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A Sleight of History: University of Alabama's Foster Auditorium

A Sleight of History: Film and Essay Sleight of History: University of Alabama's Foster Auditorium. A short film by Sarah Melton and Marshall Houston, 2009. My fellow filmmaker Marshall Houston...

Enchanting the Desert: Visualizing the Production of Space at the Grand Canyon

Presentation Question and Answer Session About the Speaker Nicholas Bauch is assistant professor of GeoHumanities and director of the Experimental Geography Studio at the University of Oklahoma. In addition to...

Quilting Conversation

...Museum of Art. She previously worked as an arts journalist in New York and received her PhD from the department of Art, Art History, and Visual Studies at Duke University,...

Mountaintop Removal in Central Appalachia

...present day writers covering MTR to get it right. Come to Central Appalachia where mountaintop removal is rampant. Talk to the local people. Hear their stories and listen to their...

Race & Gender in the Latinx South: A Review of Cecilia Márquez’s Making the Latino South & Sarah McNamara’s Ybor City

Introduction In 2003, Raymond Mohl’s description of the “latinization” of the late twentieth century US South (the “Nuevo New South”) helped set the stage for an expanding body of cross-disciplinary...

Beyond Fairyland: Writing and Curating Queer Miami

...so I'll just add a few more thoughts. I think I'm a pretty disciplined writer. I'm a former journalist (still contributing to journalism, but now as a trained historian) who...

Men at Home: Imagining Liberation in Colonial and Postcolonial India

...population. However, it extends forcefully into the countryside, to apparently non-capitalist sectors of the society, through the interventions of police, bureaucracy, modern law, and medical institutions; the influence of schools...

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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