Women Writing Violence engages with select contemporary novels in which women characters resist violence and redefine notions of community by imagining bonds with the exiled and the disempowered.
The author interweaves the literary landscapes of African-American writer Toni Morrison with the oeuvre of South Asian writers Mridula Garg, Tahmina Durrani, Amrita Pritam, Bapsi Sidhwa, and Mahasweta Devi. This results in the opening of a new gateway into the thinking about violence and survival through a feminist, transnational lens.
Subramanian places women's literary imaginary at the margins of both the nation-state and the patriarchal community. She creates a specifically female language and emphasizes the ingenious ways in which women characters in novels restore dignity and agency to their kin and beloved. The book focuses on voice and narrative techniques within the novel and transgresses the confines of the Enlightenment discourse to reckon with conceptual categories such as community and belonging.
Chapter 4: Beyond Cloisters of Domesticity: Tahmina Durrani's Kufr, Mridula Garg's Kathgulab, and Mahasweta Devi's Hazaar Chaurasi Ki Maa
Beyond Cloisters of Domesticity: Tahmina Durrani's Kufr, Mridula Garg's Kathgulab, and Mahasweta Devi's Hazaar Chaurasi Ki Maa
In sharp contrast to contemporary feminist voices in the popular Indian literary imaginary, the Hindi literary canon bears signs of a notable absence. Where is the gendered voice questing for justice? The range of great writers remains determined by the extent to which critics and scholars limit themselves to a close reading of canonical texts. Globalization has slimmed the market for the vernacular novel as writers in languages like Hindi, Gujarati, Marathi, and Malayalam increasingly tend to write for visual media like television or film. The average reader knows many of these writers, such as Kamleshwar and Bhisham Sahni because of their contributions ...