Subaltern Women's Narratives brings together intersectional feminist scholarship from the Humanities and Social Sciences and explores subaltern women’s narratives of resistance and subversion. Interdisciplinary in nature, the collection focuses on fictional texts, archival records, and ethnographic research to explore the lived experiences of subaltern women in different marginalised communities across a wide geographical landscape, as they negotiate their way through modes of labour and activism. Thematically grouped, the focus of this book is two-fold: to look at the lived experiences of subaltern women as they negotiate their lives in a world of political flux and conflicts; and to examine subaltern women’s dissenting practices as recorded in texts and archives. This collection will push the boundaries of scholarship on decolonial and postcolonial feminism and subaltern studies, reading women’s subversive practices especially in the themes of epistemology and embodiment. This book is aimed primarily at scholars, postgraduates, and undergraduates working in the fields of colonial and postcolonial studies. It will appeal to both historians and scholars of nineteenth century and contemporary literature. Specifically scholars working on subaltern theory, feminist theory, indigenous cultures, anticolonial resistance, and the Global South will find this book particularly relevant.
"Subaltern Women's Narratives brings together intersectional feminist scholarship from the Humanities and Social Sciences and explores subaltern women's narratives of resistance and subversion. Interdisciplinary in nature, the collection focuses on fictional texts, archival records, and ethnographic research to explore the lived experiences of subaltern women in different marginalised communities across a wide geographical landscape, as they negotiate their way through modes of labour and activism. Thematically grouped, the focus of this book is two-fold: to look at the lived experiences of subaltern women as they negotiate their lives in a world of political flux and conflicts; and to examine subaltern women's dissenting practices as recorded in texts and archives. This collection will push the boundaries of scholarship on decolonial and postcolonial feminism and subaltern studies, reading women's subversive practices especially in the themes of epistemology and embodiment. This book is aimed primarily at scholars, postgraduates, and undergraduates working in the fields of colonial and postcolonial studies. It will appeal to both historians and scholars of nineteenth century and contemporary literature. Specifically scholars working on subaltern theory, feminist theory, indigenous cultures, anticolonial resistance, and the Global South will find this book particularly relevant"--
Memory, Ji Bai would say, is this old sack here, this poor dear that nobody has any use for any more. As the novel begins, Salim Juma, in exile from Tanzania, opens up a gunny sack bequeathed to him by a beloved great-aunt. Inside it he discovers the past — his own family’s history and the story of the Asian experience in East Africa. Its relics and artefacts bring with them the lives of Salim’s Indian great-grandfather, Dhanji Govindji, his extensive family, and all their loves and betrayals. Dhanji Govindji arrives in Matamu — from Zanzibar, Porbander, and ultimately Junapur — and has a son with an African slave named Bibi Taratibu. Later, growing in prosperity, he marries Fatima, the woman who will bear his other children. But when his half-African son Husein disappears, Dhanji Govindji pays out his fortune in trying to find him again. As the tentacles of the First World War reach into Africa, with the local German colonists fighting British invaders, he spends more and more time searching. One morning he is suddenly murdered: he had spent not just his own money but embezzled that of others to finance the quest for his lost son. “Well, listen, son of Juma, you listen to me and I shall give you your father Juma and his father Husein and his father…” Part II of the novel is named for Kulsum, who marries Juma, Husein’s son; she is the mother of the narrator, Salim. We learn of Juma’s childhood as a second-class member of his stepmother’s family after his mother, Moti, dies. After his wedding to Kulsum there is a long wait in the unloving bosom of his stepfamily for their first child, Begum. It is the 1950s, and whispers are beginning of the Mau Mau rebellion. Among the stories tumbling from the gunny sack comes the tailor Edward bin Hadith’s story of the naming of Dar es Salaam, the city Kulsum moves to with her children after her husband’s death. And gradually her son takes over the telling, recalling his own childhood. His life guides the narrative from here on. He remembers his mother’s store and neighbours’ intrigues, the beauty of his pristine English teacher at primary school, cricket matches, and attempts to commune with the ghost of his father. It is a vibrantly described, deeply felt childhood. The nation, meanwhile, is racked by political tensions on its road to independence, which comes about as Salim Juma reaches adolescence. With the surge in racial tension and nationalist rioting, several members of his close-knit community leave the country for England, America, and Canada. I see this comedy now as an attempt to foil the workings of fate: how else to explain, what else to call, the irrevocable relentless chain of events that unfolded… The title of Part III, Amina, is the name of Salim’s great unfulfilled love, and will also be the name of his daughter. He meets the first Amina while doing his National Service at Camp Uhuru, a place he feels he has been sent to in error. Amina is African, and their relationship inevitably causes his family anxiety, until the increasingly militant Amina leaves for New York. Salim becomes a teacher at his old school, and marries, but keeps a place for Amina in his heart. When she returns and is arrested by the more and more repressive government, Salim is hurriedly exiled abroad. He leaves his wife and daughter with the promise that he will send for them, knowing that he will not. The novel ends with Salim alone, the last memories coming out of the gunny sack, hoping that he will be his family’s last runaway.
