Vasireddy Seethadevi (Telugu: ) [1][2] (December 15, 1933 - April 13, 2007) was a Telugu writer of Andhra Pradesh,

, India. Seethadevi published around forty-two novels, ten short-story collections, and several essays. Her novel Mareechika was banned by the state government of Andhra Pradesh. She waged a war against the government in the court, and got her book released. Mattimanishi (Son of Mother Earth) is one of her best novels and it was translated into fourteen Indian and foreign languages by the National Book Trust. Many universities awarded her honorary doctorates. Most of her novels were produced as films. She was the winner of Andhra Pradesh Sahithya Academy Award (literary award) five times. Seethadevi worked as director of Jawahar Bala Bhavan, a government organisation for children. She was member of Cine Censor board between 1985 and 1991

Writings

Samatha (1997) Matti Manishi (2000) Adavi Malle (2003) Vuri Thradu (2003) Vennela Manduthondi (2003) Maro Dayyam Katha (2003) Kothi Kobbarikaya (2003) Rabandulu Ramachilakalu (2003) Mrugathrushna (2003) Saveri (2003) Urmila (2004) Thonikina Swapnam (2004) Malli Tellavarindi (2004) Bommarillu (2004) Ningi Nundi Nelaku (2006) Haseena (2006) Bandhitudu (2006) Pratheekaram (2006)

There is a time-tested statement of scholars, a drop of ink creates movement to a lakh brains. With some writers this goes very much true, as their sole aim will be to author a concept that would finally be helpful in leading the society and people at large towards righteousness. Dr Vasireddy Seetha Devi is one novelist who is attempting to portray and unfurl the human relations around her with the situations happening in the society through her products. She interlaces the human relations factor with politics, social evils, problems faced by youth along with some solutions generated through her thinking process, shift of culture and tradition in the modern times both in the urban and rural localities. She has already to her score about 39 most popular novels mirror imaging the political scenario, societal behaviour of human at various levels and the concepts of development. In addition, she compiled over 100 stories, and keynote scripts on diversified topics. Every line she writes reflects

almost all the angles of daily routines of Telugu people at large in the culture. Dr Vasireddy Seetha Devi achieved many distinctions that make not only her but also the total women community proud. She never studies in any college or university, but was conferred with Doctorate of Literature (D.Lit.) by Sri Krishna Devaraya University and Sri Padmavathi Women University in the year 1989. Her confidence and commitment towards her obsession is evident with her one liner, my journey of life and literature are one and the same entity. She was born in a remote village of Andhra Pradesh where Parda system (under this system women were restricted from free movement in the society) was in promulgation. She managed to get through fifth standard in the village school. Then, she migrated to Chennai city lonely and started her journey. She completed Hindi Pracharak, Praveena, Sahitya Rathna besides BA and MA courses through correspondence and private appearances. Her pen stroke and thought strength was evident with Seetha Devi receiving Andhra Pradesh Sahitya Academy award five times and Atma Gourava Puraskararam besides many awards and rewards. Mareechika, a novel written by Seetha Devi was banned from publication and circulation by the state government in 1982 for obvious reasons. However, the ban had to be lifted later with the massive agitations held by literary and peoples organisations. She underlines that her life started from a question and from the same point, question, literary life too sprouted. Seetha Devi always tried to maintain her self-esteem walking through thorn filled path during her walk of life for the set ideal. She never turned around nor bowed down. Her novels mirror imaged the plights of common people, and happenings in the society around us in their true colours and are graded as classics. She further maintained her strata functioning at various levels in the public sector. Matti Manishi, analyses the life of a farmer who is son of soil, while Samatha explains the troubles shot up the arm of common citizens by the politicians, cheats and opportunists. Vuri Thradu, Archana and Vaitharini novels not only elucidate women problems but also teach their duties in brushing aside all the hurdles of life. Mareechika explicated hippiesm and naxalism about how they are attracting the youth and spoiling their future in the name of revolution. The trend set by Dr Seetha Devis writings is so, now many students of M. Phil. and Ph.D. are submitting theses on her books to the universities for doctorates. She started her literary activity with a question, Jeevitham Ante? (Life Means?) and this activity is perennially flowing. Seetha Devi is walking through the life with questions and answers lifestyle and is making her impact much stronger with her Marxist expressions. All through her life she had a single ambition quest and would continue with quest as her respiration. She recently celebrated her Literary Golden Jubilee for involvement into the literary discipline. HamaraShehar.com is presenting an interview with this Literary Golden Jubilee Andhra Pearls Buck for its browsers exclusively: Q: Now, you are uncrowned queen in literature. When and how was entry into this? A: This is most common question for writers to face and many authors immediately give response to it. However, in my case the answer is different. I do not know when I first wrote something. Probably I should have done it during my seventh year or a little earlier. This is true. Right from day one, I could hold my senses I had umpteen questions about life, unanswered questions and questions from those questions. I started writing with my heart as paper and thoughts as pen.

