The Many That I Am: Writings from Nagaland

by Anungla Zoe Longkumer

A grandmother’s tattoos, the advent of Christianity, stories woven into fabrics, a tradition of orality, the imposition of a ‘new’ language, a history of war and conflict: all this and much more informs the writers and artists in this book. Filmmaker and writer Anungla Zoe Longkumer brings together here, for the first time, a remarkable set of stories, poems, first-person narratives and visuals that showcase the breadth of Naga women’s creative and literary expression. Written in English, a language the Nagas — who had no tradition of written literature — made their own after Christianity, each piece speaks of women’s many journeys to reclaim their pasts and understand their complex present.

Genres: India, Indian Literature, Short Stories, Nonfiction, Collections, Anthologies

180 pages, Kindle Edition

Published October 17, 2019

About the author

Anungla Zoe Longkumer is a musician, writer, and filmmaker based in Dimapur, Nagaland, India.

Reviews

[Tanya · Rating 4 out of 5]

You’re seven, it’s summer holidays and you’re at grandma‘s, tucked in bed at night after a daylong of delighting on food, playing and fooling around in the streets to finally retiring for the day to your grandma’s best bedtime stories. Her folk tales narrated with perfect intonations and modulations transport any seven year old into a fairyland. Can anything beat this experience?
⠀⠀⠀⠀⠀⠀⠀⠀⠀
This book brought back this memory for me and I cannot be more thankful. Reading this anthology made me nostalgic and felt like I was listening to my grandma right in the moment.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
How often does it happen that women from North-East India put together their folk tales, poems, artworks and some personal accounts in such an eloquent manner?
I am an Indian native and with utter honesty, I had never before thought of learning about the social, cultural and political history of the North-East part of India.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
Why should you read this book you ask? Here’s why:
⠀⠀⠀⠀⠀⠀⠀⠀⠀
Nagaland is one of the culturally rich yet neglected states in India, and it’s high time the central government took the North-East region seriously. The rise of dissatisfaction and unrest among these states can only be resolved by the right development in infrastructure and employment. An insight into its history would arouse an intended attention to its future developments

The stories touch different aspects and times in the history of Nagaland keeping Nagawomen at the center.
You witness everything from the Nagas’ tribal way of life to the modern day college-going girls and working women, and their struggles with patriarchy and violence.
You witness how one woman’s courage leads way for subsequent generations towards the door of opportunity.
It is an attempt at being connected to the roots, an attempt at upholding the tradition of literature with a new perspective.
The folktales and poems are so unique and vividly inspiring that you cannot help but fall in love with the peculiarities of each.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
‘The Many That I Am’ is a powerful collection of art by 32 artists, all women, adding their uniqueness to this masterpiece!

[Chitra Ahanthem · Rating 4 out of 5]

This anthology is a must read for not only does it bring together a collection of genres from short stories to poems and slam poetry but also personal essays. By the end you have reading this, you cannot help but sense as if you have felt and understood in parts mind you, the socio cultural and political life of the Nagawomen.

'The Many That I Am' gives a brief overview of the journey from the tribal ways of life to the push and pull that Naga society went through once Christianity came and took root, the subsequent upheavals brought about by militarisation – first,being caught between the Japanese and Allied Forces during the Second World War and then the growing insurgency in the state due to various factors. The stories are not only powerfully narrated through the voices of women and keeping women at the center of things but also a nuanced and insightful commentary on the many paradox that women in Nagaland face: as peace keepers in the society when there is a looming threat of violence over a village on one hand and as silent victims of patriarchy and domestic violence within the homes; as a known woman political worker who has the agency to negotiate aGovernment service for a daughter but one who does not have the time or the inclination to listen to her own daughter’s voice.

I loved the way the anthology has been put together touching upon so many facets of life in Nagaland while touching upon its cultural history as well. 

[Aastha · Rating 4 out of 5]

It has been a long wait to read this gem, The Many That I Am: Writings from Nagaland edited by Anungla Zoe Longkumer and published by Zubaan. This anthology brings together 32 artists- writers, editors, graphic designers, painters, slam poets and more- all who have come together to make this book happen are women. The grandfather Tasu breathes this out in words when he mentions in Vishü Rita Krocha's Cut Off, "How different the story is when women are around?"

