'Crossing Thresholds': Radical Notes in Women's Writings ... - JPCS

'Crossing Thresholds': Radical Notes in Women's Writings ... - JPCS 'Crossing Thresholds': Radical Notes in Women's Writings ... - JPCS

10.07.2015 Views

Journal of Postcolonial Cultures and SocietiesISSN No. 1948-1845 (Print); 1948-1853 (Electronic)these eyes shall not be put out.For the wall which has been razeddon't insist now on raising it again.Thus, the ‗sinful women‘ of the poem are not overawed by the repressive forces out tosilence voices of dissent; they are ready to defy their diktats and challenge themAnother Pakistani poet who has made a mark in the literary world by her outrightnessand defiance is Fahmida Riaz. Her poem ‗Four Walls and a Black Veil‘ (which also bearsthe title of the anthology) is considered to be one of her most controversial poems. Criticslike Aamer Hussein have found that this poem can be interpreted as her response to therise of Khomeini and events in Iran, when Islam was appropriated by the clergy in waysthat were designed to hurl women back into the dark ages. Cloistered and confined withinthe four walls, women in Islamic society of Pakistan are forced into silent submission andsubjected to suffering if they defy societal norms.What shall I do Sire, with this black veil?Why do you bestow on me this great favour?I am not in mourning that I should wear itTo show the world my grief. Nor am I sickThat I should hide my shameIn its dark folds…. SireIf you assure my life, may I tell you,Most humbly: There lies, in your perfumed chamber,A corpse that stinks. It begs for pityCover that shroudless corpse. Not me.Its stench is everywhere…‘Crossing thresholds: Radical notes in women’s writings from contemporary South Asia,’Madhu SinghJPCS Vol 2 No 4, December 201196

Journal of Postcolonial Cultures and SocietiesISSN No. 1948-1845 (Print); 1948-1853 (Electronic)Because of her radical stance and courageous voice, Fahmida Riaz suffered wrath of theauthorities and spent a period of self-exile in India.Bangladesh emerged as an independent state at the end of 1971 through a nine monthlong war of independence against the then West Pakistan. But, the Nation-state is yet tohave a uniform civil code regulating the domestic life of its citizenry, and women inparticular, irrespective of their affiliations (Pereira2002). Recent years have seen avirulent fundamentalism increasingly manifesting itself in Bangladesh. The Bangladeshiwriter Taslima Nasrin needs no introduction. Despised by Islamists and fundamentalists,equally loved and loathed by the reading public, considered with caution by secularintelligentsia and fellow feminists, and ultimately banned by the state, the Bangladeshiauthor has the European Parliament‘s Sakharov Prize for Freedom of Thought and theUNESCO Prize for the Promotion of Tolerance and Non–violence. An outspokenfeminist and secularist, Nasrin is a stern critic of the role of religion in the oppression ofthe women and the poor. She has worked as a physician in Bangladesh before her exile inEurope and the US since 1994.Despite the efforts of the Bangladeshi state to suppress her works on the charges ofreligious offensiveness, immorality and expression of sexuality, Taslima has created aspace for herself in Bangladesh‘s literary and public sphere. Her writings unsettles theissues of minority and of women and/in religion and bring to the forefront the issue ofliterature and its uneasy negotiation with state politics in the postcolonial state. Her novelLajja (1993), a harsh critique of Islamic politics, was the first novel to document minorityrepression in Bangladesh literature. Her Selected Columns or Nirbachita Kalam(1993)created waves in Bangladesh when first published. Along with Nashto Meyer NashtoGadya(1993) (Fallen Woman‘s Fallen Prose), the two volumes have created a significantniche for Taslima among South Asian feminist writers. Nirbachita Kalam was awardedthe Ananda Puruskar, one of the most prestigious of West Bengal‘s literary awards.Taslima says: ―My columns had created a storm inside offices, outside in the Press Club,‘Crossing thresholds: Radical notes in women’s writings from contemporary South Asia,’Madhu SinghJPCS Vol 2 No 4, December 201197

Journal of Postcolonial Cultures and SocietiesISSN No. 1948-1845 (Pr<strong>in</strong>t); 1948-1853 (Electronic)Because of her radical stance and courageous voice, Fahmida Riaz suffered wrath of theauthorities and spent a period of self-exile <strong>in</strong> India.Bangladesh emerged as an <strong>in</strong>dependent state at the end of 1971 through a n<strong>in</strong>e monthlong war of <strong>in</strong>dependence aga<strong>in</strong>st the then West Pakistan. But, the Nation-state is yet tohave a uniform civil code regulat<strong>in</strong>g the domestic life of its citizenry, and women <strong>in</strong>particular, irrespective of their affiliations (Pereira2002). Recent years have seen avirulent fundamentalism <strong>in</strong>creas<strong>in</strong>gly manifest<strong>in</strong>g itself <strong>in</strong> Bangladesh. The Bangladeshiwriter Taslima Nasr<strong>in</strong> needs no <strong>in</strong>troduction. Despised by Islamists and fundamentalists,equally loved and loathed by the read<strong>in</strong>g public, considered with caution by secular<strong>in</strong>telligentsia and fellow fem<strong>in</strong>ists, and ultimately banned by the state, the Bangladeshiauthor has the European Parliament‘s Sakharov Prize for Freedom of Thought and theUNESCO Prize for the Promotion of Tolerance and Non–violence. An outspokenfem<strong>in</strong>ist and secularist, Nasr<strong>in</strong> is a stern critic of the role of religion <strong>in</strong> the oppression ofthe women and the poor. She has worked as a physician <strong>in</strong> Bangladesh before her exile <strong>in</strong>Europe and the US s<strong>in</strong>ce 1994.Despite the efforts of the Bangladeshi state to suppress her works on the charges ofreligious offensiveness, immorality and expression of sexuality, Taslima has created aspace for herself <strong>in</strong> Bangladesh‘s literary and public sphere. Her writ<strong>in</strong>gs unsettles theissues of m<strong>in</strong>ority and of women and/<strong>in</strong> religion and br<strong>in</strong>g to the forefront the issue ofliterature and its uneasy negotiation with state politics <strong>in</strong> the postcolonial state. Her novelLajja (1993), a harsh critique of Islamic politics, was the first novel to document m<strong>in</strong>orityrepression <strong>in</strong> Bangladesh literature. Her Selected Columns or Nirbachita Kalam(1993)created waves <strong>in</strong> Bangladesh when first published. Along with Nashto Meyer NashtoGadya(1993) (Fallen Woman‘s Fallen Prose), the two volumes have created a significantniche for Taslima among South Asian fem<strong>in</strong>ist writers. Nirbachita Kalam was awardedthe Ananda Puruskar, one of the most prestigious of West Bengal‘s literary awards.Taslima says: ―My columns had created a storm <strong>in</strong>side offices, outside <strong>in</strong> the Press Club,‘Cross<strong>in</strong>g thresholds: <strong>Radical</strong> notes <strong>in</strong> women’s writ<strong>in</strong>gs from contemporary South Asia,’Madhu S<strong>in</strong>gh<strong>JPCS</strong> Vol 2 No 4, December 201197

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