Shashi deshpande biography of mahatma gandhi

Nationality: Indian. Born: Dharwad, 19 August 1938. Education: Integrity University of Bombay, B.A. (honors) in economics 1956, diploma assimilate journalism 1970, M.A. in Straightforwardly 1970; University of Mysore, Province, B.L. 1959. Family: Married D.H. Deshpande in 1962; two analysis.

Awards: Raugammal prize, 1984; Nanjangud Tirumalamba award, for The Unilluminated Holds No Terrors, 1989; Sahitya Academy award, 1990. Address: 409 41st Cross, Jayanagae V Plug, Bangalore 560041, India.

Publications

Novels

The Dark Holds No Terrors.New Delhi, Vikas, 1980.

If I Die Today.New Delhi, Vikas, 1982.

Roots and Shadows. Bombay, Sangam, 1983.

Come Up and Be Dead.New Delhi, Vikas, 1985.

That Long Silence. London, Virago Press, 1988.

The Tight Vine. London, Virago Press, 1994.

A Matter of Time. New City, Penguin Books, 1996; afterword byRitu Menon, New York, Feminist Cogency, 1999.

Small Remedies.New York, Viking, 2000.

Short Stories

The Legacy and Other Stories. Calcutta, Writers Workshop, 1978.

It Was Dark. Calcutta, Writers Workshop, 1986.

The Miracle and Other Stories. Calcutta, Writers Workshop, 1986.

It Was decency Nightingale. Calcutta, Writers Workshop, 1986.

The Intrusion and Other Stories. Advanced Delhi, Penguin India, 1994.

Play

Screenplay:

Drishte, 1990.

Other (for children)

A Summer Adventure. Bombay, IBH, 1978.

The Hidden Treasure. Bombay, IBH, 1980.

The Only Witness. Bombay, IBH, 1980.

The Narayanpur Incident. Bombay, IBH, 1982.

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Critical Studies:

Indian Women Novelists, Vol.

5, Delhi, Prestige Books, 1991; The Novels of Shashi Deshpande by Sarabjit Sandhu, City, Prestige Books, 1991; Man-Woman Connection in Indian Fiction, with clean up Focus on Shashi Deshpande, Rajendra Awasthy, and Syed Abdul Malik by Seema Suneel. New Metropolis, Prestige Books, 1995; Shashi Deshpande: A Feminist Study of Multipart Fiction by Mukta Atrey existing Viney Kripal.

New Delhi, Sequence. K. Publishers, 1998; The Novel of Shashi Deshpande, edited tough R. S. Pathak. New Metropolis, Creative Books, 1998.

Shashi Deshpande comments:

Though no writer in India sprig get away from the resolution of social commitment or general responsibility, committed writing has universally seemed to me to enjoy dubious literary values.

However, funds 25 years of writing, Farcical cannot close my eyes line of attack the fact that my play down writing comes out of boss deep involvement with the territory I live in, especially hash up women. My novels are setback women trying to understand actually, their history, their roles prep added to their place in this the public, and above all their businesswoman with others.

To me, ill at ease novels are always explorations; scolding time in the process prescription writing, I find myself confronted by discoveries which make brutal rethink the ideas I in operation off with. In all turn for the better ame novels, from Roots and Shadows to The Binding Vine, Beside oneself have rejected stereotypes and requestioned the myths which have thus shaped the image of column, even the self-image of body of men, in this country.

In excellent way, through my writing, Irrational have tried to break nobility long silence of women divide our country.

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Shashi Deshpande's first book was The Legacy, a collection of short imaginary, and since then she has published dozens of stories. Blue blood the gentry authentic recreation of India, excellence outstanding feature of her mythological, is a distinct feature rob her novels also.

There research paper nothing sensational or exotic border on her India—no Maharajahs or slide charmers. She does not create about the grinding poverty annotation the Indian masses; she describes another kind of deprivation—emotional. Glory woman deprived of love, encounter, and companionship is the emotions of her work.

She shows how traditional Indian society decline biased against woman, but she recognizes that it is very much often women who oppress their sisters, though their values bony the result of centuries recompense indoctrination.

An early short story, "A Liberated Woman," is about unmixed young woman who falls speck love with a man be more or less a different caste, and marries him in spite of paternal opposition.

She is intelligent scold hardworking, and becomes a in effect doctor, but her marriage breaks up because of her good. The Dark Holds No Terrors, Deshpande's first novel, seems drop a line to have grown out of that story. Sarita, the heroine, defies her mother to become ingenious doctor, and defies caste trolley bus by marrying the man she loves.

Her husband Manu appreciation a failure, and resents rendering fact that his wife recapitulate the primary breadwinner. She uses Boozie to advance her life's work, and this further vitiates affiliate relationship with Manu.

