Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
Share
Share our website with your friends.
Email this page to a friend
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Books > Language and Literature > Interior Decoration – Poems by 54 Women from 10 Languages
Displaying 2366 of 4435         Previous  |  NextSubscribe to our newsletter and discounts
Interior Decoration – Poems by 54 Women from 10 Languages
Pages from the book
Interior Decoration – Poems by 54 Women from 10 Languages
Look Inside the Book
Description
From the Flap

Many of India’s best known women poets, as well as some of its less familiar ones are to be found in this landmark volume of 54 women poets from ten languages. Its rich and varied selection presents a feast of poetry in translation presents a feast of poetry in translations that are remarkable for their fidelity and poetic rendering.

An experience of womanhood may be the locus of this anthology, but modes of expression vary by circumstance.

Some women locate freedom in the sky, while others talk of being a witch, or of dance, or food. Some speak of the pain of husbands and the love of children, others of a lover’s touch, and the value of mother’s, work, and writing. Their voices are tinged, or satisfaction, regret or ironic resignation. As women and as poets, they offer advice, consolation, perspective – and startling insight.

A colossus like Kamala Das or Gauri Deshpande finds an echo in Mandakranta Sen, or Malika Amar Sheikh – even, unexpectedly, in Mamang Dai or Pratibha Nandakumar. Amrita Bharati’s intensely solitary interior landscape is counterpointed by the searing imagery of Salma; Savithri, Rajeevan’s oblique subversion with Jameela Nishat’s overt dissent.

Myth, fable, contemporary reality, fantasy and folklore are the sinew and substance of poems that range from the fact of discrimination to the exhilaration of discovering the power to the word. Exhilaration and discovery, then, are what inform the spirit of this unusual offering.

Women’s World is an international network of feminist that addresses issues of gender-based censorship. Its aim is to analyse conditions in our various countries, and to develop a strategy for work on these issues internationally. Women’s World (India) is a national network of women writers that deals with diverse issues in women’s writing, in all Indian languages and all genres, through workshops and discussion groups, and with other organizations of women writers.

 

Preface

Between 1999 and 2006, a most unusual and unique series of workshops, with over 200 women writers in ten major regional languages, were held in different cities across the country. This was an initiative of Women’s WORLD (India), a free speech network of writers, literary critics and some editors, that is concerned with women’s writing and the gendered nature of censorship. Our women and censorship project evolved from, and is part of, Women’s World Organisation for Rights, Literature and Development, a network that seeks to catalyse global feminist work on the right to free expression.

What is it that connects women to writing? And what is it that defines and determines the contours of that writing? What are the limits of the freedom that women are allowed in self- expression? Is a poem or a short story like an exotic sweet, or a neatly embroidered handwork, or a well—trained voice, to be displayed on occasion as a sign of feminine accomplishment? Marked by measured cadences and neatly drawn lines--never flamboyant, never demanding attention, just gently drawing praise with modest, womanly grace. What do women write? VV hat is it they cannot write about? Who reads them? Who publishes them? Are some languages more privileged than others? Some genres more accessible?

These were the questions and con fusions that haunted us during and after our workshops in Urdu, Telugu, Marathi, Malayalam, Hindi, Gujarati, Kannada, Bangla, English and Tamil, that brought up new issues and allowed fresh insights into the nature of censorship that women face. The thread that ran through most of them was disconnection: the disconnect between what women said and what they wrote; between their spoken words and their silences; between their husbands and fathers’ apparent encouragement and support, and their explicit, disapproving silence when a norm was violated. Between women as the subject matter of writing, and women as subjects and writers. Between language, literature and social movements, and the emergence of women’s voices. Between language and gender, gender and genre.

The primary purpose of these interactions was to collectively determine whether or not female creative writers in India face any form of censorship (direct or indirect) from any quarter: the state, the market, community leaders, society at large, families, even themselves. We wished to explore the idea that gender—based censorship, embedded in a range of social and cultural mechanisms that invalidate women’s experience and exclude them from political discourse, is often far more pervasive and far more difficult to confront than official suppression. We wanted to examine how critical the silencing of women, and the use of systematic force — direct or indirect- to ensure that silence, is to the maintenance and perpetuation of patriarchal power.

