A Brief Note About Jainendra Kumar's "The Resignation"

I came across Jainendra Kumar's The Resignation (Tyaga-Patra ; 1937) as I was combing through the library looking for work associated with Ajneya, a figure I have been mentioning on and off in a number of recent blog posts. It turns out that Ajneya translated a novel by Jainendra Kumar, a Hindi novelist who was well-known in the 1930s but who has in more recent years dropped off the map. Jainendra Kumar seems interesting as a misfit in his era -- while his peers in the 1930s were generally somewhat optimistically Progressive, Jainendra seems thoroughly alienated, anticipating in some ways the turn towards the New Story in Hindi fiction in the 1950s and 60s.

Ajneya's preface to The Resignation gestures at Jainendra's oddness:

Jainendra Kumar appeared on the literary horizon in 1929, his first published work being a book of short stories. (This was followed shortly after by a novel, Parakh (The Criterion) which won immediate recgonition from critics as well as from the general public, and was also awarded the Hindustani Academy prize. Thereafter the author's rise to prominence was phenomenal, and within a few years he was probably the most talked of figure in Hindi literature, not only because of the high literary quality of his subsequent work, but also, and possibly more, on account of the disturbing originality of his creative outlook. His thought, his story material, his characters, even his language, was provokingly different, and each new novel seemed to define more clearly a philosophy that was in startling contrast with the nationalistic aspirations current at the time.

Mulk Raj Anand: on the Language Debate and his Aunt's Caste-related Suicide

For a long time I resisted reading much of Mulk Raj Anand's work -- there simply seemed to be too much, and much of what I had looked at seemed overblown and under-edited. Also, I was impatient.

Re-approaching him as a more mature reader leads to somewhat of a mixed bag. Novels like The Road and Coolie are highly readable and focused. Meanwhile my view on Untouchable remains essentially unchanged, and I did not much enjoy Two Leaves and a Bud -- a novel that seems a little too inspired by the "Quit India" fervor of its time to be of much interest to us today.

As often happens, I've come to understand the novelist a little better by delving into his personal biography, with two particular questions in mind: what made him want to be a writer, and what made him want to be a writer in English? Along those lines, I've been reading sections of Anand's autobiographical novels, Seven Summers, Morning Face, Confessions of a Lover, and The Bubble. While there are a fair amount of material in these books to be skimmed or skipped (often the now-dated discussions of politics and ideology), there are also some more personal sections that seem intensely interesting. Below, I'll quote a little from a section of Anand's Confessions of a Lover that deals with the death of the protagonist's aunt, Devaki.

Finally, I've also started reading, generally for the first time, Anand's various essays, anthologies, and what letters are available (as far as I know, no authoritative biography of the writer has ever been written -- seems like a remarkable absence). One that seems to be of particular interest is Anand's essay on language, The King-Emperor's English, or The Role of the English Language in the Free India (published in India, 1948).

Revisiting the Calcutta Writers Workshop

I remember finding volumes printed by the Calcutta Writers Workshop while browsing the library as a young graduate student, but at the time I didn't have much context or understanding of the history of the group or its philosophy. Indeed, at that time I found the books to be kind of shoddy -- the hand-printed aspect of the volumes made them seem archaic.

More recently, as I've been researching "modernism" in India and Pakistan, I've been learning more, and I now have a much greater appreciation of what P. Lal and company were trying to do. First, a little background: Calcutta Writers Workshop was founded in 1958 by a group of seven writers -- mainly as a venue to share poetry. By 1960, the group had begun publishing chapbooks of poetry and small books of criticism; they also started a journal called Miscellany. The group is still active as a publishing house, with recent volumes listed on its website here.

I would also recommend readers check out P. Lal's essay on the founding of the Writers Workshop here. And see the profile of P. Lal in The Hindu, from last year.

Why I don't like Mulk Raj Anand's "Untouchable" (and a few examples of novels dealing intelligently with caste)

When asked to suggest a novel that describes the caste system in India, the first one that comes to mind for many people, especially outside of India, is Mulk Raj Anand's Untouchable. But turning to that novel always feels like a cop-out to me, and I wish it weren't quite so 'canonical' as it is. It's not simply that Anand isn't himself from an 'untouchable' caste (or as we would say now, a Dalit) -- in fact, most well-known Indian writers who have addressed caste in their works have come from upper caste backgrounds. The problem with Untouchable is that it doesn't really come close to being convincing in its attempt to approximate the perspective of Bakha. A passage that is a case in point might be the following:

The blood in Bakha's veins tingled with the heat as he stood before it. His dark face, round and solid and exquisitely well defined, lit with a queer sort of beauty. The toil of the body had built up for him a very fine physique. It seemed to suit him,to give a homogeneity, a wonderful wholeness to his body, so that you could turn round and say: 'Here is a man.' And it seemed to give him a nobility, strangely in contrast with his filthy profession and with the sub-human status to which he was condemned from birth.

