Banu Mushtaq
This is a collection of articles archived for the excellence of their content. |
Contents |
A brief biography
Poor women’s point of view
Shinie Antony, May 22, 2025: The Times of India
In a world ruled by men, gender is perhaps the only religion. Because being a girl – a poor girl, a girl with no agency, education or property rights – does go beyond caste or country. Banu Mushtaq’s book Heart Lamp , translated by Deepa Bhasthi, winning the International Booker Prize is a bandaya (Kannada for ‘dissent’) moment for any woman, every woman.
Along with its many firsts in this spot – the first Kannada book here, the only short-story collection in the run-up, the first Indian translator to win – it is also about how the Southie lingo is surreptitiously entering the English lexicon. Rii , excited female voices are calling out right now, it is namma Banu.
In Banu’s stories the women get by on a wing and a prayer. Told ‘ swalpa adjust maadi ’ everywhere in their lives – in buses, marriages, deep in their hearts – the XX chromosome lot are an endangered species right from conception.
The first to step on the moon was a Mr Someone, the Pope is a man, the ancestral house goes to the son… The system is rigged; with female foeticide and infanticide awaiting them, the birth of a baby girl is still announced with a dip in the voice in many parts. ‘ Ladki hui hai ’ is a condolence. Heart Lamp is a peep into a woman’s heart, a Muslim woman’s heart, but goes beyond mere faith to pan-Indian concerns, to an overarching narrative of sisterhood and starvation.
In a story by Banu, not included in Heart Lamp , a destitute woman whose job is to dress the dead gets some relief upon hearing that an affluent family of five suffered a fatal accident. It is when a well-known rich man’s corpse in his mansion causes celebrations in the leaky hut of an impoverished nobody that we know the Earth is round. In Banu’s world, the deliberate omission of romance distils all human violence into gendered power structures and male mood swings. These are women whose husbands have brought in a second wife, are abandoned for delivering yet another baby girl, who run back to their parental home only to be immediately returned to husband, however suicidal they may be.
Banu suggests in the twelfth and last tale in the collection: “Be a woman once, oh Lord.” An epistolary missive now prayer, now poem, it has three main characters: I, you, He. God is a He, but maybe, as the story suggests, better off as a She. For Banu writing from a Muslim perch could not have been easy, with some fanatics even taking offence at one of her stories. When asked if she would fight for the Muslim woman’s right to pray inside a mosque, Banu had said Islamic law does not bar any woman – Muslim or non-Muslim – from doing so. It is the patriarchs who sit there shaking their heads.
The men cling to a righteous religiosity, displaying now and then a clownish cowardice while feverishly trying to establish their superiority. Farcical elements in stories like ‘Fire Rain’ expose the rot beneath fancy edifices. While most of the stories feature women as the unintentional main characters, there are some where men give way to a pair of high heels or gobi manchurian. Mothers, mothers-in-law and elder daughters who start mothering at a young age weave in and out, fussing over a baby here, a dress for a grandchild there. When Tamil writer Perumal Murugan’s novel Pyre was longlisted for the 2023 International Booker Prize, the spotlight fell on caste – the high and low of it – but also on privation. Everything happens in a remote house on a rock under a hot sun. Banu’s book, shorn of the love angle, highlights the lack of material comforts, of food, of even breastmilk in a way that describes a nation better than any social media slogan.
As described in her story ‘The Shroud’, even poor people’s currency notes are different: “Money from the pockets of poor people was, just like them, broken, shattered, crumpled, wrinkly.” For the cynical the theme may seem a calculated literary trickster, with words like ‘Muslim’, ‘poverty’ and ‘woman’ thrown in, but it is precisely that underlit world, so misunderstood and shadow-cast, which is now open and accessible to us in all its tragic detail.
A former journalist and a lawyer, it is her female identity that Banu brings to the page. She writes what she knows. Deepa, who confessed to celebrating the book’s shortlisting by replacing soup with biryani for dinner that night, makes non-italicisation a more communicative option, elasticising ‘proper English’ to fit other languages. “Was it one or two things?” asks a character. And then there is ‘corment’, smoothly uniting convent and govt school. Also, the usual arre and aiyyo along with the thoo that vocalises a Kannadiga’s disgust.
This slim book is a survivor just like every character in it, with a cover of scarlet fruit like a blood heart full of hope and light, its open inclusion of Urdu, Hindi, Kannada and Dakhni, its defiant standing up to longer forms like novels, and a voice clear as an azaan from a minority community. When we are so busy with going on and getting our due, who has the time to stop and listen to the sub-people, semipeople, zero-people? Those we see but don’t see. This book, with its brand new International Booker tag, is a big thoo by the underdog.
