Latest news with #Banu
Indian Express
a day ago
- Health
- Indian Express
Meet the Nightingales: From providing palliative care in remote villages to caring for colleagues during the pandemic, cancer patients
Leimapokpam Ranjita Devi and her husband used to routinely hop on a scooter at odd hours to provide palliative care to patients in remote Manipur villages. Banu M R cared for her sick colleagues in the NIMHANS hostel and guest house in Bengaluru to free up beds for patients with severe Covid-19 infection. As an oncology nurse, when the concept of palliative care was relatively unknown, Major-General Sheena P D has counselled numerous cancer patients and their families on accepting the diagnosis and getting treatment. The trio was among the 15 nurses, auxiliary nurse midwives and women health workers from across India who were conferred the Florence Nightingale Award by President Droupadi Murmu on Friday. Of these awardees, four each are from the North-East and union territories, and two from the national capital. Ranjita tells The Indian Express, 'One of my seniors asked me to apply for the award, but I barely had any photographs or videos that I was required to upload as part of my nomination. However, I got this award for training other nurses at the hospital.' Having spent most of her nearly 20-year career at the Imphal-based Jawaharlal Nehru Institute of Medical Sciences, Ranjita has many feathers in her cap over the years — from providing palliative care and training nurses in the red zone (areas in the hospital with severely ill Covid-19 patients) to setting up the protocol for the kidney transplant team at the institute and being a part of the rapid action team established after violence erupted in Manipur in May 2023. 'Since I live on campus, I frequently cover shifts for nurses who are unable to report for duty. I still remember being asked to come to the hospital on May 3 (2023). I ended up staying all night. People kept coming in with injuries the whole time,' she recalls. Before all this, Ranjita was a part of a four-member team that provided door-to-door palliative care. 'I would receive a call if a patient removed their Ryle's tube (used for feeding through the nose) by mistake or if they were in too much pain. One by one, the others moved to different teams, but they would keep referring their patients to me,' she says, adding that though the programme has been discontinued, 'this is what I am most proud of'. While Ranjita says she has never hesitated in taking care of her patients, she recalls a scare she got while seven months pregnant with her second child. 'I remember rushing to a hospital corridor at the end of my night shift to help a woman, who had started delivering her baby there. In the afternoon, I received a call and was informed that the woman was HIV positive. I had to take medicines to protect myself and my baby,' she says. Like Ranjita, Banu too has never shied away from her duties as a nurse at NIMHANS, one of the country's foremost mental health hospitals. Taking care of nearly 170 doctors, nurses, health workers and medical students during the pandemic, she says, 'earned me this award'. Banu, who specialises in taking care of patients with psychiatric and neurological conditions, manages a rehabilitation centre at NIMHANS. 'There are several patients who do not have an acute condition, but their mental ailments don't quite not allow them to integrate into society. So our centre gives them structure. They work at the centre daily, from 8 am to 4 pm, making cakes, paper, printing things, etc. They also receive some remuneration for their work,' she says. Banu is also the lead author of a study related to the pandemic, which found that the lockdown and unavailability of alcohol had resulted in fewer road accidents, though cases of domestic violence had gone up. For the study, Banu, who also worked at the hospital's neuro-emergency department during the pandemic, collected data on walk-ins with head injuries. As part of her PhD thesis, she has created a protocol to reduce and stop the use of tobacco among people with schizophrenia. 'Though we were able to get only 25% of these people to stop using tobacco for a week, the use did dip significantly,' she says. In her message to future nurses, she says, 'You don't have to be Mother Teresa, but if you become a nurse, you have to work hard with honesty and with humanity.' Major-General Sheena, who has worked 10 years as a critical care nurse and as an oncology nurse for nearly two decades, agrees with Banu's message. 'It is a job that requires a lot of dedication, devotion and diligence,' she says. Having trained as an oncology nurse at Mumbai's Tata Memorial Hospital and worked with cancer patients on multiple Army bases across the country, she says, 'When I started as an oncology nurse, not many were trained in the field. There was no concept of palliative care. I am happy that nurses have now started specialising in different fields, including cancer care.' Before retiring from service in April, Major-General Sheena worked at the Army headquarters for 12 years, where her duties included inducting younger nurses to the service. One of the biggest challenges for her over the years, she says, has been giving 'realistic' hope to her patients and their families. Other 'challenges', she says, included preparing her patients to deal with their therapies, and counselling families on how to support and care for cancer patients. Anonna Dutt is a Principal Correspondent who writes primarily on health at the Indian Express. She reports on myriad topics ranging from the growing burden of non-communicable diseases such as diabetes and hypertension to the problems with pervasive infectious conditions. She reported on the