent texts, simultane­ously imbued with radical potential and a continued reliance on traditional forms of signification”.

Mahasweta Devi’s writings often demonstrate a tenuous divide between fiction and non-fiction. As a matter of fact, she emphasises on “the historical basis for her creative writings”, which is evident in many of her novels like Mother of 1084 (Hazaar Churashir Maa, 1974), and stories like ‘Draupadi’ and many others, which are based on the Naxalite movement.  Simultaneously however, her literary works display a measure of social realism which, Chakravarty contends, is “offset by a visionary quality that enables the imagining of transformative possibilities.” The contents of this volume testify to the varied, diverse and  sometimes “contradictory dimensions of her multifaceted genius”.

The book under consideration aims to set the record straight for readers outside Bengal whose views are based on the “tiny fraction of her Mahashweta Devi’s work available in English translation”. She was an extraordinarily prolific and versatile writer who wrote in multiple genres, including fiction, biography, drama, children’s literature, memoirs, travel writing, and literary criticism. She also occasionally translated her own work into English.

Chakravarty’s introduction and compilations in this volume foregrounds the aspect  of Mahashweta’s political activism and how her writing itself  becomes a form of resistance. Her early  induction into Marxism was also partially attributable to her family background. Her family included Ritwik Ghatak (her father’s brother was a famed film maker) on her father’s side and on her mother’s, Sankha Choudhuri and Sachin Choudhuri, one a well-known sculptor and the other, the founder/editor of India’s foremost social science journal, Economic and Political Weekly, respectively.

Her early contact with Tagore and education at Santiniketan sensitised her to values of “inclusiveness, self-reliance, freedom of thought and expression, social responsibility, and environmental issues”. There, she also imbibed some of the spirit of the freedom struggle. Through her marriage to Bijon Bhattacharya, she grew familiar with IPTA[1] and the left ideologies. Later, she was associated with different radical movements in Bengal, Manipur, Jharkhand, Bihar, and Rajasthan, which find expression in many of her writings (Mother of 1084, ‘Draupadi’).

Her political commitment to these movements is evident in her use of language.  Local vocabularies become central to the style and subject of Mahasweta’s writings. She wrote in 1983: “Since I remain immersed in indigenous myths, oral legends, local beliefs and religious convictions, I find purely indigenous words very potent and expressive.”

She  was critical of writers in the Bangla literary establishment whose experiments with modernist aesthetics led to disengagement with the socio-political context. All the same, her writings evince special “linguistic, textual, and aesthetic strategies that can be compared to the prac­tices of other writers who were experimenting with new approaches”, using non-linear time. Oral traditions fascinated her and she worked closely with Prof G.N.Devy in her later years, to campaign for the recognition of tribal languages.

She also  translated and edited volumes on Indian folklore. In her own writings, she includes elements from the oral traditions, as in the snatches of local lore in Jhansir Rani (The Queen of Jhansi) or the lines from an untranslated Santhal song in ‘Draupadi’. As Chakravarty points out, “Heteroglossia, the use of language as an indicator of social hierarchies in multivocal, polyphonic texts, functions as a potent literary feature in her writings.” Alongside, many of her texts incorporate multilingual elements, as if to indicate the heterogeneities in South Asian societies and cultures.

The book is an comprehensive introduction to and reappraisal of Mahasweta Devi’s life and work. It is imaginatively conceptualised and organised into different sections, each highlighting diverse aspects of her work and the criticism thereon. Section 1 of the book called ‘Spectrum: The Writer’s Oeuvre’, offers the reader in English an overview of the full range of her oeuvre through brief samples of her literary writings across diverse genres to highlight her versatility. These include Jhansir Rani (1956), a fiction­alised biography of Rani Lakshmibai, Queen of Jhansi, which amalgamates historical sources, folklore, and creative characterisation, to show up the contradictions in different ver­sions of the Rani’s life and Hajar Churashir Ma (The Mother of 1084), her powerful novel about the political awakening of a mother after her son is killed by the police during the Naxalite movement of the 1970s, altered the trajectory of the Bengali novel. The extract from the final pages captures, in a style resembling stream-of-consciousness, the dramatic political power struggles in the outer world and the inner drama of the mother’s psyche.

The short story ‘Giribala’ narrates the plight of a girl married off at 14 to a man who sells their own daughters into the flesh trade to pay for the construction of his dream house. The play Bayen uses modern experimental techniques to present the story of a woman from the caste of Doms (cre­mation attendants), who becomes the victim of collective superstition and scapegoating and yet, in a final act of heroic self-sacrifice, saves the very community that has ostracised her. In a complete change of tone and style,’Nyadosh the Incredible Cow’, a delightful piece of writing for children, offers a witty anecdotal account of the devastating exploits of a cow in the author’s home. The extract from Tarasankar Bandyopadhyay, Mahasweta Devi’s English monograph on the iconic Bengali writer, reveals her incisive­ness as a literary historian and critic and also provides a window to her own literary values.

