Vasireddy Seethadevi (Telugu: వసరడడ సతదవ) [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 I could hold my senses I had umpteen questions about life. in my case the answer is different. She underlines that her life started from a question and from the same point. a novel written by Seetha Devi was banned from publication and circulation by the state government in 1982 for obvious reasons.) by Sri Krishna Devaraya University and Sri Padmavathi Women University in the year 1989. 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. This is true. ‘my journey of life and literature are one and the same entity.Lit. cheats and opportunists. Her novels mirror imaged the plights of common people. question. She further maintained her strata functioning at various levels in the public sector. Seetha Devi always tried to maintain her self-esteem walking through thorn filled path during her walk of life for the set ideal. She started her literary activity with a question. 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. I do not know when I first wrote something. . Archana and Vaitharini novels not only elucidate women problems but also teach their duties in brushing aside all the hurdles of life. ‘Jeevitham Ante?’ (Life Means?) and this activity is perennially flowing. she migrated to Chennai city lonely and started her journey. HamaraShehar. Right from day one. Then. However. are submitting theses on her books to the universities for doctorates. literary life too sprouted. Praveena. while Samatha explains the troubles shot up the arm of common citizens by the politicians. 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. I started writing with my heart as paper and thoughts as pen. All through her life she had a single ambition ‘quest’ and would continue with quest as her respiration. and Ph. However. Probably I should have done it during my seventh year or a little earlier. Phil.com is presenting an interview with this Literary Golden Jubilee Andhra Pearls Buck for its browsers exclusively: Q: Now.D. She never studies in any college or university. Sahitya Rathna besides BA and MA courses through correspondence and private appearances. She managed to get through fifth standard in the village school. Seetha Devi is walking through the life with questions and answers lifestyle and is making her impact much stronger with her ‘Marxist’ expressions. Dr Vasireddy Seetha Devi achieved many distinctions that make not only her but also the total women community proud. unanswered questions and questions from those questions. analyses the life of a farmer who is son of soil. Mareechika explicated hippiesm and naxalism about how they are attracting the youth and spoiling their future in the name of revolution. the ban had to be lifted later with the massive agitations held by literary and people’s organisations. now many students of M. She completed Hindi Pracharak. but was conferred with Doctorate of Literature (D. Her confidence and commitment towards her obsession is evident with her one liner. The trend set by Dr Seetha Devi’s writings is so. Mareechika.almost all the angles of daily routines of Telugu people at large in the culture. She recently celebrated her Literary Golden Jubilee for involvement into the literary discipline. Vuri Thradu. Matti Manishi. and happenings in the society around us in their true colours and are graded as ‘classics’. you are uncrowned queen in literature. She never turned around nor bowed down. as I never studied in any college nor know the face of any university. Therefore. Characters and narration will be directed to the extent possible reality and a specific goal. Q: You gave a shock to politicians. Parada system was being implemented those days in our village. bureaucrats. At the same time. two universities awarded me honorary D. Q: What approach do you adopt for selecting a plot? A: In general. If Photography style is interlaced with some fiction. I wrote Hindi examinations in my house and completed courses like Praveena. Q: You are awarded doctorate twice. I had a question boiling in my mind. I select topics from people living around and from the real incidents. plot selection will be in two styles. I know all those persons. Photography. On receiving them. Q: How about your academic background? A: My student life itself would become a big story. I depicted how a common citizen longs to foray into politics shedding self-esteem and basic morals in this novel. A struggle is in me on contradicting points. One is to do something and achieve something. I completed BA and MA courses from Nagpur University sitting at Chebrolu. What inspires you to write so? A: Simple. 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. and middlemen through Samatha. Anyway. if I start narrating it. . Q: How did you get an inclination towards literature? A: I think. How did you do this daring attempt? A: I faced all the characters in Samatha in daily routine. then it turns into Creativity writing. Right from early childhood. Pracharak from Hindi Prachar Sabha in our village in addition to Sahitya Rathna from Hindi Prachar Sabha of Prayag. every person with talent and creativity will mostly be wondering in the dream world. I have strong desire to study. it was 'Jeevitham Ante' first novel published in 1950 and my first story was in 1952 titled 'Sambaiah Pelli'. I believe. 