{"id":240723,"date":"2023-08-14T12:00:08","date_gmt":"2023-08-14T11:00:08","guid":{"rendered":"https:\/\/www.transcend.org\/tms\/?p=240723"},"modified":"2025-11-17T12:01:17","modified_gmt":"2025-11-17T12:01:17","slug":"literature-as-peace-work-eyes-on-kashmira-sheths-keeping-corner","status":"publish","type":"post","link":"https:\/\/www.transcend.org\/tms\/2023\/08\/literature-as-peace-work-eyes-on-kashmira-sheths-keeping-corner\/","title":{"rendered":"Literature as Peace Work: Eyes on Kashmira Sheth\u2019s \u2018Keeping Corner\u2019"},"content":{"rendered":"

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1. Introduction<\/strong><\/p>\n

28 Jul 2023 – <\/em>In retrospect, throughout history, many works of literature could probably be considered peace literature (PL) but have not initially been conceptualized or recognized and classified as such. There are various possible reasons, one being a general lack of familiarity with PL as a genre as compared, for example, to literature of war (Munro). Another is limited intentional PL writing. Antony Adolf claims that<\/p>\n

Writers seldom set out deliberately to write peace literature; it is the critics who apply this label, albeit infrequently. Self-aware \u2018peace writers,\u2019 \u2018peace literature scholars,\u2019 or \u2018peace literature critics\u2019 are rare. (9)<\/p>\n

Fortunately, some scholars claim this is changing. As Urmi Chanda asserts in the subtitle of her newspaper article, \u201c[PL] is the New Boom in South Asia.\u201d Further, defining PL is not easy due to the complex idea of peace and its dynamic nature (Adolf 9). Perhaps related, some have a narrow understanding of the boundaries of PL, considering it, for instance, as only peace research, \u2018propaganda,\u2019 anti-war literature, pro-peace literature, or literature for conflict resolution.<\/p>\n

This paper aims, therefore, to increase recognition of this potentially vast genre by describing it, showing how a work of literature can be analyzed through a close reading informed by a systematic conceptualization of peace, and in doing so, persuading readers the genre is a valuable and viable one, worthy of development and promotion, and soliciting support in this critical pursuit.<\/p>\n

To start with, I adopt the stance that a commitment to peace implies not only research but also education and action (Galtung, \u201cTwenty-Five Years\u201d 148), and I use, this tripartite as the organizing framework. Thus, in this section, I share informative background (definitions and characteristics) about the emerging literary genre for a potentially unfamiliar audience. Then, in the main body, I present an analysis of a piece of historical literature for young adults, Keeping Corner <\/em>by Indian-American novelist Kashmira Sheth (2007), that demonstrates valuable things PL does and can do. Finally, I summarize, discuss the value of this genre, advocate for its development and promotion, and briefly indicate ways of doing so in the last section.<\/p>\n

Despite the long history of literature, literary scholarship focused on PL is relatively recent (Adolf 11). Certain attempts have, however, been made to describe the genre. I offer illustrative definitions and characteristics below.<\/p>\n

To convey the nature of PL and honor it, I share three definitions from diverse perspectives. First, one psychotherapist and poet, the committed idealist Mar\u00eda Cristina Azcona, writes in the Encyclopedia of Life Support Systems, Peace, Literature, and Art<\/em>:<\/p>\n

Peace Literature contains a pro-peace message. It has content: Peace as a high value. And an intention: To move and arouse ethical feelings and ethical emotions through the enhancement and exaltation of Peace through beauty in words. (274)<\/p>\n

Also positive, the following poetic and visionary description comes from pioneering peace linguist Francisco Gomes de Matos:<\/p>\n

My Literature for Peace<\/em><\/strong><\/p>\n

Literature?<\/em>
\nFeelings, forms, functions<\/em>
\nIdeas, genres, and texts<\/em>
\nPersons, personas, and plots<\/em>
\nIn esthetic, creative contexts<\/em><\/p>\n

Meanings, metrics, metaphors<\/em>
\nProse, poetry, points of view<\/em>
\nWriters, poets, critics<\/em>
\nImaginatively what can they do?<\/em><\/p>\n

Their attitudes, beliefs, and conflicts<\/em>
\nCan be focused on facts, fiction, or force<\/em>
\nVoiced through e-mails, epics, essays<\/em>
\nIn simple or mixed types of discourse<\/em><\/p>\n

In verses, visions, and voices<\/em>
\nNew ways to be acquired<\/em>
\nIn songs, sonnets, and speeches<\/em>
\nIrenic touches required<\/em><\/p>\n

Let\u2019s claim a brave, universal right<\/em>
\nWell beyond creative imagination:<\/em>
\nThat of sharing sublime Literature<\/em>
\nAimed at profound humanization!<\/em><\/p>\n

The final perspective, perhaps the most grounded and functional, by Adolf, the author of Peace: A World History<\/em>, views.<\/p><\/blockquote>\n

Peace literature as tragicomedic, doubly empathic and cathartic; as active in the limbic discursive spaces between epics and novels; as social acts that are pragmatic both philosophically and linguistically \u2013 these in no way disregard or discount the extensive and growing body of \u2018peace literature\u2019 embodied more broadly in scholarly articles, journalistic articles, books, blog posts, Tweets, interviews, videocasts, and so on. Peace literature as a genre does not rest upon formal or structural traits; it does, however, rest upon the consistent agreement and recognition of the people <\/em>who produce, consume, discuss, and act upon that corpus. (14-15)<\/p>\n

The above definitions provide insights into the form, function, intentionality, and content of PL. Gomes de Matos and Adolf state that PL is an eclectic genre. Indeed, diverse types of literature may compose the corpus of PL, and hybrids and new forms, structures, and discursive styles of fiction and non-fiction not yet imagined will certainly emerge.<\/p>\n

