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Contents

Borderless December 2021

Editorial

Towards a Brave New World… Click here to read.

Interviews

In Bridge over Troubled Waters, academic Sanjay Kumar tells us about Pandies, an activist theatre group founded by him that educates, bridging gaps between the divides of University educated and the less fortunate who people slums or terror zones. Click here to read.

In Lessons Old and New from a Stray Japanese Cat, Keith Lyons talks with the author of The Cat with Three Passports, CJ Fentiman who likes the anonymity loaned by resettling in new places & enjoys creating a space for herself away from her birthplace. Click here to read.

Translations

Poetry by Jibananda

Translated from Bengali by Fakrul Alam, two poem by the late Jibananda Das. Click here to read.

Shorter Poems of Akbar Barakzai

Translated from Balochi by Fazal Baloch, five shorter poems by Akbar Barakzai. Click here to read.

Long Continuous Battle

Written and translated from Korean by Ihlwha Choi. Click here to read.

Colour the World

Rangiye Diye Jao, a song by Tagore, transcreated by Ratnottama Sengupta. Click here to read.

Rakhamaninov’s Sonata

A short story by Sherzod Artikov, translated from Uzbeki by Nigora Mukhammad. Click here to read.

Robert Burns & Tagore in Harmony

A transcreation of Tagore’s song, Purano Sei Diner Kotha, based on Robert Burn’s poem associated with new year’s revelries by Mitali Chakravarty. Click here to read.

Poetry

Click on the names to read

Michael R Burch, Dibyajyoti Sarma, Anasuya Bhar, Ryan Quinn Flanagan, Sambhu Nath Banerjee, Michael Brockley, Malachi Edwin Vethamani, George Freek, Mitra Samal, William Miller, Harsimran Kaur, Jay Nicholls, Sangeeta Sharma, Rhys Hughes

Nature’s Musings

In Lewie, the Leaf, Penny Wilkes explores the last vestiges of autumn with her camera and a touching story. Click here to read.

Poets, Poetry & Rhys Hughes

In Trouser Hermits, Rhys Hughes muses over men’s attire and the lack of them. Click here to read.

Musings/ Slices from Life

Kungfu Panda & Matrimony

Alpana gives a glimpse into her own marital experiences through the lockdown. Click here to read.

How I Transitioned from a Desk Worker to a Rugged Trail Hiker at Age Sixty

Meredith Stephens shares the impact of the pandemic on her life choices. Click here to read.

A Tale of Two Houses

P Ravi Shankar travels back to the Kerala of his childhood. Click here to read.

The Voice that Sings Hope through Suffering…

Rakibul Hasan Khan pays a tribute with a twist to a recently deceased Bangladeshi writer, Hasan Azizul Huq. Click here to read.

Canada: A Live Canvas

Sunil Sharma reflects on the colours of the fall in Canada. Click here to read.

To Infinity & Beyond!

Candice Louisa Daquin explores the magic of space travel. Click here to read.

Joy Bangla: Memories of 1971

Ratnottama Sengupta recaptures a time when as a teenager she witnessed a war that was fought to retain a language and culture. Click here to read.

Musings of a Copywriter

In Statue Without Stature, Devraj Singh Kalsi muses on erecting a bust with a dollop of humour. Click here to read.

Stories

Flash Fiction: In Search of a New Home

Marzia Rahman shares a short narrative about refugees. Click here to read.

Floating Free

Lakshmi Kannan travels with a humming bird to her past. Click here to read.

Driving with Murad

Sohana Manzoor unfolds her experiences while learning to drive with a dash of humour. Click here to read.

Dinner with Bo Stamford in Hong Kong

Steve Davidson has a ghostly encounter in Hong Kong. Click here to read.

The Literary Fictionist

In Walls, Sunil Sharma peers into fallacies and divides. Click here to read.

Essays

What’s Novel in a Genre?

Indrasish Banerjee explores why we need a genre in this novel-based essay. Click here to read.

Of Palaces and Restorations

Rupali Gupta Mukherjee visits a restored palace in the heartland of Bengal. Click here to read.

The Incongruity of “Perfect” Poems

Rakibul Hasan Khan discusses Bangladeshi poet Sofiul Azam’s poetry from a post colonial perspective. Click here to read.

The Birth of Bangladesh & the University of Dhaka

Professor Fakrul Alam takes us through the three Partitions of Bengal which ultimately led to the creation of Bangladesh, with focus on the role of Dhaka University. Click here to read.

The Observant Migrant

In When is a mental illness not a mental illness?, Candice Lousia Daquin provides us with a re-look into what is often judged as a psychiatric issue. Click here to read.

Book Excerpts

Somdatta Mandal’s translation of A Bengali Lady in England by Krishnabhabini Das (1885). Click here to read.

Suzanne Kamata’s The Baseball Widow. Click here to read.

Book Reviews

Aruna Chakravarti reviews Devika Khanna Narula’s Beyond the Veil. Click here to read.

Rakhi Dalal reviews Anirudh Kala’s Two and a Half Rivers. Click here to read.

Keith Lyons reviews CJ Fentiman’s The Cat with Three Passports: What a Japanese cat taught me about an old culture and new beginnings. Click here to read.

