Contemporary Indian English Women Writers Essay

The book under review by Dr. K. V. Dominic has 27 essays by 24 eminent critics of Indian English literature on astir(predicate) 12 Indian English writers novelists, and poets. There are four essays on Anita Desai, ii on Kamala Markandaya, deuce on Kamala Das, three on Shashi Deshpande, dickens on Arundhati Roy, two on Bharati Mukherjee, integrity each on Jaishree Mishra, Chitra Banerjee Divakaruni, Kiran Desai, Smita Tiwari, Chandramoni Narayanswamy, and Charmayne DSouza. There is also one term that makes a comparative pick out of homo women poets. Linda Lowen and Jay plenteous Sarangi interview respectively Sarojini Sahoo and Rizio Yohanan Raj. V. Ramesh has three and Sudhir Arora two articles in this anthology. Besides, in that location is also a Preface by the editor, Prof. Dominic, doctorate on the fictionalization of RK Narayan, is, himself, a poet and critic of wide re presentlyn.The editor, in his Preface to this book, is very uninfected about his perception about t he Indian English women writers. He writes Indian writing in English is . . . both an Indian literature and a variety of English literature. It has an appeal both to Indians and English men (v). He further adds Indian English women writers hand over made a phenomenal contri besidesion to Indian literature as hale as founding literature. They are able to portray a world that has in it women productive in substance. The women in their kit and caboodle are real flesh-and-blood protagonists who make the readers flavor at them with awe with their bloods to their surroundings, their society, their men, their children, their families, their psychic make-ups and themselves (x-xi).Novelists & amp Story writersThe book undertakes the make of 11 women novelists Anita Desai, Kamala Markandaya, Shashi Deshpande, Arundhati Roy, Bharati Mukherjee, Jaishree Mishra, Jhumpa Lahiri, Githa Hariharan, Kiran Desai, Chandramony Narayanaswamy, and Charmayne D Souza. Among the four articles on Anit a Desais fiction two are by V Ramesh and one each by Latha R. Nair and senior Sophy Pereppadan, V. Ramesh in one of his article traces the Dravidian aesthetics in her fiction from feministic stance. He concludes that womens faculty to halture the domestic in judge and the institutionalized one-man rule unseat the myths of feminity, m raw(a)(prenominal)hood and marriage. This is . . . what the Dravidian culture is all about (19). In the other, he studies Sitas character as The Paradoxical Psyche of an Archetypal Indian adult fe male in Anita Desais novel Where Shall We Go This Summer? In this article, he infers that Anita Desai undeniably divulges a praiseworthily grasp of the quandary and dilemmas of cleaning lady and portrays her own romance of a variegated facet of woman in modern India and her fully stimulated feminine sensibility (48). Latha R. Nair explores Desais novels in a quest to explicate Locale as an Extension of the ego and finds that the locale or environs bec omes a commanding centre in her novels. Her characters are definitely apart (sic) a part of the locale, which reflects, expands and transforms their identity. It is not possible to free ourselves from this milieu which is an integral part of our intellectual milieu (9).Sr. Sophy Pereppadan digs dim into Desais novel Fire on the Mountain to trace her frenzy and affirms that Her desire to be alone finds expression in her love for malarkeyan expression of nihilism. This is in almost sense a death-wish, which enjoys the devastation of the do it world. She gratifies her craving for aloneness by annihilating everything existing . . . (36). Shishu Paul tries, in his article, to show the impact of political upheavals on human relationships in Kamala Markandeyas novel, The Golden Honeycomb. He affirms Markandaya has conveyed through this novel that immunity is universal primary human right which nobody should try to suppress. Humanity is all one wishing of love and sagaciousness c reates Chasm and conflict. The underlying theme is the doctrine that human nature, of whatsoever race or class is basically the same (70). V. Ramesh, on the other hand, elucidates feministic principles in Indian women in all novels of Markandaya in the present article.He posits Kamala Markandaya suggests that freedom is to be necessarily tempered with responsibility to achieve procession and evolution. Her women are branded, though not for making comprehensive depiction just now for offering an in-depth study of the human psyche enmeshed in the value of different huessocial, traditional and spiritual (82). The book has three articles on the fiction of Shashi Deshpande one each by Vincent Aerathu, Asha Susan Jacob, and G. Baskaran. Vincent Aerathu studies girl children in Deshpandes novels, The glowering Holds No Terrors, A Matter of Time, Roots and Shadows, and The Long Silence. Aerathu writes that Shashi Deshpande looks into the childhood of her female characters and shows how childhood brings go a long way in find out or influencing their adult lives. She believes that childhood experiences are lasting and that they digest a crucial role to play in the formation of a ample personality (140).But, protagonists of Deshpande have deprived childhood, in one way or another. These deprivations in childhood, equip