The writer is director, Bangalore Literature Festival
As of 2025
Banu Mushtaq, a renowned Kannada writer and activist, has gained international recognition with her book Heart Lamp, longlisted for the International Booker Prize 2025 [which she won]. The collection, translated by Deepa Bhasthi, sheds light on the everyday lives of Muslim women in southern India, blending humor, resilience, and societal critique, marking a milestone for Kannada literature.
Who is Banu Mushtaq?
Banu Mushtaq is a celebrated writer, activist, and lawyer from Karnataka, India. She emerged from the progressive literary circles of the 1970s and 1980s, particularly the Bandaya Sahitya movement, which challenged caste and class inequalities.
Reasons for Acclaimed
Banu Mushtaq’s acclaimed short-story collection, Heart Lamp, has achieved a major milestone by being longlisted (a selection of individuals, books, or works under consideration for a prize, from which a final shortlist of the most deserving candidates will be determined) for the International Booker Prize 2025. Translated into English by Deepa Bhasthi, this work casts a spotlight on the everyday lives of women in Muslim communities in southern India, marking a historic moment for Kannada literature on the global stage.
| Aspect |
Details |
|---|---|
| Book Title |
Heart Lamp |
| Author |
Banu Mushtaq |
| Translation |
English version by Deepa Bhasthi |
| Prize |
International Booker Prize 2025 |
| Submission Stats |
Selected as one of 13 works out of 154 submissions worldwide |
| Shortlist Announcement |
April 8, 2025 |
| Winner Announcement |
May 20, 2025 |
| Prize Money |
£50,000 (in Indian currency around 55 lakh) and this prize amount is to be equally shared between the author and the translator. |
| Themes |
The lives of women in Muslim communities, subtle humor, and societal as well as family tensions |
| Historical Note |
Follows the legacy of Kannada literature’s international spotlight, as seen with UR Ananthamurthy's Samskara (2013) |
Key Achievements of Banu Mushtaq
Authored six short story collections, a novel, an essay collection, and poetry. A leading voice in Dalit and Muslim literature. Recipient of Karnataka Sahitya Academy and Daana Chintamani Attimabbe awards. Heart Lamp is her first full-length work translated into English, previously translated into Urdu, Hindi, Tamil, and Malayalam.
Insight from Author
On the Nomination: "It's a tremendous honour for Kannada literature. This is an excellent Shivaratri gift." (Mushtaq’s words emphasize both personal pride and broader cultural achievement.)
On Her Mission: At 77, she remarked, "Although I am happy, I feel a sense of duty to continue writing about the inequalities in society. My focus remains on addressing all forms of inequality through my writing." This statement reflects her lifelong commitment to using literature as a tool for social change.
Career Highlights:
Literary Journey: Mushtaq began her writing career in the 1970s as part of the Bandaya Sahitya movement, which aimed to challenge caste and class disparities.
Publications: She has published six short-story collections, a novel, essays, and poetry.
Accolades: Her contributions have been recognized with awards, including one from the Karnataka Sahitya Academy.
Cultural Impact: Heart Lamp is the first full-length translation of her work into English, expanding her audience considerably.
Additional Roles: Beyond literature, she has spent nine years as a journalist and has served two terms on the Hassan City municipal council.
Film Adaptation: Her work “Kari Nagaragalu” inspired the national award-winning film Hasina (2004) by filmmaker Girish Kasaravalli.
About the Book
Heart Lamp is a collection of 12 compelling short stories that delve into the everyday lives of women and girls in Muslim communities of southern India. Written between 1990 and 2023, these stories reflect deep societal tensions through a lens of humor, wit, and raw emotional power.
Mushtaq’s background as a journalist and lawyer—dedicated to women's rights and social justice—strongly influences her storytelling. Her narratives uncover the struggles of marginalized individuals while balancing elements of warmth, satire, and resilience.
Key Themes & Features
| Theme |
Description |
|---|---|
| Women’s Lives |
Highlights the aspirations, struggles, and resilience of women in traditional communities. |
| Caste and Class |
Critically examines societal hierarchies and systemic oppression. |
| Family and Community |
Explores interpersonal relationships within families and larger societal expectations. |
| Social Injustice |
Addresses corruption, violence, and discrimination with unflinching honesty. |
| Humor and Satire |
Uses dry wit and gentle humor to critique social norms. |
What Makes Heart Lamp Special?