Even though he offers a definition, Adolf questions the relevance of defining PL (9). He is more interested in \u201cwhat peace literature, as a genre, does and can do\u201d (15), perhaps what Neil Vallelly refers to as \u201cliterature as a verb\u201d (53). In this regard, Azcona emphasizes affective aspects in \u201cTo move and arouse ethical feelings and ethical emotions \u2026 through beauty in words\u201d (274) of PL. Meanwhile, in his call-to-action poem, Gomes de Matos advocates for PL to go socially \u201cbeyond creative imagination\u201d (line 19), promoting \u201cprofound humanization\u201d (line 21), through \u201cirenic touches\u201d (line 17). Comprehensively, Adolf indicates that PL can have a performative effect, both inward and out, which may be \u201ctragicomedic, doubly empathic and cathartic \u2026 social acts that are pragmatic both philosophically and linguistically\u201d (14). He emphasizes that PL evokes holistic reader response that \u201cincludes not only semantics, cognition, and affect but, above all, behaviour\u201d (9). Thus, for these authors, PL serves transformative purposes albeit in different dimensions.<\/p>\n

While Azcona highlights the author\u2019s intentional focus, Gomes de Matos notes shared responsibility among writers, poets, and critics. More widely, for Adolf, identification of PL depends not solely on intentional writers, but on shared recognition of those who engage with it (14-15).<\/p>\n

Aside from Azcona proclaiming a positive, moral aspect in \u201c[PL] contains a pro-peace message\u201d (274), little is said about the content of PL probably because, as Adolf states,<\/p>\n

To ask what peace literature, as a genre, does and can do is to acknowledge that it is primarily determined not by its formal, structural, or discursive marks, but by substantive ones that can be explored and explained by criticism of the genre. (15)<\/p>\n

Some PL works primarily constitute literature about peace<\/em> while others constitute literature for peace<\/em>. Certainly, PL can reflect diverse viewpoints (Adolf 11; White 1). However, for Adolf, \u201ccontent and process are paramount\u201d (12); some PL texts more successfully promote critical reflection and action (Paulo Freire\u2019s praxis<\/em>), leading to peace <\/em>not only in<\/em> but through literature <\/em>(Adolf 17).<\/p>\n

What then is peace? Early references to PL might have conceptualized peace as the opposite of war in the international arena (e.g. Weston Patton), and others emphasize \u2018pro-peace\u2019 (e.g. Azcona). Peace has a range of meanings and manifestations.<\/p>\n

Johan Galtung, the disciplinary founder of Peace and Conflict Studies, systematically conceptualized peace over years, and I adopt his views here. In Peace by Peaceful Means<\/em>, he sees peace as a perpetual process (90) as well as an \u201cacceptable and sustainable outcome\u201d (107), that of satisfying the basic needs of survival, wellbeing, identity\/meaning, freedom, and ecological balance (197) via harmonious and associative means (61). Comprehensively, peace encompasses negative and positive transformative efforts inwardly and outwardly in individuals and collectives in multiple dimensions from the micro to the macro (30). Negative peace aims to reduce and eliminate direct, structural, and cultural violence1<\/sup><\/a> (including threats) while positive peace concentrates on enhancing life (31-32, 197). Consequently, peace may be responsive\/curative or preventive (1), respectively. Notably, peace does not imply the absence of nonviolent conflict, which is inevitable and can be constructive (70). Peace is, thus, complex, dynamic, and imperfect.<\/p>\n

PL, then, is an eclectic and substantially vast genre with peace as its recognized focus and value orientation. Some works may be more comprehensive and address multiple dimensions and\/or basic needs whereas others may concentrate on specific ones. Certain pieces may focus more on the outcome; others on the process, inwards and\/or outwards. Meanwhile, some may emphasize negative peace, positive peace, or both.<\/p>\n

2. Analysis<\/strong><\/p>\n

An early paper advocating for PL underscores the need for new ways to reach those unfamiliar with or generally uninterested in traditional PL to spread awareness of peace and to have an impact (Weston Patton 39). Adolf claims that \u201cby integrating cultural studies and critical theory into already erudite, practical conflict resolution and peace studies\u201d (10) we may \u201csave and institute peace in its diversity\u201d (10). Yet, still today, peace studies only occasionally includes the study of imaginative literature according to Robert S. White (1). Partly for this reason, I chose the fictional work, Keeping Corner<\/em> by Kashmira Sheth (2007). Another reason for this novel is its comprehensive peace coverage. Finally, I want to give space and voice to an underrepresented type of literature since, according to Darshita Dave, \u201cChildren\u2019s literature from India is not yet recognized around the world\u201d (28, 29).<\/p>\n

Having offered a brief rationale for my selection of Keeping Corner<\/em>, which serves as the primary data source for this study and an illustrative example of PL, I provide contextual information about the author and the novel. Then, I discuss the background and present my interpretative analysis. Through this qualitative exploration, I hope to show that this is committed literature, literature as praxis, and demonstrate the value of PL.2<\/sup><\/a><\/p>\n

Sheth\u2019s website indicates that she was born in Gujarat, India and was initiated to education in a Montessori school.3<\/a> She moved to Mumbai when she was eight and emigrated to the United States to study microbiology at college at seventeen. She grew up hearing and reading stories and especially appreciated historical fiction; she also liked to write. Fittingly, Sheth\u2019s Author\u2019s Note (297-288) and Author Interview (Vaughn Zimmer 297-298) reveal that Keeping Corner<\/em> is a creative mesh of personal experiences and family-inspired stories intertwined with carefully researched socio-historical facts. Of particular significance to this novel are Sheth\u2019s memories of meeting and hearing about a great aunt who was a child widow; another was learning about Mohandas Gandhi\u2019s movement for independence. However, other aspects of Sheth\u2019s \u201cintimate lived experiences\u201d (Short 41) also inform her writing.<\/p>\n

In choosing this genre, Sheth continues a long cultural tradition of female storytelling albeit in written form (Superle 32). In her plot, she synthetically and synergistically weaves together \u201cantithetical social conditions,\u201d those of tradition and modernity, and fittingly since Adolf places PL in the category of epic novels.4<\/sup><\/a><\/p>\n

Due to her success, this historical novel has won awards, including an International Reading Association Notable Books for a Global Society in 2008 and a Best Books for Young Adults in 2009 (cover; American Library Association).<\/p>\n

The story opens in Gujarat early in 1918, a year marked natural (drought), economic (rising prices and scarcities due to World War I), and political (increasing civil unrest between citizens and British colonists) hardship. It closes about a year and a half later, shortly after the 1919 Jallianwala Bagh massacre of citizens at a peaceful political gathering.<\/p>\n