The range and depth of discussions, and the sharing of experiences during these workshops, were astonishing and gratifying in their richness and complexity. Once begun it was difficult to stop the flow, to disentangle the personal from the familial; from the social and cultural; and indeed, from the political. Impossible not to take caste and community into account when talking about literature and language; or about religion and sexuality. Abundantly clear, when discussing the novel, short story or poem that women’s choice of genre is so often determined by time and space, by the constraints of domesticity, by a life of repeated interruption.

Towards the end of this initial phase of our project, we published two volumes of in—depth interviews with 35 of our participating writers: Storylines: Conversations with Women Writers in 2003, and Just Between Us: Women Speak about their Writing in 2004. This anthology is an attempt to present a selection of poems from the ten languages of our workshops by the poets in our group, with the addition of a few who were unable to attend for one reason or another. It goes without saying that the selection is subjective; that we were constrained by the difficulty of getting satisfactory translations; that some languages are better represented than others; that no single volume can possibly do justice to the vast amount of poetry written by women in India.

We plead guilty to all these; but hope that what is offered here will be tempting enough, and satisfying enough, to encourage the translation and publication of many more poets and many more volumes, slim or otherwise, of which this is just the beginning.

 

Foreword

A genuinely fine poetry volume in several Indian languages casts its own special spell on the reader. Just watching each language sail into such an anthology with its ballast—its local symbols, conventions, its own particular way of articulating a feeling—is fascinating. Take Urdu for instance, the victim of deliberate neglect over the last 60 years in India. Jameela Nishat writes for the poet Vali Dakhani, whose grave was razed and a road built over it during the Gujarat riots of 2002.

Wandering in the body’s city
the wounded man
lay at the heart’s threshold
He knew that the cheek too is a garden
but its fragrance is beyond the mind’s reach

You won’t find such lines in other languages—the cheek as garden, or lying down ‘at the heart’s threshold’. Later we have ‘Hands raised in prayer! Cut down! The rosary of pearly tears/ Now a chain of iron links.’ This is the way much, or at least a part, of Urdu poetry is written, the emotional tempo raised, the lamentation shrill (as in Arabic and Persian) and the symbolism stark. Another poem of hers, again on the killings in Gujarat, starts with the lines “The red of my palms/ Wasn’t henna but blood'. Symbolism couldn’t be more obvious or more hard—hitting.

Sometimes liberty moves towards the edge of license. Gagan Gill, the fine Hindi poet, starts off a poem with, “In the days of the dead, sometimes our mothers would descend from the sky} One can see what she’s getting at; the mothers worrying over the food, the indifferent fathers descending later. Yet the libations in the end are only offered to the fathers. The point is, does one need this rain of mothers and fathers to make this point? These descents from the sky and “the days of the dead’ could leave the reader uneasy. Similarly, Nishat states “Rising one by one the corpses set out! Bathed in the light of the western moon. . .’ Couldn’t we do without the corpses marching away or parents drizzling from the heavens? But this is panache, liberty, style, whatever you call it, that Indian language poetry gives itself over to at times.

 

Contents

 