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. Q: All of your scripts are close to society and almost reflect a common person’s life. there is something beyond. 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. My aim is to compile with a belief that literature has a explicit impact to create on the society. I had a small satisfaction that I achieved something in life. Elders never consented to continue academics. what is life? On analysing I had a strong feeling that life does not mean by just what is around us. I studied up to fifth standard in Chebrolu. started from this internal struggle. secondly when the life is so small why should one get an inclination to do and achieve something. I also tried to portray how a person with ideals and discipline drops on getting an opportunity and power.To speak about published material. My writings. this will be adopted by some for presenting and daily happenings around us in almost their original colours. In 1989. What were your feelings on receiving them? A: I cannot express my joy for those doctorates. An unwritten law was in force that girls above 10 years should not go to school. Q: Samatha was awarded Sahitya Academy Award. What is your opinion about Communism? A: I write one such with Marxist way of thinking. In fact. None will have any hesitation to state this. Can we call a novel that sold maximum copies by throwing readers into fantasy world. For example. Similar is the case about books. both Hippieism and naxalism were attracting youngsters and were taking them onto the wrong path. Mr Arudra wrote a beautiful essay. Hunger is a great power. when the content was about failures of naxal philosophy. The key problem to all the social evils in the society is the factor of economics. The government stated that the novel was containing objectionable matter in about 20 pages. can we grade Jyothi Lakshmi as a great dancer? Yamini and Jyothi Lakshmi both are dancers. if at least one person is changed through his or her good publication. Based on this. I was removed from service with my story ‘Rathamma Kashtaalu’. the Andhra Pradesh High Court verdict was against the state government and the ban was lifted. however great classical dancer is Yamini Krishna Murthy.” What ever it was. Any script on people’s problems without Marxist viewpoint cannot be called a comprehensive one. the author rightly pointed out the police role in the society that the department was favouring landlords. Both were translated into Kannada and Hindi languages. The rush here might lead to a lathi charge also. Samatha and Vuri Thradu novels were given Sahithya Academy Awards. Similar was the impact of another novel. One Panchayat President Rami Reddy resigned from his position after reading this novel. During those times. Rabandulu – Ramachilakalu. Any writer will be very happy. Literature always shows some influence and impact on the thought process of persons. Q: Do the literature influence persons? A: Definitely Yes. we will take two dancers. In this novel. One with filled belly can never understand what it means to be hungry. . Eventually. One Yamini Krishna Murthy and the other Jyothi Lakshmi. They thought that I wrote this story keeping the then Hindi Prachar Sabha Organiser’s wife. Later. The impact of Mareechika was that my designation was scaled down. in the same year ban was lifted. After Malapalli. higher collections will definitely be for that Jyothi Lakshmi programme. Q: What about the ban on Mareechika novel? A: Mareechika was banned in 1982 by the state government. the government should explain how it would become encouraging naxalism. the novel explained the failure of naxal movement. Was that? A: Yes. to be great? Q: Your publications show communist opinions while speaking about people’s problems. If we organise programmes of both at the same time. “Mareechika was banned showing a pretext that this novel was driving youth towards extremist philosophy. One person will be enjoying the fruits of a hundred persons’ hard work in the conditioned room. this is the first one to be banned by the government. He said. I exhumed the atrocities of men on women village assistants. Q: Do you think there is a difference between popularity and greatness? A: Difference? It is very huge. However. For me politics and literature are not two different entities. There is a clear distinction between a popular and great novel. Writer’s intention was to change the burjuvah feudal system in the society. They should exist. people there go to a psychiatrist even if they found a minor imbalance and seek counselling. What is your opinion? A: There of course are many original writers. all the social problems can be solved once for all. Women liberation is a vital ingredient of social liberty. courage and move ahead with a decided goal. it is regrettable that women are unable to come out of the ‘wedding’ locks. Q: People say that translators are more in Telugu literature than original writers. mother of two. Normally. Problems start when we start thinking about what the opposite person thinks. Q: What is your approach towards theism and atheism? A: I am an atheist. They should be selfreliant.The imbalance of financial set is the foundation for