As Chakravarty clarifies, given the vast body of critical readings on Mahasweta’s writings, a comprehensive compilation is beyond the scope of this book. Instead, the selected essays in Section 2 (‘Kaleidoscope: Critical Reception’) offer the reader (in translation) a sense of the paradigm shifts that mark Devi’s critical recep­tion in Bengal, the rest of India, and in the international domain. Ten­sions, debates, and contradictions are highlighted, and overview of her critical reception over four decades –1957 to 1997 in Bengal is discussed by Arup Kumar Das. An essay by Dipendu Chakrabarti analyses the debates and contro­versies around her work. Dilip K. Basu’s account of Hajar Churashir Ma views itas a pathbreaking text that transformed the course of the Bengali novel in the 1970s.

The essays in English by other Indian critics include Sujit Mukherjee’s classic piece on Mahasweta and Spivak, Jaidev’s account of national alle­gory in Douloti, Arunabh Konwar’s comparative analysis of the creative use of fictionalised biography by Mahasweta and Indira Goswami, Shreya Chakravorty’s study of the politics of translation in the work of Spivak and Samik Bandyopadhyay, Anjum Katyal’s account of Mahasweta as a drama­tist, and Benil Biswas’ reading of the transmutations of Mahasweta’s texts via stage and screen adaptations.

International contributions include an important new essay on Pterodactyl by Gayatri Chakravorty Spivak, who interprets the rhetorical pointers in the text to speak of it as an activist mediation for the reader to learn about earn­ing the right to intervene. Shreerekha Subramanian’s essay offers a compara­tive study of the discourse on motherhood in novels by three women writers across different languages, locations, and literary traditions: Mahasweta Devi, Toni Morrison, and Amrita Pritam.

Section 3 (‘Ablaze With Rage: The Writer as Activist’) includes some of Mahasweta’s activist writings, such as ‘Tribal Language and Literature: The Need for Recognition’, a passionate demand for the inclusion of tribal languages in official discourse; ‘Palamau is a Mirror of India’, where she critiques what she perceives the failures of the state to address the plight of the oppressed people in post-Independence India; and ‘Eucalyptus: Why?’, a scathing critique of the nexus between local powers and global market forces that have led to the replacement of natural forests in Bengal with eucalyptus plantations that have destroyed the local ecology that sustained human and animal life there. Alongside, in ‘The Adivasi Mahasweta’, Ganesh N. Devy reminiscences about his first encounter with Mahasweta Devi and their subsequent collaborations in activist campaigns and projects. ‘Haunted Landscapes: Mahasweta Devi and the Anthropocene’, by Mary Louisa Cappelli, connects Mahasweta’s activist writings and fiction on the subject of the Anthropocene to indicate the need to take a composite view of her writing and activism as twin manifestations of the same vision.

Section 4, ‘Personal Glimpses: A Life in Words’, includes extracts from Mahasweta’s memoir Our Santiniketan (2022), along with interviews (with Naveen Kishore and Radha Chakravarty) and reminiscences by her family members (Nabarun Bhattacharya, Soma Mukhopadhyay, Sari Lahiri, Ina Puri), friends (writers ‘Anand’ and Anita Agnihotri), and associates (Ranjit Kumar Das ‘Lodha’, Dakxin Bajrange), which highlight different facets of Mahasweta’s life and personality, bringing to life the woman behind the public image.

The book offers a comprehensive overview of Mahashweta Devi’s writing and will be of immense use to students, researchers and to general readers. As Chakravarty reiterates , “New trends in Mahasweta studies continue to evolve, including emphasis on her environmental concerns, ethics, planetarity and the Anthropocene, intersectionality, the use of incommensurate realities and registers of writ­ing, comparative readings, and an emerging focus on her life”.