The protagonist, Leela, is a pampered 12-year old daughter of a middle class, Brahmin5<\/sup><\/a> family in Jamlee, a rural village. Engaged at two and married at nine, she is expectantly awaiting her sending-off ceremony (anu<\/em>), and her move into her husband Ramanlal\u2019s home when he is fatally bitten by a snake leaving her a young widow who is to \u201ckeep corner,\u201d that is, confine herself to her home for a year and prepare herself for a life of mourning.<\/p>\n

Through vivid and imagistic description, this first-person narrative chronicles three phases: Leela\u2019s colorful, joyful, and relatively carefree life leading up to her husband\u2019s sudden passing; the dark and psychologically turbulent year when, due to tradition, she is \u201cbanished from [her] life, yet \u2026 learned to survive\u201d (206) her imposed status of widowhood, dubbed a \u201cliving death\u201d (53, 69); and her conflicted internal and external liberation and fresh start in Ahmedabad, where, by implication, she would pursue further studies and join Gandhi\u2019s \u2018freedom fighters,\u2019 so her \u201clife [would]n\u2019t be wasted\u201d (244). As the story unfolds, Leela confronts her confusing reality of tradition mixed with modernity and different responses to it.<\/p>\n

In a parallel plot, the book relates Gandhi\u2019s early efforts after returning to Gujarat from South Africa and settling in Ahmedabad to accompany6<\/sup><\/a> disadvantaged and disempowered peoples (e.g. untouchables, poor farmers and laborers, women, and Indian citizens under colonial rule) in their attempt to redress violence (e.g. abusive practices and oppressive conditions, such as misery, exploitation, detention, discrimination, marginalization, and colonization) through peaceful resistance, insistence on truth and justice, and nonviolent action (satyagrah<\/em>), and the quest for self-rule (swaraj<\/em>) from the then government (sarkar<\/em>).<\/p>\n

The following interpretative analysis adopts Adolf\u2019s broad definition of PL and Galtung\u2019s comprehensive, systemic conceptualization of peace as the general guiding framework. As mentioned, Sheth\u2019s choice of genre is congruent with Adolf\u2019s description of PL as an epic novel. Regarding content, a close reading confirms the author is committed to peace; her substantial choices are not incidental. This analysis centers on: Sheth\u2019s emphasis on peace in multiple dimensions; her realistic acknowledgement of the existence of diverse forms of violence; her deliberate inclusion of methods of nonviolent action in response to these; her pedagogical demonstration of pragmatic processes that lead to transformation; her careful selection of symbolic supporting details; and her clear promotion of peace values.<\/p>\n

In Keeping Corner<\/em>, Sheth foregrounds peace in everyday life in multiple dimensions.7<\/sup><\/a> Regarding individual peace, she features clearly feminist8<\/sup><\/a> characters, major and minor, including, notably, Leela\u2019s progressive teacher (Saviben), who, disowned by her father for wanting to attend college when \u201ca woman\u2019s place was at home\u201d (156), becomes a school principal, and later joins Gandhi\u2019s struggle, and Leela\u2019s caring brother (Kanubhai), who vows not to marry until she is free, declaring, \u201cIf I follow everyone in Jamlee, then I\u2019d be just like them. \u2026 I am a man and make my own decisions\u201d (221). Leela herself is described as becoming a \u201cnew Indian girl\u201d9<\/sup><\/a> by reviewers of the book (e.g. Dave 32; Superle 37), and she steadily develops agency as the story progresses. One character (Shani) is portrayed as \u201calways happy\u201d (162) while Leela\u2019s aunt \u201cKaki was not a tall woman, but her heart and mind were strong\u201d (28) as were Kaka\u2019s, her benevolent uncle. Similarly, individual peace in Gandhi is depicted in the statement, \u201cHe may be a small man but he is fearless\u201d (21). Each character experiences hardships and tensions, but they remain resiliently true to themselves.<\/p>\n

In the interpersonal dimension, healthy and happy relationships abound. In addition to the devoted brother who goes \u201cbeyond tradition\u201d (124) in looking after his sister and offering her hope and courage, the book features a compassionate mother (Ba) and caring mother-in-law who, it was expected, would \u201ctreat Leela like a daughter\u201d (24), a father and son (Bapuji and Kanubhai) who do not see eye-to-eye but who overcome their disagreements nonviolently, and loyal, empathic, positive, and patient cousins (Jaya and Fat Soma) and friends (Shani). Sheth also includes loving, supportive, and generous couples (Shani and Lakha and Fat Soma and Puspa), a dedicated guru (Saviben), and a master (Bapuji) who respects and does not control Lakha, his \u201cservant\u201d (130).<\/p>\n

Socially, daily peace is seen predominantly for those in the status quo<\/em>, men more so than women, and higher class families more than economically disadvantaged ones. There are notable exceptions, such as inclusive education for Tara, a female student who is visually impaired. Pointedly, peace is represented in customs that are more humanizing for groups with alternative lifestyles. For instance, in communal living in Gandhi\u2019s ashram<\/em>, \u201cpeople of different castes cook and eat together\u201d (180) and even men help clean; \u201cEveryone is a human being there\u201d (180). However, peace is also illustrated in the ways individuals, such as the \u201cGreat Soul\u201d (Gandhi) assume responsibility and take nonviolent action for human rights, groups gather around the kesuda <\/em>tree, show concern for others, and unify around social causes, and community comes together for a cultural event (e.g. the janoi <\/em>coming-of-age ceremony at the village hall).<\/p>\n

At a more macro level, the events in the book coincide with the end of World War I. Prior to the armistice, Sheth highlights there being little support from locals to fight (alongside the British) with Leela\u2019s aunt Masi\u2019s proclamation summarizing the main stance:<\/p>\n

Do you think Gujarati men would pick up arms, let alone use them? How will people who eat dal and rice because they don\u2019t want to slaughter animals be able to kill human beings? Their parents will never give them permission to fight. (157)<\/p>\n

Finally, peace with nature is also a strong theme. As seen, Leela\u2019s people are vegetarian. Moreover, their care for animal welfare is evident in the way various characters feed, wash, massage, and even sing to their bullocks and in how their nonkilling ethic extends even to kalotars. Although one kills Ramanlal, later they carefully relocate another since \u201cOne thing we never did was kill snakes, or any other animals for that matter\u201d (148). In other ways, too, they practice sustainable living (e.g. in reusing an old sari to make a blanket cover). The varied examples above showcase what White calls literature that \u201cstep[s] aside from conflict and presents peace as an alternative ethic in its own right and on its own terms\u201d (2-3).<\/p>\n