this. Literate and employed women are committing suicides vexed with the harassment of husbands. cowardness or carrying a feeling of committed sins. Pratheekaram as Manassakshi and Manini Manasu as Aame Katha (this movie won many awards) and Mruga Thrishna was made with same title. Recently. if Marxism is clearly understood. I came up in life with self-confidence without taking any support or the ladder of mercy. if great writers’ and their ideologies are to be known by the world. Two of my novels. I myself am the lively example for this. I go mad and angry on these. a lady doctor. May be they themselves do not know about it. I do not have sympathy on these. I handled many cases independently too. They are dragging for one or two years without being clear what they wish to communicate. . For me. Any woman should not long for support at all times. resorted to extreme step. Television serials are not coming above routine. Q: What is your grading about current day cinema and television programmes? A: I stopped viewing cinemas. Q: Which among your publications were translated as cinema and television serials? A: Samatha was made as Praja Nayakudu. we go to a medical professional when we have some physical ailment but not when having a psychological problem. Both man and woman should become equal partners in all deeds of life. Women should have higher awareness in them. If you have self-confidence. I do not understand why extensions were given to serials coming to close. I used to observe cases sitting besides her. this man-managed society cannot do anything. Still. translators are needed more. for Mallee Thellavaarindi serial I was given Best Writer Nandi Award. During the times when women of the world are collectively fighting for justice. In 1998. People here never think of it. If we take the case of countries like America. Only the translators can carry the message of those great writers through translations. People who pray God should be with wishes. All my experiences with her patients were compiled as these two novels and this serial is now being aired on Door Darshan now. There would not come any hurdles for those who walk straight towards the set goal. I wish to slap them for living by killing self-respect. My friend is a good psychiatrist. Idee Katha and Nisaa Geetham are clubbed and titled as Manasa for a serial on Door Darshan. Q: How do you view feminism? A: Everyone who fights for women’s rights and human rights are feminists in my lookout. This serial is based on psychological problems. Q: You are always on social awareness scripts. they should read good literature before attempting to write one. I was in the first ever Censor Board as member. I personally feel that there is no difference between the commercial writers and mafia gangs. 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). Always a common life was my subject and I never wonder in dreamlands. I am always away from love stories and fantasy writing. All of us used to monitor the movies strictly and saw that rules were followed to the maximum. First. definitely there is a change in thought process and feelings. Q: Your advice or guidance to enthusiastic writers? A: The writers should reproduce what they know perfectly. This is with a subject of women liberation and rights. Chennai) . I was on the board. crooked women and weak character roles are growing. Q: What are your experiences as Censor Board member? A: There are many. Stree Vimukthi. Besides this. and not a businesswoman. Sahithya Rathna (Hindi Sahithya Sammelan – 1 Prayag). I am a novelist basically. Literature is like devotion. Publications should energise the thinking process of readers and help them grow. Producers were scared if I was on the board. A writer’s life mission is fulfilled when one of his or her publication was able to lead a person in the society towards a right goal. Being a person who likes reality. Fantasy and direction less writing should not be done. The daily serials are being shown for more than 60 months without any purpose. All my colleague members were well placed in the society. If there is a change in a person then. By the way. 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. These changed persons attempt to lead the society around them towards a society of equality. Moreover. Diploma in Theatre Arts. Praveena and Pracharak (Dakshina Bharatha Hindi Prachar Sabha. I am going on with a two-year senior fellowship of central government’s human resources department. Why didn’t you opt for commercial novels? A: I selected novel as a platform to pour my passions and thoughts on the paper. Mantras chanting on the screen should be prohibited.Evil roles are taking a lead score. There are no natural roles in any. Q: What are you presently working on? A: I am on a novel. they should not scribble any bad. All put together might become a bigger novel. From 1985 to 1991. As the impact of bad is overtaking to that of good. Essays – 13. Hyderabad – 1986 – 1992 Script Committee of National Film Development Corporation – from 1984 Door Darshan Drama Advisory Committee Regional Telugu Advisory Board. Ray’s Shahjahan Played as Noorjahan.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). 