I'd been practicing 'Ich bin Amerikanerer'. They waited until lesson three to tell you if you are female it is 'Ich bin Amerikanerin'. I thought 'ja' was pronounced like the pirate 'arrgh' so like 'jaargh' because of the pimsleur speaker. I like the accents from Judith and Chuck over the pimsleur guy. I appreciate being able to read a transcript of the podcasts on this website to reinforce the spelling with the words I'd learned. I realise that wasn't the point of their theory but it's jarring how inaccurate my guess on the spelling was from listening to the words. I'm not sure how helpful pimsleur has been. My goal is to first brush up on the beginning course then move onto the tourist section. I can also download these on my ipod after all. I haven't decided if I'm going to continue using it in addition to germanpod101 or use both. I bought the first eight mp3 lessons to try it out rather then spend 100 dollars on the first volume of 30 lessons. This translation may ensure she gets her due.I've been listening to the Pimsleur program for a week and have now registered on this website. “The mind travels to a distant future, towards a time when the stories will be read and remembered as works of literature,” writes Tabassum in ‘Meri Kahaani’. Naïve nautch girls, sex-starved begums, ailing prostitutes and angry brides flit in and out of the pages, weaponising their sexuality, wresting ownership of their bodies back from the men who control this gilded world. The prose is stunning and luminous and the world, lush and vivid. Tabassum’s stories tell the tale of passion, politics and power play in Hyderabad’s old-world aristocracy. “My stories are about families,” writes Tabassum, adding that this is largely an outcome of her own situation-a woman trapped in a traditional house. Yet, much like other erotic works, such as Lady Chatterley’s Lover (1928) and Fanny Hill (1749), which were seen as pornographic and banned in their time, the stories in Sin are less about sex and more about the human condition. Sin: Stories by Wajida Tabassum, translated by Reema Abbasi Hachette, 240 pages, ₹384 “It is ironic,” writes Abbasi in the foreword to the collection, “that Wajida’s relatives and distant kin, who were familiar with the bold and unconventional writing of other women writers, had a rabid view of her own work and used Ismat’s writing-despite her fame and stature-as a jibe to knock Wajida’s progress.” She wasn’t nearly as famous though and lived in penury for most her life,largely reviled, facing mobs and death threats. The Amravati-born writer is often compared to Ismat Chughtai, given her realistic female characters and frank exploration of female sexuality. Not surprisingly, her work ruffled feathers during her writing years, from the 1950s to the late 1980s. The stories, deeply erotic and graphic in detail, offer a ringside view of bedrooms and bordellos. Sin, which includes this essay, is a collection of some of Tabassum’s boldest Urdu short stories, translated into English for the first time by Pakistani journalist Reema Abbasi. “They carried me out of a murky hole to a meadow.” Urdu Story Stories in Urdu Urdu Fairy Tales Urdu KahaniyaStory - The Wooden Rickshaw© Koo Koo TVPlease note this content is meant for 1. Her first stories, published mid-20th century, when she was in her early 20s and met with derision from immediate family, “were my saviours”, she writes. In her essay ‘Meri Kahaani’, or ‘My Story’, written when she was only 24, Wajida Tabassum talks about her cloistered, impoverished childhood and teens, when food and clothes were scarce, and books forbidden.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |