- Deepa Mehta’s Fire came many years later and was visually far too explicit about same sex love. Mehta’s next film, Water, appeared even further in time and resorted to locked stereotypes of Hindu widowhood. Indira Goswami had nuanced the widow’s deprivation of body, passion, emotion, and woven it into a perceptive text much ahead of the rest.
- Hindu patriarchal traditions have often got away with justifications about oppressive gender practice by claiming that “women are worshipped as goddesses”, so “what is there to complain about.” . . . Indira probes the causes, the rituals, the unquestioned “beliefs” which perpetuate oppression.
- Her tools for engendering social change were the written word, and later, the spoken address in public arena.
The first impression upon seeing Indira Goswami is one of bedazzlement. A resplendent woman wrapped in an elegant red saree bordered in gold catches the eye. A cluster of listeners cling to her words. The soft spoken creative writer, Indira, is addressing the political causes of the marginalized and the disadvantaged. She speaks about the misguided youth in
Indira Goswami, to my mind, interrogates several facets of women’s empowerment in
The common thread in Indira Goswami’s immensely diverse and rich oeuvre is the concern for women. In her person and in her work this is echoed multifariously. Despite the complex interstices, I see no contradictions—only a holistic expression of