Women's Narrative and Film in 20th Century Spain examines the development of the feminine cultural tradition in spain and how this tradition reshaped and defined a Spanish national identity. Each chapter focuses on representation of autobiography, alienation and exile, marginality, race, eroticism, political activism, and feminism within the ever-changing nationalisms in different regions of Spain. The book describes how concepts of gender and difference shaped the individual, collective, and national identities of Spanish women and significantly modified the meaning and representation of female sexuality.
This work questions the role of women and the nation, especially among minorities. It examines many topics such as Tamil nationalism, the new woman in Indian cinema, women and minorities in the context of law and the issue of violence.
Subaltern Narratives in Fiji Hindi Literature is the first comprehensive study of fiction written in Fiji Hindi that moves beyond the hegemonic and colonially-implicated perspectives that have necessarily informed top-down historical accounts. Mishra makes this case using two extraordinary novels Ḍaukā Purān [‘A Subaltern Tale’] (2001]) and Fiji Maa [‘Mother of a Thousand’] (2018) by the Fiji Indian writer Subramani. They are massive novels (respectively 500 and 1,000 pages long) written in the devanāgarī (Sanskrit) script. They are examples of subaltern writing that do not exist, as a legitimation of the subaltern voice, anywhere else in the world. The novels constitute the silent underside of world literature, whose canon they silently challenge. For postcolonial, diaspora and subaltern scholars, they are defining (indeed definitive) texts without which their theories remain incomplete. Theories require mastery of primary texts and these subaltern novels, ‘heroic’ compositions as they are in the vernacular, offer a challenge to the theorist.
In recent decades, East Asia has gained prominence and has become synonymous with Asia, while other Asian regions, such as South and Southeast Asia, have been subsumed under it. The resultant overgeneralization has meant that significant aspects of the global ecological crisis as they affect these two regions have been overlooked. Chitra Sankaran refocuses the global lens on these two rapidly developing regions of Asia. Combining South Asian and Southeast Asian philosophical views and folk perspectives with mainstream ecocritical and ecofeminist theories, she generates a localized critical idiom that qualifies and subverts some established theoretical assumptions. This pioneering study, introducing a corpus of more than thirty ecofictions by women writers from twelve countries in South and Southeast Asia, examines how recent global threats to ecosystems, in both nature and culture, impact subdominant groups, including women. This new corpus reveals how women and subalterns engage with various aspects of critical ecologies. Using ecofeminist theory augmented by postcolonial and risk theories as the main theoretical framework, Sankaran argues that these women writers present unique perspectives that review Asian women’s relationships to human and nonhuman worlds.
Agastya Sen, known to friends by the English name August, is a child of the Indian elite. His friends go to Yale and Harvard. August himself has just landed a prize government job. The job takes him to Madna, “the hottest town in India,” deep in the sticks. There he finds himself surrounded by incompetents and cranks, time wasters, bureaucrats, and crazies. What to do? Get stoned, shirk work, collapse in the heat, stare at the ceiling. Dealing with the locals turns out to be a lot easier for August than living with himself. English, August is a comic masterpiece from contemporary India. Like A Confederacy of Dunces and The Catcher in the Rye, it is both an inspired and hilarious satire and a timeless story of self-discovery.