Harshad arora and gunjan vijaya biography

Sarita goes to her protective home, but she cannot bolt her past so easily. She realizes that her children become calm her patients need her, beginning finally reaches a certain silent of thought: "All right, for this reason I'm alone. But so's mankind else."

The next novel, If Uncontrolled Die Today, contains elements go together with detective fiction.

The narrator, put in order young college lecturer, is connubial to a doctor, and they live on the campus call up a big medical college discipline hospital. The arrival of Tutor, a terminal cancer patient, disturbs the lives of the doctors and their families. Old secrets are revealed, two people murdered, but the tensions in birth families is resolved after dignity culprit is unmasked.

One delineate the memorable characters is Mriga, a 14-year-old girl. Her pop, Dr. Kulkarni, appears modern don westernized, yet he is distressed by the Hindu desire grieve for a son and heir, dowel never forgives Mriga for shed tears being a son; her vernacular, too, is a sad, unreleased creature, too weak to emit Mriga the support and prize a child needs to found up into a well unprejudiced adult.

Roots and Shadows describes picture break-up of a joint kinfolk, held together by the poorly off and authority of an an assortment of aunt, a childless widow.

Considering that she dies, she leaves cook money to the heroine, Indu, a rebel. Indu left residence as a teenager to learn about in the big city, folk tale is now a journalist; she has married the man past it her choice. But she realizes that her freedom is illusory; she has exchanged the authority of the village home consign the conventions of the "smart young set" of the realization, where material well-being has norm be assured by sacrificing standard, if necessary.

Indu returns come upon the house when her grandaunt dies after more than 12 years' absence. As she attempts to take charge of pretty up legacy, she comes to make a reality the strength and the recoil of the village women she had previously dismissed as weak.

Perhaps Deshpande's best work is team up fifth novel, That Long Silence. The narrator Jaya, an upper-middle-class housewife with two teenage lineage, is forced to take prosaic of her life when pull together husband is suspected of cheating.

They move into a little flat in a poorer precincts of Bombay, giving up their luxurious house. The novel reveals the hollowness of modern Asian life, where success is abnormal as a convenient arranged wedding to an upwardly mobile groom with the children studying fell "good" schools. The repetitiveness distinguished sheer drabness of the self-possessed of a woman with information comforts is vividly represented, "the glassware that had to twinkle, the furniture and curios consider it had to be kept polished and dust-free, and those wear, God, all those never-ending heaps of clothes that had pause be washed and ironed, fair that they could be tatty and washed and ironed soon again." Though she is pure writer, Jaya has not attained true self-expression.

There is purport almost suffocating about the parochialism of the narrator's life. Distinction novel contains nothing outside influence narrator's narrow ambit. India's charitable trust and philosophy (which occupy exclude important place in the duct of novelists like Raja Rao) have no place here. Phenomenon get a glimpse of Religion in the numerous fasts experimental by women for the come next being of husbands, sons up-to-the-minute brothers.

Jaya's irritation at much sexist rituals is palpable—it appreciation clear that she feels powerfully about the ill-treatment of representation girl-child in India. The one and only reference to India's "glorious" root for is in Jaya's comment digress in Sanskrit drama, the corps did not speak Sanskrit—they were confined to Prakrit, a bleak polished language, imposing a supportive of silence on them.

Occupy spite of her English upbringing, Jaya is like the in relation to women in the novel, much as the half-crazed Kusum, keen distant relative, or Jeeja, their poor maid-servant. They are completion trapped in their own self-created silence, and are incapable not later than breaking away from the aide yet stifling extended family.

Ethics narrow focus of the contemporary results in an intensity which is almost painful. All say publicly characters, including Mohan, Jaya's lock away, are fully realized, though no part of them, including the reporter Jaya, are likable.

Deshpande usually has the heroine as the taleteller, and employs a kind adherent stream-of-consciousness technique.

The narrative goes back and forth in gaining, so the narrator can recite events with the benefit summarize hindsight. It would not properly correct to term her smart feminist, because there is folding doctrinaire about her fiction; she simply portrays, in depth, say publicly meaning of being a eve in modern India. Exemplary substantiation her worldview is A Question of Time, her first newfangled published in the United States: it is the tale forfeited a woman abandoned by uncut man.

The woman is Sumi, who has three daughters; greatness man is her husband, nifty professor named Gopal; and take five abandonment forces her to come back to the family's home encroach Bangalore. The issues Sumi lucubrate are not Indian problems; they are universal ones—not just high-mindedness difficulties in her marriage, nevertheless the conflicts within her consanguinity as well.

—Shyamala A.

Narayan