Journal of English Literature and Cultural Studies 2(2019) 198-203

[ DOI: 10.26655/JELCS.2019.2.6 ]

Journal of English Literature and

Cultural Studies
Journal homepage: www.jelcsjournal.com

Orginal ResearchArticle
Display of Sisterhood in Selina Hossain’s Ghumkature Ishwar
Mohammad Kaosar Ahmed
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Associate Professor, Department of English Language and Literature, International Islamic University Chittagong

A R T I C L E I N F OR M A TI ON ABSTRACT
Received: 29 Jan. 2019 Selina Hossain is a distinguished contemporary female writer from
Received in revised:14 April 2019 Bangladesh. Being a recognized feminist voice, Hossain delineates gender
Accepted: 20 April 2019 issues in her literary works. This paper is a humble attempt to study
Available online: 24 April 2019 Hossain’s Ghumkature Ishwar with a view to focusing her portrayal of
DOI: 10.26655/JELCS.2019.2.5 sisterhood - a term used by feminists to express the connection of women
who are bonded in solidarity. Characters like Ruposhi and Shorishafuli,
Shukjan and other village women, and Lutfunnisa, Romela and Zaheda form
KEYWORDS sisterhood in the novel that sometimes gives them a space of their own,
Sisterhood shows the power their bond and helps them to survive in the patriarchal
Empathy spider-web.
Patriarchy
“There is a special place in hell for women in various capacities and retired as a director.
who don't help other women.” (Madeleine In 2014, she was appointed as the Chairman
Albright) of Bangladesh Shishu Academy. She has
penned numerous short stories, novels and
“Women who understand how powerful they essays. Some of her novels have been
are do not give into envy over meaningless translated into several Indian regional
things, instead they fight to maintain the languages, into Russian, French and English.
beautiful bond of the sisterhood. These are Some of the translated novels are Hangor,
the real women who know that we need each Nodi, Grenade (English, 1987 and
other’s love and support to survive in this Malayalam, 2001), Neel Mayurer Joubon
world. Love is the essence of being a woman. (English, 1983), Tanaporen (English, 2000
We must be that light of love that seals the and Urdu 2003). She is one of those
bond and unique beauty of our sisterhood.” significant living authors whose several books
(qtd. in Nelson, n.p.) are in the syllabus of universities such as
Rabindra Bharati University, Jadavpur
Introduction University, and the University of Assam.

Selina Hossain is a leading woman writer of Hossain's voyage began with short fiction.
Bangladesh. Born at Rajshahi on June 14, Her first book, a gathering of short stories,
1947, Hossain served in the Bangla Academy Utsho theke Nirontor, turned out in 1969. She

Corresponding author,email:[email protected](M. K. Ahmed).