government's management of the Covid-19 pandemic and closely followed the vaccination programme. Her stories have resulted in the city government investing in high-end tests for the poor and acknowledging errors in their official reports. Dutt also takes a keen interest in the country's space programme and has written on key missions like Chandrayaan 2 and 3, Aditya L1, and Gaganyaan. She was among the first batch of eleven media fellows with RBM Partnership to End Malaria. She was also selected to participate in the short-term programme on early childhood reporting at Columbia University's Dart Centre. Dutt has a Bachelor's Degree from the Symbiosis Institute of Media and Communication, Pune and a PG Diploma from the Asian College of Journalism, Chennai. She started her reporting career with the Hindustan Times. When not at work, she tries to appease the Duolingo owl with her French skills and sometimes takes to the dance floor. ... Read More
The Wire
2 days ago
- Politics
- The Wire
'Heart Lamp' Burns Bright: How Banu Mushtaq Illuminates Muslim Women's Hidden World
Let us start with the obvious categories of perception, that Banu Mushtaq is a Muslim, a woman and a writer. All three terms are important aspects of her identity that inform her literary perspective. Her lived experience as a Muslim woman undoubtedly shapes the intimacy and empathy with which she writes, influences her literary concerns, and contributes to the authenticity of her voice. However, to suggest that her recent honour – the Booker International Prize for her book Heart Lamp – stems from these identity markers alone would be reductive and unfair to her considerable literary merit. Her translator Deepa Bhasthi emphasises this point, saying 'it would be a disservice to reduce Banu's work to her religious identity, for her stories transcend the confines of a faith and its cultural traditions'. Indeed, her identity extends far beyond these markers, as evidenced by her conscious evolution the day she threw off the burkha and became an activist, a journalist, a protestor in public rallies and wore a black coat as any other lawyer and went to court. Banu's characters could well be named Gita and Sita instead of Arifa, and Jameela because the poverty that pervades Muslim women pervades the Hindu women too. That's where her universal appeal lies but the oppression of Muslim women is markedly different because the patriarchy that suppresses them is empowered and sanctioned by religious authority. The subterranean power of the 'Tablighi Jamaat' (a group of men that go home to home preaching how to be a 'good Muslim') is so pervasive that no woman can dare challenge it. By putting the women in burkha, the Muslim men have succeeded in erasing their individual identity. When you see them in a public space, you do not see Arifa and Jameela, you merely see a different gender walking out there. That's the power of Muslim patriarchy. They control their women's right to exist as individual beings. The woman first belongs to the family – the father, husband, brother, and son, similar to what 'Manu Smriti' prescribed for the Hindu woman. But in public spaces they are a large community of non-entities, thanks to the burkha. No Hindu woman has conceded that power to her man. And therein lies a huge difference. Also read: Banu Mushtaq's Importance Goes Much Beyond the BookerThe Hindu patriarchy, on the other hand, cannot impose its will on women on the implicit authority of religion, though caste factors do play an important role in the assertion of 'family honour' – a pride that always rests on denying the autonomy of the female agency. This is one crucial area where the Hindutva-led majoritarianism is reviving patriarchy by undergirding family values and community unity in the face of threats from the Other. A typical example of this are the laws passed by some BJP-ruled states aimed at the imaginary crime of 'love jihad' – which have now ended up as a joke because in UP they could not even find half-a-dozen such cases. There is a more important identity of Banu Mushtaq that I wish to focus on – one that she has crafted for herself and suits her far more significantly than anything else. That she is a 'critical insider'. She proclaimed this identity, quite justifiably, at a recent event in Mysore before the Booker prize was announced. Let us develop these two terms a bit more. Belonging, as she does to the 'Bandaya Movement' that produced the 'Bandaya Sahitya' of the mid-1970s in Kannada literature, critical thinking and questioning were a necessary precondition to her writings and public acts. The pioneers of the movement came from the oppressed classes, the Muslims, Dalits, and women. And she has a foot in two of the three camps – an authenticity that is doubly reinforced. She acknowledges without any hesitation, the contribution of Baraguru Ramachandrappa and P. Lankesh to her own literary and social awareness. It was P. Lankesh who prodded her to become a journalist by filing stories for his famous Lankesh Patrike on the events in her home-town Hassan and its surroundings. Later, he encouraged her to tell her story and the stories of others in her community. From a journalist to an activist to a lawyer, her journey has been one of continuous progression in social and political consciousness that has regularly found literary back to the issue of being a 'critical insider', let us understand where she stands with the help of her stories. The most frequent characters that recur in her stories are women, mostly poor and uneducated, the maulvis and mutawallis (those who interpret the Sharia laws). All of them operate within the pervasive control of the mosque and the madrassa. They seem to live in a different universe. And different rules and