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 5: The Cracking of India in Amrita Pritam's Pinjar and Mohandas Nemishrai's Aaj Bazaar Band Hai
The Cracking of India in Amrita Pritam's Pinjar and Mohandas Nemishrai's Aaj Bazaar Band Hai
Cracking Open the Cage: Amrita Pritam's Pinjar
Often times, print media is quite easily overpowered by the goliath, the visual media, especially in the South Asian context dominated by Hollywood's powerful and much more prolific twin, Bollywood. In the case of authors lucky enough to compete in the contemporary marketing blitz of stories that appeal but are no longer read, Amrita Pritam is one such significant voice in the canon of twentieth century Indian literature. Pritam (1919–2005) was a prima donna of Punjabi literature, her works of such popular and mass appeal that they were translated into scores of other Indian languages as well as in ...