Acknowledgements   9
Preface   10
Foreword   13
  Urdu  
Jameela Nishat   25
Bilqees Zefirul Hasan   30
  English  
Gauri Deshpande   37
Kamala Das   44
Meena Alexander   64
Sampurna Chattarji   81
Rukmini Bhaya Nair   91
Temsula Ao   103
Menka shivdasani   120
Mamang Dai   130
  Tamil  
Kutti Revathi   137
Salma   139
Suganthi Subramaniam   144
IIampirai   145
Malathy Maitri   148
Sugirtha Rani   150
Uma Maheswari   152
Vatsala   154
  Gujarati  
Saroop Dhruv   159
Sanskritirani Desai   162
Panna Naik   163
Manisha Joshi   164
  Malayalam  
Anitha Thampi   169
Vijayalakshmi   171
Lalitha Lenin   177
Rose Mary   181
Savithri Rajeevan   185
  Marathi  
Amita Kokate   191
Malika Amar Sheikh   192
Kavita Mahajan   196
Pradnya Lokhande   199
  Telugu  
Kondepudi Nirmala   203
Ghantasla Nirmala   209
Volga   212
Vimala   214
Shahjahana   216
Challapalli Swaroopa Rani   217
Ravulapalli Sunitha   218
Vasanth Kannabiran   220
  Hindi  
Anamika   225
Kshama Kaul   234
Gagan Gill   235
Rajee Seth   243
Archana Verma   246
Jyotsna Milan   251
Amrita Bharati   256
  Kannada  
Prathibha Nandakumar   267
Mamta G. Sagar   281
Vaidehi   285
Sa Usha   291
  Bengali  
Nabaneeta Dev Sen   295
Debarati Mitra   305
Mithu Sen   308
Mandakranta Sen   314
Previous Publication   320
Poets   323
Translators   332

 

Sample Page

Interior Decoration – Poems by 54 Women from 10 Languages

Item Code:
IHL585
Cover:
Paperback
Edition:
2010
Publisher:
Women Unlimited
ISBN:
8188965626
Size:
8.5 inch X 5.5 inch
Pages:
335
Other Details:
weight of book 377 gms
Price:
$30.00   Shipping Free
Look Inside the Book
Add to Wishlist
Send as e-card
Send as free online greeting card
Interior Decoration – Poems by 54 Women from 10 Languages

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 8056 times since 19th Nov, 2014
From the Flap

Many of India’s best known women poets, as well as some of its less familiar ones are to be found in this landmark volume of 54 women poets from ten languages. Its rich and varied selection presents a feast of poetry in translation presents a feast of poetry in translations that are remarkable for their fidelity and poetic rendering.

An experience of womanhood may be the locus of this anthology, but modes of expression vary by circumstance.

Some women locate freedom in the sky, while others talk of being a witch, or of dance, or food. Some speak of the pain of husbands and the love of children, others of a lover’s touch, and the value of mother’s, work, and writing. Their voices are tinged, or satisfaction, regret or ironic resignation. As women and as poets, they offer advice, consolation, perspective – and startling insight.

A colossus like Kamala Das or Gauri Deshpande finds an echo in Mandakranta Sen, or Malika Amar Sheikh – even, unexpectedly, in Mamang Dai or Pratibha Nandakumar. Amrita Bharati’s intensely solitary interior landscape is counterpointed by the searing imagery of Salma; Savithri, Rajeevan’s oblique subversion with Jameela Nishat’s overt dissent.

Myth, fable, contemporary reality, fantasy and folklore are the sinew and substance of poems that range from the fact of discrimination to the exhilaration of discovering the power to the word. Exhilaration and discovery, then, are what inform the spirit of this unusual offering.

Women’s World is an international network of feminist that addresses issues of gender-based censorship. Its aim is to analyse conditions in our various countries, and to develop a strategy for work on these issues internationally. Women’s World (India) is a national network of women writers that deals with diverse issues in women’s writing, in all Indian languages and all genres, through workshops and discussion groups, and with other organizations of women writers.

 

Preface

Between 1999 and 2006, a most unusual and unique series of workshops, with over 200 women writers in ten major regional languages, were held in different cities across the country. This was an initiative of Women’s WORLD (India), a free speech network of writers, literary critics and some editors, that is concerned with women’s writing and the gendered nature of censorship. Our women and censorship project evolved from, and is part of, Women’s World Organisation for Rights, Literature and Development, a network that seeks to catalyse global feminist work on the right to free expression.

What is it that connects women to writing? And what is it that defines and determines the contours of that writing? What are the limits of the freedom that women are allowed in self- expression? Is a poem or a short story like an exotic sweet, or a neatly embroidered handwork, or a well—trained voice, to be displayed on occasion as a sign of feminine accomplishment? Marked by measured cadences and neatly drawn lines--never flamboyant, never demanding attention, just gently drawing praise with modest, womanly grace. What do women write? VV hat is it they cannot write about? Who reads them? Who publishes them? Are some languages more privileged than others? Some genres more accessible?

