Report on Ameena Hussein

Background

Ameena Hussein was born in the 1960s in Colombo, Sri Lanka, into a Muslim family of Moor descent, a community tracing its origins to Arab traders who settled along Sri Lanka’s coast centuries ago. A sociologist by training, with degrees from the University of Colombo and further studies abroad, she initially pursued a career in law and social development before turning to writing. Her literary journey reflects her deep engagement with issues of gender, religion, identity, and social change within Sri Lanka’s multi-ethnic society. In 2003, alongside her husband, Sam Perera, she co-founded the Perera Hussein Publishing House, a pioneering independent press dedicated to promoting Sri Lankan voices in English, amplifying her influence beyond her own writing. Based in Colombo, Hussein remains a prominent figure in the country’s literary landscape.

II. Key Works

Hussein’s literary output spans novels, short stories, and children’s books, often weaving food into narratives as a lens for exploring cultural memory and family dynamics. Her key works include:

1. Fifteen (1999)
   • Description: A debut collection of 15 short stories, published by the International Centre for Ethnic Studies in Colombo. These tales explore the lives of Sri Lankan Muslims, particularly women, navigating love, tradition, and societal shifts. Stories like “The Storm” and “The Smell of Rain” capture everyday moments where food—such as rice and curry or festive sweets—anchors familial and communal bonds.
   • Culinary Element: Culinary traditions highlight cultural continuity and change, mirroring Forgotten Foods themes of memory preservation. For instance, a character’s preparation of a meal might reflect both heritage and personal agency.
   • Recognition: Shortlisted for the 1999 State Literary Award, marking her early literary promise.
2. Zillij (2003)
   • Description: Hussein’s debut novel, published by her own Perera Hussein Publishing House, follows Zara, a Sri Lankan Muslim woman, on a journey of self-discovery amid familial expectations and societal constraints. The title, “Zillij,” refers to intricate Islamic tilework, symbolizing the complexity of Zara’s life. Food—biryani, falooda, and other Moor dishes—threads through the narrative, tying Zara to her roots and marking key emotional beats.
   • Culinary Element: Dishes like biryani served at gatherings or falooda shared in intimate moments evoke nostalgia and identity, resonating with Forgotten Foods’ focus on food as a cultural artifact.
   • Recognition: Praised for its lyrical prose and feminist lens, it solidified Hussein’s reputation as a storyteller of Muslim South Asian experience.
3. Other Works:
   • The Moon in the Water (2009): A novel exploring a woman’s midlife reflections, with food subtly reinforcing familial ties (less documented publicly).
   • Children’s Books: Titles like Parami’s Hibiscus (2008) and The Two Lame Ducks (2010) use simple narratives to address diversity and resilience, occasionally featuring food as a cultural touchstone.
   • Short Stories and Essays: Contributions to anthologies like Write to Reconcile (2014) and journals reflect her ongoing engagement with Sri Lankan Muslim identity.

III. Themes and Significance

Hussein’s work is distinguished by:

• Gender and Agency: Her female characters, like Zara in Zillij, challenge patriarchal norms, using domestic spaces—including kitchens—as sites of resistance and self-expression.
• Muslim Identity: As a Moor writer, she explores the nuances of Sri Lanka’s Muslim community, distinct from Rizvina Morseth de Alwis’s Malay focus, yet aligned with Forgotten Foods’ emphasis on Muslim South Asian heritage.
• Culinary Memory: Food—biryani at weddings, falooda on hot days, or wattalapam (a coconut custard)—serves as a vessel for intergenerational memory, echoing Forgotten Foods’ mission to preserve fading traditions.
• Social Change: Her stories often juxtapose tradition with modernity, reflecting Sri Lanka’s post-colonial and post-war evolution.

While Hussein did not contribute to Forgotten Foods (published 2023), her focus on Moor cuisine—rich with Arab-influenced flavors like spiced rice and sweets—complements the anthology’s scope. Her work contrasts with de Alwis’s Malay perspective, which leans toward Southeast Asian influences (e.g., babath-puruth), offering a broader tapestry of Sri Lankan Muslim foodways.

IV. Reception and Impact

Hussein’s writing has garnered critical acclaim for its sensitivity and depth. Fifteen and Zillij were lauded for their authentic portrayal of Muslim life, with reviewers noting her “keen eye for domestic detail” (Sunday Observer, 2003). Her publishing house has nurtured talents like Shehan Karunatilaka, amplifying her cultural footprint. Though less globally recognized than diasporic Sri Lankan writers, her work resonates locally, addressing universal themes through a specific lens. Her absence from Forgotten Foods leaves room for future collaboration, given the thematic overlap.

Ameena Hussein, as of April 7, 2025, is a vital Sri Lankan Muslim writer whose explorations of gender, religion, and identity through food and fiction align closely with Forgotten Foods’ ethos, despite not contributing to it. Her focus on Moor traditions in works like Zillij and Fifteen enriches Sri Lanka’s literary canon, offering a counterpoint to other minority voices like de Alwis’s Malay narratives. Through her writing and publishing, Hussein preserves and reimagines cultural memory, making her a significant figure in South Asian storytelling.