The Coconut Girl is a collection of poems containing material that is from the Indian, female point of view with an insight into Punjabi culture. We also follow the author through the hallucinogenic state of the brain following cancer treatment and in her experience of life in multicultural Britain.The protagonist in the poems is at the same time deeply vulnerable and strongly independent. Overall her strength of character shines throughThe Coconut Girl features poetry of deep imagery, not least in some of the poems exploring the experience of the female body post-operatively, such as in My Womb Is A Park Of Carnage.
I received a copy of this book from WildPressed Books in return for an honest review.
For a small book, this contains impactful material written in a lyrical, personal style. There’s a story running through the book, a young girl and then woman’s perspective of her culture, family and lifestyle. The cultural references make this intrinsically interesting to readers. The poetry is honest and raw and sometimes disturbing, written using vivid sensory imagery and vulnerability.
The intensely individual observations of Cancer, treatment and the aftermath are haunting and poignant. The disparity in the poet’s culture between arranged marriage and western lifestyle is starkly portrayed and powerful, written by someone within it.
This book is an insightful, intense exploration of cultural expectations, family, illness and what it’s like to be a woman between two cultures, it’s fascinating, heartbreaking and thought-provoking.
SUNITA THIND is a Bedford born Derby-based published female, Asian British BAME poet and writer. Her debut collection of multicultural poetry (Black Pear Press, 2020) focused on living between two cultures, British and Punjabi. Sunita is a workshop facilitator, speaker and performance poet. She has had poetry and short stories published in various literary magazines, e-zines and journals.
High priestesses are few and far between, white ones in Africa even more
so. When Diane Esguerra hears of a mysterious Austrian woman worshipping the
Ifa river goddess Oshun in Nigeria, her curiosity is aroused.
It is the start of an extraordinary friendship that sustains Diane
through the death of her son and leads to a quest to take part in Oshun
rituals. Prevented by Boko Haram from returning to Nigeria, she finds herself
at Ifa shrines in Florida amid vultures, snakes, goats’ heads, machetes, a
hurricane and a cigar-smoking god. Her quest steps up a gear when Beyoncé
channels Oshun at the Grammys and the goddess goes global.
Mystifying, harrowing and funny, The Oshun Diaries explores the lure of Africa, the life of a remarkable woman and the appeal of the goddess as a symbol of female empowerment.
I received a copy of this book from Eye Books in return for an honest review.
The cover of this book draws you in, it is vibrant and interesting and makes you want to see what’s inside.
The book is in two parts, the first associated with the meeting with the Austrian Oshun priestess in Africa, and the second with other worshipers in Florida. The professional writing style is easy reading, even if some of the content, especially in the second part is complex. The prose reads like a fictional story, full of vivid imagery, authentic characters and amazing content and events. Its historical details provide a believable setting for the diaries and it resonates.
The African experience is insightful and political, it gives meaning to some of the headlines of the time that I recall. The meeting with the charismatic, dedicated priestess, is enthralling, and it is a page-turning read.
The second part of the book is equally as honest and detailed, this is where the author truly understands what she is exploring. It is an interesting read, with the first part with its astute political comment, is the best part of the book.
A recommended read, if you enjoy adventure, culture and spiritual experiences.
Guest Post – Diane Esguerra – Goddess for the #MeToo Era
Looking for a ballsy, bewitching goddess with green credentials to follow? Then look no further: Oshun, the ancient river goddess of the Yoruba people of West Africa, is the one for you.
Sure, there are plenty of cool female deities around to choose from – if goddess worship is what you’re into. Amaterasu No Kami, the Japanese Goddess of the Sun and theAborigine Holy Goddess Mumuna -Who-Made-Us-All, have sizeable followings. Even old favourites like the European Great Mother and Diana and Isis the ancient deities of Rome and Egypt still appeal to a surprising number. So, what is it about Oshun that makes her so special?
Well, for a start she’s not only a goddess of love but also of female empowerment. And she’s prepared to defend to the death women’s right to be respected by men and treated as their equals. If she sees them being given a hard time her anger can be volcanic. Yet with her love of gold, honey, bathing and carrying a mirror around to admire her beauty, Oshun is quintessentially feminine and proud of her abundant sensuality.
She’s a hard worker, too, who played a key role in the Yoruba creation myth. According to the legend, primordial male gods pushed aside the female ones – including Oshun – and decided they would go about creating the earth themselves. They failed miserably. Oshun set herself up as the ringleader of the female deities and protested vigorously on their behalf to the chief deity, Olodumare. He/She gave the order that the female deities should be given the chance to have a go at creation, too. And as it turned out they made a much better job of it, and the earth as we know it came into being.