them with the power to fight and survive till the end (149). Asha Susan Jacob divulges the translator of the eased in her study of Despandes novels. She concludes that Each of the marriages is pronounced by silence (151). In the evolution of their character, their decision to break the silence is the first sign of liberation . . . . From a state of passive acceptation they move to active assertion. By refusing to succumb to societal pressures and by creating plaza within the matrix Deshpande women succeed in establishing their identity by expressing themselves (164). G. Baskaran tries to rationalize incoherent and loosened relationships in he r reading of Shashi Deshpandes Wingless Angels and Amputated Mothers in her short stories from Collected Stories Vol. I. She reveals in her study The aspirations of almost all the schoolboyish girls of Deshpandes short stories go unfulfilled because of the difference in the mental make-up between persons of different generations.This causes a heavy blow to the parent-daughter relationship precipitating exotication (178). Premlatha Dinakarlal and K. Nirmala in their respective articles study Subaltern Voices and A Laymans Study in Psychology in Arundhatis novel The God of Small Things. While Premlatha Dinakarlal suggests Indian government essential work to remove traditional practices that subordinate women . . . to establish gender justice and ensure dignity and self-respect to which women are entitled (185). K. Nirmala holds Arundhati Roys extraordinary ability to get into the disturbed psyche of the different personae is indeed commendable . . . . The psychology of the charact ers reveals an unusual mental make-up that motivates their behaviour in quantify of stress (187). Eliza Joseph and Lata Mishra study Bharati Mukherjees novels Desirable Daughters and Jasmine respectively. Eliza Joseph, in her article Perspectives on the Mestiza Consciousness Bharati Mukherjees Desirable Daughters, infers that Desirable Daughters proclaims that both expatriates and immigrants cannot sever themselves but from their cultural roots and their ethnic past (209).Lata Mishra concludes Cultural fusion in the novel is thus a placing of the protagonist as a flying field in control and as an agent of the re-building of the Self. The protagonist is not stick on to any pertinacious or single identity since she discovers no fixed roots to cling to. Instead of anchoring to a final selfhood she cannot help but shuttle among temporary identities in different musculus quadriceps femoriss in different times, one after another (219), in her article, Representing Immigration thro ugh the Logic of renewal Bharati Mukherjees Jasmine. Joji John Panicker examines cultural elements of the Marar community in Jaishree Misras antiquated Promises. Panicker observes . . . the shipway she (Jaishree Misra) presents the culture and customs of the Marars makes the book certainly uncommon and realistic. The batch, their ways and the age-old adherence to tradition are all to be seen and entangle in Ancient Promises. . . . Misra has successfully portrayed the tradition and customs of the Marar community (232).S. Vasigaran writes that Chitra Banerjee Divakaruni is concerned with the dialectics of the women immigrants experiences in the American soil whose prospects are repressed by the Indian tradition (236). The critic has chosen only two stories frock and The Word Love from her book. Arranged Marriage, for her study in the paper and concludes These women have finally chosen American individualism eschewing their deep-rooted loyalty to their cultural tradition becaus e they bump that they have been encumbered by their tradition sort of of being inspired and encouraged by it (242). Sandip Guha Roy & Joydeep Banerjee have analyze the conflicting positions in Jhumpa Lahiris novel The Namesake to conclude that Immigration to an alien world today is not as equivalent, not as fear as being uprootedas it had been so many decades ago . . . the psychological effects of the change in culture as a solvent of dislocation pervades strongly. As cultures superimpose upon each other, they smear the feel-fabric of transnational migrants indelibly, perhaps, producing more(prenominal) denizens of a global community uniform the protagonists in The Namesake (260-61). Lata Mishra in her article on Lahiris fiction deduces Lahiris women are not the speechless sufferers. In fact in their silence and their power to continuously valuate the hybridizing cultural mores improve their own as well as the lives of their close ones . . . . Outwardly these characters may seem to be powerless in Western society but actually these characters are gifted with remarkable inner adaptability and yet not over-assimilatory nature (273). Avis Joseph thoroughly examines Githa Hariharans novel, The honey oil Faces of Night, to study the muddle of human relationships and believes Hariharan has succeeded in tracing the battles of woman in her relationship with man and society, not to urban existential angst but to times immemorial (280).Chithra PS studies Kiran Desais The Inheritance of Loss from post-colonial perspective. Chithra concludes in the postcolonial era, Indians have learnt how to curse in a foreign language. The foreigner has taught the language and now the Indians