an arcane system of justice apply there. Banu Mushtaq tells their stories with great empathy and at times, wry humour. Being an 'insider', Banu Mushtaq implicitly accepts the cosmology and the world-view of her faith, abides by its holy scriptures – the Qur'an and the Hadith. But being 'critical' she questions the men that mediate between her and her Allah. She questions their knowledge of the holy texts and their ability to perceive the humanism and the nobility inherent in it. She questions the web of institutions and the rules built by the men of religion to subjugate other men and more so, the women. But the critical insider doesn't go beyond questioning, or perhaps that is the journalist in her, who sees her role as the asker of questions rather than the provider of answers. Her protagonists certainly protest but it seems muffled, and they do not rebel. They seem to have only two options – to die by suicide or fall in line. Walking out of the all-enveloping confines and fear of the jamaat does not exist as an option in her stories, except in one, 'Huttu' – 'Birth' (not included in Heart Lamp but in the larger Kannada collection, Hasina and other Stories). Here the young girl, Nishat, elopes with her tuition teacher, a Hindu boy, but then, in an act of repentance and as an expiation of her guilt, sends back her five-year-old daughter to live with her grandparents and her mamas and mamis. But why? Why should she sacrifice her dearest daughter to the very confines from which she has escaped? The wider world that seems the natural habitat of a similarly placed Hindu protagonist does not seem to be an easy option for her character. Also read: No Story Is Ever 'Small': Banu Mushtaq's International Booker Acceptance SpeechIn one poignant story, the woman drops the match-stick that she was about to strike after dousing herself in kerosene, at the heartrending cry of her eldest daughter, as in 'Heart Lamp', or the wife of the mutawalli walks out of home, as in 'Black Cobras', determined to get a vasectomy operation done for herself. Here the vasectomy operation is seen as a slap to the mutawalli who has been preaching to all the women that getting such an operation is 'haram' – against the will of God. One must accept that Banu Mushtaq writes of present-day reality in Muslim society with profound insight. And the reality is depressing and disturbing. A poor, uneducated Muslim woman's life is indeed hellish and brutal. Their men are mainly responsible for this, and religion hardly provides any succour. As a chronicler of her community's state of affairs, Banu Mushtaq could not have been more accurate. As a 'critical insider', she offers something invaluable to young Muslim girls—a mirror to see their reality clearly and a voice that validates their struggles. Her own journey from traditional constraints to becoming an activist, journalist, and award-winning writer serves as a powerful testament to what is possible. Through her authentic storytelling and public presence, she creates space for protest, rebellion, and reform within her community. Her work doesn't provide easy answers, but it asks the essential questions and shows that transformation, however difficult, remains within Joshi was formerly in the Cabinet Secretariat.
Time of India
4 days ago
- Entertainment
- Time of India
Asylum in UK? I don't want, I will live in India: International Booker Prize winner Banu Mushtaq
1 2 3 Bengaluru: International Booker Prize winner Banu Mushtaq Wednesday declared: "I'm doing good in India, I will stay in India, and I do not have any necessity to knock on the doors of London (for seeking asylum). " During an event organised by Karnataka Union of Working Journalists on her return to India, the Hassan-based writer recalled answering a googly during a London book-promotion event when a woman asked her whether she was planning to seek asylum in the United Kingdom "because of unrest" in India. The woman ventured to make an offer of "facilitating asylum" for the Kannada writer. However, Banu's answer was simple, candid and honest: "I said I do not want (it), and we will continue to live in India. Who told you (about the unrest)?" The writer said, "London is a cultural capital, a lot of people have gone to stay there. Several writers have made London their home, producing great literary work." She said she's amazed by the culture of English book readership and added, "If I calculate, the English publisher (of Heart Lamp) has made Rs 6 crore business (so far)." Banu said she was completely unaware of the Booker prize or its import until her publisher applied for it. "Around 8pm on a particular day, I received a call from the publisher we were 'longlisted'. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Switch to UnionBank Rewards Card UnionBank Credit Card Apply Now I didn't know what it meant. Then my children explained its significance to me. The next morning when I was getting ready to go to court, journalists descended (on my house) and I wondered why. I did not know the sort of satisfactory reaction I should give," she said. Over the days, her book was shortlisted. When she was alone at home, she secretly wrote an acceptance speech four days before the event. "I mentally decided I should get the award though my publisher told me not to have many hopes since it's a short-story collection. I wondered why and confirmed to myself I would get it 500%," Banu added. She recalled the ordeal of losing her medicines, suitcase while she was travelling to London. Her daughter, who lives in Bahrain, brought a sari while coming to London. "The wish of wearing a Mysuru silk sari for the Booker reception remains unfulfilled. To use the saris, let's try to win another Booker," she said to cheers from the audience.