However, peace is not utopic; it is imperfect. Sheth realistically portrays this in Keeping Corner<\/em> as Leela encounters or observes diverse forms of violence along her \u201cunusual journey\u201d (271) that affect survival, wellbeing, identity\/meaning, and freedom needs. Even as the novel reaches its close, and Leela is \u201cready to make [her] future\u201d (271), she acknowledges the probability of violence: \u201cThere were unknown dangers that would cross my path, hiding in the pleats of saris, in the turn of turbans, in the unknown eyes of the city\u201d (258-259).<\/p>\n

Leela confronts direct violence firsthand. Upon becoming a widow, she is forced to wear a plain brown sari (chidri<\/em>) and remove all jewelry. Her glass bangles are smashed (albeit gently) off of her arms because \u201cwhen your husband dies your fortune is gone\u201d (54). Her head is also shaven. From the ninth-day ceremony following Ramanlal\u2019s death, she cannot leave home for a year, and after finally being released, she is almost raped one morning as she fetches drinking water. Psychologically, Leela feels threatened when hearing authorities are confiscating properties and jailing resisters and witnesses direct violence against her family\u2019s bullocks when \u201cmen in uniform\u201d (128) take them because they refuse to pay taxes during the drought in solidarity with less affluent families. As well, she faces the threat of her family losing their livelihood: \u201cThe sarkar was taking the very things we needed to farm. If we couldn\u2019t grow crops, sell them, and make money this year, we wouldn\u2019t be able to pay taxes next year\u201d (129).<\/p>\n

Leela reads\/hears about a local farmer who commits suicide due to tax-related financial hardship, families who carry out honor killings after daughters are disgraced, Gandhi\u2019s arrest, and a mob burning government property (the telegraph and collector\u2019s office). On a larger scale, she learns \u201cHundreds, maybe thousands, are dead or injured\u201d (262) after the Jallianwala Bagh massacre and that public floggings take place the next day after citizens disobey a humiliating Crawling Order in response to \u201can assault on a white woman\u201d (263).<\/p>\n

As for structural violence, Leela\u2019s life past, present, and future are monitored and controlled due to patriarchal cultural tradition, most notably from having to marry as a child, be a widow, act \u201clike a proper widow\u201d (66, 68), and remain one.<\/p>\n

Socially, indirect violence affecting different socio-economic groups includes extreme poverty (e.g. for the untouchables), excessive taxation of farmers, and low wages for mill workers. Meanwhile, nationally, Indians are subject to authoritarian colonial rule. Indian participation in World War I is also structural.<\/p>\n

Personally, Leela faces cultural violence, the kind that legitimizes others, especially in stereotypes and violent verbal and nonverbal communication. In her words, \u201cMy neighbor\u2019s attacks were deadlier then [sic<\/em>] a kalotar\u2019s hissing\u201d (151). Neighbors stare at her such that \u201cTheir eyes bit worse than the mosquitoes in monsoon\u201d (217) and shun her, shouting \u201cgo in the house. No one wants to see the face of a widow before getting married. \u2026 It would be a bad omen\u201d (210). Ideologically, until she gradually gains self-awareness and critical consciousness (Freire\u2019s conscientiza\u00e7ao<\/em>), she experiences \u201cinterior colonization\u201d due to patriarchal customs and traditions (Dave 30).<\/p>\n

Oppressive behaviors resulting in discrimination against and dehumanizing treatment of various social groups are legitimized both by custom and law. For instance, different standards are evident in the treatment of social groups according to their respective statuses (e.g. Brahmin widowers can remarry, but not widows; however, Rabari widows are free). Similarly, literacy is not extended to everyone (e.g. Lakha and Shani), and citizens are allowed to be abused (e.g. jailed without evidence of wrongdoing) by colonial authorities due to the passing of the unfair Rowlatt Bill, which \u201cIndian leaders opposed\u201d (202), strict martial law, the Crawling Order, and censorship (in the form of government banned books).<\/p>\n

As for manifestations of peace, violent ones, failing to fulfil basic needs, span various dimensions. Critically, rather than ignore or deny these, Sheth realistically represents them. Certainly, she does not celebrate them.<\/p>\n

As the book closes, the line \u201cAn event can alter a person or a nation\u201d (271) rings true. Throughout Keeping Corner<\/em>, many characters experience transformations (peace as a process), most prominently Leela and Gandhi. Soon after Ramanlal passes, Leela wonders, \u201cWas I going to become like [other widows] and melt into the darkness?\u201d (63). However, the \u201cjourney [she takes] while keeping corner\u201d (111) leads her to self-determination. Guided by Saviben and supported by family, she completes her compulsory education, earns a scholarship, and, self-sudfficient, leaves Jamlee to start anew. Similarly, after the Rowlatt Bill passes, Gandhi decides his people should not cooperate with the government \u201cas loyal subjects of the British Empire\u201d (171): \u201cI can no longer render obedience to a power that is capable of such devilish legislation\u201d (225). Committing instead to nonviolent disobedience, he changes tactics and, although the novel ends too soon, we know Gandhi\u2019s inspirational and persistent efforts eventually earn India independence.<\/p>\n

Although punctual events stimulate transformation, peace comes through praxis, critically reflecting on the roots of violence, creatively envisaging alternatives, and taking action. This section focuses on Leela\u2019s reflection, specifically on her increased critical engagement, exploration of feelings, questioning of events, critical positioning, and ability to recognize complexity circumstances and reimagine them.<\/p>\n

Initially, Leela has no interest in studying or social events, but her attitude changes. In the end, she thanks Saviben saying, \u201cI\u2019ll never forget the day you \u2026 offered to teach me. I didn\u2019t really want to study then, but now I know it was the best thing that ever happened to me\u201d (181). Similarly, her enthusiasm for reading the news increases. As she declares, \u201cSaviben had made me read the newspaper for homework for many months, and now I was addicted to it\u201d (190).<\/p>\n