To speak about published material, it was 'Jeevitham Ante' first novel published in 1950 and my first story was in 1952 titled 'Sambaiah Pelli'. Q: How about your academic background? A: My student life itself would become a big story, if I start narrating it. Anyway, I studied up to fifth standard in Chebrolu. Parada system was being implemented those days in our village. An unwritten law was in force that girls above 10 years should not go to school. I have strong desire to study. Elders never consented to continue academics. Therefore, I wrote Hindi examinations in my house and completed courses like Praveena, Pracharak from Hindi Prachar Sabha in our village in addition to Sahitya Rathna from Hindi Prachar Sabha of Prayag. At the same time, I completed BA and MA courses from Nagpur University sitting at Chebrolu. Q: You are awarded doctorate twice. What were your feelings on receiving them? A: I cannot express my joy for those doctorates, as I never studied in any college nor know the face of any university. In 1989, two universities awarded me honorary D. Lit. Sri Padmavathi Women University and Sri Krishna Deva Raya University felicitated me with those doctorates within a span of six months from each other. On receiving them, I had a small satisfaction that I achieved something in life. Q: All of your scripts are close to society and almost reflect a common persons life. What inspires you to write so? A: Simple, I select topics from people living around and from the real incidents. Q: What approach do you adopt for selecting a plot? A: In general, plot selection will be in two styles. Photography, this will be adopted by some for presenting and daily happenings around us in almost their original colours. If Photography style is interlaced with some fiction, then it turns into Creativity writing. Every time I get a feeling of watching the system and societal problems in a different light then I will select one lacuna of society and knit various situations to it. Characters and narration will be directed to the extent possible reality and a specific goal. My aim is to compile with a belief that literature has a explicit impact to create on the society. Good novels are recognised when a reader thinks at least for 10 minutes about the theme of the novel or story after closing the book. Q: How did you get an inclination towards literature? A: I think, every person with talent and creativity will mostly be wondering in the dream world. Right from early childhood, I had a question boiling in my mind, what is life? On analysing I had a strong feeling that life does not mean by just what is around us, there is something beyond. A struggle is in me on contradicting points. One is to do something and achieve something, secondly when the life is so small why should one get an inclination to do and achieve something. My writings, I believe, started from this internal struggle. Q: You gave a shock to politicians, bureaucrats, and middlemen through Samatha. How did you do this daring attempt? A: I faced all the characters in Samatha in daily routine. I know all those persons. I depicted how a common citizen longs to foray into politics shedding self-esteem and basic morals in this novel. I also tried to portray how a person with ideals and discipline drops on getting an opportunity and power.

Q: Samatha was awarded Sahitya Academy Award. Was that? A: Yes. Samatha and Vuri Thradu novels were given Sahithya Academy Awards. Both were translated into Kannada and Hindi languages. Q: What about the ban on Mareechika novel? A: Mareechika was banned in 1982 by the state government. Later, in the same year ban was lifted. After Malapalli, this is the first one to be banned by the government. Mr Arudra wrote a beautiful essay. He said, Mareechika was banned showing a pretext that this novel was driving youth towards extremist philosophy. The government stated that the novel was containing objectionable matter in about 20 pages. In fact, the novel explained the failure of naxal movement. However, the author rightly pointed out the police role in the society that the department was favouring landlords. During those times, both Hippieism and naxalism were attracting youngsters and were taking them onto the wrong path. Writers intention was to change the burjuvah feudal system in the society. Eventually, the government should explain how it would become encouraging naxalism, when the content was about failures of naxal philosophy. What ever it was, the Andhra Pradesh High Court verdict was against the state government and the ban was lifted. Q: Do the literature influence persons? A: Definitely Yes. Literature always shows some influence and impact on the thought process of persons. I was removed from service with my story Rathamma Kashtaalu. They thought that I wrote this story keeping the then Hindi Prachar Sabha Organisers wife. Similar was the impact of another novel, Rabandulu Ramachilakalu. In this novel, I exhumed the atrocities of men on women village assistants. One Panchayat President Rami Reddy resigned from his position after reading this novel. Any writer will be very happy, if at least one person is changed through his or her good publication. The impact of Mareechika was that my designation was scaled down. Q: Do you think there is a difference between popularity and greatness? A: Difference? It is very huge. There is a clear distinction between a popular and great novel. For example, we will take two dancers. One Yamini Krishna Murthy and the other Jyothi Lakshmi. If we organise programmes of both at the same time, higher collections will definitely be for that Jyothi Lakshmi programme. The rush here might lead to a lathi charge also. Based on this, can we grade Jyothi Lakshmi as a great dancer? Yamini and Jyothi Lakshmi both are dancers, however great classical dancer is Yamini Krishna Murthy. None will have any hesitation to state this. Similar is the case about books. Can we call a novel that sold maximum copies by throwing readers into fantasy world, to be great? Q: Your publications show communist opinions while speaking about peoples problems. What is your opinion about Communism? A: I write one such with Marxist way of thinking. Any script on peoples problems without Marxist viewpoint cannot be called a comprehensive one. For me politics and literature are not two different entities. The key problem to all the social evils in the society is the factor of economics. One person will be enjoying the fruits of a hundred persons hard work in the conditioned room. Hunger is a great power. One with filled belly can never understand what it means to be hungry.