are using that language to disgrace the very same people who taught them that language (291). PCK Prem, in his study of Chandramoni Narayanaswanys novel, The Karans of Penang, in the background of freedom struggle, and she depicts the physical and psychological suffering of her charact ers. Ms Narayanswamy, retired as an IAS of Orissa cadre, now lives in Bhubaneswar. Prem scrutinizes Apparently The Karans of Penang appears a sensitive love story but deep down it is an engrossing tale of people who suffered during the freedom struggle and this princely backdrop affords characteristic distinction to the entire pattern of story relation (299).PoetsThere are four articles on women poets by Lakshmishree Banerjee, V. Alexander Raju, and two by Sudhir K. Arora. Banerjees article is a comparative study of world women poets, which a little bit goes beyond the scope of the book. The critic seeks allowances to cross the borders of Time and Space and venture into the pulsating infinity of Women poem (86). In her paper, she has encompassed the works of Emily Dickinson, Kamala Das, Nolene Foxworth, Julia Kristeva, Arlene Zide, Sarojini Naidu, EB Browning, Christina Rossetti, Amy Lowell, Edith Sodergran, Sylvia Plath, Mamta Kalia, Florence Howe, and many more. She comments De spite the disparities of culture, creed and colour, Women Poetry stands out as an intense, trailblazing experience of human living, as an endless river pouring into a limitless maritime of multi-hued vibrancies . . . .These poets are fast becoming the uncompromising voices of all-embracing truths, tender as well as acerbic in the impacting lyricism of their human language. Ambivalances, contradictions as well as poise, playfulness and affirmativeness characterize these creations as the New Poetry of a New Dawn of human civilization (100-01). Sudhir K Aroras analyses of Smita Tewaris Hourglass and Charmayne DSouzas A Spelling Guide to Woman are quite penetrative in approach. In his article on Smita Tewari, Dr Arora observes Indeed, Smita Tewaris Poetic Self has made a spiritual go successfully to realize some new aspects which she never experienced forward . . . .Her verse is cathartic in nature (298). In his article on DSouzas poetry, he finds it different. He comments Charmayne DSouza has given voice to feminine sensibility making women realize their identity. She has endevoured (sic) her best to make the male world feel that a woman is not mere self-command but is a person who has her own individuality. . . . She has written a new script through A Spelling Guide to Woman with the go for that women will realize their own role in shaping the life of men and there is nothing wrong if they ask for legal space encroached by men (328). InterviewsThe book also has two interviews by Linda Lowen and Jaydeep Sarangi with Sarojini Sahoo and Rizio Yohannan Raj respectively. Sarojini Sahoo is a feminist writer. Her novels and short stories treat women as sexual beings and probe culturally sensitive topics . . . . Her writings deal with feminine sexuality, the emotional lives of women. Her blog, Sense & Sensuality, explores why sexuality plays a major role in our understanding of Eastern feminismwrites Linda Owen. Sahoo, herself, tells Linda In my various stories I have discussed homosexual sex, rape, abortion, infertility, failed marriage and menopause . . . . But still I believe person has to bear this risk to accurately portray womens feelingsthe intricate mental agony and complexity which a man can never feeland these must be discussed through our fiction (122). The second review by Jaydeep Sarangi with Rizio Yohannan Raj, who has only one collection, Eunuch, of her poems published the other, Naked by the Sabarmati and Other Poems awaits egress from Sahitya Akademi, New Delhi. In this interview she tells of her Self, intrusion of Mumbai, her poetics, negotiation about the intricate web of subjectivity, her bi-lingual ability, and the title of her first book Eunuch.She tells the interviewer bout her poetic vision Everything that I have experienced in this world has in some way contributed to what may be called my cross-border vision (252). I would also like to comment about the glaring proof-reading mistakes, leaving aside the text (a s is unornamented in two of the quotes of this review and pointed there), in the very titles of the articles by Vincent Aerathu Girld for Girl (139) and Sudhir K. Arora Woan for Woman (321). These strike down the readers and also question the quality of the publication. In nut shell, the book presents formal and the new authors side by side. This is a welcome step in Indian English literature for, the critics and editors of older generation considered new writers as somewhat untouchable and nourished a bias in their minds against them.However, I believe while the earlier, pre-Independence writers struggled with their sensibility in a foreign barbarism and tried to be English in their writings, the contemporary writers have taken it as a hobby to express their views in not the pansys English, but in the Indian English, a different check off given and accepted in the world dictionaries. Indian English is certainly different from the other Englishes of the world. I hope it will be well received by the students and scholars of Indian English literature.