Throughout the story, Leela explores her feelings about her situation and the general social climate. After Ramanlal\u2019s death, she sees herself as a victim, \u201ctied with a chidri to the nail of widowhood\u201d (153), and is full of negative emotions that transform themselves over time. For instance, she feels angry, in particular, about having to shave her head: \u201cI realized that this was just a made-up rule, and something inside of me snapped. \u2018I don\u2019t want to follow this custom\u2019\u201d (59). Reflection on this injustice profoundly stirs her. Another time, due to jealousy, this preteen had thoughts of violating newlywed Shani: \u201cI imagined savagely stripping her bangles, pulling her nose ring, yanking her necklace, and wiping her smile away\u201d but acknowledged, \u201cMy thoughts terrified me\u201d (142). When questioned about giving her the silent treatment, Leela reports, \u201c[Shani]\u2019s always happy, and it makes me miserable\u201d (162). After Kaki prompts, \u201cSo you try to make her unhappy by being rude?\u201d Leela realizes she is being unfair and, subsequently, takes responsibility for her behavior which improves their relationship.<\/p>\n

At first, Leela doubts that anything can change socially: \u201cGandhiji can keep on writing, but do you think anyone cares about being fair?\u201d (77). Later, she develops hope and conviction as she sees evidence of change. In another case, she expresses ambivalence. For instance, when Bapuji states, \u201cThe collector has promised [to] waive taxes for poor farmers, if the ones who can afford to pay do\u201d (133) and the newspaper reports the strike successful, Leela admits, \u201cI wasn\u2019t sure how I felt about it. We lost Mani [a bullock] \u2026 Lakha had been humiliated, and in the end we paid our taxes anyway. Trying to influence the sarkar had cost us too much\u201d (133). While concluding that following tradition is easier than change, she concedes, \u201cMaybe there was a victory in the defeat\u201d (133) since Gandhi had united the farmers to challenge the government.<\/p>\n

More positively, Leela experiences empathy for others and dual perspective as her reflection on Gandhi\u2019s fast shows: \u201cIt must have been hard to go hungry\u201d (96).<\/p>\n

Leela constantly asks questions as she reflects on different circumstances. She questions individual actions like her father\u2019s, \u201cI thought about how Bapuji felt about satyagrah. It made me wonder. If Bapuji was for truth and fairness, then he should know that what was happening to me wasn\u2019t fair. Why didn\u2019t he fight for me?\u201d (86-87). While Leela mostly appreciates Gandhi\u2019s work, she is troubled by his cooperating with the colonial government regarding the war efforts: \u201cGandhiji\u2019s insistence about enrolling in the British army confuses me. \u2026 why is Gandhiji asking us to take up arms? Has he changed his mind about nonviolence?\u201d (125).10<\/sup><\/a> She questions policies such as conscription as in a letter to Jay, \u201cSince the Engrej rule us, we have to follow their commands, but if they don\u2019t force us to fight in the war, why should we volunteer? If no one is attacking us, why should we want to kill them?\u201d (125) and the government\u2019s role in killing citizens who had \u201cgathered peacefully to listen to political speeches\u201d (261) as her reflection displays:<\/p>\n

It was as if all of Jamlee felt Punjab\u2019s pain, humiliation, and sorrow. The massacre and what followed made us realize that the British did not value our lives. How could we support the Raj that had killed our own so mercilessly? (264)<\/p>\n

Leela also questions the merit of certain traditions. In response to Kaki saying, \u201cwe have no choice but to follow the custom\u201d (59) regarding shaving her head, Leela asks, \u201cWho started this? And why? Can anyone benefit from it?\u201d (59).<\/p>\n

As Leela gains critical consciousness, she takes stances, for example, when no response is taken where one is expected. After nearly being raped, she overhears a conversation which helps her identify her attacker. Later, Kaki admits she \u201chad a feeling [it was him]\u201d (251). As Leela pushes for an explanation concerning inaction, her aunt reports, \u201cthey are afraid it would taint the victim more than Batuk\u201d (251), and advises her to rest. Struggling to sleep, she thinks,<\/p>\n

There was something terribly wrong \u2026 I couldn\u2019t understand how the people of Jamlee tolerated men like Batuk. They should have been enraged. They should have wanted to protect their sisters and daughters from him. Instead, they were silent. \u2026 and they let the victims suffer. By ignoring such brutality, people were just as guilty as Batuk and others like him. (251-252)<\/p>\n

Shortly after, she leaves for Ahmedabad, and the closing lines show her resolve not to be a bystander: \u201cWas it time to join [the people making a different destiny for our country]? I took a step\u201d (272).<\/p>\n

Over time, Leela begins to understand causes and effects, and how actions and happenings are complexly interconnected:<\/p>\n

When I first started reading the news, it made no difference to me how the farmers were doing, what our leaders did, or who won or lost the war. Now, I understood that events were like the spokes of wheels. Even if a single spoke did not seem critical, it was still part of the wheel that moved the world. (190)<\/p>\n

This shows she develops systems thinking.<\/p>\n

Urvashi Sabu states,<\/p>\n

Literature is not just a reflection<\/em> of society\u2019s past, present, or future. It is also an imaginative record of what society and its human constituents can become; of the heights of nobility, generosity, kindness, and empathy that human beings are capable of achieving in the face of all odds (2) and White notes, \u201cTo create a better world, we must first envisage one\u201d (4). As seen, peace is not always enacted by all characters in Keeping Corner<\/em>; nor is it always found. Young Fat Soma renounces the world when forced to remarry immediately after the devastating death of his second wife. Nevertheless, the possibility of peace is imagined in various places. Indeed, in Fat Soma\u2019s case, he decides to seek nirvana: \u201cLike the Buddha, he had decided to take this path to find peace\u201d (230).<\/p>\n

When Leela narrates hearing<\/p>\n

Daughters are someone else\u2019s treasure, and the sooner you part with them the better off you are; daughters look good only in their in-laws\u2019 house<\/em>, and the younger you marry your daughter the quicker you\u2019re done with your obligations<\/em> (9)<\/p>\n

she contests this: \u201cI don\u2019t think those things are true. I can\u2019t imagine my family being relieved on the day they give me my anu\u201d (9). She imagines peace in contrast to others\u2019 understandings of reality.<\/p>\n

At various points, she also imagines peace contrary to her own experience. For instance, following caste tradition, Brahmins would not normally eat or drink food prepared by another caste. Leela cogitates over her current situation,<\/p>\n

