 जब आये आप अरए बूड़ी का यें फाड तुद बॉद बात करने लिए है स्भात तूद बी लाई किणिने है और वोक नाने वे कोई येंगा तुवित है के इस्डीन मींने खाने कितिगें तुद बॉद बात के येंगे ना कोई खेता। आन्वबावार आन्वन कब ہے हमेशा रहेग. ये आन्वबाव ise अदींगे और वेवानग लख ग़़ है. ये आन्वबावार आन्वन का पर अमेश रहेगा. नहीं, बरक्ता हो भाी दिलेंके नाजा, भी दी मुंका मुजाही की पोझ में हो थुझे अतद्ता है. को प्राइ कसे आप आई नहीं है, हो आप उएक बहुतें वैज़ों क्यभा, प्र में कोक दे साजब शाएजनो, और बहुतिं भी भी हो लोगा, नह्म पकषाछ बाजना घ्रखृद श्वेचा मैंगा रँमाअ वेड़ाएं। आप वितए हुए सवह वाहे नी आखदवाणा वोंगा। वितवागा माझा, अश्पा के श्टफी जाएओल भिमप बाजना किवाचा,ixe transplant in jackie park surrita wrong literature sa. you don't understand how women have lived and how they reflect upon their lives. How do you make policies for women? How do you understand what we need in contemporary society? The first mention of women per se in any capacity to be regarded as literate व्र्झेान् के बार्चात्या कोuela. व्र्झेट कर्गी त्रिछ। �苦 निए वर्टा लगात कराउटॉगान् क seiner legally रहता जाच्छन शुदा वरके के थिनने करगे अदा वर्टा वरके रहाता वुर्टा कराउट है. विका लेद यादिन जाच्छना विका रही है. अक वहान नदा प्यद है, और वो लगत बस्टेवान्गादा तुएगी थता. बढ़ा बद्दा देन बावाद चाएगाता वुद्दा नहीन विगनादा रेदा। वो फिक्ष्टेट तरीगाता लगता देशा। धोमन्करु, ज़ळित बुर्लनी। आस्टा, क्ordable जया ठा�車॥ तेरिगाता真的 देखं िरज salary estab puances karude तक देखरिके से देखरिथ तरिगाता paks köle रूठीं's अं दीदागे लगातidentally they live in the similar pattern दघीदीदद & विम् मोई्षों कि नहीं विय polynomial कर्टुडविएlengths theah lazy मैं अग्र ईदिनीग। थे ऋवगे रावाशी जारगीं ना ज़ा घरा इसबाशीद। निए शारवगच्सी दीश्खी काई चाशाशाशाक्षाचा जाशाशाचाशाशाचाशा ॥ वो क्लद़ो की वी लगला और लगला। गर सद्भाछ देवाऍने रावाए ہیں और मैं भो जो एक बाहंटा सत्फनट द Niger की आप कगाफाचा Desi मूझھی, से लगाद�� सút्ले अहता pineapple है, मैं, से � IX, ऎक, के बाली नहीं उआप दून्च़ाप, पासा कर्रताना, phone, computer, phone, phone, computer, intelligent. वो दूनी वारिया कै लहा, कर्म चालोगा सत्याचा तुब आँर्विश्गाए, कर्म वोग्चाऻा काए, भी एक रईशना वे लागाई लिए की एक अपी तास्स्द्टी जे. वेविन सांग दी सोंगs, वेल दे काट पादी, अस दे दुए तामिलाड यविन तुड़े, यज़ सो हो दे, हो दे रोट ये वेवेग, एक दे क्रेट दोज वोस़़ज एस दे वोगड. ती बा लागती गान जुटी, वीद हाखार. ती अगेन is an expression of freedom of seeking one's own personal idea of God. It actually broke the caste barriers that you didn't need to have a Purohe, you didn't have to have a Brahmin, I didn't have to pay him money. The bhakti movement saw a lot of women because being in the house, I could seek, there was freedom to seek divinity. I think there is definitely a difference between the women poets, the mystic poets and the men. This I have certainly, you pick it up. Each of them are quite individual obviously. The timbers are very different but there is definitely a difference. And to my mind it's for instance just the abandon of Meera. I don't think any other poet comes close to that, that kind of ecstatic abandon or the capacity for despair. So despair and union, those extremes, the kind of voltage of Meera no one comes close to. Across India she is very well known. Without knowing it, we often have her language on our tongue. Even today you will find verses in Rajasthan which tell you very clearly that she is a disgrace, a stain upon the community. You think of her, she is someone who from a very early age knew her mind. She was forced to get married, it would appear. This is the story that we are all told. And there are other kinds of myths that float around. But once she decides in her mind, I am talking about this mythological one, Meera, then she is completely focused on Shri Krishna, the love of her life. So when you mention the word determined, how else can you justify what she is doing excepting that she is one hell of a determined woman. And the saddest part is that we have forgotten that she is a rebel. It used to rain pearls, the fresh waters used to gush through the fields. The fields watered thus, would rustle with chamba grain. Of all this wealth of fields and grain, I was the mistress. Then my lord was taken away from me, a short while ago. And now for a fistful of rice, I am famine stricken. The 19th century sort of privileged the women's question over every other question. So in some way, I think the 19th century man began to feel the oppressiveness of that system because there were widows in everybody's family. First serious account is actually Pandit Ramabai's high caste Hindu woman and Tara Bhai Shinde's polemic on Shri Purush Tulna in which actually the widow is the trigger for her writing. So actually the print revolution gives women the capacity to enter the public sphere on their own terms. You push yourself into the public sphere at a moment when the public sphere is not actually willing to include you. So there's this big debate around the age of marriage and the age of consent being raised and there's Dayaram Gidumal in western India who sends out a questioner to everybody. He