Having tried her hand in novels and short stories and being successful, she has also written one feminist play We Are So Different Now (2009) published in 2011. Shauna Singh Baldwin's engrossment in the character of Draupadi from Mahabharata the "Quintessential dark heroine of Indian mythology" ( An epic retelling: Akila Kannadasan. Web source) seems to be evoked due to her unconventional life full of vicissitudes. The predicament of Draupadi's life in Mahabharata attracts the attention of any writer and Shauna Singh Baldwin is no exception in this regard. Biljana Doric - Francuski, in her article " Woman as Godess or Woman as Victim?
“The House-Band: The Education of Men in Little Women” by Anne Dalke debates Auerbach’s reading of the novel. Auerbach view of feminism in Little Women differs greatly when compared to how Dalke interprets feminism in the novel. Another arctle which paints feminism in positive light is “Reading Little Women: The Many Lives of a Text” by Barbara Sicherman. According to the article, these critical essays both discuss Little Women 's feminism but focus on different aspects of feminism. Likewise, Sicherman discusses how readers learn from characters, and Dalke discusses how the characters themselves learn from the sisters ' faults and experiences.
Chitra Banerjee Divakaruni is a famous Indian American author whose works mainly focus on the experiences of the South-Asian immigrants, and their related problems of adoption and adaption. She writes for adults as well as children and her fiction covers a wide spectrum of different genres like fantasy, realistic fiction, magical realism, and historical fiction. Divakaruni’s first notable attempt in the field of literature was a collection of stories Arranged Marriage (1995), which won an American Book award and many other prestigious awards. This collection of stories established Divakaruni’s literary reputation. Her major novels include The Mistress of Spices (1997), Sister of My Heart (1999), Queen of Dreams (2004), The Palace of Illusions (2008), and Oleander Girl (2013).
In such situations, the emotional idealism and practical realities are also very often at variants such as the novels of Anita Desai. The inner most psyche of her protagonist is revealed to us through their interactions with those who are emotionally related to them on the basis of kinship. Anita Desai is another luminary of this brilliant group of women novelists in the firmament of Indian fiction in English. She is gifted with a sensibility with her aesthetic goals. Though not admittedly feminist, Anita Desai is aware of a predicament of Indian women writers.
A Room of One’ s Own is an essay by Virginia Woolf. It is based on two lectures for women students at Newhawn and Girlton College in Britain in 1928. This book looks like an essay that its form is switched with the genre fiction, as Woolf stated that “Fiction here is likely to contain more truth than fact” (Woolf, ROO 4). As a feminist looking for women’s right, Woolf have talked about the subject “Women and Fiction” in these lectures. Woolf tried to find some facts based on women’s position and situation in the library – “If truth is not to be found on the shelves of the British Museum, where, I asked myself [...], is truth?” (Woolf, ROO 29-30) – unfortunately, she was unable to find the facts available about women in history, so Woolf stated that fiction contains more truth than fact.
The motivation of the fiction of the 80s creates some aberrations in the perception of these bodies of literature. Surely a fire brand of women novelists beginning with R.P.Jhabvala,Kamala Markandaya, Anita desai, Nayantara Sahgal, Kamala Das and many others-highlights the growth of the novels as an art from which exactly constitutes the hallmark of Indo-English writing. They greatly succeeded in bringing freshness to their works. What appeals to the reader most that they could daringly speak out about a woman’s frustrations and reactions in their novels. In
Jane Austen’s first published work, Sense and Sensibility, a romantic novel, appeared in the year 1811. The world was first introduced to her portrayal of realism in English literature. Wisdom, self- control, emotion, enthusiasm, love, romance and heartbreak- all the basic realities of life are portrayed through Austen’s characters the Dashwood sisters- Elinore, Marianne and Margaret. At the end of the novel, the reader is given full freedom to decide whether sense and sensibility has emerged or not. This book is a beautiful and powerful introduction to Austen’s classics, a sensible, sensitive and delightful read about the extraordinary power of women ‘Pride and Prejudice’ is considered to be the finest novel of Jane Austen, and is a work of art in the history of English fiction.
(4-14) This half-English, half-Indian’ poetic and literary language is now recognized and admired world wide, but in 1965 Kamala Das has to justify herself in using the English language as the medium of her poetry. Kamala Das (b. 1934) stands first in the terrain of post-colonial women poets as she literally mapped out their linguistic, social, as well as emotional credo. The lines quoted above from Das’s poem “An Introduction” are her manifesto and speaks for all of them. It we turn back the pages of the history of Indian women writing poetry in English we come to a halt at Toru Dutt.
ABSTRACT Githa Hariharan is an Indian author and editor based in New Delhi. She was born in Coimbatore and grew up in Bombay. Her first novel, “The Thousand Faces of Night” won the common wealth writer’s prize in 1993. Githa Hariharan uses the genre of fiction as a medium to transmit the culture to learners exhibiting the Indian Myths in a detailed manner in order to correlate the contemporary life of our people. In the story, Indian Myths are intermingled with the life of the Indian women.
Shashi Deshpande presents a sensitive portrayal of Indian Womanhood treading the labyrinthine paths of human mind with a rare gift for sharp psychological insights into the subtleties of the human female, supported with rich evocative, unassuming and pretentious style. She delicately delineates the swings of mood, the seesaw moments of joy and despair, the fragments of feelings perceived and suppressed, heart-wringing anguish of the narrator protagonist Jaya, a housewife and a failed writer. Her unequivocal feminist stand has got her a distinctive place in the contemporary Indian English fiction. Her themes are based on lives and problems of women only. Her novels are in themselves the schools of psyche of those people whose capacity for rational thought vanishes on being victimized to traumatic experience ‘That Long Silence’, (1988) is a novel of woman and her life Shashi Deshpande confesses that “only a woman could read my books - they are written from the inside, as it were.” (.1) Her novels are autobiographical in nature depicting her own experiences of the educated middle class Indian women’s predicament and they tend to be gender specific.