The strength of this passage might be in Anand's interest in depicting the physicality of Bakha's body -- he was clearly reading modernists like Joyce and Lawrence as he was writing, and the novel is strongly marked by that. But the weaknesses are also evident, starting with phrases like "a queer sort of beauty," which is effectively a kind of exoticism (purely exteriorized), rather than an observed description. Another phrase that troubles me is "a wonderful wholeness to his body," which sounds like Lawrence or maybe Hardy -- and again, it's an ideological descriptor; what it says is hard work makes Bakha beautiful. Anand does not really show us here anything that is particular or unique about Bakha himself, as an individuated character.

And this kind of problem recurs throughout the book. Bakha's actual caste is never named; he is simply described as an "untouchable." The book, in the end, works better as a work of Gandhian agit-prop by proxy than it does as a novel.

There are actually much better novels that deal with caste issues in one way or another. I mentioned Godaan in some recent blog posts -- and that might be one place to start. Another book that comes to mind for me is Rohinton Mistry's A Fine Balance, which is a really closely observed look at the experience of a group of characters from the Chamaar caste in Bombay after independence. And yet another novel that comes to mind might be The God of Small Things, though Roy's novel is so over-loaded with themes (including also incest, the separation anxiety of twins Estha and Rahel, the Communist party, etc.) that it's sometimes hard to say what the novel is primarily about.

One book dealing with caste I would unreservedly recommend is U.R. Anantha Murthy's novel, Samskara. This is a novel published in 1965, originally in the Kannada language. It was translated into English in 1978, and is pretty widely available in the west (it's currently still in print at Amazon). The power of Anantha Murthy's novel lies in its close attention to the specifics of Brahminic rituals, and the sometimes convoluted logic of 'pollution' in a village Brahmin society. The limitation, perhaps, is that Samskara is so narrowly focused on Brahmins; the other caste groups are present as potential threats (or objects of desire).

Finally, when I raised a question on Twitter ("what are your favorite novels dealing with caste?"), Jasdeep of the Punjabi translation blog Parchanve had this answer: "Anne ghorhe da daan by gurdiaal singh(novel), Kutti vehda by maninder singh, Kaang (punjabi short story)". I must admit I've read none of these, though I've heard others (specifically, Prof. Rana Nayar Punjab University) speak quite highly of Gurdial Singh -- stay tuned.

Gordon Roadarmel and Modern Hindi Literature

One of the key critics in looking at modernism in Hindi literature in particular is the American critic and translator, Gordon Roadarmel. Today Roadarmel is probably better known as a translator (i.e., of Godaan) than as a critic, mainly because we have several excellent published translations from him, while his 1969 dissertation from UC-Berkeley was never formally published. (In terms of translations, Roadarmel also did a collection of stories called "A Death in Delhi," and a translation of Agyeya's novel Apne Apne Anjani [To Each His Stranger].) The fact that such seminal research went unpublished is hard for me to fathom, though it may be that the critic's premature death in 1971 may have had more than a little to do with it.

Luckily, I was able to track down a copy of Roadarmel's dissertation in bound form at Penn, and have been reading it this week. Here I wanted to offer a few helpful quotes from him as regards the 'modernist' (or experimental) turn in modern Hindi fiction, which is sometimes described as the "Nayi Kahani" (or New Story).

Here is Roadarmel's account of the emergence of that movement in the late 1950s:

[T]he popularity of the [short] story seems to have been first noted in print by a writer calling himself Chakradhar, in the April 1954 issue of Kalpana an important literary journal. He says: "After a long time, short stories have again begun to attract readers." A change in the nature of the stories was noted by the son of Premchand, Shripat Ray, writing in the New Year issue of Kahani in 1956:

I began to wonder whether I might be behind the pace of the times and therefore was not noting the progress in the Hindi story which ought to be expected... The form of the story was changing and perhaps I, because of my old traditions, was asking of the story what today was not characteristic of it.

The naming of the new group is credited to Namwar Singh, probably in an article published in Kahani just a year after Shripat's comments. Namwar wrote: 'In thinking about the story today, the first thing that comes to my mind is the question as to whether, like 'nayi kavita,' there is also such a thing as 'nayi kahani.'

