The literary canon has long marginalised women’s writing, especially from non-white countries. In India, for example, this is despite the fact that records of women’s literary prowess predate the 6th centuries BCE. The emergence of the first body of poetry by women in India is attributed to Buddhism. The religion’s principles of equality and freedom provided a conducive environment for women to express their thoughts and pen their poetry.
Wild women: redefining sacred Indian poetry
Arundhathi Subramaniam’s most recent book, Wild Women: Seekers, Protagonists and Goddesses in Sacred Indian Poetry, is a mesmerising anthology that delves deep into the voices of women poets across the Indian subcontinent.
Subramaniam is a poet and spiritual traveller. Her books include a volume on contemporary women on sacred journeys, Women Who Wear Only Themselves; the bestselling biography of a contemporary mystic, Sadhguru: More Than a Life; anthologies of Bhakti poetry, on sacred journeys, Pilgrim’s India. She has also written the much-reprinted Book of Buddha.
Arundhathi Subramaniam (eds.)
Wild Women: Seekers, Protagonists and Goddesses in Sacred Indian Poetry
Penguin (2024)
Building on her previous works, Subramaniam stitches together a large area of female spirituality, rebellion and sensuality that spans centuries. This anthology is more than a collection of poems; it is a powerful reclamation of female voices that have long been sidelined or sanitised by patriarchal narratives.
The book is divided into three parts – the first features mystics, seekers, and devotees; the second focuses on women as protagonists; and the third highlights goddesses – detailing sources and featuring an extensive list of translators. This structure enhances the anthology’s depth, showcasing a rich array of voices and perspectives in women’s sacred poetry from India.
Celebrating womanhood and spirituality
The first and longest section of the book features fifty-six women poets, ranging from the Vedic mystic and goddess Vac to Indira Devi in the mid-twentieth century. Despite the diversity of time periods and geographical origins, these poets share a common thread; a fascination with the female body as both a form and a text inscribed with the divine.
Janabai, a bold voice in Marathi devotional literature, epitomises this fusion of the spiritual and the corporeal when she declares, “I eat god/I drink god/I sleep/on god.” Meera’s ecstatic declaration, “I am in love/Who cares what happens next?” further illustrates this unbridled fusion of spiritual quest and sexual desire.
Subramaniam’s anthology challenges the traditional, often domesticated image of women in sacred poetry. These poets are not meek followers but audacious seekers, questioning and defying social norms.
The disdain for social approval and the absolute confidence in the divine partner seen in many of these poems reflect a unique gender dynamic in spiritual literature. Subramaniam provocatively asks whether faith might override all other variables in the spiritual experience of women, suggesting a shared sisterhood that transcends centuries.
Notably, Subramaniam includes lesser-known poets alongside famous ones like Lal Ded, Akka Mahadevi and Janabai. The anthology shines a light on the voices of Rami from Bengal, Toral from Gujarat, and courtesan poets like Amrapali and Peero.
Amrapali, often remembered for her beauty, is here an old woman reflecting on her body, while Peero speaks poignantly of her escape from Lahore’s red-light district to find solace in spirituality.
The inclusion of figures like Karaikkal Ammaiyar, who worshipped Shiva in an upside-down form, walking on her hands, underscores the “paradoxes and inversions of the spiritual journey” that Subramaniam aims to highlight.
The second part of the book shifts focus to women protagonists created by male spiritualists. Jayadev’s Radha in Gita Govinda is portrayed as a proud, intelligent and solitary figure, existing outside socially legitimised sexuality.
Vidyapati, a fourteenth century poet of Mithila and a devout follower of Shiva, composed passionate love songs about Krishna and Radha, breaking tradition by writing in Maithili instead of the court language, Sanskrit. Uniquely, his verses centered Radha’s perspective, vividly portraying her in various emotional states – desire, confusion, embarrassment and anguish.
Bulleh Shah’s poetic persona dresses in female clothes, braids his hair and dances in a gender-bending expression of spiritual longing and identity crisis.
A celebration of the sacred feminine
In the third and final section, Subramaniam explores the concept of wildness in the generic goddess. Verses from the Devi Mahatmyam form the earliest core of the divine feminine, with Kali traversing the realms of terror, tantra, destruction and compassion.
The contrasting depictions of the goddess – from Ramprasad Sen’s frenzied query, ‘Will I Eat You? or You Eat Me?’ to Adi Shankaracharya’s serene Saundarya Lahari – highlight the multifaceted nature of the sacred feminine. Subramaniam’s research is extensive and insightful, revealing the many ways women’s devotional verse redefines sacrality itself.
Subramaniam’s engagement with these poets and their works is both personal and scholarly. She speaks of the “magically messy plurality” of the subcontinent, expressing wonder at the myriad spiritual paths women take. From mystics and devotees to courtesans and homemakers, these women form a sisterhood united by their willingness to ask inconvenient questions and reject easy answers.
Although the early forms of women’s writing in India addressed issues of personal freedom, the poetry that followed celebrated womanhood and sexuality. Subramaniam’s book also presents this evolution, highlighting how Indian women poets not only sought personal liberation, but also embraced and celebrated their femininity and sensuality.
Wild Women is not just a book, but a call to rediscover and reclaim the ‘feral sensuality’ and ‘searing questions’ of these women poets. Subramaniam’s anthology invites readers to engage with the audacity, longing and wisdom of these voices, challenging traditional understandings of the sacred feminine.
Subramaniam’s meticulous research and passionate advocacy for these poets make this book a significant contribution to both literary and spiritual studies. This anthology is a must-read for anyone interested in the intersections of gender, spirituality and poetry, offering a delectable yet dangerous ride through a territory usually marked by sonorous calm.
Ashutosh Kumar Thakur is a Bengaluru-based management professional, curator and literary critic. He can be reached at ashutoshbthakur@gmail.com.