doesn't send a single questioner to a woman. It's a very important question. It's a very important question. Dayaram Gidumal in western India who sends out a questioner to everybody. He doesn't send a single questioner to a woman. It's the reform is about women. No woman is allowed to enter the debate. So it's quite extraordinary. So at that time people write letters to the newspaper. That's one way they get into the public sphere. From the 30s onwards there are literary movements and women are very much a part of it. There's Rashid Jahan for instance. There's Kurutul Haider. There's Ismachukthai. So for a long time women wrote in the male voice. Earlier when men wrote about women it was showing their weakness and how they have to be looked after and rescued and so on. All the fairy stories are about that. But when people like Rashid Jahan all started writing then they were very combative women and who stood up and said what's what and so on. People like Ismachukthai were writing in a film and people held that against her in the beginning that she was only writing about the world of women and they thought it was not a big enough project for her to be considered a major writer. Kurutul Haider is a cult figure in Urdu literature. Of course with her Aakkadarya she became an international figure. She talks about singers of Lucknow. She talks about art. She talks about temples. She talks about mosses. She talks about dancing girls. If you've read Aakkadarya it talks their characters in Aakkadarya belong to the Hindu tradition. The old Hindu tradition, the old Buddhist tradition Islam and Christianity. In a way they represented the Indian culture. The book columnates, this novel columnates at partition and this pain which the writer has been living this nausea comes through this Aakkadarya. I mean it's now clear that the rape and abduction of women happened on a mass scale. We know from statistics of different organizations that at least 100,000 women were abducted, possibly raped, impregnated by men of the other religion, sometimes raped, and many were killed by their own families in order to ostensibly save them from possible rape. These histories were not talked about much. Partly because I think for the men of the people who were killed by men of the other religion they were killed by men of the other religion. And many were killed by their own families partly because I think for the men of the different communities the rape of their women within courts is seen as a kind of failure on their part to protect their women. Then this is really the dark side of independence. Violence was not the only thing that happened to women at partition. There were so many ways in which their lives changed. In fact, one of the women I talked to even said it was a moment when I spread my wings. Me getting after independence we grew up in those decades after independence. The main advice to women was to really be good mothers and good women citizens. One of the ways of being good women citizens was to take care of the house. Many of us protested against that. We felt now that the women have come out why should they go back into the house? Under what circumstances does a woman start writing? Like sometime back I was abroad and somebody on the stage asked me that a male writer had come from India sometime back and they had asked him how do stories come to you? And he said that I wake up every morning and I open the window and stories come flying to me like birds. So they asked me what do you think about it? I told him it's a wonderful metaphor to say that stories come like birds flying. I said but the thing is that one should have a window to open. That's one thing. Another thing is that the family must allow the women to stand by the window open it and wait for the stories to come. What happens in the village is that the house where there is no husband the land of the house is destroyed. There are many people. There are many women so they say that we will marry them and they know that when they will come the land will be destroyed. And the woman who gets married the poor woman gets so worried without getting married the woman who gets divorced or she gets upset it becomes difficult for her. So I did all that in the whole story. Idan Namam means that this is not for me. This is not for me. Idan Namam says that I wanted to write on the pigeons there are pigeons they don't have a farm they don't have a job they don't have a job they don't have a job they don't have a job the pigeons will mostly stay in the jungle in the jungle and the pigeons can't walk on the road. There are farmers' farms even the maids who are killed in the mercy of the farmers they are the same farmers. If the pigeon is leaving the wife and the sister of the pigeon she is leaving even then she will be demanded for sex. The ability to turn the table to be able to look at it the other way why not tame men? The lion is tamed by the lion tamer there is no question of strength being a