The beauty of anthologies is that you can savour them in bits and pieces or read through in a go, whatever suits you. This collection will remind you of the folktales you heard as kids. Of how they can be magical, unreal and yet believable. Folktales are kept alive through the oral traditions. They take you back to your roots and uphold the tradition of keeping literature alive by infusing it with a fresh perspective. It keeps the art of storytelling alive. For anyone who believes in this power should give this a read.

The pieces here highlight the ordinary lives of individuals but still not making it ordinary. It charts out how people have coped with religious conversions, military insurgency, influx of immigrants and alienation from mainland India while questioning the issues of class, gender and culture in attempt to trace the lived realities of Nagaland. It is a delight to see how these women are voicing out in the current while beautifully assimilating the past and the future.

Also, let's take a moment to appreciate this beautiful cover illustration!

[Milan · Rating 5 out of 5]

The stories and folktales of North-East India never fail to amaze me. This collection shows the Nagas journey from the tribal ways of life to the arrival of Christianity. This is a small anthology but it shows a very good picture of the cultural history of the region. Reading this collection of short-stories and poems, "The Many That I Am: Writings From Nagaland", reminds me of my grandmother telling me stories. Where the Hills Grow Houses by Emisenla Jamir shows a man unable to adjust to the changing times. In her story, Storyteller, she wants to “leave behind stories with someone who knows their value.” “Cherry Blossoms in April” by Easterine Kire takes inspiration from the folk-tales. I had already read “The Power to Forgive” by Avinuo Kire and "The Letter" by Temsula Ao, but enjoyed reading them again. The stories, essays and poems showcase different times and different sides of Nagaland, each trying to journey into the past or understand the present.

[Areeb Ahmad (Bankrupt_Bookworm) · Rating 4 out of 5]

"Remember you once asked how I became a storyteller? I listened like you. I listened to all the stories of old and kept them in my head and in my heart. Everything was in the stories, you just had to look. I became one with each of the stories and they have been ever faithful to me."


RATING: 4/5

In the introduction to this anthology, Anungla Zoe Longkumer talks about how there wasn't a tradition of written literature in the NE state of Nagaland as literacy itself arrived there only towards the end of the 19th Century. Before that, there was a vibrant oral tradition which "encompassed everything about ourselves." As a result, literature written by the Nagas in English is a quite recent phenomenon and in her view, this book is an "honest attempt to harness the literary potential of the budding writers of the state. What it lacks in quantity is compensated by its quality and impact on readers." English becomes a bridge, a way to hold conversations between the indigenous tribes and other inhabitants of the state as there is no common Naga language. Yet the ways in which it is used is different, the writers constantly negotiating with colonial baggage and crafting it anew for their own purposes. There are also pieces in translation. The anthology reminded me a lot of Centrepiece, a gorgeously produced book centred on Northeast Indian writing and art Zubaan had put out a few years ago. This is similar but focused on just Nagaland.

Collecting artwork, short stories, essays, and poems together, it's a refreshing collection of women's writing. All these works interrogate the issues of class, gender and culture, in an attempt to map lived realities of Nagaland. It also illuminates the rich storytelling tradition, shining a light on tribal life and the practices involved therein which linger to this very day. These writings examine the various ways in which the British colonial rule and the brief Japanese presence (towards the end of the Second World War) affected the people. A lot of the pieces seek to highlight the quotidian lives of individuals, "celebrating dailiness yet not diminishing wonder". It is a delight to see how these women straddle the present, with one eye set on the past and the other affixed to the future, weaving it all together in order to give shape to a vibrant collective body of work. I was familiar with only Easterine Kire and Temsula Ao before this collection, and every other contributor was new to me, so I am really excited to read more of their work. A standout for me was Emisenla Jamir, who has two stories featured here, both of them absolutely wonderful and very different from each other. I already have a copy of "Crafting the Word", the anthology of women's writing from the NE state of Manipur but it is back in Delhi so I am impatient to get to it. I also look forward to the forthcoming anthology from Arunachal Pradesh, which is set to release soon. I am excited to see collections from all eight NE states in print eventually. And I hope that Zubaan brings out coffee table editions of them down the line, just like Centrepiece.

