Uma Parameswaran

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Uma Parameswaran
Born1938 (age 85–86)
Madras,
Madras Presidency,
British India
(now Chennai, Tamil Nadu, India)
OccupationProfessor, writer, editor
Education Jabalpur University (B.A.)
Nagpur University (M.A.)
Indiana University (M.A.)
Alma mater Michigan State University (Ph.D.)
Literary movementSouth Asian Canadian Literature

Uma Parameswaran (b. 1938) is an Indo-Canadian writer, scholar, and literary critic. Her writing includes works of fiction and poetry, as well as plays and nonfiction. She is a retired professor of English at the University of Winnipeg.

Contents

Early life and education

Parameswaran was born in 1938 in Madras, Madras Presidency, British India (now Chennai, Tamil Nadu, India). [1] She was raised in a Tamil home [2] in Jabalpur, a city in Central Provinces and Berar (present-day Madhya Pradesh). [3]

She completed her B.A. at Jabalpur University and a masters degree in journalism at Nagpur University. [1] With a Fulbright grant, she completed a masters degree in creative writing at Indiana University. [1] [4] In 1972, she completed a doctorate in English at Michigan State University. [1] [4]

Career

Parameswaran has written fiction, poetry, drama and literary criticism. [5] Her poetry includes the 1973 collection Cyclic Hope, Cyclic Pain, published by the Writers Workshop in Calcutta, the 1988 collection Trishanku, and the 2002 collection Sisters at the Well. [6]

She wrote the play Sons Must Die in 1962, and her other plays include Meera (1971), Sita's Promise (1981), Rootless but Green are the Boulevard Trees (1987) and Dear Deedi, My Sister (1989), which were collected in Sons Must Die and Other Plays in 1998 as part of the South Asian Canadian Literature Series (SACLIT) that Parameswaran created and edited. [4] [7] [8]

What Was Always Hers, published in 1999, was her first collection of prose fiction, consisting of four short stories and a novella. [9] In 2001, her novella The Sweet Smell of Mother's Milk-Wet Bodice was published. [5] She has also written three novels: Mangoes on the Maple Tree, published in 2002, [10] Cycle of the Moon, published in 2010, [11] and Maru and the Maple Leaf, published in 2016. [12]

Her work includes biographies of CV Raman [13] and his wife, Lady Lokosundarai Raman. [14]

She was also a professor of English at the University of Winnipeg. [4]

Critical reception

Fiction

In a review of the collection What Was Always Hers, Debbie Keahey writes for Herizons , "Parameswaran's writing is at its strongest in describing women's relationships with their children and spouses, and the combination of tenderness and misunderstanding often involved." [9] In a review for World Literature Today , James Gerein describes the novel Mangoes on the Maple Tree as "largely a success, for it gives us a glimpse into the lives of a recent immigrant family and how they feel about their new home as well as the tensions among themselves." [10] In a review of the novel Maru and the Maple Leaf, Nilambri Ghai writes in Montreal Serai, "Parameswaran is very skilled in exploring centuries of relationships and bringing them together to a place in time that transcends a linear, chronological sequence of events." [12]

Susheela Rao writes in World Literature Today that The Sweet Smell of Mother's Milk-Wet Bodice "is the common tale of an Indian girl, naive and accustomed to living in a joint family, now exposed to a foreign culture and environment" and in the novella, "Parameswaran skillfully depicts the condition of such women." [5] In Canadian Literature , Kuldip Gill writes, "Adaptation to a new country doesn't just produce a hybrid life, but rather a double consciousness, and a very deeply felt change of identity. Parameswaran could have shown us more depth in the crisis felt by [the protagonist] Namita, caught in an unjust world." [15] Wendy Robbins writes in Herizons that The Sweet Smell of Mother's Milk-Wet Bodice "belongs to the genres of engagé literature, roman à thèse and feminist fiction" and "Parameswaran demonstrates that new social paradigms are possible and reminds us that feminists, despite the hype, have an extraordinary sense of humour." [16]

Poetry

In a review of the poetry collection Sisters at the Well, John Oliver Perry writes in World Literature Today , "As in Trishanku, the main persona here clearly presents experiences, attitudes, and issues of a civically and academically active Indian-born woman happily married to an Indian man, attempting to accommodate to Canadian - more specifically Manitoban - life culturally and climatically, and raising their child to have some honest feelings like their own about India and about their probably always less than fully accepted, racially marked place in Canadian multicultural society." [6] In Negotiation of Home and Homelessness: The Immigrant in Uma Parameswaran's Poetry in the South Asian Review, Minakshi Kaushik writes, "Against theories that see immigration as an eagerness to get assimilated, Paramswaran's poetry develops immigration as an experience that undergoes painful phases of nostalgia, alienation from Canadian culture, and the desire for grounding the self as subject in the erstwhile unfamiliar soil." [17]

Plays

In a review of Rootless But Green Are the Boulevard Trees for Canadian Literature Alan Filewood writes, "When first published in 1987 (some years in fact after it was written), Parameswaran's play was a groundbreaking and effective dramatic slice of life about an immigrant family in Winnipeg [...] it was the emergence of South Asian voices in Canadian drama that was significant. The canon shifted." [18] In a review of Rootless But Green Are the Boulevard Trees for Canadian Review of Materials, Harriet Zaidman writes, "Despite the specific references the characters make to India and their heritage, plus some references to dated events and expressions that are no longer in common usage, the challenges these characters face apply to every group that has immigrated to this country in the past and at the present time" and that the play "would be an effective catalyst for discussion in today's high schools which are full of youth from every continent." [19]