This is an ambitious attempt to give us an idea of the immense range of her work. While a full biog­raphy and a full bibliography of Mahasweta’s oeuvre is yet to be published, (encompassing the entire corpus of her work, including letters and other unpublished material) this volume is a vital step in that direction. In her excellent Introduction, Chakravarty charts the long-term impact of Devi’s work which continues to resonate in contemporary forms of activism and theatre. Through the actions of the many groups of people she inspired – the women of Manipur whose public protest imitated her fiction, to the per­formances of the Budhan theatre, and the rise to fame of the Dalit Bengali writer, Manoranjan Byapari— “Mahasweta’s impact and influence can be felt in many ways. She survives through the people she struggled to support all her life,”

It is an ironical reflection on our times that a prolific and much awarded Indian writer-perhaps deserving of the Nobel prize, should be excised from the university syllabus of a central university. This move has, perhaps paradoxically, elicited even more interest in Mahasweta Devi’s work and has also consolidated her reputation as a mascot, a symbol of resistance to state violence. A timely intervention, this volume proves yet again that a great writer, in responding to local , regional, environmental ethical concerns sensitively,  transcends his/her immediate context to acquire global and universal significance.    

[1] Indian People’s Theatre Association founded in 1943

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Dr Meenakshi Malhotra is Associate Professor of English Literature at Hansraj College, University of Delhi, and has been involved in teaching and curriculum development in several universities. She has edited books on Women and Lifewriting, Representing the Self and Claiming the I, in addition  to numerous published articles on gender, literature and feminist theory.   Recently, she co-edited The Gendered Body: Negotiation, Resistance, Struggle.

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Review

The Greatest Indian Stories Ever Told 

Book Review by Bhaskar Parichha

Title: The Greatest Indian Stories Ever Told: Fifty Masterpieces from the Nineteenth Century to the Present 

Editor: Arunava Sinha

 Publisher: Aleph Book Company

The Indian subcontinent has had a long tradition of storytelling that is referred to as ‘contes’ or tales, by the French. ‘Kathasaritsagar‘ by Somdev in Sanskrit compiled in the 11th century CE is a great example of this. Flavourful folk tales can also be found in renditions after the 11th Century CE — like the ‘Singhasan Battisi’[1].

Various Indian languages soon adopted this genre, gaining popularity throughout the country. Over the past 150 years, hundreds of memorable and popular stories have been written in more than 20 different languages. There are many ways in which they have become cultural cornerstones. Even those who do not read books often quote from a Premchand story or refer to a Tagore character in conversation. There are more people who know about our recent history as a result of Manto’s stories than any other history book published.

The Greatest Indian Stories Ever Told: Fifty Masterpieces from the Nineteenth Century to the Present  edited by Arunava Sinha, is a welcome addition to the genre. As an English translator, Sinha specialises in translating Bengali fiction and non-fiction from Bangladesh and India into English, including classic, contemporary, and modern works. More than seventy of his translations have been published so far in India, UK, and USA. He has twice won India’s top translation prize, the Crossword Award for translated books. He teaches at Ashoka University, where he is also the co-director of the Ashoka Centre for Translation.

This anthology contains stories that draw inspiration from a wide range of Indian regional dialects, languages, literature, and cultures, and includes early masters of the form, contemporary stars, and brilliant writers who came of age during the twenty-first century.

Among these authors are some of the most revered in Indian literature and have, between them, won almost every major literary award, including the Nobel Prize for Literature, the Jnanpith Award, the Sahitya Akademi Award as well as numerous other honours at the state, national, and international level. 

There is a plethora of literary delights in this collection, from Tagore’s evocative prose to Amrita Pritam’s emotional depth, from Ruskin Bond’s enchanting stories to Mahasweta Devi’s thought-provoking stories. It is a treasure trove of narratives translated to or written in English. If all these weaving the colours of the diversities in India are to be savoured across all the Indian states with diverse languages, they need to be in English. Collections of some of the best literary short fiction written by Indian writers began to emerge in the country at the end of the nineteenth century. And now in the twenty first century, the trend has been retained by this collection.

A must-have for any Indian literature enthusiast, The Greatest Indian Stories Ever Told provides a literary journey that explores space and time, which makes it a precious collector’s item that will become a valuable over time. Anyone who is interested in India’s rich cultural heritage as well as the rich tapestry of Indian storytelling should definitely read this anthology in order to gain some insight into the country’s rich cultural heritage. It promises to be an exciting and enticing literary feast, leaving readers awe-struck and enriched by the depth and beauty of Indian storytelling whether you are familiar with these eminent authors or are new to them, regardless of whether you know their work or not.

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[1] Collection of ancient Indian folk tales; Literally, 32 tales of the throne, compiled after the 11th century CE

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

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Review

Rising

Book review by Bhaskar Parichha

Title: Rising: 30 Women Who Changed India’

Author: Kiran Manral

Publisher : Rupa Publications

Several books have been brought out on Indian women, coinciding with International Women’s Day this year. These books, in their own style tell the story of how women have shattered glass ceilings and have ventured into what had been perceived earlier as ‘men’s domains’. 