Hindustan Times
23-05-2025
- Entertainment
- Hindustan Times
The world of Banu Mushtaq, Kannadiga life in the margins
It is indeed a high moment for Kannada and Karnataka: Kannada literature finds itself on the global literary map, thanks to the labour of two women. Banu Mushtaq, a senior Kannada writer, has been awarded the 2025 International Booker Prize for Heart Lamp (Hridaya Deepa), her anthology of 12 short stories, translated into English by Deepa Bhasthi. Women's writing in Kannada has not received the recognition it deserves. Even most of the notable awards at the national level, the Jnanpith for instance, have been conferred on men. In this context, the Booker is indeed a historic moment for women's writing in Kannada which can boast of great talent from Triveni and MK Indira of yesteryears to Pratibha Nandakumar, Vaidehi, and Du Saraswathi, actively writing today. And there is more, where it comes from. Much more! Banu Mushtaq hails from Hassan, the south-western town in the plains of Karnataka, while Deepa lives in Madikeri, a town in the Western Ghat ranges. The ordinary lives of common people in her small town constitute Banu's fictional universe. The award, thus, signals the triumph of the small town. A practising advocate, and social activist, Banu is the author of six short story collections, a novel, an essay collection and a poetry collection. Several important honours, including the Karnataka Sahitya Academy award and the Daana Chintamani Attimabbe award have come seeking her. Her short story Black Cobras, which depicts the plight of Hasina, an abandoned wife, was made into an award-winning film by Girish Kasaravalli, the eminent film director, in 2004. Hasina and Other Stories, another collection of her short stories, also translated by Deepa Bhasthi, had won the English PEN translation award in 2024. Banu began her career during the Bandaya or the protest movement of the heady 1970s and '80s. The movement culminated in the awakening of a new social consciousness, which led to the effervescence of new writing in Kannada. The unheard voices of marginalised groups were heard for the first time, heralding a non-Brahmin era in Kannada literary culture. Sara Aboobacker, Fakir Mohammad Katpadi, Boluvar Kunhi, and Banu Mushtaq started chronicling the stories of their community for the first time. Standing on the firm ground of lived experience and observed life, Banu deployed writing as a powerful tool of social dissent. To put it in her own words: 'My stories are about women — how religion, society, and politics demand unquestioning obedience from them, and in doing so, inflict inhumane cruelty upon them, turning them into mere subordinates. The daily incidents reported in the media and the personal experiences I have endured have been my inspiration. The pain, suffering, and helpless lives of these women create a deep emotional response within me. I do not engage in extensive research; my heart itself is my field of study.' The first story in Heart Lamp, Stone Slab for Shaista Mahal to the last one in the collection, Be A Woman Once, Oh Lord! bear testimony to the fact that her writing is a searing indictment of our social system. Banu's commitment to progressive politics can be traced back to the Bandaya movement, which proclaimed, 'May poetry be a sword, a soulmate who feels for the pain of the people.' It couldn't have been easy for Banu as a Muslim speaking Dakhani Urdu, and as a woman writer writing in Kannada, to critique the patriarchal practices of an already beleaguered community. Banu candidly describes her predicament as a Muslim woman writer writing in a second language for a majoritarian reading community. She writes in the preface to her first collection (1990), 'I gradually became aware that even when I am writing in Kannada, I can only write about the Muslim world, its people, their joys and sorrows, their interests and angularities. Almost immediately, I also realised that the Muslim community will surely resist such revealing narratives. Even as I was coming to terms with this resistance from inside the community, I could equally clearly see how the larger community outside was as resistant to any critique coming from me.' It is remarkable that Banu has successfully negotiated this tightrope walk by simultaneously being a critical insider in the Muslim community, and a friendly outsider in the larger, not-so-friendly majority community. Her stories help us connect with the Muslim community in a small town like Hassan, which is invariably othered, reminding us of our common humanity. Deepa Bhashti's curation of stories showcases Banu's writing at its best. Deepa's translation has ably captured the rhythms and movements of Banu's lifeworld to lend a powerful voice to her various characters in English. Her interesting afterword provides a detailed account of the rationale behind her translation practice which has retained several Kannada and Urdu words while eschewing footnotes and italics altogether. Today, as new literates from the village, the small town, the city, and the metropolis have greater access to knowledge and technology, tremendous