In a Language in India review, Lidwina. E. Pereira describes Sita's Promise as "a play which links epic India with modern Canada through myth and dance" and "elucidates upon the celebration of Indian art traditions and familiarizing its richness to the children born in Canada and other Canadians." [20] According to R. Vedavalli, in Critical Essays on Canadian Literature, "The promise of Sita, "I through my people, shall surely come again and we shall build our temple and sing our songs with all the children to all the different countries who make this their home" symbolizes Uma Parameswaran's vision of Canada, as a mosaic of cultures." [21]

Nonfiction

In a review of Kamala Markandaya, B. Hariharan writes in World Literature Today , "In an astute manner, the critic speaks of three distinct kinds of readers and their readings of Markandaya: Indians who have settled abroad, Indians living in India, and non-Indians. The division appears to be too neat, but she sticks to her "metacriticism," which is quite illuminating." [22] In a review of Quilting a New Canon: Stitching Women's Words in the NWSA Journal , Shelley Lucas writes of the essay collection edited and introduced by Parameswaran that "each of the essays represents at least one of the three types of processes Parameswaran deems necessary for revising a canon: retrieving, recording, and re-reading" and the book offers "a sample of how feminists are interacting with communities, and, as a result, are revising the canons of other disciplines." [23]

Selected works

Fiction, poetry, and plays

Nonfiction

Honors and awards

Personal life

Parameswaran moved to Winnipeg in 1966, after she married. [2] [3] She has one daughter. [1]

Parameswaran is related to both CV Raman [13] and Subramaniam Chandrasekhar.

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References

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  2. 1 2 3 Kumar, Anu (May 4, 2013). "So far, yet so near". The Hindu . Retrieved 30 August 2022.
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  5. 1 2 3 Rao, Susheela N. (Winter 2002). "Uma Parameswaran: What Was Always Hers / The Sweet Smell of Mother's Milk-Wet Bodice". World Literature Today . 76 (1). Retrieved 27 September 2022– via Gale.
  6. 1 2 Perry, John Oliver (April 2003). "Uma Parameswaran. Sisters at the Well". World Literature Today . 77 (1). doi:10.2307/40157831. JSTOR   40157831 . Retrieved 27 September 2022– via Gale.
  7. ↑ Rao, Susheela N. (Spring 1999). "Sons Must Die and Other Plays". World Literature Today . 73 (2). doi:10.2307/40154771. JSTOR   40154771 . Retrieved 27 September 2022– via Gale.
  8. ↑ "Uma Parameswaran's Series on South Asian Canadian Literature (SACLIT)". Uma Parameswaran. University of Winnipeg . Retrieved 29 September 2022.
  9. 1 2 Keahey, Debbie (Summer 2000). "What Was Always Hers by Uma Parameswaran". Herizons . 14 (1) – via ProQuest.
  10. 1 2 Gerein, James (July 2003). "Mangoes on the Maple Tree". World Literature Today . 77 (2): 91. doi:10.2307/40158030. JSTOR   40158030.
  11. ↑ Johnston, Faith (27 November 2010). "Convincing novel has many set pieces that are pitch perfect". Winnipeg Free Press – via ProQuest.
  12. 1 2 Ghai, Nilambri (February 25, 2019). "A review of Maru and the Maple Leaf". Montreal Serai. Retrieved 29 September 2022.
  13. 1 2 Shoba, V (December 3, 2011). "Raman Effect Minimal". The Indian Express . Retrieved 27 September 2022.
  14. ↑ Ravi, Bhama Devi (July 21, 2014). "The Raman wife effect: lively recollections". The Hindu . Retrieved 27 September 2022.
  15. ↑ Gill, Kuldip (Autumn 2005). "Three Narrative Strains". Canadian Literature (186): 158–160. Retrieved 30 September 2022.
  16. ↑ Robbins, Wendy (Summer 2002). "The Sweet Smell of Mother's Milk-Wet Bodice by Uma Parameswaran". Herizons . 16 (1) – via ProQuest.
  17. ↑ Kaushik, Minakshi (2016). "Negotiation of Home and Homelessness: The Immigrant in Uma Parameswaran's Poetry". South Asian Review. Taylor & Francis. 37 (1): 117–130. doi:10.1080/02759527.2016.11933048. S2CID   149391454 . Retrieved 30 September 2022.
  18. ↑ Filewood, Alan (Summer 2010). "Factored Dramaturgies". Canadian Literature (205): 127–129. Retrieved 30 September 2022.
  19. ↑ Zaidman, Harriet (October 26, 2007). "Rootless But Green Are the Boulevard Trees". Canadian Review of Materials. 14 (5) – via ProQuest.
  20. ↑ Pereira, Lidwina. E. (March 2019). "Between Two Cultures: Uma Parameswaran's Sita's Promise". Language in India. 19 (3): 82–85. ISSN   1930-2940.
  21. ↑ R. Vedavalli (December 31, 2002). "Sending Roots: A Study of Uma Parameswaran's Sita's Promise and Rootless but Green are the Boulevard Trees". In Balachandran, K. (ed.). Critical Essays on Canadian Literature. Sarup & Sons. pp. 131–138. ISBN   9788176253741 . Retrieved 30 August 2022.
  22. ↑ Hariharan, B. (Summer 2000). "Kamala Markandaya". World Literature Today . 74 (3). doi:10.2307/40155863. JSTOR   40155863 . Retrieved 27 September 2022– via Gale.
  23. ↑ Lucas, Shelley (Summer 1999). "Reviewed Works: Quilting a New Canon: Stitching Women's Words by Uma Parameswaran; Feminisms: An Anthology of Literary Theory and Criticism by Robyn R. Warhol, Diane Price Herndl". NWSA Journal . 11 (2): 199–201. JSTOR   4316668 . Retrieved 30 August 2022.
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