[S · Rating 5 out of 5]

This is a collection of stories, essays, poems and artworks by various women from #Nagaland and I loved reading every single piece. Each story found it's way into my heart for they were beautifully written and they were so heart-felt that as I finished reading them, it just left me with this warm satisfying feeling you get when you read something good. It's always difficult for me to review an anthology (mostly because of my weak memory but also) because I never know how to critique them as they are all so unique. Similarly, for this book, I don't know how to say it but don't miss this one. All the stories vary with their topics but they are unified by the women and their experiences of being Naga and of being a woman. Thankful to Zubaan Books for publishing this gem ❤️
#bookedreviewbysaiesha

Follow me on instagram for more reviews @literarychai_

[Rashima · Rating 5 out of 5]

Every Indian should read this book because traditionally it’s not very often that the womenfolk from the North-Eastern part of the country get a platform to share their stories. One would expect to read about the mindless tribal violence and the humdrum, everyday injustice ( which unfortunately have been plaguing this region from the days of yore), however, I loved the book for its mellow simplicity. It’s a collection of short stories & poems which made me quite nostalgic of the simpler times. I almost felt like my late grandmother is whispering these stories to me at my bedtime.

There are some books which pair so well with our nightcap wine but, for this one, all we need is a homemade, snug cuppa ‘chai’.

Please buy this book, it’s available on kindle too. These stories need to be heard, besides, it would make a very nice Christmas gift for anyone who appreciates a good story.

[Saurabh Sharma · Rating 5 out of 5]

Beginning with, literally a print of an ‘acrylic on hand-woven nettle shawl’ and going on to traversing all the literary forms: short stories, personal essays, poems, slam poetry (performance poems), and each literary genre interrupted, and beautifully so, by painting prints, The Many That I Am: Writings From Nagaland edited by Anungla Zoe Longkumer (Zubaan, 2019) is a genre-defying book. The spread of literary genres in this anthology book reflects many a stories that describe the ‘world of women’ in Nagaland. Each sentence is chiseled to perfection in this gut-wrenching portrayal of Naga girls and women, their lives and stories.

When I read The Many That I Am: Writings From Nagaland, I thought why it feels quite like my grandmother telling me stories. It didn’t strike me until I re-read the ‘Introduction’ of this book where the editor notes “there is no tradition of written literature… […] What we have had through the ages is our oral tradition which encompasses everything about ourselves [.]”

When I dived in, into the sea of stories that The Many That I Am: Writings From Nagaland is, I knew that I’m in for trouble: How should I be reviewing it? There’s no way. How to dissect this book, which even if read in silos does have a story, but it’s the whole that’s making an impact that it had on me when I turned the last page of the book. You just need to read this book cover-to-cover to get acquainted with the struggles of a peasant to a modern-day, college-going Naga women; also, not leaving behind the tale-telling and tattoo traditions. Reading these stories can help you draw a mental map of Nagaland’s history: the long tradition of oral literature (storytelling), invasion by the Japanese army, rise of Christianity etc.

A Literary Triumph
From Emisenla Jamir’s Where the Hills Grow Houses, the first story in this collection, till the end of the book this anthology is, as described in Yarla’s Tattoos by Sirawon Tulisen Khating, a teaching of how art paves way to formation of our own identity. Or may be destruction of the old one and building a new one instead.

“As a visual artist, this story opens a door in understanding the vast history of how design plays such an important role in creating identity.” — Yarla’s Tattoos, Sirawon Tulisen Khating

I enjoyed reading everything, in particular, Cherry Blossoms in April by Easterine Kire, a short story in The Many That I Am: Writings From Nagaland, an account of a Naga girl falling in love with a handsome, talk-of-the-town Japanese soldier. The story is as much about Naga hospitality as it is about falling in love even in hostile times as those described in this story. One of the lines that gripped me into rereading was this: “Despite the situation, their interest was aroused and they all endeavoured to get a look at this new officer.” Love, without meriting a testimonial for this, is not dependent on language.

“They [soldier and the women] were so happy together, laughing softly over their inability to communicate in words.” — Cherry Blossoms in April, Easterine Kire

In My Mother’s Daughter by Neikehienuo Mepfhüo, we find the perpetuating ‘excuse’ given by wives upon being beaten up by drunken, good-for-nothing husbands to their children: “Shhh… child. Don’t cry. Everything will be all right. He was drunk last night. It’s not his fault. It’s the alcohol in him that makes him do this to us.”

