Ishrat Jahan

Tongues and Bellies, published by Linen Press (2021), is described by its blurb as an anthology where “sensual and surprising stories play a tantalising game of hide and seek with lies and truth”.

It is December again and as evenings set in, Dhaka becomes brighter than it has been in the past few months.

Storytelling is a space in which, as writers and readers, we experience the ways of how we know the world and interact with it.

Whereabouts (Penguin India, 2021) is Jhumpa Lahiri’s third novel, published originally as Dove mi trovo (2018) in Italian and translated to English by the author herself, as she did with her work of nonfiction, In Other Words (2015).

The books we recall today, Ami Birangona Bolchi (1994), Rising from the Ashes (2001), and The Spectral Wound (2015), are among the documentations which highlight women’s voices and their perspectives of 1971.

The publishing and literary world in Bangladesh have considerable visibility of women: some are authoritative figures in the literary and academic world, some run their own establishments and bookshops; others occupy senior positions in many of the local publishing houses and literary committees. However, like the systems and society we currently operate in, this industry is also influenced by the larger patriarchal structure.

One can’t help but be excited about Netflix’s recent attempts at bringing to life and screen valuable works of South Asian fiction. Today’s focus, The White Tiger, which premiered on Netflix on January 21, 2021, was a debut novel by the Indian-Australian writer and journalist Aravind Adiga, who won critical acclaim and the Man Booker Prize in 2008 for his critique of class and caste boundaries in India.

Eminent scholar and Emeritus Professor of History at Jawaharlal Nehru University, Romila Thapar, in her latest book, Voices of Dissent (Seagull Books, 2020), explores important perspectives on dissent located in the historical and contemporary context of the Indian subcontinent.