These were the questions and con fusions that haunted us during and after our workshops in Urdu, Telugu, Marathi, Malayalam, Hindi, Gujarati, Kannada, Bangla, English and Tamil, that brought up new issues and allowed fresh insights into the nature of censorship that women face. The thread that ran through most of them was disconnection: the disconnect between what women said and what they wrote; between their spoken words and their silences; between their husbands and fathers’ apparent encouragement and support, and their explicit, disapproving silence when a norm was violated. Between women as the subject matter of writing, and women as subjects and writers. Between language, literature and social movements, and the emergence of women’s voices. Between language and gender, gender and genre.

The primary purpose of these interactions was to collectively determine whether or not female creative writers in India face any form of censorship (direct or indirect) from any quarter: the state, the market, community leaders, society at large, families, even themselves. We wished to explore the idea that gender—based censorship, embedded in a range of social and cultural mechanisms that invalidate women’s experience and exclude them from political discourse, is often far more pervasive and far more difficult to confront than official suppression. We wanted to examine how critical the silencing of women, and the use of systematic force — direct or indirect- to ensure that silence, is to the maintenance and perpetuation of patriarchal power.

The range and depth of discussions, and the sharing of experiences during these workshops, were astonishing and gratifying in their richness and complexity. Once begun it was difficult to stop the flow, to disentangle the personal from the familial; from the social and cultural; and indeed, from the political. Impossible not to take caste and community into account when talking about literature and language; or about religion and sexuality. Abundantly clear, when discussing the novel, short story or poem that women’s choice of genre is so often determined by time and space, by the constraints of domesticity, by a life of repeated interruption.

Towards the end of this initial phase of our project, we published two volumes of in—depth interviews with 35 of our participating writers: Storylines: Conversations with Women Writers in 2003, and Just Between Us: Women Speak about their Writing in 2004. This anthology is an attempt to present a selection of poems from the ten languages of our workshops by the poets in our group, with the addition of a few who were unable to attend for one reason or another. It goes without saying that the selection is subjective; that we were constrained by the difficulty of getting satisfactory translations; that some languages are better represented than others; that no single volume can possibly do justice to the vast amount of poetry written by women in India.

We plead guilty to all these; but hope that what is offered here will be tempting enough, and satisfying enough, to encourage the translation and publication of many more poets and many more volumes, slim or otherwise, of which this is just the beginning.

 

Foreword

A genuinely fine poetry volume in several Indian languages casts its own special spell on the reader. Just watching each language sail into such an anthology with its ballast—its local symbols, conventions, its own particular way of articulating a feeling—is fascinating. Take Urdu for instance, the victim of deliberate neglect over the last 60 years in India. Jameela Nishat writes for the poet Vali Dakhani, whose grave was razed and a road built over it during the Gujarat riots of 2002.

Wandering in the body’s city
the wounded man
lay at the heart’s threshold
He knew that the cheek too is a garden
but its fragrance is beyond the mind’s reach

You won’t find such lines in other languages—the cheek as garden, or lying down ‘at the heart’s threshold’. Later we have ‘Hands raised in prayer! Cut down! The rosary of pearly tears/ Now a chain of iron links.’ This is the way much, or at least a part, of Urdu poetry is written, the emotional tempo raised, the lamentation shrill (as in Arabic and Persian) and the symbolism stark. Another poem of hers, again on the killings in Gujarat, starts with the lines “The red of my palms/ Wasn’t henna but blood'. Symbolism couldn’t be more obvious or more hard—hitting.

Sometimes liberty moves towards the edge of license. Gagan Gill, the fine Hindi poet, starts off a poem with, “In the days of the dead, sometimes our mothers would descend from the sky} One can see what she’s getting at; the mothers worrying over the food, the indifferent fathers descending later. Yet the libations in the end are only offered to the fathers. The point is, does one need this rain of mothers and fathers to make this point? These descents from the sky and “the days of the dead’ could leave the reader uneasy. Similarly, Nishat states “Rising one by one the corpses set out! Bathed in the light of the western moon. . .’ Couldn’t we do without the corpses marching away or parents drizzling from the heavens? But this is panache, liberty, style, whatever you call it, that Indian language poetry gives itself over to at times.