The story by Avinuo Kire, The Power to Forgive, besides being a narrative of the silent fight which a girl is fighting having being raped by her paternal uncle, is also about how a girl has to forget her past when she is getting married: “Sorting out her meagre belongings was the first phase of preparation for the new life she would soon embark upon.” Also, that she doesn’t complaint even the man is well into his mid-forties and unattractive, “ […] she was grateful that he had asked her at all,” as she is transferred from one institution of subjugation, her parents’ home, to another, her in-laws.

Several stories comprises of, and deftly deals with, multiple themes. Be it Sad Poems (April 2018), a poem, by Narola Changkija where the opening like sets the context: ‘I like sad poems,’ she says,/’they curl inside you/like unborn babies, no?’ Or be it When I Was a Girl (April 2018) where she writes, “When I was a girl,/the world was mystery and locked doors,/the keys hung out of reach.” Each word in this collection is poignant, and will linger in your hearts for a long time.

Why Read This Book?
In one of the prose pieces in this book (Storyteller by Emisenla Jamir), Otsüla, the Storyteller, wants to “leave behind stories with someone who knows their value.” Upon hearing this the kid, the narrator, watches dumbfounded as Otsüla smiles and removes upper portion of her head as if removing the lid of a bottle. And out comes a pot of stories, which she hands over to the kid to tell these stories, for she knows they’re valuable to her. It’s kind of magical, unreal yet believable. I think that’s true for someone who believes in the power of storytelling, if you’re one, you should read this book.

Besides this, first reason why The Many That I Am: Writings From Nagaland should be read is that all 32 artists — writers, editors, graphic designers, painters, slam poets, and what not — whose work this book is, are women. As the grandfather Tasu rightly mentions towards the end in Vishü Rita Krocha’s Cut Off, “How different the story is when women is around.” To realise this difference, you should read this book.

Secondly, The Many That I Am: Writings From Nagaland, is claiming back one’s roots. It’s an act of reinventing and rekindling the imagination of many a Naga girls and women; and, above all, upholding the tradition of keeping literature alive by infusing it with a fresh perspective. In the introduction the editor also notes that “this is the essence of literature and therefore even the slightest change or loss of any of these details renders that literature weak and incomplete.” Lastly, from the tales of getting beaten up by a myriad of circumstances, we’ve moments of triumphs as well in this collection. In one personal essay, When Doors Open by Eyingbeni Hümtsoe-Nienu we celebrate how one woman’s act of courage helped subsequent generations to bear fruit, opening the door of opportunity for her future generations.

So, every women, each of their stories — be it Martha’s mother, who is a political party worker and a strong-headed woman, or be it Vili who ignores the pang in her heart thinking of her runaway son by wearing a smile — make it a brilliant read. My sincere thanks and congratulations to all the women in the making of this book, who’re keeping aloft the torch of literary tradition, and also the women who taught me to read and write: Thank you!

[Jaya Sinha · Rating 5 out of 5]

This book contain several stories and slam poetry; some inherited through traditions of orality while some first-person narratives and visual art. They revolve around themes of Man-Nature relationship, the patriarchal Naga culture, tribal conflicts, advent of Christianity in Nagaland, language, traditions, insurgency, identity, substance abuse and war; all through a female perspective.

Some stories were beautiful while some were painful. My favourite stories were: Storyteller
Cherry Blossoms in April
Outbooks.

[Swetabh Changkakoti · Rating 4 out of 5]

really warm and vibrant! the spectrum of tones here makes each individual piece feel more complete and nuanced, even if there were just a couple of stories/poems that I would have liked more if they were longer/more fleshed out. the cover is also gorgeous :0

[Raylene · Rating 5 out of 5]

Tremendous pieces of writing. Nothing like an anthology to paint a picture about a place, and its people you don't know much about. BRB as I eagerly devour more literature on Nagaland.

[Natasha · Rating 5 out of 5]

I know so little about the North East, so picked the book up on a whim. And I was surprised by how powerful some of the stories were. Like in case of most anthologies, the stories were not all of the same quality. But they capture the essence of the state and each story in its own way hits the right notes. Will recommend to anyone who wants to read a diverse set of masterful stories.

