Indian English Literature is a genre deep rooted in the cultural scenario of the Indian soil. As a literary genre, it has contributed towards the formation and the reformation of the processed identity of the nation as a whole. Special mention should also be made about the contribution of Indian women writers in English towards the identity formation of India with regard to their poignant novels. In the realm of fiction, Indian women novelists have heralded a new era and have earned many laurels both at home and abroad. They have shown their worth in the field of literature both qualitatively and quantitatively and are showing it even today without any hurdle. What they have accomplished in their fiction is the narration of the nation in all its colours and social contours. As Mitra has stated, “…relation between the nation and the novel is more acute in the case of women’s writings” (185). Several talented women novelists like Kamala Markandaya, Nayantara Sahgal, Anita Desai, Geetha Hariharan, Shashi Deshpande, Kiran Desai and Manju Kapur and many more have left an indelible imprint on the readers of Indian fiction in English and are popularly known as the Goddess of Eros!. Now-a-days people enjoy reading the anglicized novels presented by these new age women writers. Thanks to their efforts, classification of feministic or male writings hardly makes any sense today unlike the past that undervalued and less prioritized women’s writings.
KAMALA MARKANDAYA – AUTHOR OF THE BEST SELLERS
Being a social worker and journalist at the same time, Kamala Markandaya could watch and analyze the individuals residing in the society. In comparison to writings of the other women novelists, the novels of Kamala Markandaya fully reflect the awaken...
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... stumble like blades of grass which bends for the force of wind but is never uprooted. Rukmani is like that humble grass who is flexible for any kind of changes and sufferings but the ultimate survivor with unbeatable courage and sustenance, and through such immortal character Markandaya seems to propagate the same attitude that can be better followed by the whole women community to make their livelihood in this relatively unadventurous social milieu and thus the title of the paper is justified.
Works Cited
Parameshwaram, Uma. Writers of the Indian Diaspora. New Delhi: Rawat Publishers, 2000.
http://shodhganga.inflibnet.ac.in/bitstream/10603/6880/8/08_chapter%203.pdf
http://www.indianetzone.com/20/novels_kamala_markandya.htm
http://www.iosrjournals.org/iosr-jhss/papers/Vol5-issue6/D0561921.pdf
http://voices.cla.umn.edu/artistpages/markandaya_kamala.php
Aristotle said, “The whole is greater than the sum of its parts,” each person is made up of more than one moment, thought, or memory. We often see people as made up of simple parts, as if people do not have thoughts we’ll never hear. People are constantly experiencing life, and they will always be experiencing life until they die. A person will go through many trials in their lifetime, and how they react isn’t what makes them who they are. Buddhist would claim that Aristotle meant that you can’t sum up the parts of a person, because a person is more than a person; a person is the universe and everything within it, because every person is one. All men will experience the same things throughout their life: death, sadness, good news, bad news,
Abstract: Anne Bronte wrote in Victorian England and Preeti Shenoy, an Indian author, is writing in Present time. Both are female authors. Their contribution for women empowerment is undeniable. Anne Bronte penned two novels namely Agnes Grey and The Tenant of Wildfell Hall. Preeti Shenoy has authored five novels till now, viz. Life is What You Make It(2011), The Secret Wish List(2012),Tea for Two And Piece of Cake(2012), The One You Cannot Have(2013) and It Happens for A Reason(2013). They both challenged the male domination through their writings and worked for gender equality. In Victorian England situation was different compare to present time in India. It was much more conservative and difficult. Women were forbidden to express their
Hussain, Rokeya Shakhawat. Sultana’s Dream and Selections from The Secluded Ones. New York: Feminist Press, 1998.
As we compare the traditional women versus modern women, we perceive differences and similarities. Prachi fights for a belief system that controls her meanwhile Ruhi struggles with self-identity and depends on the beauty pageant to empower her as an Indian woman. Prachi defends Hinduism but at the same time, is Hinduism that restrains her from becoming “modern.” Ruhi on the other hand considers herself a very modern girl and she values freedom therefor the pageant is a road to liberation for her. Both girls struggle in distinct ways but their goal is similar, to shape their countries future.