In 1957 the term Nayi Kahani became generally applied to the new writing, though debate has never stopped as to the appropriateness of the term. By 1957, Hindi literary circles generally had hailed the material appearing in that issue of Kahani early in 1956. A year before, in 1955, eighty percent of the stories in the special issue of the periodical were by older writers. In this 1956 issue, eighty percent were by the newer writers; and "in the Hindi world there was such wide discussion of this issue and such a warm welcome that the foundation of the revival of the story was established."

In subsequent pages, Roadarmel goes on to talk about the initial divergence in the Nayi Kahani movement between authors who were more interested in 'rural' fiction and those who were more thematically 'urban'. One text mentioned as aligned with the rural-ist Nahi Kahani is Phanishwer Nath Renu's 1954 Maili Anchal (The Soiled Border). But this debate died down relatively quickly, and over time, the urban sensibility came to predominate.

Thoughts on Premchand's "Godaan"

The first surprise in reading Premchand's 1936 masterpiece Godaan is just how different it is from the blurb describing it. Here, for instance, is the standard blurb, lifted in this case from Wikipedia:

The protagonist, Hori, a poor peasant, desperately longs for a cow, a symbol of wealth and prestige in rural India. In a Faustian twist of fate, Hori gets his cow, but pays for it with his life. After his death, the village priests demand a cow from his widow to bring his soul absolution, and peace (Godaan). The narrative represents the average Indian farmer's existence under colonial rule, with the protagonist facing cultural and feudal exploitation.

It's hard to imagine anyone having the patience to read a 400 novel on a subject as limited as this, but fortunately the novel itself is much more than a single villager's cow-related struggles. There are several parallel plots: the story of Hori and his wife, Dhaniya, mentioned above; the story of Hori's son Gobar, and his wife, Jhuniya, who leave the farm in rural UP for an urban life in nearby Lucknow; and the story of the Rai Sahib and his friends in Lucknow. The Rai Sahib owns the land on which the village is situated, and as the novel develops his circle of friends, including especially a philosophy professor named Doctor Mehta, an English-educated single woman named Miss Malti, and the sugar mill director Mr Chandra Prakash Khanna, all become major characters with their own personal and familial plots. Even in the village, new plots begin to spin out involving characters who seem minor at first, but who begin to play more important roles as the story develops.

The novel is in short, a big story in the manner of the grand Victorian novels, with about fifteen major characters. The two nodal points are Hori, the poor villager (whose life really isn't that oriented to the idea of the "gift of a cow"), and Rai Sahib, the powerful Zamindar in Lucknow. In the plot of the novel the two characters are shown meeting once, at the beginning, but from that point onwards their stories go in different directions (though certain incidents, do keep the two characters in each others' orbit).

Another misconception about Godaan comes with its form -- namely, "social realism" -- which might lead one to expect this to be mainly a political novel, with the Zamindar and his high-caste agents as villains, while the poor Kayastha (Kshatriya) and Chamar villagers are heroes. In actuality, Premchand gives full and equal psychological depth to both the high-born urban characters and the poor villagers, and the novel's politics are much more subdued than one might expect from a key figure in the Progressive Writers' movement, writing at the height of the era of anti-colonial agitation. This is undeniably a novel that dramatizes the crisis of rural poverty and the corruption of the ruling class, but what comes across more than the socio-political critique is Premchand's remarkable characterization and plot.

Untrendy Topics: Modern Hindi Poetry

I've been doing some research on Indian writers from the 1930s-1960s for a long-term scholarly project, and in the process I've been learning about a few lesser-known Hindi and Urdu writers. In Hindi in particular, I've been interested in the "New Poetry" (Nayi Kavita) Movement, with a small group of experimental writers adapting the western, free verse style to Hindi.

For a little background on Hindi literature in the 20th century, you might start with Wikipedia; it's not bad. The New Poetry movement came out of a general flowering of Hindi poetry from the early 20th century, a style of poetry known as Chhayavad (Shadowism). Mahadevi Verma is one of the best known writers in this style; another notable figure is Harivansh Rai Bachchan, Amitabh Bachchan's father (and actually quite a good poet).

For me, the Chhayavad poetry sounds a little too pretty ("precious," as they say in Creative Writing class), though I must admit that part of the problem is that I simply don't have the Hindi vocabulary to be able to keep up with the language the Chhayavad poets tend to use. I prefer what came after, especially the New Poetry movement. The "New Poetry" style roughly resembles the modernism of T.S. Eliot, Ezra Pound, and Hilda Doolittle in English literature. The language is stripped down and conversational, rather than lyrical. Some poets, like Kedarnath Singh, focus intently on conveying, with a kind of crystalline minimalism, pure images. Others are somewhat more conventional.

Below, I'll give some examples of a few favorite poems from the "New Poetry" movement, with several poems in both Hindi (Devanagri) and English.