I\u2019d always make tea and pour it in the cup that Shani brought with her\u201d but notes, \u201cif we both lived in the ashram, I could drink the tea that Shani made, and we would share our utensils. [Moreover, if] there were no difference between us in the ashram, then I would be able to marry again, just like Shani had. (193)<\/p>\n

Leela is naturally hopeful. Even in dark times, she senses, \u201clike rain transforming the earth \u2026 my life could change\u201d (81). She envisages possible futures for herself: \u201cI could be like Saviben and help other girls. Then I wouldn\u2019t be going through life as Leela the widow \u2013 I\u2019d be Leela the teacher\u201d (146). These imaginings provide constructive outlets, even if solutions are not easy.<\/p>\n

In many ways, Leela\u2019s reflections change her world. However, as Allsup states, reflection alone is insufficient: \u201cTo have hope, we must disavow the indifferent, the fixed, the silent. Praxis requires us to act\u201d (167).<\/p>\n

In Keeping Corner<\/em>, Sheth cleverly prioritizes methods of nonviolent action. Preventing and responding to violence are core aims. Two actors engage in activities for individual peace. Bapuji does daily meditation, and Kaka sings devotional songs (bhajan<\/em>).<\/p>\n

Leela\u2019s parents model a strong ethical orientation as evident in Ba\u2019s response to gossip about letting her go: \u201cEven if people talk, we have to do what\u2019s right\u201d (237). When Leela hears that local government officers are beaten after a popular riot takes place following Gandhi\u2019s arrest and remarks, \u201cThey were horrible,\u201d her father replies, \u201cIt doesn\u2019t matter. Nonviolence means you must show restraint\u201d (234).<\/p>\n

Some characters show restraint. Kanubhai\u2019s relationship with various family members is tense due to disagreements about Leela\u2019s treatment and future. Nevertheless, he controls his anger in negotiations; his (sometimes heated) arguments with Bapuji mostly involve long talks. Kanubhai also bites his tongue to avoid unnecessary verbal conflicts with Ba, as this turn indicates, \u201cHe started to say something to her, then changed his mind\u201d (176). His persistence in helping Leela indicates his commitment to both the outcome and process, to peace by peaceful means.<\/p>\n

Examples of peaceful protest appear in various dimensions as characters stand up to injustice to protect others. Kanubhai exclaims when he sees Leela: \u201cBa, Kaki, what have you done to Leela? She is \u2026 she is just a child! Did you have to shave her head? \u2026 I know it is custom, but you don\u2019t have to follow it. This is a crime!\u201d (69). As seen, he stays with her, promising to assist. Another time, when a government man hits the animals with a staff, Lakha intervenes saying, \u201cYou\u2019ll have to hit me before you hit her\u201d (129). After being pushed, seeing the animals hit again, and being threatened, Lakha grabs his sleeve and roars, \u201cIf you so much as touch her again, I\u2019ll scream until the whole town is here \u2026 if you are cruel to animals, people will not hesitate to use [nonviolent] force to stop you\u201d (130). In defense, Bapuji adds, \u201cIf he sees cruelty or unfairness, he has every right to protest\u201d (130).<\/p>\n

Gradually, Leela develops the skill of persuasion and finally solicits Ba\u2019s support:<\/p>\n

Gandhiji thinks widows should be able to go to school. Narmad said the same thing fifty years ago. What good are all their ideas if widows and their families don\u2019t take the lead? Ba, I want to study, and I need your help. (236)<\/p>\n

After, she appeals to her father with a decisive argument:<\/p>\n

whether it is against the foreign government or our own society \u2026 we have to take a pledge to fight against all that is wrong and cruel, including customs and prejudices. Don\u2019t our scriptures, Vedas<\/em>, say that truth is whole? So how can we fragment it? How can we fight against cruelty and unfairness in some cases but not in others? (246)<\/p>\n

Bapuji goes from \u201cWe are done talking about this subject forever\u201d (242) to \u201cLeela, Kanubhai fought for you, but he couldn\u2019t convince me that your going away to school was a good idea. You made me realize that this is not just about you, it is also about something bigger\u201d (246-247). Leela is, thereby, able to bring about change and \u201chonour tradition by working from within\u201d (Superle 33).<\/p>\n

Besides these examples, Sheth\u2019s novel is replete with nonviolent actions Gandhi and followers take that span numerous categories from Gene Sharp\u2019s seminal work.11<\/sup><\/a> Gandhi himself engages in and encourages forms of protest and persuasion. He holds public assemblies, makes public speeches, and pronounces declarations, like when \u201cHe denounced the Rowlatt Act as the Kalo Kaydo<\/em>, Black Law\u201d (232). He produces public communications, including interviews, newspaper articles, letters to the press, and books. Representing various groups, Gandhi attends meetings and appeals to the government (e.g. to waive taxes), advocating on their behalf. As well, he performs symbolic public acts (e.g. wearing a white dhoti <\/em>or a rough, handspun khadi<\/em>).<\/p>\n

Gandhi also promotes and engages in methods of economic noncooperation including peaceful agricultural strikes, protest strikes (e.g. at the mill), and a complete shutdown (hartal<\/em>) \u201cfor observance of humility and prayers\u201d (225). He encourages farmers to resist by pledging not to pay taxes, a kind of economic boycott.<\/p>\n

Methods of political noncooperation include disobedience as in rejection of authority. For instance,<\/p>\n

When the sarkar threatened to arrest [Gandhi] if he didn\u2019t return home \u2013 saying he was an outsider in Bihar \u2013 he replied, \u2018You have come from five thousand miles away and consider yourself insiders, but I am an outsider because I have come from Gujarat? I will not obey your order\u2019. (22)<\/p>\n

Later,<\/p>\n

Gandhiji and the volunteers sold two books in the streets of Mumbai. \u2026 Hind Swaraj, Indian Self Rule<\/em>, and Sarvodaya<\/em>, a Gujarati adaptation of John Ruskin\u2019s book of social criticism, Unto This Last<\/em>. \u2026 Both books had been banned by the government, and people had been warned that they could be arrested and jailed if they bought them. (232-233)<\/p>\n

Through this action, he raises funds for \u201cfuture demonstrations of civil disobedience\u201d (233).<\/p>\n