 

Contents

 

Acknowledgements   9
Preface   10
Foreword   13
  Urdu  
Jameela Nishat   25
Bilqees Zefirul Hasan   30
  English  
Gauri Deshpande   37
Kamala Das   44
Meena Alexander   64
Sampurna Chattarji   81
Rukmini Bhaya Nair   91
Temsula Ao   103
Menka shivdasani   120
Mamang Dai   130
  Tamil  
Kutti Revathi   137
Salma   139
Suganthi Subramaniam   144
IIampirai   145
Malathy Maitri   148
Sugirtha Rani   150
Uma Maheswari   152
Vatsala   154
  Gujarati  
Saroop Dhruv   159
Sanskritirani Desai   162
Panna Naik   163
Manisha Joshi   164
  Malayalam  
Anitha Thampi   169
Vijayalakshmi   171
Lalitha Lenin   177
Rose Mary   181
Savithri Rajeevan   185
  Marathi  
Amita Kokate   191
Malika Amar Sheikh   192
Kavita Mahajan   196
Pradnya Lokhande   199
  Telugu  
Kondepudi Nirmala   203
Ghantasla Nirmala   209
Volga   212
Vimala   214
Shahjahana   216
Challapalli Swaroopa Rani   217
Ravulapalli Sunitha   218
Vasanth Kannabiran   220
  Hindi  
Anamika   225
Kshama Kaul   234
Gagan Gill   235
Rajee Seth   243
Archana Verma   246
Jyotsna Milan   251
Amrita Bharati   256
  Kannada  
Prathibha Nandakumar   267
Mamta G. Sagar   281
Vaidehi   285
Sa Usha   291
  Bengali  
Nabaneeta Dev Sen   295
Debarati Mitra   305
Mithu Sen   308
Mandakranta Sen   314
Previous Publication   320
Poets   323
Translators   332

 

Sample Page

Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Related Items

Kuchipudi:  Power of Drama,  Poetry of Dance (With Booklet Inside) (DVD)
Various Artists
Doordarshan Archives(2009)
Item Code: IZZ325
$35.00
Add to Cart
Buy Now
Kuchipudi : The Power of Drama and The Poetry of Dance (With Booklet Inside) (DVD)
Various Artists
Doordarshan Archives(2008)
53 min. & 05 sec.
Item Code: IZZ354
$35.00
Add to Cart
Buy Now
Woman, Wine and Song
Oil Painting on Canvas
Artist: Anup Gomay
35.0 inch X 47.0 inch
Item Code: OS62
$395.00
 With Frame (Add $275.00)
Add to Cart
Buy Now
Romantic in Tone, Suffused with Feelings
Oil Painting on Canvas
24.0 inches X 35.0 inches
Item Code: OS47
$275.00
 With Frame (Add $225.00)
Add to Cart
Buy Now
Ardhanarishvara
Brass Statue with Inlay
17.5 inch x 7.5 inch x 6 inch
9.3 kg
Item Code: ZAR50
$565.00
Backorder
Backorder
A Prince Painting His Beloved’s Feet with Customary Dye
Water Color Painting On Paper
Artist: Navneet Parikh
12.5 inches X 16.5 inches
Item Code: HK49
$325.00
 With Frame (Add $105.00)
Add to Cart
Buy Now
The Lotus Reaper
Water Color Painting on Paper
Artist:Kailash Raj
6 inch X 9 inch
Item Code: HN24
$176.00
Backorder
Backorder
Baramasa: The Month of Chaitra
Water Color on Paper
Artist: Navneet Parikh
8.0" X 13.0"
Item Code: HK39
$255.00
 With Frame (Add $105.00)
Add to Cart
Buy Now
When Poetry Comes (A Selection Of Poems By Contemporary Bengali Women Poets
by Marian Maddern
Paperback (Edition: 2007)
Sahitya Akademi
Item Code: NAD928
$15.00
Add to Cart
Buy Now
Showering Without Clouds: Reflections on the Poetry of an Enlightened Woman Sahajo
by Osho
Hardcover (Edition: 2005)
A Rebel Book
Item Code: IDK580
$35.00
Add to Cart
Buy Now
Antal and Her Path of Love: Poems of a Woman Saint from South India
by Vidya Dehejia
Hardcover (Edition: 1992)
Sri Satguru Publications
Item Code: IDE383
$22.00
Add to Cart
Buy Now
Selected Urdu Poetry of Women Poets
by Khwaja Tariq Mahmood
Hardcover (Edition: 2008)
Star Publication Pvt. Ltd.
Item Code: NAE556
$32.50
Add to Cart
Buy Now
Nayi Kavita (New Poetry in Hindi: An Anthology)
by Edited, Translated & Introduced By. Lucy Rosenstein
Hardcover (Edition: 2003)
Permanent Black Publishers
Item Code: IDE148
$30.00
SOLD
Of Mother and Others Stories, Essays, Poems
by Jaishree Misra and Shabhana Azmi
Hardcover (Edition: 2013)
Zubaan Publications
Item Code: NAF144
$35.00
Add to Cart
Buy Now
The Art of Sanskrit Poetry: An Introduction to Language and Poetics
by Niels Hammer
Hardcover (Edition: 2003)
Munshiram Manoharlal Publishers Pvt. Ltd.
Item Code: IDE819
$65.00
Add to Cart
Buy Now
The River Speaks: The Vaiyai Poems from the Paripatal
by V.N Muthukumar and Elizabeth Rani Segran
Paperback (Edition: 2012)
Penguin Books India Pvt. Ltd.
Item Code: NAF413
$15.00
Add to Cart
Buy Now