In today’s India, women exercise their right to vote, contest for Parliament and Assembly, seek appointment in public office and compete in other spheres of life with men. This inclusivity shows women enjoy more liberty and equality than a hundred years ago. They have gained the freedom to participate in affairs of the country, whether it is science, technology, finance and or even defense.


Rising: 30 Women Who Changed India by Kiran Manral looks at what moulded these women: the challenges they faced, the influences they had, the choices they made and how they negotiated around or broke boundaries that sought to confine them, either through society or circumstances. The book is an ode to inspirational women who transformed India in a variety of ways. It is a chronicle of valiant achievers and also a depiction of stories about those who swam against the tide. 

From diverse backgrounds and different generations, they have risen through sheer grit, determination, bolstered with passion, and are, today, names to look up to, to be mentioned as examples to the next generation, giving them courage to reach out to their dreams. From politics to sport, from the creative and performing arts to cinema and television, from business leaders to scientists, legal luminaries and more, this book features the stories of these much celebrated, fabulous women: Sushma Swaraj, Sheila Dikshit, Fathima Beevi, Mahasweta Devi, Amrita Sher-Gil, Amrita Pritam, Sonal Mansingh, Lata Mangeshkar, Anita Desai, M.S. Subbulakshmi, Harita Kaur Deol, Madhuri Dixit, Bachendri Pal, Rekha, Chhavi Rajawat, Karnam Malleswari, Shailaja Teacher, Hima Das, Naina Lal Kidwai, Shakuntala Devi, P.T. Usha, P. V. Sindhu, Ekta Kapoor, Kiran Bedi, Mary Kom, Menaka Guruswamy, Tessy Thomas, Aparna Sen, Kiran Mazumdar-Shaw and Gayatri Devi, among others. 

Mumbai- based Kiran Manral is a writer, author and novelist. In previous avatars, she has been a journalist, researcher, festival curator and entrepreneur. A recipient of  multiple awards such as the Women Achievers Award by Young Environmentalists Association in 2013 and the International Women’s Day Award 2018 from ICUNR, Kiran has authored  a couple of fictions and non-fictions too. Her interests are eclectic. 

Writes Kiran in the introduction: “Every story is replete with takeaways, lessons to be learnt, not just professionally but otherwise too. These women have lived life on their own terms, becoming a beacon of hope to many others, women and men alike. If after learning about these inspirational women, a young girl, anywhere in the country thinks to herself that could be me! 1f she can do it, so can I, this book would have served its purpose.”

About Fathima Beevi she writes: “Even before the phrase ‘glass ceiling’ entered common parlance, we had a female judge in the Supreme Court already smash it. With a quiet efficiency that defined her career, on 6 October 1989, M. Fathima Beevi became the first female judge in the Supreme Court, a position she held till her retirement on 29 April 1992.For all her achievements, she remains an enigma, shunning the spotlight and living a quiet life in her hometown post her retirement. Her photographs show a determined expression: her head firmly covered with her saree’s pallu, spectacles lodged on the bridge of her nose and her matter-of-fact demeanour.” 

Written in a crispy style loaded with factoids, the book makes for an enthralling read. The story of Hima Das — who rose from obscurity to international acclaim, a journey that took her from a small village in Assam to the podium of international athletic meets — is as absorbing as realistic. 

 “There’s an iconic photograph that encapsulates Hima Das. Her eyes are twinkling with joy, she’s holding the Indian flag aloft behind her, an Assamese gamusa (a piece of red and white cloth, a cultural identifier) draped around her neck. It had been a long journey from the muddy fields she started training in back in her village near Dhing, in Assam. Back then, she ran barefoot. Basic running shoes was an indulgence, branded shoes were a dream. She ran first for her school, then her district, and when she reached the state level, she got her first pair of real sports shoes. They were an ordinary pair of running shoes, but she wrote ‘Adidas’ on them, along with its logo. One day, she would be able to buy herself a pair of Adidas shoes. Years later, Adidas would name an entire line of shoes after her, but she had to earn that, through struggle, sweat and blood.’ 

On 31 August 2019, Amrita Pritam was commemorated by Google, her centenary birth anniversary, with a doodle. It wrote: “Today’s Doodle celebrates, one of history’s foremost female Punjabi writers, who dared to live the life she imagines.”

Kiran says in her book: “In her writings and her life, she leaves behind a legacy for women writers in India which urges them to defy social constructs and constraints, challenge them, and to live and write as she did — unencumbered.”  

The book about thirty most successful women makes for an interesting read.It is a glorious tribute to the womenfolk who have shattered all maximums and have spurred others to claim individual space.

