Shedding the Metaphors

My writings are my immense creative domain, my superlative agenda.

One is halted and probably further dazed by the political connection my characters create in their demeanour - they are rather connected with the grass root political movements, essentially social and anti-war crusades, anti-militarist and anti-capitalist ideas to rationalize and corroborate the significance of the society, civilization, the country and their application to present-day problems like health, peace, harmony, science, technology, developmental schedules and above all, anti-nuclear politicking. The final and the very fair connection is the moral assembly which more explicitly pervades to study ecological conscience to change both theory and praxis and the exercise of those values. Relationship (read, 'love') ethics in my stories is the ecofeminist ethics of attention and apposite reciprocity. The most appropriate construction is the theoretical involving and evolving of my characters, which is also delimited to some kind of environmental ethics. In the stories, the women-nature networks contend with each other, maybe because of time-space complications! The characters of my stories are mostly people around me, or people who I met far and near. When I am curious about someone's story, am pressed with the urge to talk about it, I pen it down, by imparting my character traits, my femininity into my fictional female protagonists. At the cost of sounding personal, I pour my image, my personality into them. Thus, the narratives sound autobiographical, whereas in most cases it may not be so. A few stories in this collection, like 'Being God's Wife', 'A Very Different Story', 'Alternative Masculinity', 'The Juvenile Love Letter', 'The Wild Stream' and 'The Elusive Orgasm' have autobiographical elements though.

My stories are intricate as I play around the complex human emotions. - Nandini Sahu