The imbalance of financial set is the foundation for this. For me, if Marxism is clearly understood, all the social problems can be solved once for all. Q: What is your approach towards theism and atheism? A: I am an atheist. I came up in life with self-confidence without taking any support or the ladder of mercy. People who pray God should be with wishes, cowardness or carrying a feeling of committed sins. Q: How do you view feminism? A: Everyone who fights for womens rights and human rights are feminists in my lookout. Women liberation is a vital ingredient of social liberty. Both man and woman should become equal partners in all deeds of life. Women should have higher awareness in them. They should be selfreliant. Any woman should not long for support at all times. There would not come any hurdles for those who walk straight towards the set goal. Problems start when we start thinking about what the opposite person thinks. Literate and employed women are committing suicides vexed with the harassment of husbands. Recently, a lady doctor, mother of two, resorted to extreme step. I do not have sympathy on these. During the times when women of the world are collectively fighting for justice, it is regrettable that women are unable to come out of the wedding locks. I go mad and angry on these. I wish to slap them for living by killing self-respect. If you have self-confidence, courage and move ahead with a decided goal, this man-managed society cannot do anything. I myself am the lively example for this. Q: People say that translators are more in Telugu literature than original writers. What is your opinion? A: There of course are many original writers. Still, translators are needed more. They should exist, if great writers and their ideologies are to be known by the world. Only the translators can carry the message of those great writers through translations. Q: Which among your publications were translated as cinema and television serials? A: Samatha was made as Praja Nayakudu, Pratheekaram as Manassakshi and Manini Manasu as Aame Katha (this movie won many awards) and Mruga Thrishna was made with same title. Two of my novels, Idee Katha and Nisaa Geetham are clubbed and titled as Manasa for a serial on Door Darshan. This serial is based on psychological problems. Normally, we go to a medical professional when we have some physical ailment but not when having a psychological problem. If we take the case of countries like America, people there go to a psychiatrist even if they found a minor imbalance and seek counselling. People here never think of it. My friend is a good psychiatrist. I used to observe cases sitting besides her. I handled many cases independently too. All my experiences with her patients were compiled as these two novels and this serial is now being aired on Door Darshan now. In 1998, for Mallee Thellavaarindi serial I was given Best Writer Nandi Award. Q: What is your grading about current day cinema and television programmes? A: I stopped viewing cinemas. Television serials are not coming above routine. They are dragging for one or two years without being clear what they wish to communicate. May be they themselves do not know about it. I do not understand why extensions were given to serials coming to close.

