|
|
|
|
|
|
|
|
|
That Taslima Nasrin (born-1962), the non-conformist Bangladeshi writer-in-exile, has recently been awarded The UNESCO Madanjeet Singh Prize for the promotion of Tolerance and Non-Violence would come as no surprise to her readers. An impressive litany of honours—including the French Human Rights Award, European Parliament’s Sakharov Prize, International Humanist Award and the American Free thought Heroine Award—underscore her recognition as a committed writer and crusader for human rights and freedom of expression. So far she has published 10 books of poetry, seven novels, four volumes of autobiography/autobiographical fiction, four volumes of essays on her textual and cultural politics and a collection of short stories. Her works have been translated into many languages. Often unjustifiably compared with Salman Rushdie with whom she shares the condition of exile—resulting largely from the fatwas issued against them. Her best-selling novel, Lajja, critiqued the idea of "the nation" based primarily on religion. It offered a trenchant criticism of the rising curve of Islamic extremism and the consequent atrocities against the Hindu minority in Bangladesh. In 1993, provoked by the contents of Lajja, Soldiers of Islam issued a fatwa against her. Unlike Rushdie’s trendy and tendentious bias against Islam (as reflected in Shame and The Satanic Verses), Taslima takes a humanistic position by insisting on a rational and moral examination of all religious dogmas that stifle the human spirit and promote injustice, hatred and violence. Though, of all the contemporary writers, she has the (envious?) distinction of having the maximum number of books banned—six, so far. She is the least prescribed writer in the literature curricula in Indian universities. Recently, Taslima’s autobiographical writings created a furore in literary and political circles of Bengal and Bangladesh alike. Her Dwikhandito was banned in Bengal and Bangladesh because of its allegedly offensive references to her "relations" with some important political figures. No wonder, most of her significant works are banned in her own native Bangladesh where freedom of expression is threatened by religious fanatics. Of her recent novels, French Lover disappoints because of its cheap parody of lesbianism and fashionable feminism. Taslima’s work is more of a direct statement against injustice and untruth than an artistic rendering of the unpleasant realities. Her books are disconcerting counter-narratives of sordid realities of the Indian subcontinent. |