Various methods of nonviolent intervention are also used from the successful hunger strike (a psychological intervention) Gandhi leads \u201cuntil the mill owners and the mill workers settle their dispute [over a pay raise]\u201d (74), and social interventions proposing alternative institutions such as his ashram and a \u201cnational school\u201d (203), which is gender inclusive, with men and women studying as \u201cequal partners\u201d (204), and adopts a holistic and seemingly culturally sustaining pedagogy12<\/sup><\/a>: \u201cusing [their] mother tongue as the language of instruction, learning Hindi and English, and using the opportunity to study a variety of subjects\u201d (203-204).<\/p>\n

Other examples of engagement in nonviolent actions include individuals resigning from posts and renouncing honors: \u201cMany successful lawyers, like Dr. Rajendra Prasad, had given up their lucrative practices to join Gandhiji. The Nobel Laureate Rabindranath Tagore had returned his knighthood to the King-Emperor in protest\u201d (272). Collectively, the people of Gujarat do not support conscription.<\/p>\n

The acts of advocacy and activism signaled active responses to violence as well as a strong ethic of nonviolence. However, critically, as the author shows, there are occasional lapses in nonviolent action. In self-defense when Leela is about to be raped by a tailor, she resorts to using the khilli<\/em> her aunt gave her, although, notably, the pin is made of gold, so it would not infect. In another case, followers riot upon Gandhi\u2019s arrest. As Leela notes, \u201cEven Gandhiji couldn\u2019t control people\u2019s emotions and actions. \u2026 [Fortunately, he] returned to the ashram immediately, and miraculously was able to restore peace\u201d (235).<\/p>\n

Besides her choice of genre and the categories analyzed above, in Keeping Corner<\/em>, Sheth carefully and consistently chooses to highlight symbolic details that span various areas and reinforce peace. Thanks to \u201cthe rich details of daily life and culture\u201d afforded by her insider perspective (Short 41) and her careful research into (peace) history, Sheth seamlessly transports us in place and time. We travel to Gujarat, where she and Gandhi are born, and the campaign which leads Gandhi to become the Father of the Nation begins.<\/p>\n

As shown, Sheth demonstrates her intention to peace through rich and complex characters who are not static and passive but who transform and demonstrate initiative and agency. Even the men who confiscate Leela\u2019s bullocks \u201cfollowing the sarkar\u2019s order\u201d (130) apologize in the end: \u201cThe sarkar had taken so many animals that it was impossible to care for them properly. We\u2019re sorry your calf died\u201d (133).<\/p>\n

The use of juxtaposition in contrasting characters (sisters, mothers-in-law, father and son, and various types of widow\/ers) that coexist serves to represent a plurality of perspectives and experiences for reflection all the while ensuring what Adolf claims is \u201can important aspect of what peace literature does and can do, namely, create unity in diversity<\/em>\u201d (9).<\/p>\n

In addition to Gandhi\u2019s strong example of nonviolent action, Sheth casts \u201cpioneer women\u201d (156), the first woman doctor in Mumbai and Saviben, as influential role models for Leela. Saviben\u2019s role as educator is especially important for she embodies peace education in her transformative, learner-centered teaching style (\u00e0 la <\/em>Montessori). She demonstrates critical pedagogy (\u00e0 la <\/em>Freire), an ethical and dialogic approach rooted in praxis, and encourages holistic and experiential learning through sensory observation (\u00e0 la <\/em>Dewey). As Saviben educates Leela about <\/em>and for<\/em> peace, she prepares her for an education that is lifedeep, lifewide, and lifelong. Sheth\u2019s choices here may reflect her own educational upbringing.<\/p>\n

More explicitly, the author states,<\/p>\n

I grew up reading Gandhian literature, and most of my teachers were freedom fighters who participated in satyagrah. Naturally, I wanted Narmad and Gandhiji to shape Leela\u2019s thoughts, and for her journey to parallel that of India\u2019s struggle for independence. (Vaughn Zimmer 288)<\/p>\n

Gandhi and the Gujarati poet and philosopher Narmadashankar Lalshankar Dave, however, are not the only cultural referents cited in the story. Sheth ensures characters refer to prominent and inspirational cultural gods such as Lord Ganesh, who removes obstacles, Lord Krishna, who spreads love and compassion, and Saraswati, who represents knowledge and the arts. The nearby temple, Ramji Mandir, is named after the god Leela\u2019s family prays to when seeking solace, Lord Rama, who protects. As well, when Leela\u2019s uncle offers her a blessing to continue her studies, he says, \u201cMay you become as learned as Arundhati\u201d (247).<\/p>\n

Sheth chooses to include excerpts from the sacred Gayatri Mantra, seeking \u201cexcellent understanding\u201d (239), and mentions Narsi Mehta\u2019s bhajan<\/em>. Through the \u201ctissues of citation\u201d (Dewi 19), the intertextuality within the novel, the author shows how peace work is carried out through various forms of fictional and nonfictional literature, like newspaper articles, political speeches, epics, poems, letters, sacred mantras, and devotional songs.13<\/sup><\/a><\/p>\n

Even the choices of holidays are meaningful. For example, Leela reflects on a potentially awkward interaction (between conservative Masi and progressive Saviben) and makes the point that \u201cOn New Year\u2019s Day we were supposed to overlook our differences and embrace each other with open hearts\u201d (181). After Diwali, the festival of light, Leela penned in her notebook that \u201cThe whole world seems brighter\u201d (183).<\/p>\n

Finally, Sheth employs positive and negative peace linguistic approaches. For instance, she refers to Gandhi\u2019s empowering multilingual educational agenda, validates translanguaging by introducing local Gujarat words, texts, and dialect into the novel, supported by a helpful glossary, and aims to reduce violent language use by questioning stereotypes (e.g. related to gender and widowhood) and calling out forms of linguistic injustice and humiliation. For example, when Masi curses Leela with \u201cHear me raandi <\/em>raand!\u201d (103), Leela narrates that \u201cit was as if she had sprayed me with filthy water \u2026 Just because I was a widow didn\u2019t mean she could insult me and make me feel worthless\u201d (103). Sheth also promotes critical literacy, a valuable skill for peace, through Leela\u2019s growing enthusiasm for reading and her teaching of Shani. Overall, peace symbolism in the novel is rich and varied.<\/p>\n