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. Manini Manasu – Aame Katha (this movie was made in Telugu and Malayalam and won many awards). Ray’s Mevad Pathan Special jury award for playing as Jahanara in D. national Book Trust of India. Andhra Pradesh Cultural Department Member. Pratheekaram – Manassakshi. and M.L. Central Sahithya Academy – 1988 – 1992 Andhra Pradesh Sahithya Academy – 1971 – 1977 Andhra Pradesh Text Books Committee – 1985 – 1987 Nandi Film Awards Board. Children’s Editions – 5) Doctorates: Honorary D. Central Sahithya Academy – 1973 – 1979 Regional Film Censor Board.Phil. students are researching on Dr Vasireddy Seetha Devi – Literature and are submitting theses to various universities. Rabandulu – Ramachilakalu novel was graduation non-detailed study material of Kakatiya University for three years from 1982. Memberships Telugu Advisory Board. 1952 Performance award for playing as Manasi in D. L. Trust Board. Translations from Hindi and English – 8. Ph.D. 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. written by D L Ray Gold Medal for playing as heroine in Bhagya Chakra As heroine in Celestial . Hindi and Tamil Publications: Total – 65 books (Novels – 39. Andhra Pradesh Cultural Department – 1993 –1994 Member.Other Languages Known: English. Kolkatha All India Raj Bhasha Sammelan. Hyderabad – 500 016 Phone: 040 – 7760631 BETWIXT REBELLION AND RECONCILIATION . Thiraskruthi. 10 novels in to Kannada. Novel: Adavi Malli – 1964. Manini Manasu. Kothi – Kobbari Kaya. Essay Compilations: Sandhi Yugam Lo Sthree. Samatha. Visishta Puraskaram. Titles: Andhra Pearl Buck (Sthree Vimochana Sangham – 1989). Bankimchandra National Literary Puraskaram. kala Sagar. Children’s Matter: Kodi – Kumpati. Madras. Woman Achiever (Delhi Women’s League – 1995) Awards: Andhra Pradesh Sahithya Awards for Samatha (1971). Vuri Thradu. Simham – Gadida. Director for Jawahar Bal Bhavan. Vuri Thradu (1981). Best Writer (1988). Idee Katha. Gruha Lakshmi Swarna Kankanam. Swayam Krutham. Vaitharini. Maro Dayyam Katha (1988). Raakshasa Needa. Toto Chan yevam Indrajith Translations to Other Languages: Vaitharini and Matti Manishi (14 languages by NBTI. AP. Collection: Vasireddy Seetha Devi Kathalu – 1953. Nisaa Geetham. Manasu Garadi. Story Published: Sambaiah Pelli – 1952. Venkanna Kala Peetham.Chief Minister Kasu Brahmananda Reddy’s appreciations for directing Rajeevam – 1967 Honorary Positions Held: Deputy Director of Youth Services. 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 1998.000/. Sahithya Academy organised Meet The Author in April. Gruhalakshmi Swarna Jubilee. Matti Manishi. Kala Sahithi Silver Jubilee. Mallee Thellavaarindi. Saaveri. Mruga Thrishna. AP Popular Novels: Adavi Malli. Ugadi Velugu. AP. Prakasham Nagar. Maro Dayyam Katha. Ugadi Velugu. Debbaku Yedu Pranalu. Mruthyumjayudu. Address Dr Vasireddy Seetha Devi.were received from Telugu University in 1996. Pranaya Veechikalu. Ruthumbhara. Swamy mariyu Friends. 2001 (Only two writers were given this honour earlier). Visha Kanya. Regional Assistant Director of Women Welfare. Thonikina Swapnam and so on. 4 into Hindi and Vennela Manduthondi into English Firsts: Writing: Jeevitham Ante – 1950. 74/2 RT. Athi Thelivi. Cash Prize of Rs 50. Rabandulu – Ramachilakalu. Begumpet. Andallu – Adavallu Translations From Other Languages: Premchand Jeevitham. Mareechika. Vennala Manduthondi. Best Translator (1990). Nava Jyothi. Pratheekaram. Gopichand. Lifetime Achievement Award. Nakka – Gurram. New Delhi). romantic.Telugu Writers' Workshop 28 February. women writers occupied little space in Telugu literature. Sridevi. even as lat 19th and 20th centuries. onwards however. without having to take social restrictions or prohibitions into account. R poets like Krishna Sastri said. many women writers appear in prose. Kodavatiganti Kutumba Rao onc limitations can prevent me—there is no other work I can do with such freedom”. particularly novels. or recognise the variety of social limitations that co play with regard to women’s literary creativity. Many others who wrote fiction duri find an echo of the concerns of those movements in their fiction. nor . The Vasireddy Sita Devi. the writers who were considered pioneers of the In progressive poetry there are no significant women poets. movements focussed on women. Literature has sprung from mov social reform. and Ranganayakamma. 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. 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.2 March 1999 Chennai Introduction Leading Telugu writer and Marxist intellectual. While ther examples of women’s 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. there has been no discussion of either their literary outp the opportunities available to women who write. on women and in the family and society were Malathi Chandur.” Freedom was a fundamental principle of their poetry. Kutumba Rao and several other male writers engaged in literary creatio freedom. with sensitivity and a critical eye. “I will flood the world so that it streams with songs freedom. while socia were primarily men. Significantly. No material or emotio Chalam. Tarik Venkamamba and countless others. “The thing I can do with utmost freedom in life is writing. In the modern period. Rangajamma. progressive and revolutionary. Muddupalani. Achanta Sharada Devi. Nor has there been an effort to identify the s character