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Bhaskar Parichha is a journalist and author of Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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Review

Silence between the Notes

Title: Silence between the Notes – Anthology of Partition Poetry

Selected, edited and introduced by Aftab Husain and Sarita Jenamani

Book Review by Namrata

Despite being more than seven decades old, Partition continues to be raw and unflinching. Endless books and movies have tried to capture its pain and enigma and yet there seems to be so much more that needs to be told about that one incident that changed so many lives, forever.

Silence between the Notes is an anthology of Partition poetry which includes contributions from Urdu, Punjabi, Sindhi, English, Hindi, Bengali and Kashmiri languages. It is a unique collection as this is the first book which is extensive, representative and inclusive of it all. Selected, edited and introduced by Aftab Husain and Sarita Jenamani, this anthology promises to bring forward the voices which had perhaps got lost somewhere in all the noise that followed Partition.

Sarita Jenamani is a poet based in Vienna who writes in English, Hindi and Odia, her mother tongue. A general secretary of the Austrian chapter of PEN international, she is also the co-editor and publisher of the bilingual literary magazine Words and Worlds.

An eminent name on modern Ghazal poetry from South Asia, Aftab Husain writes in Urdu, English and German. His poems have been translated into many languages. Apart from being a member of the Austrian chapter of PEN international, he is also the co-editor of the bilingual literary magazine, Words and Worlds.

When India was declared independent, the joyous news was also followed by the sad news of Partition of India into two countries, India and Pakistan. What followed was mass migration of lakhs of people as Muslims in India migrated to Pakistan while Hindus and Sikhs in Pakistan migrated to India, all in a hope for better tomorrow. Nobody knew how this supposed call for betterment led to so much blood shed on both the sides that till date, the cries and blood stains can be heard and seen.  Was it religion or was it politics, no one can say! All one can say is that the wound is too deep for even time to heal it.

‘My soul quivered at the sight of human blood, spilled here and there

Like beasts, men madly roamed at city’s every thoroughfare.’

(‘The Partition’, Maikash Ambalvi)

Picking up gems from different languages ranging from Urdu and Kashmiri to Bengali and Sindhi, this collection of ninety-one poems is a heart-wrenching read. One cannot read this collection without feeling that pinch in their heart and sensing a lump in their throat on this poignant portrayal of the incidents that happened before, on and after Partition. The beauty, irrespective of the language they were written in and despite being translated, leaves one unnerved.

With works of stalwarts like Sahir Ludhianvi, Faiz Ahmed Faiz, Amrita Pritam, Agha Shahid Ali, Taslima Nasreen, Keki Daruwalla and many others featured therein, these poems are strung together with the thread of hope binding them. Taking us through the conflict they witnessed, heard or experienced, the poems in this collection make you witness the trauma inflicted upon through Partition. One can almost hear the sobs and feel that fear undergone through these pages.

Even in some of the darkest stanzas it is difficult to miss the tiny glimmer of hope in the hearts of the poets. Like that ladies who tied pillows on their waists and stomachs to protect themselves, or the one where they talk about how trains arrived at stations but the names of the places had been changed, leaving them unidentifiable. These poems talk endlessly about kind neighbours who took them in and protected them or that random stranger who had offered them food. There might be pain in their words and through ink, they might be giving form to their blood and tears shed at that time. However, their voices are trying hard to hold onto hope.  As Sarita Jenamani’s poem, ’70 years later’ begins,

‘August is the cruelest month

It drags us

To a butchery

Plastered with mirrors-

Mirrors of the ancestral rage’

And ends with,

‘August in a month of monsoon

And monsoon brings

A maze of hope’

If someone were to ask, whom did the Partition benefit, there would be pin-drop silence in response. This is the same eerie silence that reflects out in the title of the book ‘Silence between the notes’. Each poem, each stanza, every word is followed by a pause which is reverberating with questions but sadly, has no answers. This silence is also reminiscent within the moments when the reader pauses reading the book briefly after finishing one poem, just to regain composure and start reading it again.

Today, almost seventy years later, we are still at a point where the harsh memories of this incident have chained us and sadly, there are times, when we see the signs of it reoccurring around us clearly pushing us further down the abyss. The only thing that helps us stay afloat is that we have hope, for a better tomorrow, for a kinder world and for humanity to prevail above it all.

Namrata is a lost wanderer who loves travelling the length and breadth of the world. She lives amidst sepia toned walls, fuchsia curtains, fairy lights and shelves full of books. When not buried between the pages of a book, she loves blowing soap bubbles. A published author she enjoys capturing the magic of life in her words and is always in pursuit of a new country and a new story. She can be reached at privytrifles@gmail.com.

Disclaimer: The opinions expressed are solely that of the author.