My source today is mainly Lucy Rosenstein's "New Poetry in Hindi", which is available on Amazon for interested readers; Rosenstein prints both the Hindi originals as well as her translations.

In her introduction, Rosenstein describes how modern poetry in Hindi emerged after 1900, with Mahavirprasad Dwiwedi's promotion of poetry in Khari Boli Hindi (earlier, poetry had mainly been written in Braj Bhasha). There was an early spurt of nationalist poetry, but, partially under the influence of English Romantic poetry (Wordsworth and Shelley), a movement calling itself "Chhayavad" emerged in the 1920s. Here is an example of a few lines in the Chhayavad style, from Sumitranandan Pant's Almore ka vasant (Almora Spring):

Vidrum ou, markat kee chhaya,
Sone chaandee ka sooryatap;
Him parisal kee reshmee vaayu,
Shat ratnachhay kharg chitrit nabh!

Coral and emerald shade
sun's heat first gold then silver;
snow mountain scent on silken breezes,
a hundred jeweled brids painting the sky
(Translated David Rubin)

It may be that my own limited Hindi renders poems like this somewhat inaccessible, at least in the original. More generally, operating from the translation, I put poems like this under "sounds pretty, but..." (That's my personal taste. I have friends who love writers like Pant and Mahadevi.)

After the Chhayavad movement, the dominant stream in Hindi poetry seemed to split into two in the 1930s, with Progressives in one camp (Pragativad), and Experimentalists in the other (Prayogvad).

Progressive Poetry was part of a major movement in Indian literature that began in the 1930s. This movement is usually called the Progressive Writers Movement, and it had major literary communities in fiction, drama, as well as poetry; it also had offshoots in many different South Asian languages (earlier I have written about some Urdu writers loosely affiliated with the Progressive Writers, Sa'adat Hasan Manto, and Ismat Chughtai). As the name indicates, this was writing largely motivated by a desire to make a political intervention. A fair amount of the writing was anti-colonial, and much of it was oriented to social and economic reforms within Indian society.

Just after the Progressive trend in poetry began in the 1930s, a much smaller group of Hindi writers initiated a new, experimentalist style. Much of this writing avoided big political themes in favor of more abstract meditations. (Importantly, many of the writers in this movement overlapped with the Progressive Writers, and some were card-carrying political activists (i.e., communists). They simply didn't bring themes from the political world into their writing.

Initially the movement was spearheaded by Agyeya (also sometimes spelled Ajneya in English; his real name was Sacchidananda Hirananda Vatsayan), beginning with an anthology called Tar Saptak, in 1943.

Agyeya (whose pen-name literally means "Unknowable") is a really interesting character. He was educated at home initially, as his father didn't believe in formal schooling, though he did go on to get a Bachelors of Science at a British college. He also started an M.A. in English, but didn't finish, after he got involved in the independence movement. According to Rosenstein, Agyeya spent three years in jail (1931-1934), which proved decisive in terms of his development as a poet. He was a mass of contradictions - widely recognized as an activist and political leader, Agyeya was also deeply solitary in some ways. Raised as a traditional Brahmin, he also exemplified modernism in his intellectual and literary output.

Here is an example of Agyeya's poetry, in the Experimental ("New Poetry") style:

चुप-चाप

चुप-चाप चुप चाप
झरने का स्वर
हम में भर जाय

चुप-चाप चुप-चाप
शरद की चांदनी
झील की लहरों पर तीर आय,

चुप-चाप चुप-चाप
जीवन का रहस्य
जो कहा न जाय, हमारी
ठहरी आँखों में गहराय,

चुप-चाप चुप-चाप
हम पुलकित विराट में दुबे
पर विराट हम में मिल जाय --

चुप चाप चुप च [??] प

Quietly



Quietly
May the murmur of water falling
Fill us,

Quietly
May the autumn moon
Float on the ripples of the lake,

Quietly
May life's unspoken mystery
Deepen in our still eyes,

Quietly
May we, ecstatic, be immersed in the expanse
Yet find it in ourselves

Quiet ... ly ...
(translated by Lucy Rosenstein)

Another favorite New Poetry writer is Raghuvir Sahay, who came of age a generation after Agyeya.

Here is an example of a Raghuvir Sahay poem I really like:

आज फिर

आज फिर शुरू हुआ जीवन.
आज मैंने यिक छोटी-सी सरल-सी कविता पढी.
आज मैंने सूरज को डूबता देर तक देखा.
आज मैंने शीतल जल से जी भर स्नान किया.
आज यिक छोटी-सी बच्ची आयी, किलक मेरे कन्धे चढी.
आज मैंने आदि से अन्त तक यिक पूरा गान किया.

