As we commemorate Begum Rokeya Day, Oborodh Bashini stands not as a relic of a bygone era but as a living blueprint for modern resistance. The stories she told are specific to a time, but the structures of silencing they represent are hauntingly familiar.
To understand the deep-seated relevance of this modern debate, we must embark on a journey into the heart of Sarat Chandra’s literature, where these battles first found voice.
The moment a meeting lulls, a conversation pauses, or a task feels a bit too long, my phone is in my hand. It lights up. And I’m gone.
Slow living isn’t just a trend – it’s a necessity in the fight against burnout, anxiety, and stress related to climate change
In the mist-covered hills of Ooty and the famine-ravaged villages of Bengal, they speak of ghosts. They whisper of a Zamindar’s phantom haunting a grand manor and a shape-shifting shakchunni preying on a crumbling estate.
Notable works include Jinnatun Jannat’s “Canvas 1947: DADA”, a mixed-media compilation that traces her family’s displacement during Partition through digitally printed photographs, watercolours, and ink drawings.
We are not incapable; we are choice-fatigued.
As we commemorate Begum Rokeya Day, Oborodh Bashini stands not as a relic of a bygone era but as a living blueprint for modern resistance. The stories she told are specific to a time, but the structures of silencing they represent are hauntingly familiar.
Rereading Begum Rokeya’s ‘Oborodh Bashini’
To understand the deep-seated relevance of this modern debate, we must embark on a journey into the heart of Sarat Chandra’s literature, where these battles first found voice.
The moment a meeting lulls, a conversation pauses, or a task feels a bit too long, my phone is in my hand. It lights up. And I’m gone.
Slow living isn’t just a trend – it’s a necessity in the fight against burnout, anxiety, and stress related to climate change
In the mist-covered hills of Ooty and the famine-ravaged villages of Bengal, they speak of ghosts. They whisper of a Zamindar’s phantom haunting a grand manor and a shape-shifting shakchunni preying on a crumbling estate.
Notable works include Jinnatun Jannat’s “Canvas 1947: DADA”, a mixed-media compilation that traces her family’s displacement during Partition through digitally printed photographs, watercolours, and ink drawings.
If Dante Alighieri were a frustrated PhD student with a caffeine addiction and a strong disdain for university bureaucracy, he might have created Katabasis, as R.F. Kuang did.