 M. K. Ahmed
[ DOI: 10.26655/JELCS.2019.2.6 ]

was just 22 in those days but had the mettle to Nodi Grenade (1976), Magna Caitanye Shis
depict the genuine essence of a traditionalist (1979), Japita Jiban (1981), Podoshobdo
society. The book was abundantly valued by (1982), Neel Moyurer Joubon (1983), Chand
prestigious writer pundit Humayun Azad who Bene (1984), Poka Makorer Ghor Bosoti
respected the crisp new voice of rebellion to (1986), Nirantar Ghantadhwani (1987),
the universe of writing. Utso Theke Nirontor Ksharan (1988), Katatare Prajapati (1989),
was only the start and Hossain never thought Khun O Bhalobasa (1990), Kalketu and
back; she continued searching out the genuine Fullora (1992), Bhalobasa Pritilata (1992),
picture of society with various different works Tanaparen (1994), Gaayatree Sondhya
of short fiction, for example, Jolobotee (1996), Dipanwita (1997), Juddha (1998) and
Megher Batash (1975), Khol Korotal (1982), Lara (2000).
Porojonmo (1986), Manushti (1993), Onura
Purnima (2008), Narir Rupkotha (2009), Ghumkature Ishwar is the story of a group of
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Obelar Dinkhon (2009), Mrityur Nilpadma riverain people. The life of these riverside
(2015) and Nunpanter Goragori (2015). The people is harmonized by the raise and erosion
decent variety of her topic, social setting and of the strip of sandy land escalating from the
artistic systems fluctuates starting with one river. Ahmed observes that Selina Hossain
novel or story then onto the next. unfolds the oppression of women in the
patriarchal society that “believes in the
A significant subaltern voice, Hossain’s natural predominance of male over female
works reflects women’s struggle in the and proudly upholds women’s dependence on
patriarchal society. Her treatment of the 1952 men”. Patriarchs in this novel misrepresent
Language Movement and 1971 Liberation biological differences among people; ensuring
War is considered monumental by both that men dependably have the prevailing
readers and critics. Hossain is essentially a roles, however, women in the novel are
novelist and has officially published more bolder and snappier to choose to dissent and
than 30 novels. She has given this genre some of the time, even overlook the
another life, another dimension. With masculine thoughts. Most women in
different themes, shifted style and the Ghumkature Ishwar “reject the notion of
utilization of straightforward language, her biological determinism, which says that men
books have set up her as one of the best and women are different because of their
fiction writers in Bengali. On one hand, she biology or bodies” ("Yes, the Subaltern Can
portrays the story of Kalketu and Phullara Speak…” 37). Hossain here spots the woman
while delivering the narrative of Pritilata, the at the bleeding edge where she assumes
blazing lady who was martyred amid a significant jobs to improve her status and her
furnished fight against the British colonizers. society as a whole. She has gone further to
Her books envelop at various times, speak to the woman as an emphatic being
interlacing them into fine stories. Regularly looking for acknowledgment and
she makes utilization of materials from perceivability in her society.
genuine occasions and circumstances –, for
example, the terrible murdering of Shomen A Homogeneity of Experience
Chandra on account of fundamentalists, the
slaughtering of Munier Choudhury by the “Being a woman is all about being with other
partners or the loss of her girl Lara. A portion women”, says Sophia A. Nelson in her “Time
of her notable books include Josnay Surjyo to Put the ‘Sister’ Back in ‘Sisterhood’” (n.p.)
Jala (1973), Jalochchwas (1972), Hangor calling women back to join sisterhood – a

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 M. K. Ahmed
[ DOI: 10.26655/JELCS.2019.2.6 ]

term as defined by Merriam-Webster

Dictionary as “the solidarity of women based Sisterhood in Ghumkature Ishwar
on shared conditions, experiences, or
concerns” (n.p.). The sisterhood of women Selina Hossain’s Ghumkature Ishwar deals
more often than not alludes to their woman's with illiterate common men and women of a
rights, their investment in the women's remote riverine rural area of Bangladesh and
advance, and their help of other women or highlights vividly some female characters that
their acknowledgment of female reject to accept “gender polarization”. The
characteristics that are unique to women's traditional and patriarchal norms leave
nature. Women inside and outside consider women as subordinate to her male counterpart
themselves to be "sisters"— partners in a rendering her almost mentally shattered. One
battle against a typical set of oppressions and of the ways that women in the novel
oppressors. Sisterhood was demonstrating safeguard themselves from the patriarchal
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“not merely contagious, but powerful”. whirlpool is sisterhood, a term used among
Nelson avers that the “women that we feminists to express the connection of women
embrace as our sisters are sometimes closer who are bonded in solidarity. Ruposhi’s
than our own family members. They defend relation with her maidservant Sarishafuli is in
us, wipe away our tears, take care of us when ways distinct from how she relates to men.
we are ill, encourage us in the bad times, lend Selina Hossain’s gender nonconforming
us money if needed, and support our dreams. Shukjan attests the feminist doctrine of
And at the very same time these same women Second-Wave-Feminism that “Sisterhood is
will not hesitate to scold us, push us, even Powerful” through her formation of
anger us in order to protect us” (n.p.). sisterhood with other women of the village
To some feminists sisterhood provides an that ultimately paves the way to the
alternative to women in their pursuit of deconstruction of the patriarchal narrative of
spiritual independence. By turning to their social constructionism. The women protest
female “allies suffering from the same plight, led by Shukjan in the form of hunger strike
women can truly enjoy freedom and equality claiming justice for the five murders in their
in addition to appreciation and comfort from village ultimately compels the patriarchal
each other” (Jing 202). Female friendship administration to have a dialogue with them.
became a way of life (Cott 185). Discovering Lutfunnesa’s sisterhood with perturbed
their gender-prescribed “talents, needs, Romela and unaided Zaheda surprises Adel, a
outlooks, inclinations,” women understand patriarchal agency. Adel cannot imagine that
that their most obvious opportunity to escape these three women can ignore his masculine
male characterized inadequacy is to uphold power and survive without his support. In
and celebrate, through a solid female bond, fact, he has no idea about the strength of the
their particular gender characteristics, which bond of solidarity that his mother has formed
is no lesser than, or stunningly better than with Romela and Zaheda – who are connected
those of men (Cott 190). Jeffreys adds that as women, just like a spider-web and if one
“solidarity of the oppressed through women’s part of the web vibrates or is in trouble, others
love” for one another is an essential base for come to the rescue. The sisters in Ghumkature
women “to identify and reject atrocities Ishwar confirm that the idea of “common
against them” (Jeffreys 20). oppression” is a false and corrupt platform
disguising and mystifying the true nature of
women’s varied and complex socio-economic
reality. Selina Hossain divulges that a