Testimonials

Amazing book and service. The shipment to Germany was even faster than I expected (4 days counting the weekend)the packaging was flawless and superb and I received the book in perfect condition. My pleasure to buy in your shop and thank you very much!
Pablo, Germany
I recieved my Mahavir pendant today. It is wonderful. I was recently in Delhi and as it was a spiritual trip visiting Jain temples in Rajasthan, Agra, Rishikesh and Delhi i did not have the opportunity to shop much. The pendant is beautiful and i shall treasure it. I have attached a picture of me in India. Your country and the people will always be in my heart.
Evelyn, Desoto, Texas.
I received my Order this week, It's wonderful. I really thank you very much.
Antonio Freitas, Sao Paulo, Brazil.
I have been ordering from your site for several years and am always pleased with my orders and the time frame is lovely also. Thanks for being such a wonderful company.
Delia, USA
I recviced Book Air Parcel(Nadi-Astrology). I am glad to see this book. Thankx. Muhammad Arshad Nadeem Pakistan.
Muhammad Arshad Nadeem
It is always a great pleasure to return to Exotic India with its exquisit artwork, books and other items. As I said several times before, Exotic India is far more than a highly professional Indian online shop; it is in fact an excellent ambassador to the world for the splendour of Indian wisdom and spirituality. I wish a happy and successful New Year 2017 to Exotic India and its employees! You can be very proud of yourself!
Dr Michael Seeber (psychiatrist and psychotherapist, Essen/Germany)
My last order arrived in a reasonable amount of time, regarding the long way it had to take! I am glad to find this and some other ayurvedic remedy, as well as books and much other things at your online-store and I am looking forward to be your customer again, some time.
Andreas, Germany.
Намаскар! Честно говоря, сомневался. Но сегодня получил свой заказ. Порадовала упаковка, упаковано всё очень тщательно и аккуратно. Большое спасибо, как раз подарок к Новому Году! Namaskar! Frankly, I doubted. But today received my order. We were pleased with the packaging. Everything is packed carefully and accurately. Thank you very much, just a gift for the New Year!
Ruslan, Russia.
Thanks for the great sale!! It really helped me out. I love Exotic India.
Shannon, USA
I have got the 3 parcels with my order today and everything is perfect. Thank you very much for such a good packaging to protect the items and for your service.
Guadalupe, Spain
TRUSTe online privacy certification
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India