And also against the white country:
“Ah,” he said, waggling his pen,” the minute you arrive, Biju, you will start to think of how to get the bloody hell out.”
And of course, her story thrives on young romance:
“Kiss me!” he pleaded.
“No,” she said, delighted and terrified.
And thus several issues relevant to human existence in a globalized world become a part of a story which is today’s story; i.e. a story of our times.
*
The writing today is given to experimentation. There is no set agenda of feminist ideology to be pursued But under all the writing of women literature is a definable ache. An ache that finds expression in some said words, and many things that are left unsaid. In a Newsweek interview, Jhumpa Lahiri, author of “The Namesake”, a novel about cultural transitions, had said, "I like to write about people who think in a way they can't fully express." She could well have been talking about women, for despite all the attempts to make society understand, women writings still need to say a thousand unsaid things.
In 1978, Maya Angelou in, “And Still I Rise”, had talked of how:
“Out of the huts of history’s shame
I rise
Up from a past that’s rooted in pain
I rise”
From path breakers such as these we come to recent times where it has been recognized that women are a gender, albeit different. That women are not beasts of burden or commodities of commerce or exchange, nor objects of lust and desire, nor possessions to be protected and imprisoned within house walls. But everyday a brick in the wall has to be removed; a window has to be opened, to move ahead into the light.
The egg has to be cracked to make an omelette. Contemporary women literature cracks the egg to pour out the raw emotions within, whips them to frenzy, flavors them with the spice of individual experiences and sprinkles the herbs of tears, angst and unfulfilled desires to be served on a platter. It fills the goblet of wine with terms of endearment and the language of want and draws the reader to come take a sip. Irresistible, like a lover’s tears.
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