[Senti Longkumer · Rating 5 out of 5]

How do I even begin with this book? It's the kind that wraps you up like warm blanket. It takes you on a journey of 'Once upon a time'. After I completed the book it stayed with me for days. There are many stories in this book that I could relate to since I come from the same space. It covers most of the problem and life style in general of the naga people. Some of the major themes in the book were women's struggle in a patriarcal society and their way of tackling such suppression, insurgency, the struggle between tradition and modernity, coming of Christianity, storytelling, oral culture, and I believe translation is also a major theme. Since there is not common language but various dialects, English becomes the middle ground for all of them to meet and in a way exchange their stories.
The book gives a very raw and authentic narration of the people life in nagaland. The corruption, the common man's tension and struggle. As a whole I really enjoyed the whole process of reading and the feeling it left in me.

[A]

How do you rate a perfect book? You don’t. This is a collection of so many emotions, people, moments, lives, deaths, flowers, Sun rays, water and the air which every human of Nagaland must have breathed. If not all then at least 30-35 people have come together and painted a weave we hardly know about.

Some of the stories are translated and some are written in English. The introduction of the book highlights how some of what this book contains is by a first time writer and some of them are well known Nagaland authors; I am sorry to say I loved them all equally.

There was hardly a story or an essay or a poem which didn’t leave me in awe. This is a good piece of literature, the one we all should definitely consume at some point of our reading journey.

I could have finished this in one sitting but I savoured it till I no longer could keep my hands off it. I haven’t romanced a book like this in a long long time.

[Apoorva · Rating 4 out of 5]

The Many that I Am, edited by Anungla Zoe Longkumer
A collection of stories, essays and poems and more.
A rare culmination, as the editor says this representing a new advent of literature of Nagaland.
Bringing together the stalwarts of Naga voices with the new budding writers , this book was a joy to read.
Stories are diverse, some feud for lands, some cherish folk songs..
There is acceptance of the new religions while remnants of the old remains..
For the tattooed, in this case beauty lies in the eyes of the beholden. The Ao-Naga.

Old man’s story being my favorite. Love heals the cracks and anneals. Like pottery of Azao Temsu.
Then comes the tale of the storyteller. Some folks stay ordinary . Some become custodians of culture.

Languages may be lost. But love is suffused during the Japanese occupation.
There has been culture and love.
Then this book gets real.

Civic unrest , underground troops. Disappeared men.
History repeats. Domestic abuse and rape . Who has the last word ?

The power this book holds is in the number of voices who have contributed to it. Feminist at its core , it reimagines how folk songs are patrilineal limiting women to child rearing.
It also envisages a bright and inspirational age of women who have embraced the old world customs with grace.
After all, it remains with the young to adapt and re - twine the adages as before , and keep the Naga fire alive.
Full points to the completeness of the book in terms of crediting authors and providing glossary.

[Natasha Borah · Rating 4 out of 5]

🌄It is a compilation of short stories, personal essays, art, poems and translated folk songs, edited by Anungla Zoe Longkumer. It is a pretty little hardcover.

🌄The authors, artists and translators featured in the book are all Naga women, who are from all walks of life. Some are established writers and artists, while others are professionals, entrepreneurs, amateurs, old and young.

🌄The book gives the reader a glimpse of the Naga way of life, old and new. It reflects the challenges that the community face, wedged between insurgency and mainstream government. It talks about the transformation of the people and the State over the years and the identity dilemma faced by many.

[Annapoorni · Rating 4 out of 5]

Ticks 8 and 9 of #ReadingWomenChallenge2020
@thereadingwomen
Head to my insta account for books, for a detailed review. @tome_raider_forever
Also, taking this chance to ask your views about #CulturalAppropriation.
I obviously didn't earn that #Konyak head-hunter jewellery. But I bought that from a Naga woman, along with the stole and a Naga weaving style saree. I sometimes sell them for her too, through my business page @be.you.tiful2013 . Sometimes I wonder if it's ok that I do. Though there is permission, respect, appreciation, acknowledgement and for me, these are treasures.