difference and diversity marks Kannada writing, bringing in lives and experiences that had not entered the hallowed space of the 'literary'. The Booker for Banu's stories has the potential to open the door to the diverse lifeworlds of the Kannada people through translation. Translations have always built bridges across communities. Which communities do the English translations of our regional literatures connect? Surely, Deepa's translation has brought home the Muslim world of Hassan to an international readership. Max Porter, chair of the International Booker Prize 2025, said: 'Heart Lamp is something genuinely new for English readers. A radical translation which ruffles language, to create new textures in a plurality of Englishes. It challenges and expands our understanding of translation.' But, as important, or perhaps more, is the bridge that it can build across the many linguistic worlds within India through our common, if alien, inheritance of English. Kannada literature can, as if by a sleight of hand, become Indian literature through English translations. There is yet another, perhaps the most important constituency that can be served through English translations. Increasingly, the educated class, which is the likely consumer of books, is growing monolingual in its orientation. While this class is comfortable using the local language or English for functional purposes, it largely reads in just one language: either Kannada or English, in the case of Karnataka. That the sales figures for English translations of regional texts are the highest in that very region bears out this claim. The English translations of regional literary texts can connect the more educated populace with the people around them. We are well-served by such translation activism. Most of the English translators of Kannada literature today are engaged in developing a pared down style and forging an informal and intimate English to express the varied voices, rhythms and styles of the emergent Kannada sensibilities of a new generation in a new age, helping the 'bullock carts to reach the global stage'! (Banu's words). International recognition — be it the 2018 DSC award for Tejaswini Niranjana's translations of Jayant Kaikini's stories or now the Booker for Deepa in 2025 — is bound to encourage translators and publishers to boldly experiment with 'a plurality of Englishes', explore new and creative ways of translating to bring alive novel life-worlds unknown to the mainstream culture, making for greater empathy for the worlds in the margins. Translation can, thus, be a potent bridge which can connect our polarised worlds. Vanamala Viswanatha is currently visiting professor, Azim Premji University, Bengaluru. She has translated the works of major Kannada writers including U R Ananthamurthy, P Lankesh, Poornachandra Tejaswi, Vaidehi, and Sara Aboobakkar into English. Her latest work is a translation of Kuvempu's celebrated novel, Malegalalli Madumagalu (Bride in the Hills). The views expressed are personal
Time of India
22-05-2025
- Time of India
Who moved my suitcase?
A Booker Prize winner's lost luggage is a tale that will resonate with flyers around the world The smile on Banu Mushtaq's face as she held up her International Booker Prize trophy was lovely, and so was her sari. Except, it wasn't the one she had planned to wear. In a tale that will touch readers no less than the ones she has written, her suitcase was lost as she flew to London – along with essential medicines and the silk sari she had chosen for the prize ceremony. The more we travel the greater the odds of finding ourselves in this situation, arriving at our destination without everything we had packed to match it. What to do then? Buy, beg, borrow, don't steal. Not everyone simply moves on, though. A techbro mad at an airline losing his girlfriend's luggage has set up It scrapes internet chatter 24/7 to publish live lost luggage data, which airlines don't publish. Bad news for us? Indian airlines regularly feature at the top of this global ranking. The zen types say, every trial is an opportunity. If you have arrived in a strange land without your belongings, without the comfort and confidence that comes from those, it's time to start finding out who you really are. Of course, for non-zen types, such advice turns unease into a throbbing headache. They have to restrain themselves from violence. What about the lost luggage itself though? Sometimes it is never reunited with its parents but finds new ones at 'unclaimed baggage' vents. Airlines and airports seem to find this setup quite satisfactory. As imagery from baggage handling across the world shows, treating our luggage with respect isn't a priority at all. This is why many travellers have changed their packing habits altogether. What doesn't suffice for others for five days, they can travel to five countries with. Their carry-on packing is a mastery of art, physics and chemistry. Now, it's fingers crossed that Banu's Booker trophy makes it safely to India, with her. Facebook Twitter Linkedin Email This piece appeared as an editorial opinion in the print edition of The Times of India.