Evil roles are taking a lead score, crooked women and weak character roles are growing. There are no natural roles in any. Mantras chanting on the screen should be prohibited. The daily serials are being shown for more than 60 months without any purpose. Q: You are always on social awareness scripts. Why didnt you opt for commercial novels? A: I selected novel as a platform to pour my passions and thoughts on the paper. Being a person who likes reality, I am always away from love stories and fantasy writing. Always a common life was my subject and I never wonder in dreamlands. Moreover, I am a novelist basically, and not a businesswoman. Literature is like devotion. I personally feel that there is no difference between the commercial writers and mafia gangs. A writers life mission is fulfilled when one of his or her publication was able to lead a person in the society towards a right goal. Publications should energise the thinking process of readers and help them grow. If there is a change in a person then, definitely there is a change in thought process and feelings. These changed persons attempt to lead the society around them towards a society of equality. Q: What are your experiences as Censor Board member? A: There are many. All put together might become a bigger novel. Producers were scared if I was on the board. By the way, I was in the first ever Censor Board as member. From 1985 to 1991, I was on the board. All my colleague members were well placed in the society. All of us used to monitor the movies strictly and saw that rules were followed to the maximum. Q: Your advice or guidance to enthusiastic writers? A: The writers should reproduce what they know perfectly. Fantasy and direction less writing should not be done. First, they should read good literature before attempting to write one. As the impact of bad is overtaking to that of good, they should not scribble any bad. Current day youth are frigid with their career oriented approaches. They should allocate at least one hour for reading some good literature in the daily routine. Q: What are you presently working on? A: I am on a novel, Stree Vimukthi. This is with a subject of women liberation and rights. Besides this, I am going on with a two-year senior fellowship of central governments human resources department.

Profile
Name: Vasireddy Seetha Devi Date of Birth: December 15 Home Town: Chebrolu in Guntur District Parents: Late Vasireddy Raghavaiah and Late Mrs Vasireddy Ranganayakamma Academics: Master of Arts (Nagpur University), Diploma in Theatre Arts, Sahithya Rathna (Hindi Sahithya Sammelan 1 Prayag), Praveena and Pracharak (Dakshina Bharatha Hindi Prachar Sabha, Chennai)

Other Languages Known: English, Hindi and Tamil Publications: Total 65 books (Novels 39, Essays 13, Translations from Hindi and English 8, Childrens Editions 5) Doctorates: Honorary D.Lit from Sri Krishna Deva Raya University (1989) and Sri Padmavathi Mahila University (1989) Novels Translated as movies: Samatha Praja Nayakudu (won Nandi Award as Best Film), Pratheekaram Manassakshi, Manini Manasu Aame Katha (this movie was made in Telugu and Malayalam and won many awards), Mruga Thrishna Mruga Thrishna (selected for screening at International Film Festival in 1991 and later at Russian Film Festival) Others: Matti Manishi novel was inducted as MA course material by Osmania University for five years from 1985. Rabandulu Ramachilakalu novel was graduation non-detailed study material of Kakatiya University for three years from 1982. Ph.D. and M.Phil. students are researching on Dr Vasireddy Seetha Devi Literature and are submitting theses to various universities.

Memberships
Telugu Advisory Board, Central Sahithya Academy 1973 1979 Regional Film Censor Board, Hyderabad 1986 1992 Script Committee of National Film Development Corporation from 1984 Door Darshan Drama Advisory Committee Regional Telugu Advisory Board, Central Sahithya Academy 1988 1992 Andhra Pradesh Sahithya Academy 1971 1977 Andhra Pradesh Text Books Committee 1985 1987 Nandi Film Awards Board, Andhra Pradesh Cultural Department 1993 1994 Member, Andhra Pradesh Cultural Department Member, Trust Board, national Book Trust of India, New Delhi 1996 1999
As Journalist: Honorary Editor for Vanitha Jyothi monthly magazine for five years

Stage Plays:
First Prize for direction of Chaavakudadu written by Athreya, 1952 Performance award for playing as Manasi in D. L. Rays Mevad Pathan Special jury award for playing as Jahanara in D.L. Rays Shahjahan Played as Noorjahan, written by D L Ray Gold Medal for playing as heroine in Bhagya Chakra As heroine in Celestial

