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Congregation

Congregation https://vimeo.com/134849755 Natasha Trethewey reads her poem "Congregation," 2010. View poem text here. National Park Service Gulf Islands Regional Map of Gulfport, Mississippi and the Gulf Coast About Natasha Trethwey...

Winslow Homer and the American Civil War

Presentation Part 2: Wood details the history of Winslow’s painting, “Near Andersonville.” Part 3: Wood explains Homer’s possible motivations for painting “Near Andersonville Part 4: Examining soldiers in the painting, Wood offers a...

Emory University Team Launches Mobile Tour App for Historic Battle of Atlanta Sites

...have been replaced by service stations, interstates, buildings, and other signs of urban growth. Still, there are surviving topographical features of the sprawling battlefield and many reminders of key events,...

An Unflinching Look: An Interview with Photographer Benjamin Dimmitt

Bransford: Before we talk about An Unflinching Look: Elegy for Wetlands, can you talk about your personal history with the Chassahowitzka National Wildlife Refuge? And then describe the Refuge in...

Cultural Life in a "Chocolate City": A Review of Natalie Hopkinson's Go-Go Live

...trauma felt through subsequent decades. DC became blacker and poorer as middle-class residents retreated to the suburbs. With a declining tax base, the city's schools and service institutions could do...

Navigating Jim Crow: A Review of Adolph L. Reed's The South: Jim Crow and Its Afterlives

...they all acknowledged one another."6Reed, 92–93. In his own family, an adult with light skin color occasionally posed as white to get some prized local delicacy or quicker service from...

Editors

...University Lu Ann Jones, National Park Service Suzanne Jones, University of Richmond Kristin Kant-Byers, Rochester Institute of Technology Peter Kastor, Washington University in St. Louis Anthony E. Kaye, Pennsylvania State...

Roadside Architecture

...scenes and activities, churches, cotton gins, roadside stores, and many of the people I've encountered along the way—their likenesses as portraits, their worship services, their family reunions, some of the...

Men at Home: Imagining Liberation in Colonial and Postcolonial India

...and colleges; and even social service and civic reform. Similar “deviations” characterize the second symbol of South Asian modernity I have mentioned: understandings of the fundamental unit of domestic life....

References
1.	Louis Althusser uses the phrase "an answer to a question that is nowhere posed" in Althusser, Reading Capital, 29. For an explication of my usage of "fragment," see chapter 2 in Gyanendra Pandey, Routine Violence: Nations, Fragments, Histories (Stanford University Press, 2005). A slightly different articulation appeared in the original version: Gyanendra Pandey, “In Defense of the Fragment: Writing About Hindu-Muslim Riots in India Today,” Representations, no. 37 (1992): 27–55.
2.	I use India and South Asia interchangeably in these pages, since much of the investigation deals with areas in the northern, central, and western regions of the undivided subcontinent, before and after its partition and the establishment of the independent nations of India and Pakistan in 1947 (and the separation of Bangladesh from Pakistan in 1971).
3.	I refer to important scholarly writings on several of these themes in the section titled "Historiography" in chapter one.
4.	Cf. Ranajit Guha, History at the Limit of World-History, (New York: Columbia University Press, 2003).
5.	One might even call it the “extended nuclear family.” The 1935 photograph that appears on the book's cover, marking the wedding of two protagonists whom I center in chapter 4, Hameeda and Akhtar Husain Raipuri, points nicely to the paradoxical character of this modern South Asian family. The bride and groom are tucked away on the extreme right-hand side of the gathering, the bride sitting in the middle row, the groom standing behind her. The photo of the “Khandan” (or extended Omar family), taken in front of the bride’s parents’ home, built by her police-officer father Zafar Omar, is dominated by the elders. The bride’s mother and father are seated next to her in the middle row, on her right, and the oldest “elders,” Zafar Omar’s mother and father, are placed at the center of the assembly.’
6.	Shivrani Premchand, Premchand: Ghar Mein (Nayee Kitab Prakashan, 2009).
7.	Madan, Premchand, 20.
8.	Baby Kamble, The Prisons We Broke, trans. Maya Pandit (Orient Black Swan, 2018). Original text published in 1986. Dalit is the name that Dalit activists give to the depressed castes and classes formerly known as Untouchables.
9.	Kamble, Prisons We Broke, 147, 155, 156.
10.	One scholar makes the point about the crisscrossing axes that determine gender power in South Asian homes as follows: a woman's place depends on "the status of her husband, her possession of sons, her fertility, looks, health and capacity for domestic labour. The middle-aged mother of grown-up sons could be a powerful matriarch and elderly mothers-in-law could command and oppress young [daughters-in-law]." Tanika Sarkar, Hindu Wife, Hindu Nation: Community, Religion, and Cultural Nationalism (University of Michigan Press, 2001), 21.
11.	It is worth noting that this applied to Baby Kamble's husband: an unemployed young man in a house full of elders, whose enterprising wife (Baby Kamble) comes up with an idea that allows him to contribute to the family's income, he is still someone from whom she has to hide her writing for twenty years.
12.	Another term that may well come from the same root (route?) is nivri in Kutchi, which refers to girls or young women sitting around idling, as a young bride might be allowed to do briefly! I am grateful to Sabrina Datoo for drawing my attention to this term and its meaning.

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