of women’s writing. Right upto the 1970s were generally absent from contemporary social and literary movements. from th group of women who focussed. period had no connection with the powerful progressive literary movements. who wrote about relationships in th and male dominance. No attempt was mad the content of her writing. as being anarchic. Ranganayakamma. their position in the family. bringing in its wake a turbulence and tension never experienced befor -. without the interference or guidance of men. their sexuality. was labelled anti-male and kept at a distance by progressiv revolutionary movements. They prog male literary movements. This was the literary environment in Telugu till the 19 their own political commitment. and la the first time they realised that it was possible to think freely and explore these is independently. motherhood. or pay serious attention to their writing. Writers like Volga and Ranganayakamma entered revolutionary movements beca It was from 1975-1985. Telugu writer’s 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 . the International Women’s Decade. They also dismissed Latha’s work which dealt with wo sexuality. This realisation resu tempestuous wave of women’s 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. and as a result of the growing awareness among women that they had been denied legitimate space to discussions and issues raised by women’s movements the world over.Kondepudi Nir It was in this context that the women and censorship project came into existence 10 Indian languages. that there w and voice the confusion and questions that beset them. Women now began to spe their experiences. loose and imitative of Chalam.The drawback of the literary movements that emerged—and this is particularly tr progressive and revolutionary trends—was that they never found it necessary to w women writers into their fold. and which on difficult to do so. the declared. This was her fist attempt to share that experience. the implicit. many women said that they couldn about sex. Malathi Chandur. but couldn’t. The participants ranged in age from Abburi Chaya Devi who was 61 years old. amon Achanta Sharada Devi. They wanted to. Ramakrishna. Many wrote after the household was asleep. 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. on the other that neither fami Discussing the subject matter of their writing.invisible. two yad reddy. They squeezed out their need for writing in the cours cooking. to who was 22. Even this small sample is a telling i of which castes have the opportunity to enter the field of literature. one Muslim and one mala. Our workshop was held at a training centre on the seashore s kilometers from Chennai. On the one hand there w society took women’s writing seriously. but hadn One writer said she that had never been able to write about the way her husband write about it now. W the day was seldom tolerated by the family—a hundred chores would suddenly m Satyavathi described how she would start writing the minute everyone left home. We felt that spending time together. having savored the few hours of peace. six kammas. Many of these writers had already participated in workshops or Asmita and were acquainted with each other. and she said that she mig about and what they couldn’t. the capital of Tamil Nadu. They also said that they wanted to demy able to do so. And why they couldn’t. of not being able to take to writing as a profession. Kalyani Sundari Jagannath. working at home and outside. 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. glorification of motherhood in literature and show it in its true colours. Many writers said this was the first time they had sat down to analyse what they her. which was once the cultural Telugu literature. The moment the family returned she would return to her housew attack it with speed. They felt the need . Every one of the writ complained of lack of time. one vaisya. Even today senior Telugu women writers live in Chennai. social and literary censorships th and define the shape and content of their writing. her housework. the social cross-section included six brahmins. They had recognised all kin explicit and implicit censorship that operated on their writing. the familial. rearing children. and Bhanu encourage an interchange of ideas and experiences. mutual support and networking to overcome these controls. Shahjahana (24) Poetry. short stories. 2. 18. 3. 4. P. (40) Short stories. poetry. (57) Short stories. Nirmala Kondepudi (42) Poetry. (28) Poetry. 7. short stories. Rajani Pattibandla (38) Poetry. Chaya Devi Abburi (60) Short stories. S. 6. Kalpana Rentala (36) Poetry. contact with writers of other languages and wider networks. Sujatha C. Satyavathi. were all identified as Workshop Co Participants 1. Geeta K. 12. . d bringing value and visibility to their own writing. (46) Poetry. constant reflection together as the women present. Chandralatha (26) Novel. Varalakshmi K. 11. 16. Satyavathi Kondaveeti (42) Journalist. short stories. Regular meetings. editor. 15. Vasantha Lakshmi (46) Journalist. 17. Ghantasala Nirmala (42) Poetry. Jaya. 10. 9. Volga (49) Novelist. 5. Vimala (42) Poetry. Swarooparani Challapalli (28) Poetry. 19. Janakibala Indraganti (56) Short stories. Silalolitha (40) Poetry. ( 53) Short stories. 8. 13. 14.