Global Recognition for Kannada Literature: The translation of Heart Lamp from Kannada to English has brought international acclaim, highlighting South Asian narratives and cultural insights. This recognition is being celebrated as a major triumph for Kannada storytelling.
Celebration of Marginalized Voices: Originating from the rich cultural tapestry of southern India, the collection thoughtfully portrays the everyday experiences of women and girls in Muslim communities. The judges have noted its “dry and gentle humour” along with its compelling depiction of family and community dynamics.
A Boost for South Asian Languages: By earning a spot on the longlist, Heart Lamp not only underscores the literary excellence of its author but also champions the diversity and depth of South Asian literature on an international platform.
Conclusion
Banu Mushtaq's "Heart Lamp" brings Kannada literature into the global spotlight, offering a nuanced portrayal of Muslim women's lives. Its International Booker nomination signifies a breakthrough for South Asian storytelling. A literary voice for social justice, Mushtaq remains committed to challenging inequality through her compelling narratives.
Achievements
International Booker Prize 2025
Rounak Bagchi, May 21, 2025: The Indian Express
Banu Mushtaq Booker Prize Explained: In a landmark moment for Indian literature, Banu Mushtaq’s ‘Heart Lamp’ won the 2025 International Booker Prize on May 21, marking the first book-length translation of her work into English. Originally published in Kannada and previously translated into Urdu, Hindi, Tamil, and Malayalam, ‘Heart Lamp’ brings the voice of one of southern India’s most potent protest writers to a global audience.
Mushtaq, a lawyer and activist from Karnataka, is the second Kannada writer in recent times to be recognised by the Booker Prize, the last being UR Ananthamurthy in 2013.
The Booker jury described her writing as “at once witty, vivid, moving and excoriating, building disconcerting emotional heights out of a rich spoken style. It’s in her characters — the sparky children, the audacious grandmothers, the buffoonish maulvis [a learned teacher or doctor of Islamic law, Editor’s note] and thug brothers, the oft-hapless husbands, and the mothers above all, surviving their feelings at great cost — that she emerges as an astonishing writer and observer of human nature.”
Writing of women, for women
Mushtaq was born in 1948 into a Muslim family in Karnataka. Mushtaq’s journey into literature began in the 1970s and 1980s.
Writing from within the Bandaya Sahitya (Rebel Literature) movement, she joined a chorus of Dalit and Muslim writers who were reshaping Kannada literature as one of the only women writers in the space. Her stories confront systems of caste, class, and patriarchy with unflinching honesty.
“My stories are about women – how religion, society, and politics demand unquestioning obedience from them, and in doing so, inflict inhumane cruelty upon them,” Mushtaq said during a Booker Prize interview. “The pain, suffering, and helpless lives of these women create a deep emotional response within me, compelling me to write.”
With six short story collections, a novel, an essay collection, and a poetry collection to her name, Mushtaq’s oeuvre reflects her committed engagement. She is the recipient of several major literary honours, including the Karnataka Sahitya Academy Award and the Daana Chintamani Attimabbe Award.
‘Heart Lamp’ curates stories from across her writing career, drawing from over fifty stories written since 1990. The process of selecting and refining them, Mushtaq notes, was intuitive rather than academic. “Usually, there will be a single draft, and the second one will be a final copy. I do not engage in extensive research; my heart itself is my field of study,” she says during the interview. “The more intensely the incidence affects me, the more deeply and emotionally I write.”
The varied literary influences
Her earliest literary influences defy easy categorisation. “Rather than naming a single book, I have been influenced by an immense number of books. Ever since I learned to write the alphabet as a child, I have been writing,” she reflects.
It was not a single title but a social movement that led Mushtaq to see herself as a writer. “The 1970s was a decade of movements in Karnataka,” she recalls. “The Dalit movement, farmers’ movement, language movement, rebellion movement, women’s struggles, environmental activism, and theatre – these had a profound impact on me. My direct engagement with the lives of marginalised communities, women, and the neglected… gave me the strength to write.”
When asked about the books that shaped her worldview, Mushtaq resists the myth of singular influence. “No single book has dictated my life and writing. Instead, numerous books and experiences have given me a renewed sense of life.”
In an interview with The Hindu, she spoke about the severe backlash she faced for advocating for Muslim women’s right to enter mosques in 2000.
One of the stories from ‘Heart Lamp’ has already found a place in the pages of ‘The Paris Review’, another sign that Mushtaq’s once-regionally rooted voice is resonating far beyond Karnataka. But her gaze remains firmly on the communities and lives she writes about — lives forged in struggle, rendered invisible, and brought into clarity by the lamp she continues to carry.