Through these two novels, we’re able to see the quandaries that women must face when modernity and old customs come head to head. Both of these women remain brave and to try to sustain their new found freedoms, despite any difficult encounters. It is these women with their fierce ideals that would make them pioneers for all women liberation movements.
Within fictions as such, the matter of women as a victim in a male-centered society shifts to issues that are more fundamental. Critics discuss the fact that these works represent a male Iranian psyche and the illusionary portray of women from their writer’s point of view. Under the pressure of cultural changes in Iran, novelists indicated their inner tensions in the shape of a woman since they became the most controversial issue at that time. Seemingly, in Iranian modern novels, women are stocked in a man’s imagination and are represented by a masculine organized language.
Recent years have witnessed a large number of Indian English fiction writers who have stunned the literary world with their works. The topics dealt with are contemporary and populist and the English is functional, communicative and unpretentious. Novels have always served as a guide, a beacon in a conflicting, chaotic world and continue to do so. A careful study of Indian English fiction writers show that there are two kinds of writers who contribute to the genre of novels: The first group of writers include those who are global Indians, the diasporic writers, who are Indians by birth but have lived abroad, so they see Indian problems and reality objectively. The second group of writers are those born and brought up in India, exposed to the attitudes, morale and values of the society. Hence their works focus on the various social problems of India like the plight of women, unemployment, poverty, class discrimination, social dogmas, rigid religious norms, inter caste marriages, breakdown of relationships etc.
From the queen of erotica to a poetic pilgrim, the critical nexus on Kamala Das?s poetry has oscillated between opposite poles. These varied critical stances reflect that the genius of the poet refuses to be strait-jacketed into a uniform notion. In this paper, I will attempt to reveal the social issues that imbue the oeuvre of her poetry.
Ramamoorthy, P. “My Life is My Own: A Study of Shashi Deshpande’s Women” Feminism and Recent Fiction in English Ed. Sushila Singh. New Delhi: Prestige, 1991.
Language constitutes a necessary factor in the analysis of a female voice. Femininity in writing can be discerned in a privileging of the voice: writing and voice are in fact woven together. The speaking woman is entirely her voice for she physically materializes what she is thinking: she signifies it with her body. Woman, in other words, is wholly and physically present in her voice and writing is no more than the extension of this self- identical prolongation of the speech act. What we find is that by adopting a feminine mode of writing Anita Desai is trying to create a feminine textual space, for the woman occupies a space in this world and this allows the existence of a female utterance which has been ignored and suppressed in male literature.
Mahasweta Devi, always writes for deprived section of people. She is a loving daughter, a clerk, a lecturer, a journalist, an editor, a novelist, a dramatist and above all an ardent social activist. Her stories bring to the surface not only the misery of the completely ignored tribal people, but also articulate the oppression of w...
Tharu, Susie and K.Lalita. ed.Women Writing in India 2 vols. New Delhi: Oxford, 1991-1993. Print.
...e.” (K. Markandaya, 98). Rukmani unwillingly adapted to Ira’s decision to be a prostitute and her disobedience in the end. Rukmani adapted to many of the hard changes life put before her.
Indian Writing in English has a special status in English Literature owing to its treatment of women characters. Short stories help the writers to project select characters in an impressive way to the readers. In Indian context the status of woman in a society and her treatment is very different from those of her European or American counterparts. Women are depicted both as a good and evil in literature by various writers. However, in no literature is a women stereotyped as was done in Indian literature. Away from the mythical stereotyping of women, Ruskin Bond portrayed his women in a different way. The female characters of his short stories range from a small child to a grandmother. These characters are as powerful as men and have left a strong impression on the readers. I have chosen following eight short stories for the critical analysis of Ruskin Bond’s Women in this paper.
The works of Indian authors writing in English are often to be found on the best-seller list. They are also incurring and earning an immense amount of critical fame.