Today Anew

Today life started anew.
Today I read a short, simple poem.
Today I watched the sun set for a long time.
Today I bathed to my heart's content in cool water.
Today a little girl came and shouting with delight climbed onto my shoulders.
Today I sang a whole song, from beginning to end.
Life started anew today.
(Translated Lucy Rosenstein)

Another poem in Rosenstein's collection that clicked with me is by Shakunt Mathur, one of the leading female lights of the Experimental/New Poetry movement.

Here is one of Shakunt Mathur'spoems:

तुम सुन्दर हो, घर सुन्दर हो

जब में थका हुआ घर आओं, तुम सुन्दर हो घर सुन्दर हो
चाहे दिन भर बहे पसीने
कितने भी हो कपडे सीने
बच्चा भी रोता हो गीला
आलू भे हो आधा छीला

जब में थका हुआ घर आओं, तुम सुन्दर हो घर सुन्दर हो
सब तूफान रुके हो घर के
मुझको देखो आँखों भर के
न जुड़े मेंइ फूल सजाई
न तितली से वासन, न नखरे

जब में थका हुआ घर आओं, तुम सुन्दर हो घर सुन्दर हो
अधलेटी हो तुम सोफे पर
फारिं मैगजीन पढ़ती हो
शीशे सा घर साफ पड़ा हो
आहत पर छोंकी पड़ती हो

तुम कविता तुम लिखो सलौनी, में काफी हूँ, तुम प्रियतर हो
जब में थका हुआ घर आओं, तुम सुन्दर हो घर सुन्दर हो

You should be beautiful, the house should be beautiful

When I return home tired you should be beautiful, the house should be beautiful

Even if all day sweat poured

However many clothes you sewed

Even if the child doesn't yield

And the potato is half-unpeeled

When I return home tired you should be beautiful, the house should be beautiful
All storms in the house should be stilled
You should look at me with eyes filled
Without flowers in your hair,
Showy clothes, flirtatious air

When I return home tired you should be beautiful, the house should be beautiful
Reclining on the sofa,
You should be reading a foreign journal
The house should shine like crystal
My steps' sound should startle you

Don't write poetry, beauty, I am enough, you are loved
When I return home tired you should be beautiful, the house should be beautiful.

(Translated Lucy Rosenstein)

Clearly a feminist sensibility! Incidentally, in Hindi some of the lines rhyme, which Rosenstein reproduces in her translation. The language is simple but elegant and the picture she's painting seems true - and this combination is what I like most about the "New Poetry."

Finally, here is Vinay Dharwadker's translation of Kedarnath Singh's "On Reading a Love Poem". This poem isn't included in Rosenstein's volume, though several other wonderful Kedarnath Singh poems are in her collection.


Kedarnath Singh (b. 1934): ON READING A LOVE POEM

When I'd read that long love poem
I closed the book and asked --
Where are the ducks?

I was surprised that they were nowhere
even far into the distance

It was in the third line of the poem
or perhaps the fifth
that I first felt
there might be ducks here somewhere

I'd heard the flap flap of their wings
but that may have been my illusion

I don't know for how long
that woman
had been standing in the twelfth line
waiting for a bus

The poem was completely silent
about where she wanted to go
only a little sunshine
sifted from the seventeenth floor
was falling on her shoulders

The woman was happy
at least there was nothing in her face to suggest
that by the time she reached the twenty-first line
she'd disappear completely
like every other woman

There were sakhu trees
standing where the next line began
the trees were spreading
a strange dread through the poem

Every line that came next
was a deep disturbing fear and doubt
about every subsequent line


If only I'd remembered--
it was in the nineteenth line
that the woman was slicing potatoes

She was slicing
large round brown potatoes
inside the poem
and the poem was becoming
more and more silent
more solid

I think it was the smell
of freshly chopped vegetables
that kept the woman alive
for the next several lines

By the time I got to the twenty-second line
I felt that the poem was changing its location
like a speeding bullet
the poem had whizzed over the woman's shoulder
towards the sakhu trees

There were no lines after that
there were no more words in the poem
there was only the woman
there were only
her shoulders her back
her voice--
there was only the woman
standing whole outside the poem now
and breaking it to pieces

(translated by Vinay Dharwadker) [SOURCE]

I hope you enjoyed at least some of those poems.

SALA Conference Program 2009

For the past few years I've been posting the program of the annual South Asian Literary Association conference here. I won't be at the conference this year, but there are some really interesting features on the program, so I thought I would post the program all the same. People who are in Philadelphia on 12/26 and 12/27 might want to stop by.

