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Making Lumbeeland: An Interview with Malinda Maynor Lowery

Southern Spaces: Malinda, tell us about your film Lumbeeland. Why and how did you come to work on this project? Malinda Maynor Lowery: Lumbeeland is a twenty-nine minute short narrative,...

Starlit Screens: Preserving Place and Public at Drive-In Theaters

Cars lined up on US Route 11, waiting to enter. Family Drive-In, Stephens City, VA, 2008. Introduction 2008 marked the seventy-fifth anniversary of the drive-in theater. In 1932, Richard Hollingshead,...

"Within Thy Circling Pow'r I Stand": Immersive Video from Sacred Harp's Hollow Square

Introduction Typical spatial arrangement of the hollow square at the annual Sacred Harp singing at Mt. Lebanon Baptist Church, Fayette County, Alabama. Illustration by Jesse P. Karlsberg. Sacred Harp singing...

Sunset Colonies: Photographs by Diego Alejandro Waisman

The first trailer park I ever spent much time in was the Simonton Street Trailer Park, located off upper Simonton Street not far from the Southernmost Point. It was the...

Imprinting This Place: Rob Amberg's Documentary Journey

The first photograph that Rob Amberg ever made in Madison County, North Carolina shows a barn with a large ominous message painted on its side. “Get Right With God,” it...

Hurricane Helene Visits Marshall, North Carolina

Thursday, September 26, 2024 In Marshall talking with Joel and Josh. Very real concerns about the river, which is at ten feet, fierce, and rapidly rising. The island is already...

Victoria

https://vimeo.com/1127164201 Introduction to Victoria I first met Ms. Victoria Jewelle reflected in the bathroom mirror in front of me, slowly applying layers of makeup, constructing a face. She loaded a...

Men at Home: Imagining Liberation in Colonial and Postcolonial India

Prelude: Fragments of Family This book is an essay on men’s existence in the South Asian domestic world, and on their self-contradictory articulation in that world of ideas of freedom,...

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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