Chief Minister Kasu Brahmananda Reddys appreciations for directing Rajeevam 1967
Honorary Positions Held: Deputy Director of Youth Services, AP, Director for Jawahar Bal Bhavan, AP, Regional Assistant Director of Women Welfare, AP Popular Novels: Adavi Malli, Matti Manishi, Pratheekaram, Vennala Manduthondi, Manini Manasu, Rabandulu Ramachilakalu, Maro Dayyam Katha, Thiraskruthi, Vaitharini, Vuri Thradu, Mareechika, Visha Kanya, Mallee Thellavaarindi, Samatha, Mruga Thrishna, Raakshasa Needa, Idee Katha, Nisaa Geetham, Saaveri, Kothi Kobbari Kaya, Thonikina Swapnam and so on. Childrens Matter: Kodi Kumpati, Simham Gadida, Athi Thelivi, Nakka Gurram, Debbaku Yedu Pranalu. Essay Compilations: Sandhi Yugam Lo Sthree, Manasu Garadi, Andallu Adavallu Translations From Other Languages: Premchand Jeevitham, Swayam Krutham, Mruthyumjayudu, Pranaya Veechikalu, Swamy mariyu Friends, Nava Jyothi, Toto Chan yevam Indrajith Translations to Other Languages: Vaitharini and Matti Manishi (14 languages by NBTI, New Delhi). 10 novels in to Kannada, 4 into Hindi and Vennela Manduthondi into English Firsts: Writing: Jeevitham Ante 1950, Story Published: Sambaiah Pelli 1952, Collection: Vasireddy Seetha Devi Kathalu 1953, Novel: Adavi Malli 1964, Titles: Andhra Pearl Buck (Sthree Vimochana Sangham 1989), Woman Achiever (Delhi Womens League 1995) Awards: Andhra Pradesh Sahithya Awards for Samatha (1971), Vuri Thradu (1981), Maro Dayyam Katha (1988), Best Writer (1988), Best Translator (1990). Ruthumbhara, Bankimchandra National Literary Puraskaram, Kolkatha All India Raj Bhasha Sammelan. Gopichand, Venkanna Kala Peetham, Madras, Kala Sahithi Silver Jubilee, Ugadi Velugu, Gruhalakshmi Swarna Jubilee, Ugadi Velugu, Gruha Lakshmi Swarna Kankanam, kala Sagar, Susheela Narayana Reddy Award and many Banned Novel: Mareechika banned by Andhra Pradesh State Government in February 1982 and lifted ban in August 1982 Others: Sahithya Swarnothsava Vedukalu was celebrated in 1998. Sahithya Academy organised Meet The Author in April, 2001 (Only two writers were given this honour earlier). Visishta Puraskaram, Lifetime Achievement Award, Cash Prize of Rs 50,000/- were received from Telugu University in 1996.

Address
Dr Vasireddy Seetha Devi, 74/2 RT, Prakasham Nagar, Begumpet, Hyderabad 500 016 Phone: 040 7760631

BETWIXT REBELLION AND RECONCILIATION

Telugu Writers' Workshop 28 February- 2 March 1999

Chennai

Introduction Leading Telugu writer and Marxist intellectual, Kodavatiganti Kutumba Rao onc limitations can prevent methere is no other work I can do with such freedom.

The thing I can do with utmost freedom in life is writing. No material or emotio

Chalam, Kutumba Rao and several other male writers engaged in literary creatio

freedom, without having to take social restrictions or prohibitions into account. R

poets like Krishna Sastri said, I will flood the world so that it streams with songs

freedom. Freedom was a fundamental principle of their poetry. The question tha to women? Are they free to write about whatever they want? What are the forces

confronts us is: how much of this freedom that male poets celebrated so widely, i

them back? What are their experiences in the course of writing? What social and

factors affect their creativity? Why did they take to writing as vocation and avoca

Till recently, women writers occupied little space in Telugu literature. While ther

examples of womens writing from the 15th century onwards their works were se

accorded the respect or status they deserved. Few scholars have made a serious a

assess the literary value of the works of Molla, Muddupalani, Rangajamma, Tarik

Venkamamba and countless others. Nor has there been an effort to identify the s

character of womens writing, or recognise the variety of social limitations that co

play with regard to womens literary creativity. In the modern period, even as lat

19th and 20th centuries, there has been no discussion of either their literary outp

the opportunities available to women who write. Literature has sprung from mov

social reform, romantic, progressive and revolutionary. Significantly, while socia were primarily men.

movements focussed on women, the writers who were considered pioneers of the

In progressive poetry there are no significant women poets. Right upto the 1970s

were generally absent from contemporary social and literary movements; from th group of women who focussed, with sensitivity and a critical eye, on women and in the family and society were Malathi Chandur, Achanta Sharada Devi, Sridevi,

onwards however, many women writers appear in prose, particularly novels. The

Vasireddy Sita Devi, and Ranganayakamma. Many others who wrote fiction duri find an echo of the concerns of those movements in their fiction.

period had no connection with the powerful progressive literary movements, nor

The drawback of the literary movements that emergedand this is particularly tr

progressive and revolutionary trendswas that they never found it necessary to w

women writers into their fold, or pay serious attention to their writing. They prog

male literary movements. Ranganayakamma, who wrote about relationships in th

and male dominance, was labelled anti-male and kept at a distance by progressiv

revolutionary movements. They also dismissed Lathas work which dealt with wo

sexuality, as being anarchic, loose and imitative of Chalam. No attempt was mad

the content of her writing. This was the literary environment in Telugu till the 19 their own political commitment.