As a hint, the events not to miss are at the end -- the plenary with Wendy Doniger and Rupa Viswanath on 12/27, and the special commemorative session on Meenakshi Mukherjee with Gayatri Spivak and Rajeswari Sunder Rajan that follows.

The Sacred and the Secular in South Asian Literature and Culture

Tenth Annual South Asian Literary Association (SALA) Conference Program
December 26-27, 2009
Radisson Plaza—Warwick Hotel, Philadelphia
1701 Locust Street, Philadelphia, PA 19103

Saturday, December 26

4:00-5:15: Session 1

1A. Sikhism and Religious Signification and Demarcation

Gina Singh, California State University-Long Beach, “Sikh Women: Markers of Insurgency”

Sharanpal Ruprai, York University, “The Top Knot: Sikh Women Weaving Gender into the Turban”

Rajender Kaur, William Paterson University, “Marking History, Tracing Diasporic Sikh Subnationalism and Subjectivity in Anita Rau Badami’s Can You Hear the Nightbird Call?”

1B. Religion and the South Asian Novel

Bina Gogineni, Columbia University, “God and the Novel in India”

Roger McNamara, Loyola University Chicago, “Secular Narratives and Parsi Identity in Rohinton Mistry’s Family Matters”

Prasad Bidaye, University of Toronto, “Thus Spake the Brahmin: The Rhetoric of Caste in Raja Rao’s The Serpent and the Rope”

1C. South Asian Protest Discourse

Namrata Mitra, Purdue University, “The Limits of the Secular: Riots and State Violence in Contemporary India”

Simran Chadha, Dyal Singh College, Delhi University, “Of Virgins, Martyrs, and Suicide Bombers”

Amber Fatima Riaz, University of Western Ontario, “The Blasphemy of Protest: Challenging Religiosity and the Zenana in Tehmina Durrani’s Blasphemy”

1D. Enchantments in Theory

Bed Giri, Dartmouth College, “Modernity Re-enchanted? On Postcolonial Modernity”

Ashmita Khasnabish, Boston University, “Reason versus Spirituality: Sri Aurobindao, Amartya Sen, and Mira Nair”

Mary Jo Caruso, St. John’s University, "Building a Community of India: Rabindranath Tagore and the Fusing of the Sacred and the Secular”

5:30-6:45: Session 2

2A. V. S. Naipaul: Diasporic and Transnational Contexts

Jayshree Singh, Bhupal Nobles Girls’ P. G. College, Udaipur, India, “The Context and Construction of Religion and Art vs. Reality: A Critical Study of Selected Travel Writing of V. S. Naipaul”

Bidhan Roy, California State University-Los Angeles, “Encountering Islam: Muslims, Travel Narrative and Globalization in V. S. Naipaul’s Beyond Belief”

Abdollah Zahiri, Seneca College, “A Contrapuntal Reading of Naipaul’s India: A Wounded Civilization: The Bhakti Movement”

2B. Religion, War, Terror, and Violence: The Effects of Trauma on the South Asian Child

Krista Paquin, University of the Fraser Valley, “Children of the Divide: Physical and Psychological Trauma on Children in Cracking India and ‘Pali’”

Mark Balmforth, University of Washington-Seattle, “Struggling to Abide by Sri Lanka: An Attempt to Engage in Responsible International Youth Activism”

Summer Pervez, University of the Fraser Valley, “The Absence of Childhood: Narratives of Kashmir”

2C. Sri Lanka and Gendered Spaces

Nalin Jayasena, Miami University, “Gendered Geopolitics in the Sri Lankan Armed Conflict: Santosh Sivan’s The Terrorist and Mani Ratnam’s A Peck on the Cheek”

Arch Mayfield, Wayland Baptist University, “Cultural Challenges in Sri Lanka: The Gonnoruwa Anicut Project”

Maryse Jayasuriya, University of Texas at El Paso, “Women Writing Religious Difference in Contemporary Sri Lanka”

2D. Diaspora and Postcolonial Writing

Sukanya Gupta, Louisiana State University, “In Search of ‘Destiny’: Cyril Dabydeen’s The Wizard Swami”

Jaspal K. Singh, Northern Michigan University. “Trauma of Exile and the Muslim Indian Diaspora in South Africa: Dual Ontology in Ahmed Essop’s Fiction”

Sohrab Homi Fracis, Independent, “From Darkness into Light: Zoroastrian Mythology and Secular Awakening in My A Man of the World”

Sunday, December 27

8:45-10:00: Session 3

3A. Partition Narratives

Shumona Dasgupta, St. Cloud State University, “Constructing Community: Negotiating Violence and National Identity in Partition Texts”