Indeed, the chief divinity was so impressed with Oshun’s efforts that He/She issued an oracle to the effect that only stupid people think a woman won’t amount to anything in life, and that negative language should never be used against women. The divinity even goes so far as to say that men should kneel and prostrate themselves before women as they have to shoulder the massive responsibility of giving birth to humankind.
Compare this respectful, life-affirming ancient African myth to the creation myth in the bible. Here, not only is Eve held responsible for tempting Adam, and therefore triggering humanity’s fall from grace, God also decides to make her well and truly suffer for it – giving the green light to the patriarchal societies that inevitably followed:
To the woman, he said, “I will surely multiply your pain in childbearing; in pain, you shall bring forth children. Your desire shall be contrary to your husband, but he shall rule over you.” (Genesis 3:14-16)
While we’re on the subject of children, Oshun is also a fertility goddess who has the power to grant them. During the annual Oshun Festival which is held in the goddess’s birthplace – the Sacred Groves of Oshogbo in Oshun State, Nigeria – women come from as far away as China in search of a cure for infertility.
Nature is deemed precious in Oshun’s Sacred Groves. Hunting is forbidden, fishing too – even the trees can’t be chopped about. Woe betide the person who attempts to do so!
To get a closer idea of how this goddess might appear in human form look no further than Beyoncé. The most famous black female singer on the planet once appeared at the Grammy’s channelling the goddess. This multi-talented, beautiful and sensuous woman isn’t afraid to speak out for women’s rights and against injustice. And in the video which accompanies the track Hold Up on her Lemonade album, she writhes around and levitates in water before emerging in torrents of it and descending a long flight of steps in a golden gown. She then proceeds to roam the neighbourhood smashing open fire hydrants with a baseball bat in Oshun-like anger at her husband Jay Z’s alleged infidelity.
But you don’t have to be a famous singer to tap into the power of this very special goddess. Dress yourself in yellow or gold, light a candle, place a few of Oshun’s favourite items nearby: a bowl of water; a mirror; peacock feathers; honey; a couple of oranges, and then summon the goddess with the following incantation: Yeye, Ye Ye O…Yeye, Ye Ye O…Oshun.
Sit back and enjoy!
Diane Esguerra is an English writer and psychotherapist. For a number of years, she worked as a performance artist in Britain, Europe and the United States, and she has written for theatre and television. She is the recipient of a Geneva-Europe Television Award and a Time Out Theatre Award. She is previously the author of Junkie Buddha, the uplifting story of her journey to Peru to scatter her late son’s ashes.
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At eighteen, Somlata married into the Mitras: a once noble Bengali household whose descendants have taken to pawning off the family gold to keep up appearances.
When Pishima, the embittered matriarch, dies, Somlata is the first to discover her aunt-in-law’s body – and her sharp-tongued ghost.
First demanding that Somlata hide her gold from the family’s prying hands, Pishima’s ghost continues to wreak havoc on the Mitras. Secrets spilt, cooking spoilt, Somlata finds herself at the centre of the chaos. And as the family teeter on the brink of bankruptcy, it looks like it’s up to her to fix it.
The Aunt Who Wouldn’t Die is a frenetic, funny and fresh novel about three generations of Mitra women, a jewellery box, and the rickety family they hold together.
I received a copy of this book from John Murray Press via NetGalley in return for an honest review.
The description attracted me to this book, it was first published in 1993.
Somlata marries into an aristocratic, but cash poor Bengali family, who still have noble aspirations and therefore do not understand the concept of earning a living. To live, they sell off their assets, but even this income source is now in jeopardy. The family lives traditionally in a large house, according to hierarchy. When the matriarch dies, something has to change.
Somlata discovers Roshomoyee’s body, and also her ghost, and a quirky tale of strange occurrences, superstition and change begin. Somlata is effectively the conduit for the ghost’s wishes, and this empowers her and makes her a feared by some members of her new family. Her actions directed by the deceased Aunt bring the family to its lowest ebb, but her sense of empowerment grows and she becomes the key to their survival.
Three generations of women are featured; Roshomoyee, the aunt by marriage who was married and widowed very young, and feels she has been robbed of her rightful life, Somlata, who is bright and brave, and with a little ghostly help, changes all their lives for the better. Boshon is Somlata’s daughter, who believes in herself and her rights, and is not afraid to push against the family’s patriarch model. Interestingly Roshomoyee’s ghost diminishes when Somlata has her daughter?
The story is short but packed with detail, cultural references and family drama, it is humorous in parts and poignant in others. The style takes a little getting used to but it is an interesting story of tradition and female empowerment.