Writers like Volga and Ranganayakamma entered revolutionary movements beca

It was from 1975-1985, the International Womens Decade, and as a result of the growing awareness among women that they had been denied legitimate space to

discussions and issues raised by womens movements the world over, that there w

and voice the confusion and questions that beset them. Women now began to spe

their experiences, their position in the family, their sexuality, motherhood, and la

the first time they realised that it was possible to think freely and explore these is

independently, without the interference or guidance of men. This realisation resu

tempestuous wave of womens writing entering the hitherto calm waters of Telug after being planned to perfection with weep like this walk like that laugh like this comb out your very life like thiswhen the tangled noose tightens the dying declaration flows effortless like a rhyme learnt by heart Translated by Vasanth Kannabira

literature, bringing in its wake a turbulence and tension never experienced befor

-- Kondepudi Nir

It was in this context that the women and censorship project came into existence 10 Indian languages.

Telugu writers workshop was the second in a series of workshops with women w

The workshop was conceived as a space where women writers could come togeth

discuss the different kinds of censorship that come into play in their lives: the vis

invisible, the declared, the implicit, the familial, social and literary censorships th and define the shape and content of their writing. The participants ranged in age from Abburi Chaya Devi who was 61 years old, to

who was 22; the social cross-section included six brahmins, six kammas, two yad

reddy, one vaisya, one Muslim and one mala. Even this small sample is a telling i

of which castes have the opportunity to enter the field of literature, and which on

difficult to do so. Many of these writers had already participated in workshops or

Asmita and were acquainted with each other. We felt that taking the writers away

home to a residential workshop would help them focus on the difficult issue of ce

with greater clarity. Our workshop was held at a training centre on the seashore s

kilometers from Chennai, the capital of Tamil Nadu, which was once the cultural

Telugu literature. Even today senior Telugu women writers live in Chennai, amon

Achanta Sharada Devi, Kalyani Sundari Jagannath, Malathi Chandur, and Bhanu encourage an interchange of ideas and experiences.

Ramakrishna. We felt that spending time together, mixing the old and the new w

Most women writers said that they did not have a place of their own to sit and wr

did they have any fixed time for it. Many wrote after the household was asleep. W

the day was seldom tolerated by the familya hundred chores would suddenly m

Satyavathi described how she would start writing the minute everyone left home,

her housework. The moment the family returned she would return to her housew

attack it with speed, having savored the few hours of peace. Every one of the writ

complained of lack of time. They squeezed out their need for writing in the cours

cooking, rearing children, working at home and outside. On the one hand there w society took womens writing seriously.

of not being able to take to writing as a profession, on the other that neither fami

Discussing the subject matter of their writing, many women said that they couldn

about sex. They wanted to, but couldnt. They also said that they wanted to demy able to do so.

glorification of motherhood in literature and show it in its true colours, but hadn

One writer said she that had never been able to write about the way her husband write about it now. Many writers said this was the first time they had sat down to analyse what they

her. This was her fist attempt to share that experience, and she said that she mig

about and what they couldnt. And why they couldnt. They had recognised all kin

explicit and implicit censorship that operated on their writing. They felt the need

mutual support and networking to overcome these controls. Regular meetings, d bringing value and visibility to their own writing, constant reflection together as the women present.

contact with writers of other languages and wider networks, were all identified as

Workshop Co Participants 1. Chandralatha (26) Novel. 2. Chaya Devi Abburi (60) Short stories. 3. Geeta K. (28) Poetry. 4. Ghantasala Nirmala (42) Poetry. 5. Janakibala Indraganti (56) Short stories. 6. Jaya. S. (46) Poetry, short stories. 7. Kalpana Rentala (36) Poetry, short stories. 8. Nirmala Kondepudi (42) Poetry. 9. Rajani Pattibandla (38) Poetry. 10. Satyavathi Kondaveeti (42) Journalist, editor. 11. Satyavathi. P. (57) Short stories. 12. Shahjahana (24) Poetry. 13. Silalolitha (40) Poetry. 14. Sujatha C. (40) Short stories. 15. Swarooparani Challapalli (28) Poetry. 16. Varalakshmi K. ( 53) Short stories. 17. Vasantha Lakshmi (46) Journalist. 18. Vimala (42) Poetry. 19. Volga (49) Novelist, short stories, poetry.