Prabhjot Parmar, University of Western Ontario, “Bridging the Communal Divide: Manoj Punj’s Shaheed-e-Mohabbat, Boota Singh”

Amrita Ghosh, Drew University, “Towards Alternative Imaginaries: Subversive Border Crossings in Qurrantulain Hyder’s Sita Betrayed”

3B. Anatomies of Postcolonial Theory

Maya Sharma, Eugenio Maria de Hostos Community College/CUNY, “The White Tiger as an Anatomy of Postcoloniality”

Waseem Anwar, Forman Christian College University, “Theorizing the Pakistani Post-Postcolonial Real: Ambivalent, Emerging, Amorphous, or Even Beyond!”

Moumin Quazi, Tarleton State University, “A Post-Structural Study of Binary Oppositions in Vikram Seth’s Two Lives”

3C. Songs and the Subaltern

Ira Raja, La Trobe University/University of Delhi, “Living to Tell: Mirabai and the Challenge of Categories”

Sheshalatha Reddy, University of Mary Washington, “‘In brotherhood of diverse creeds’: Hyderabad/India in the ‘speech and song and struggle’ of Sarojini Naidu

Aparajita De, University of Maryland, “The Caged Bird Sings: The Politics of Subaltern Agency in Pinjar”

3D. Arundhati Roy and the Secular

Rajiv Menon, The George Washington University, “’Whose God’s Own Country?’: Caste and Politics in Guruvayur and Roy’s The God’s of Small Things”

Navneet Kumar, University of Calgary, “Humanism, Secularism, and Universalism: Edward Said and Arundhati Roy”

Nicole Tabor, Moravian College, “Secular International Fantasy and Sacred Kathakali in Arundhati Roy’s The God of Small Things”

10:15-11:45: Session 4

4A. Sacred or Secular? History and Identity in Jhumpa Lahiri’s Fiction

Madhuparna Mitra, University of North Texas, “History as Trope: Jhumpa Lahiri’s Narrative Habits”

Farha Shariff, University of Alberta, Canada, “Negotiating Cultural Identities: Second-Generation South Asian Identities and Contemporary Postcolonial Text”

Christine Vogt-William, Emory University, “Reflections on the Sancrosanctity of Names and Naming in Jhumpa Lahiri’s The Namesake”

4B. The South Asian Secular Citizen Body

Sukanya Banerjee, University of Wisconsin-Milwaukee, “Bureaucratic Modernity, Moderate Nationalism, and the Secular Citizen Body”

Sami Ullah Band, Kashmir, India, “Whether the Secularism in Kashmir Has Stood the Test of Time”

Indrani Mitra, Mount St. Mary’s University, “Gendered Spaces, Minority Identities and Secular Formations: A Muslim Woman’s Voice”

Suhaan Mehta, The Ohio State University, “Other Stories: Aesthetics and Ideology in Kashmir Pending”

4C. Religion and Class/Caste

Chinnaiah Jangam, Wagner College, “Sanitizing the Sacred Space: Hinduization of Dalit Identity in Telegu Country, 1900-1935”

Smita Jha, Indian Institute of Technology-Roorkee, “Crisis of Indian Secularism: A Study of Untouchable, Waiting for the Mahatma, and Train to Pakistan”

George J. Filip, Arcadia University, “What’s in a Name? Hinduism, Christianity, and the Evolution of Dalit Identity”

Deepika Bahri, Emory University, “The Sign of the Cross: Colonialism, Christianity, and Class in South Asian Literature and Film”

4D. Constructions of South Asian Political Identities

Nivedita Majumdar, City University of New York, “Reclaiming the Secular: An Engagement with the Politics of Religious Identity in India”

Chandrima Chakraborty, McMaster University, “Masculine Asceticisms and the Indian Nation”
Nyla Ali Khan, University of Nebraska-Kearney, “Forces of Regionalism and Communalism in South Asia”
Anupama Arora, University of Massachusetts-Dartmouth, “Pandita Ramabai’s Encounter with American Orientalism”

1-2:15: Session 5

5A. Spiritual and Material Imagery in South Asian Poetry

Cynthia A. Leenerts, East Stroudsburg University, “Divine Migrations: Religious and Spiritual Imagery in Meena Alexander’s Poetry”

Mahwash Shoaib, Independent, “‘The grief of broken flesh’”: The Dialectic of Desire and Death in Agha Shahid Ali’s Lyrics”

5B. Bollywood and the Representation of Religion

Monia Acciari, University of Manchester, “Jhoom Barabar Jhoom: Worshipping the Star”
Karen Remedios, Southern Connecticut State University, “The Depiction of Christians in Indian Cinema: A Study of Essentialism”
Jogamaya Bayer, Independent, “Jodhaa: A Myth or a Fantasy of an Emperor?”