Bhaskar Parichha reviews BP Pande’s In the Service of Free India –Memoirs of a Civil Servant. Click here to read.

Categories
Review

Beyond the Veil: A Book Review by Aruna Chakravarti

                                                                              

Title: Beyond the Veil

Author: Devika Khanna Narula

An important task for those committed to tracking the path of women’s Issues, past and present, is to embark on a study of the academic discourses on gender sparked off by feminist scholars and activists — an area that is fast gaining ground all over the world. Yet there is another dimension to the effort. It also involves an exploration of creative writing generated by sensitive, imaginative feminism. It is important to understand that concepts such as Patriarchy, Agency and Resistance are not limited to feminist debate and discourse. They are equally and dynamically present in poetry and fiction. In India, the field of feminist creative writing is growing rich with promise every day.

One such endeavour is Devika Khanna Narula’s novel Beyond the Veil.  A work of epical dimensions it operates on a vast canvas. Vast both in terms of space and time, it spans half a century, between 1900 and 1950. It offers interesting insights into life as lived by upper class and middle-class women during a momentous period of Indian history. A time when a mass resistance against British rule was spreading all over the country culminating in the independence of India. A movement in which some women also participated.

Spatially the narrative shuttles between two families from two different parts of India linked by marriage. They belong to different cultures though they come from a common stock. They are the Punjabis of Lahore and the Punjabi Khatris of Bandhugarh, a fictional name for Bardhaman, in West Bengal. The founder of the Kapoor family in Bandhugarh, came from Punjab in the sixteenth century and, by sheer dint of merit and hard work, amassed lands and wealth. His progeny followed in his footsteps, established themselves as zamindars and, at some point, were dignified by the title of Rajah by the British.

The Khannas of Punjab and the Kapoors of Bandhugarh seem very different in externals. The first belongs to the ‘small business’ class. The other is related to royalty. One is of pure Punjabi extraction. The other, though from the same genetic type, is highly Bengalised having lived in Bengal over many generations. They speak Bengali, eat Bengali food, dress like Bengalis, worship in Bengali temples and use idioms and expressions that serve to accentuate the effects of defamiliarization and alienness among the daughters-in-law who, in an effort to keep the bloodline pure, are brought from the old pristine stock.

These women face the challenges their upheaval brings in its wake. They are required to come to terms with another kind of life, learn to adapt to a new environment, cope with taunts about their dissimilarities and conquer their fears and insecurities. It works both ways. Roopmati, coming from Punjab has to turn herself into a Bengali in her marital home. Her daughter, brought up as a Bengali in Bandhugarh, is wed to a young man in Lahore and has to adapt to a different set of priorities and values for which she is totally unprepared.

Yet, scratch the surface and the fates of women, whether in Punjab or Bengal, are identical. Denial of education, economic dependence on the male, social conditioning over generations and the suppression of individual identity by an oppressive ‘joint family’ ideology are present across the spectrum. Humiliation and desertion by husbands, violence—physical and mental, molestation and rape both marital and by other males of the family are normalized and hidden from view. Adherence to tradition have rendered other horrors acceptable and inevitable. The custom of Sati and Purdah, female infanticide and neglect of the girl child are part of a patriarchal system that exists in both communities.

The strange thing is that the women who suffer these indignities, day in and day out, are the very ones who are entrusted with perpetuating the system. Males set the rules but females are expected to implement them. And many do. Mindlessly like automatons. Some even enjoy the process. Because this is the only area of dominance men have relegated to women. Women like Bebe of Bandhugarh and Rukmini of Lahore enjoy power through a determined subjugation of the younger women of the family, particularly the daughters-in-law. They also see it is as their duty to break the clay of the other and force it into the patriarchal family mould. 

The world in which the young women of Beyond the Veil live is cold and dark. But occasionally a shaft of sunlight pierces through the clouds. Some women upset the status quo from time to time. These are rebels who expect consideration and fair play. They demand change. The mother and daughter duo Roopmati and Maina are two such women. It is heartening to see that, under their influence, their husbands too develop sensitivity and compassion for the women in their households. Other males follow suit. The curtain falls on a world slowly waking from slumber.

The ambience of both worlds is created with great sensitivity and detail. Descriptions of food eaten, clothes worn, journeys undertaken and the joys and sorrows of day-to-day living are totally credible. The narrative flows smoothly unmarred by jolts and jars. The topography of Lahore, Karachi and Bandhugarh of those days is authentic and accurate. Life as it is lived in, whether it is the Khanna family or the Kapoor, the cultural differences come through with clarity and precision. Events and locales are rooted in history and dates are adhered to. Names of streets, restaurants, railway stations, cinema halls… even the films that were shown in them a century ago… can be put to the test and will not fail. Best of all are the local legends and myths that have grown around communities and families, rivers and lakes, temples and mansions. The book is a storehouse of information of a bye gone era.

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Aruna Chakravarti has been the principal of a prestigious women’s college of Delhi University for ten years. She is also a well-known academic, creative writer and translator with fourteen published books on record. Her novels JorasankoDaughters of JorasankoThe Inheritors have sold widely and received rave reviews. Suralakshmi Villa is her fifteenth book. She has also received awards such as the Vaitalik Award, Sahitya Akademi Award and Sarat Puraskar for her translations.

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