[LiN · Rating 4 out of 5]

รวมภาพวาด กลอน เพลงพื้นบ้าน เรื่องสั้นเกี่ยวกับนาคาแลนด์,อินเดีย ฟีลแบบรากเหง้า ตำนาน ความยากจนข้นแค้นที่สืบต่อกันมาตั้งแต่เป็นเผ่าล่าหัวคน จนการเข้ามาของคริสเตียน และความเจริญ เรื่องสั้นคือดีมาก แต่พวกกลอน เพลงไม่ค่อยรู้เรื่องเท่าไหร่ มันมีสัญลักษณ์ที่คนนอกวัฒนธรรมจะงงๆ หน่อย

ด้วยความว่านักเขียนนักวาดทั้งเล่มนี้คือผู้หญิงนาคาแลนด์ หลายบทมันก็จะออก woman empower ผ่านการค้นหาตัวตน แสดงพลังในการต่อสู้ระหว่างรัฐกับชนเผ่า หมู่บ้านกับหมู่บ้าน กระทั่งถ่ายทอดสิ่งที่เพศหญิงถูกกระทำอย่างน่าเศร้าด้วยลูป domestic violence หรือเพศชายที่ถูกยัดเยียดให้เข้มแข็งตามความปิตาที่ฝังลึก

[Monisha Ravoori · Rating 3 out of 5]

In this compilation of short stories, folk songs, personal essays, art, and poems, edited by Anungla Zoe Longkumer, you’d see a glimpse of the world of women of Nagaland.

As you get acquainted with the inner lives of Naga women, the suspicion and conflict that followed World War II and the fighting between the British Empire and the Japanese troops; the rise of Christianity, and re-claiming one’s identity and roots serve as a strong backdrop and an important reminder.

I ended up enjoying ‘I Just Hate’ and ‘NoNoNo Woman’ by Rozumari Samsara, ‘A Happening’ by Em Em El, and ‘The Letter’ by Temsula Ao.

[Anejana.C · Rating 3 out of 5]

An interesting collection of translated works from Nagaland. 'The Many That I Am' weaves stories of different women from different time periods in Nagaland. There are stories, writings, poems, and art for a reader to peruse. The collection is indeed a very versatile and innovative attempt to capture narratives and lives that are otherwise forced to be lost in linguistic, political, and cultural barriers.

[Sanhita · Rating 5 out of 5]

I chanced upon this book, an anthology of short stories, poems, sketches by Naga women, and reading this opened a whole new understanding of Nagaland and it's people, especially women. Most of the stories and quite a few poems are so poignant, touches the core of one's heart and makes you feel the expressions. The poems can make their mark in any forum. And to think it's part of my land and people that I've missed all these days. Imo a must read.

[Meghana · Rating 4 out of 5]

Stunning. Extremely saddening to see my shunned Indian sisters bear the full brunt of patriarchy and poverty. These works are a beautiful testament to the strength and brilliance of these women. Hats off to Zubaan for giving them a platform. Feel very blessed and thankful to the women who have come before me, for their sacrifices, dreams, and defiance have allowed me this life.

[Parvathy · Rating 3 out of 5]

As with all anthologies, this one’s a mixed bag. The poetry didn’t quite touch me. The art was lovely as were some of the first person stories. The Japanese intrusion in the world war, the advent of Christianity, the secessionist movement...all relatively new territory and so prove truly fascinating. Nagaland still needs an Arundhati Roy, though. Nothing in this one quite makes the cut.

[Karuna Sinh · Rating 5 out of 5]

Enjoyed reading this book.. The short stories, experiences, anecdotes, poetry n paintings penned down by various Naga women is really enthralling ..Anungla Zoe managed to bring these lovely compiled collection for all of us to enjoy..Three cheers to her..

[Pranjal Prasad · Rating 3 out of 5]

I was hooked the minute I read the introduction written by Longkumer. But the book simply fails to deliver what it promises. The stories are pretty good, but the poetry and visuals leave a lot to be desired, while also taking the majority of the space within the book.

[Janani · Rating 4 out of 5]

Simple, honest, heartfelt stories by women from Nagaland. A warm introduction to the community, written in a way that is personal and reminiscent of folklores regaled by grandmothers to granddaughters (and granddaughters only).

[Asmita · Rating 4 out of 5]

truly an exceptional compilation.

[Aruna Kumar Gadepalli · Rating 4 out of 5]

As the title suggests, this book is a collection of wonderful stories, reflections, artwork, and more.

[PRANATHI S · Rating 4 out of 5]

The stories are heart breaking, melancholic, bittersweet.

[BOOK BOOK BOOKA · Rating 3 out of 5]

Some of these were really good and the book as a whole was a multifaceted experience. The inconsistency threw me off a bit but to be fair, the editor mentioned this in the introduction