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By Kaamna Jain
The second most interesting thing about former High Court judge Mahesh Sharma’s peacock theory is that somehow being celibate makes the peacock a superior animal. The first thing of course is that it’s a completely unscientific fact which has been quoted while giving judgment in a criminal case. The judge needs to be reminded that he as well as the entire human race is a product of sexual reproduction. Then why celebrate and put organisms that reproduce asexually on a higher pedestal?
For years students of science have been taught that sexual reproduction is better than asexual reproduction for evolution because it creates genetic variety. This helps a species in adapting to constantly changing and challenging environment, even though sexual reproduction is more cumbersome and less efficient. That is the reason sexually reproducing species are at the highest rung of the ladder while single cell organisms which reproduce asexually are at the very bottom of the pyramid.
It is the taboo surrounding sex that sets the context for the book, “Erotic Stories for Punjabi Widows”, written by Singapore based author, Balli Kaur Jaswal. Published in early 2017 by Harper Collins, movie rights have already been sold to Ridley Scott’s production company, Scott Free Productions, and Film4.
The title is an intriguing misnomer. Erotic stories? Sure, any time. But for Punjabi widows? In a patriarchal society, widows are deemed to be even lesser beings than women and somehow supposed to be asexual beings, bereft of desires and fancies once their better halves leave for their heavenly abode. The word “widow” conjures the image of a lady clad in white, engaged either in religious or household chores. That such a creature could have erotic stories to share or sexual fantasies, takes time to get used to. Once you get used to the idea, the surreptitious thrill of enjoying something forbidden also screams out loud from the title. I quickly ordered a copy online. Now I happened to be travelling and thanks to the title, was extremely uncomfortable about getting it delivered to a neighbour’s house for safekeeping. After that, I could not bring myself to say the name of the book when asked by an elderly uncle what I was reading currently.
The story is set in Southall and Enfield, London. The protagonist is a young British girl of Indian origin, Nikki, who is trying to figure out what she wants to do in life. Brought up in Enfield, which is a more British part of London, she gets tricked into an assignment to take writing class for Punjabi windows in a Gurudwara in Southall. She wants to “help the women” and believes that “everyone has stories to tell. It would be a rewarding experience to help Punjabi women to craft their stories”.
By Fehmida Zakeer
Title: Immoderate Men
Publisher: Speaking Tiger Books
As the title indicates, the eleven stories in the collection Immoderate Men focuses on the unrestrained response of the main characters as they encounter seemingly small quirks of fate that go on to have great implications in their lives. The author who has used a pseudonym, Shikhandin, has made it a point to include stories about men from different classes of society as well as from different age groups making each story unique in its perspective. Though the point of view is that of the male gender, the narratives do not actually delve into the psyche of men as such; rather, the portrayal revolves around how the principal characters respond to the attitudes and events in the lives of the women around them.
‘Salted Pinkies’ is, however, different. It focuses on the efforts of a young man who resorts to an extreme step to escape from a society that is not ready to accept a different language of sexuality. Some stories trace the calibration of marital relationships, the strength of the bond between husband and wife. In the first story, we see a couple preparing for a banquet for their son-in-law, making all efforts to ensure a sumptuous spread with all the right foods. But when the ingredient for their star dish disappears from the garden, the excellent chemistry between the couple helps them to deal with the different problems that come up. However, another story on the same theme, ‘Black Prince’, paints a picture of domestic discontent that drives the husband to develop an unusual passion — that of growing roses in his garden which helps him in a strange way to confront the disturbance lurking beneath the surface of his life.
By Aminah Sheikh
Let’s get down to brass tacks. Why do you write?
This is the kind of question, like “what do you write about”, that plunges me into a regular quandary because it’s as if I were being asked to summarize my life in one paragraph. I actually don’t know how I came to writing because I started as a child, almost as soon as I began to read and write, and it grew up with me. But I realized its importance when I was around 12 years old and started writing my first “novels”. I obtained my first literary prize at 15, published my first collection of short stories when I was 19 and never really looked back. I would say that I began to write because it was a way to break the silence – both mine and that of Mauritian society around me, which is one where things are left unsaid, where there is a kind of culture of stifling real feelings, and where, as in many other parts of the world, a large number of people are condemned to be unheard and at times invisible. My first novel, after my collections of short stories, was a first person narrative about a prostitute of Port-Louis, the capital of Mauritius. Written in the eighties, it broke a taboo in many ways, including the sexual violence being described and the sensuality of the writing. I’ve sometimes been described as a writer who writes for the voiceless. But this is a little too grand and emphatic for me. We are all voiceless in certain ways, and writing delves deep into our psyches, into fears and obsessions that fear to reveal themselves because they make us vulnerable.
Tell us about your most recent book or writing project. What were you trying to say or achieve with it?
The novel I have just completed and that will be published early next year was probably one I found most difficult to write because it broke away from my usual literary haunts. For instance, in all my novels, the place where the story is set is extremely important and plays a major part in the narrative. Whether it is Port-Louis, or Terre Rouge, in Mauritius, New Delhi or London, my characters tend to take on part of their meaning from their surroundings, which closely reflect their states of mind. This roots them in history – their own and the larger history of the place – in their being, in their becoming. In this last novel, however, I do not name the place; it could be any modern city, and there is hardly any description of the outer environment of the main character. This is because the story is told by a morbidly obese 16-year-old for whom, in a way, the “place” is her body. It is her prison and her shrine. She is captured by this inflationary process, trying to come to terms with it, with the fact that her mother left her with her father when she was still a baby, and her father, who adores her, also destroys her by constantly feeding her the most delicious food. He has also created the myth that the protagonist is obese because originally her mother was expecting twins, and that somehow, one was absorbed by the other. So the girl is both constantly shadowed by this invisible sister, and believes she has in a way devoured her inside the uterus. At the same time, it is a very contemporary novel because it talks about the constant “eye” of social media and the virtual world on all of us and on her especially, which turns her into a monster that is constantly being watched. The virtual world is the fourth dimension in which we now live, whether we like or not, and that has unleashed the most negative traits in people, mockery, aggression, hate, racism, behind the walls of anonymity. It all ends in an orgy of self-inflicted violence, the nihilism that is reflected in the many different sorts of violence surrounding us.
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