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 M. K. Ahmed
[ DOI: 10.26655/JELCS.2019.2.6 ]

sustained women-bonding can occur only haunting Sharishafuli and Sharishafuli finds it
when these divisions are confronted and justified because
necessary steps are taken to eliminate them.

“No Boundary, No Race, No Class” [Who has seen Ruposhi more

closely than herself? So naked,
The first example of sisterhood that we notice so secrete, somuch used in
in the novel is between Rupashi and life’s lassitude?] (Hossain 29)
Sharishafuli. Rupashi is a metropolitan girl
who leads a heterosexual life that ultimately “Sisterhood is Powerful”
causes her tragic end. Her relation with her
maidservant Sarishafuli is in ways distinct Selina Hossain’s gender nonconforming
from how she relates to men. She does not Shukjan attests the feminist doctrine of
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consider Sharishafuli as her “bua” (servant) Second-Wave-Feminism that “Sisterhood is

rather as her companion with whom she Powerful”. Forming a sisterhood with other
unburdens all her joys and sorrows. She often women of the village she ultimately leads to
addresses Sharishafuli the deconstruction of the patriarchal narrative
of social constructionism. When there are no
men in the village to protest the atrocities of
[You are not only my servant; the terrorist, she, boldly, assembles all women
you are my companion with of the village and starts a hunger strike. She
whom I can talk, whom I can convinces other women that
trust. Do you understand that?]
(Hossain 9)
And Sharishafuli also testifies Rupashi’s
[If the country has got no
temperament when she laments for the
justice, the king of the country
unexpected death of Rupashi
cannot be blessed, and if the
king is not blessed, the
subjects do not get food to eat.
[Her hearts break for the girl It is written Shasta, and the
with whom she stayed like a word of Shasta will come
friend.] (Hossain 8) true.] (Hossain 29)
Sophia A. Nelson explains this sort of Ahmed observes that this protest of Sukjan
apparently unusual relationship claiming that and her sisters “is a surprise to the police, an
sisterhood knows “no boundary, no race, no agency of patriarchy, and at first they cannot
class or geography”. Sisterhood “transcends” believe that these ignorant and weak women
and “transforms us for the better. Sisterhood will continue to starve” and at the end “will
is from the heart” (n.p.). Sharishafuli feels a compel the Home Minister to have a dialogue
gender sorority for Rupashi from the heart with them” ("Yes, the Subaltern Can
and looks after her with great affection. This Speak…” 24). The spark of sisterhood power
attachment has given these two women a is finally unleashed when the minister
separate room of their own where they can approaches them:
share their own sorrows and joys. The bond
between these two sisters are so intrinsic that
even after Rupashi’s death, she keeps on

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 M. K. Ahmed
[ DOI: 10.26655/JELCS.2019.2.6 ]

idea whether he is alive. Her daughter has

recently got dissociated from her husband,
Sawpan due to her dark skin. Sawpan is
dreaming to go to the city and marry a
beautiful lady with a huge dowry. Her son
Adel has also decided to trough out his wife
[We have been starving since Zaheda as her father has failed to give him the
the five murders. We will not dowry he demanded. But, Lutfunnisa stands
touch our meal until justice is by her pregnant daughter-in-law and orders
done. Adel to leave her house instantaneously. She
Then everyone in an united “understands” the agony of her daughter and
voice shouts, we want justice, daughter in law and her “empathy” forces her
we want justice.] (Hossain 39) to for a strange show of sisterhood between
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This is totally a new experience for the these trio. When Zaheda thinks her world
patriarchal world, but this empowered ends
sisterhood of the women of the village
transforms the minister who admits that he is
overwhelmed by their protest for justice:

[Zaheda lying with her face downward

on her feet, says, where will I go now
mother? Who will look after the
[I am overwhelmed by your
enemy (baby) in my womb?] (Hossain
conscious cognition. If we
111)
have enlightened people like
Determined, Lufunnisa replies,
you around us, most of the
problem will be solved. It is
you who will show us the
way.] (Hossain 39) [I will. I will look after you
Women of the village are satiated that their too.] (Hossain 111)
movement has produced a result at last. Day after that Adel comes back but the
consequences the he is to be faced is beyond
Empathy his imagination. Quite unaware of the power
of the sisterhood that has been formed by
Empathy is one of the most important aspects now, he faces a new Zaheda in their house, a
that one must have in the formation of jolly women laughing and gossiping with
sisterhood. Sophia A. Nelson is of the view Romela. After being avoided by Zaheda and
that a woman’s “ability to relate, ..., Romela, he faces the fierce look of her
understand, discuss, share, and engage other mother. Adel is perplexed.
women will absolutely impact how
successful” she is “as a member of the
sisterhood of women” (n.p.). Selina Hossain
explores this version of sisterhood while
portraying Lutfunnesa’s relationship with her [Adel fells at a loss inside, he
daughter Romela and her daughter-in-law does not understand what to
Zaheda. Lutfunnesa’s husband Khabiruddin is do, he feels like a stranger
untraced for a longtime and she has got no here, he does not know any

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 M. K. Ahmed
[ DOI: 10.26655/JELCS.2019.2.6 ]

one of them. With an attempt Conclusion

to recognize them, he looks at The magic of sisterhood allows Selina
everyone’s face.] (Hossain Hossain’s characters to diagnose their
112) feminine role and finally to deconstruct it.
He again receives order from Lutfunnisa to Their sisterhood is about shared experience,
leave the house forever. Though he attempts trust and knowing each other.
to argue that this is his house too, he feels Ruposhi-Sarishafuli sisterhood breaks
threatened by the newly formed alliance by the barrier of class and instead of becoming
these three sisters. Adel wonders master and servent, these two women become
friends. Shukjan’s mass sisterhood with the
village women is qualitatively different from
Ruposhi-Sarishafuli relationship. Shukjan
[His amazement continues, upholds the feminist doctrine of Second-
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how is everything happening, Wave-Feminism that “Sisterhood is

he cannot understand. He Powerful”. The women protest led by
comes to the riverside and sits Shukjan claiming justice for the five murders
on the roots of banyan tree. He puzzles the patriarchal machineries. Finally,
does not go back home.] Hossain presents Lutfunnisa, Romela and
(Hossain 112) Zaheda as connected women. This mother
“To be a “sister” is to be a friend”. Sophia A. daughter and daughter-in-law form a strong
Nelson continues, “it is to give a smile, lend a bond of solidarity like a spider-web and if one
hand, .... to be a covering, a balm, a helping part of the web vibrates or is in trouble, others
hand, a fierce advocate and builder of other come to the rescue. This is the most
women” (n.p.). Lutfunnisa is presented here spectacular show of sisterhood that the novel
as a true patron of sisterhood who tries to presents where the patriarchal agent Adel is
build the lives of two other helpless women. abandoned by his mother and finally by his
For endorsing the cause of sisterhood, she has wife and sister.
to sacrifice her maternal instinct for her son,
Adel. Patriarchy does not expect a woman to
behave with her son in this way even though References
he is a rogue. But Lutfunnisa is a new woman
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herself. She knows how important it is to Subaltern Can Speak: Deconstructing Gender
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[5].Hossain, Selina. Ghumkature Ishwar. Dhaka:
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[6].Merriam-Webster.com. Merriam-Webster,
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[7].Nelson, Sophia A. . "Time to Put the ‘Sister’
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How to cite this manuscript: Mohammad
Kaosar Ahmed.Display of Sisterhood in Selina
Hossain’s Ghumkature Ishwar.Journal of
English Literature and Cultural Studies, 2019,
2(2), 198-203. DOI: 10.26655/JELCS.2019.2.5

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