rationale for why women should stay home nor is it a rationale for why men should not stay home I was charmed by it but what really affected me in the sense of like sea change or radical uprooting kind of change rethinking, putting down new roots and forming new ideas was when I read Mahashweta Devi's work this particular work because I think Devi's identification of the character Dhopati both historically in the Dhropati story and in the contemporary story of tribal women and their plight and the way in which all women have to live with the fear of assault of having their autonomy taken from them She is writing from the dailiness whatever she stands for and yet it's not a kind of didactic message bearing position taking position taking in the sense that yes, her writing does posit itself as a kind of resistance it is I mean a literature of resistance if you want to label it she uses the phrase body paladevo like I shall throw my body into the fray and she says it casually she has done this I think there was both a story and a real life situation where in the real life the protagonist actually was beaten to death but no marks on his body because the police had supposedly wrapped him in a blanket and the family managed to especially the wife managed to actually coat on coat steal the body and the police had no clue they were desperately trying to find the body while this woman protected the body for some 3-4 weeks till she was ready to file the case she actually made a bed and the body was beneath the bed on the wooden platform so symbolically it's a very dramatic theatrical all kinds of imagery comes into mind visually and otherwise the idea of her sleeping on her husband's corpse in a sense concealing it saving it as the only proof to produce before a court to say this is what actually happened so in that sense and this is again I don't remember the story but it appears exactly like that in the story that she wrote so this is as you know the work about the life of a domestic worker poor baby what else could one say of her imagine a childhood so brief so ephemeral that you could sit down and the whole thing could unravel in front of you in barely half an hour and yet her childhood fascinates baby perhaps everyone is fascinated by the things they've been deprived of the things they long for baby remembers her childhood she savours every moment of it she licks it just as a cow would her new born calf tasting every part to me this is the most beautiful passage in this book it's a passage where this young woman who does not know how to write turns into a writer if you look at women's writing let's say over the last 40 years perhaps longer the sorts of things they are writing about and the sorts of women who are writing Dalit women are writing now you see women like women who are not writers but who feel they have something to say like baby haldar the domestic worker like salma the panchayat leader like shanti the driver who is learning how to drive a taxi or like revati the hijra the transgender person who is writing about her life now all of these kinds of writings would not have entered the canon of literature earlier she is a woman from kach and she has for years been drawing the women's movement this is her self-portrait she is called Radha Ben Garve here they are going off to the collector complaining and asking him protesting protesting patriarchy so here she goes to her first international conference she has to go out of the village she gets an auto and the driver is driving like a maniac so she is clutching on to the stop thing and then she reaches then she is in a plane she gets to the place and then she goes up in a lift because I see a lot of stories here and many of my stories from the first collection that I put out are in this park and the park is referenced and that there is a story with the pujari and his daughter and that is from this park people in the colony are aware so periodically I am taken aside and I am told this will happen to you and no one will say what will happen to me it would be impolite for me to say to the man who is saying don't walk in the park it would be impolite for me to say why not what will happen to me I think the extension of the answer that he would have to give he or his ilk would be willing to stop me I mean this nice polite invitation to not walk in the park can be extended all the way out to its inevitable conclusion that I will be prevented from walking and that there will be violence involved in the prevention samman we give respect to the wife now she is also angry this is also wrong we don't give respect we want respect we give respect we give respect to someone who takes money but you have to give respect it is very expensive you don't have the habit of it space enough and more for the nose digging librarian and her stainless steel tiffin box for the little theatre pion to read me endless marathi poems on rainy afternoons my relationship with the city has been a very good one I mean