Peace as a process is guided by and reflected in values and visions of desirable outcomes. Throughout Keeping Corner<\/em>, as surely evident by now, Sheth conveys universal peace values as various as life, love, generosity, compassion, well-being, hope, courage, truth, nonviolence, fairness, equality, justice, harmony, inclusion, unity, partnership, solidarity, and sustainability, highlighting \u201cUniversality \u2013 in actualities or aspirations \u2013 \u2026 what peace literature, its study, and its pedagogy seek to reclaim\u201d (Adolf 11).<\/p>\n

3. Conclusion<\/strong><\/p>\n

Keeping Corner<\/em> has already been recognized as a feminist piece of literature (e.g. by Dave and Superle). The novel does not yet appear to have been classified as PL. However, \u201cIt is the peace literature critic\u2019s function to provide new insights into \u2026 those parts of world literature that may constitute peace literature\u201d (Adolf 17), and I contend that this novel has a strong peace orientation and reading.<\/p>\n

In writing her novel, Sheth critically and creatively engages in peace work aimed at \u201cmaking a different destiny\u201d (272) bottom up. Her commitment to peace in <\/em>and through<\/em> literature are evident not only in her choice of genre, but especially in her comprehensive peace coverage.<\/p>\n

The content plots two major stories of peace (and several minor ones) while centering peace in multiple dimensions and varied forms, processes of reflection and nonviolent action to achieve these, other peace symbol, and associated peace values without failing to acknowledge the existence of diverse forms of violence. Sheth does so by drawing on offerings from disciplines within peace studies (e.g. peace history, peace action, peace education, peace journalism, peace literature, and a newer branch, peace linguistics).<\/p>\n

Besides parallel plots and foregrounding, Sheth masterfully uses techniques such as exemplification and role modeling, juxtaposition (contrasting characters), intertextuality, translanguaging, and symbolism to promote peace. Through her peace work, her literature about<\/em> and for <\/em>peace, Sheth does what Sharon Rab, founder of the Dayton Literary Peace Prize, states:<\/p>\n

Writers inspire us and infuse us and show us how to work as allies with them to build a better world. They go into the quiet of a room, and they shape truth with words \u2013 words that can then help us be our best selves. They also create a place in time and a moment that will allow us to consider how to build peace one word, one book, one discussion at a time. (7:53-8:29)<\/p>\n

This paper presents a close reading of only one piece of PL, Keeping Corner. <\/em>Nevertheless, through this illustrative example, we see how PL can raise awareness of both the pervasiveness and desirability of peace and, simultaneously, ways of reaching and sustaining it. Others (e.g. Adolf) have already argued that PL has empathic and cathartic effects. Indeed, just as peace can be therapeutic (Galtung, Peace by Peaceful Means<\/em> 29-30), PL can serve as a \u201cliterary intervention\u201d (Adejumo 20), not only personally but socially, as illustrated in Leela\u2019s, Gandhi\u2019s, and other characters\u2019 transformative cases. PL \u201chighlight[s] the need for citizens to acknowledge personal responsibility for their actions\u201d (Munro) and functions as \u201ca vehicle for social change\u201d (Cosgrove 234). It can serve historical purposes as \u201cin the safeguarding of memory and commemoration\u201d (Munro) as well as imaginative ones (Sabu 2).<\/p>\n

PL is not yet a well-known genre, but it has the potential to play an important role in promoting peace, positive and negative, in multiple dimensions so long as we take action (Cosgrove 237, 238). This requires further research, education, and action. Allsup describes praxis, as \u201cnot simply the capacity to imagine alternative scenarios, but \u2026 the slow burning fuse of possibility and<\/em> action\u201d (157). Just as \u201cideas sank into [Leela\u2019s] mind like monsoon rain into soil, [and] thoughts began to grow\u201d (163), I hope this paper sows healthy seeds and produces an abundant and sustainable PL ecosystem.<\/p>\n

While writing this paper is itself a form of activism, I would like to advocate for more PL and solicit support in its development and promotion. Ultimately, as Adolf writes, the influence of PL depends on recognition (15), so awareness of, exposure to, and engagement with the genre are essential. Diverse actors can play constructive roles in imagining, creating\/writing, identifying, developing, critically reviewing, translating, adapting, prioritizing, soliciting, marketing, disseminating, curating, sharing, and educating about, through, and for PL. Although it may take time and effort, a concerted approach would be impactful. As Munro states, \u201cwe need more writing like this, and we need it urgently.\u201d<\/p>\n

_________________________________________________<\/p>\n

Footnotes and Citations not included for reasons of brevity. For the complete text see original in<\/em> Academia<\/a>.<\/p>\n

\"\"<\/a>Jocelyn Wright is Associate Professor in the Department of English Language and Literature at Mokpo National University, South Korea, where she has served for over 14 years. Her main areas of\u00a0academic\u00a0interest are peace linguistics, peace literature, and peace\u00a0language\u00a0education. Email:\u00a0jocelynmnu@yahoo.com<\/a><\/em><\/p>\n

 <\/p>\n

Go to Original – thebeacon.in<\/a><\/p>\n

FEATURED RESEARCH PAPER REMAINS POSTED FOR 2 WEEKS<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

28 Jul 2023 – Johan Galtung, the founder of Peace and Conflict Studies, conceptualized peace and I adopt his views here. In Peace by Peaceful Means, he sees peace as a perpetual process, and an \u201cacceptable and sustainable outcome,\u201d which is satisfying the basic needs of survival, wellbeing, identity\/meaning, freedom, and ecological balance via harmonious and associative means.<\/p>\n","protected":false},"author":4,"featured_media":240725,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[241],"tags":[432,809,642,119,1729,877],"class_list":["post-240723","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-paper-of-the-week","tag-education-for-peace","tag-johan-galtung","tag-literature","tag-peace","tag-peace-linguistics","tag-peace-research"],"_links":{"self":[{"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/posts\/240723","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/comments?post=240723"}],"version-history":[{"count":4,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/posts\/240723\/revisions"}],"predecessor-version":[{"id":242321,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/posts\/240723\/revisions\/242321"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/media\/240725"}],"wp:attachment":[{"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/media?parent=240723"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/categories?post=240723"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.transcend.org\/tms\/wp-json\/wp\/v2\/tags?post=240723"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}