5C. Salman Rushdie and Postcolonial Epistemological Anxiety

Melissa Lam, Chinese University of Hong Kong, “Religious Autonomy and Midnight’s Children”

Umme Al-wazedi, Augustana College, “The Rise of Fundamentalism and the Negotiations of the Islamic Laws in South Asia: (Political) Shari’a, Fatwa, and the Taslima Nasrin and Salman Rushdie Affair”

Pennie Ticen, Virginia Military Institute, “Skeptical Belief and Faithful Questioning: The Satanic Verses 20 Years Later”

2:30-3:30: “A Conversation with Meena Alexander,” winner of the SALA 2009 Distinguished Achievement Award, Distinguished Professor of English at the City University of New York, Teacher in the MFA program at Hunter College and the Ph.D. Program at the Graduate Center, moderated by Cynthia Leenerts, East Stroudsburg University, and Lopamudra Basu, University of Wisconsin-Stout, with Parvinder Mehta, The University of Toledo, with an award presentation by Dr. P. S. Chauhan, Arcadia University

3:45-4:45: Plenary Keynote Roundtable Discussion: “India: Religion, Politics, and Culture,” with Wendy Doniger, Mircea Eliade Distinguished Service Professor of the History of Religions in the University of Chicago Divinity School; also in the Department of South Asian Languages and Civilizations, the Committee on Social Thought, and the College; and Rupa Viswanath, University of Pennsylvania, with a presentation by Dr. P. S. Chauhan, Arcadia University

5:30-6:30: Commemorative Panel: “Remembering Meenakshi Mukherjee: The Teacher and the Scholar,” led by Gayatri Chakravorty Spivak, Columbia University, with Rajeshwari Sunder Rajan, New York University, Amritjit Singh, Ohio University, and Anupama Arora, University of Massachusetts-Dartmouth, with introductions by Rajender Kaur, William Paterson University

Review: Amit Varma's "My Friend Sancho"

The mighty Bombay blogger Amit Varma's first novel, My Friend Sancho, is a quick and entertaining summer read, which also manages to make some serious points along the way. It does not aspire to be "serious" literature, but it is certainly several significant notches above One Night @ the Call Center. Indeed, I would not even put the two books in the same blog post, except Manish planted the damn meme in my head before I got around to reading Amit's novel.

(Before I get much further, I should mention that, while My Friend Sancho has not been published in the U.S. yet, you can still get it in the U.S. from here.)

I gather that Manish's comparison, in the post I linked to above, had more to do with the new market for books like these -- books that are primarily directed at a growing popular market for English language books within India, rather than the western "literary fiction" market to which most diasporic writers really aspire (even those who say they are writing with Indian readers in mind).

But still, do we really have to go there? Bhagat's Call Center was a mind-numbing collection of topical cliches, juvenile crushes, and predictable silliness. I gather that Amit would not be averse to selling a few copies of his book, but My Friend Sancho is a much smarter and more provocative book, which gets into the ethics of journalism, police encounters, and even, to some extent, cross-religious romance. Admittedly, Amit's book does have some blemishes, such as the bits where his fictional character references Varma's real-life blog, for instance. Also, the romance between Abir and Muneeza has a kind of innocence to it that doesn't fit Abir's otherwise jaded persona that well. But neither of these are fatal, and perhaps Varma will iron out some of the kinks in his next one.

You don't have to take my word for it; below are a few paragraphs I liked in particular in My Friend Sancho. If you like them, you'll probably like the novel. If not, perhaps not.

First, my favorite passage in My Friend Sancho is where Abir, the slacker, procrastinating journalist, puts forward his credo with regards to writing:

I worked on the story till about four in the morning. One of the problems while writing a piece like this, I've since realized, is that you get too ambitious. You read your New Journalism pieces from the books where they are collected, you read the features in The New Yorker and The Atlantic, and you tell yourself you want to write like that, and you paralyze yourself. The trick is just to tell the story simply, the best you can, without thinking of how impressed people will be when they read it. So I wrote and wrote.

Spoken like a blogger, except here is one blogger (Amit Varma, not Abir Ganguly, his character) who stopped procrastinating his novel and actually wrote the thing out. I also think he's exactly right about telling the story you have to tell simply and straightforwardly, without worrying whether you'll impress others.

[Note: another Indian blogger who has recently published a novel is Chandrahas Choudhury, of The Middle Stage. Chandrahas' Arzee the Dwarf just came out on HarperCollins India; an excerpt from it is here]

There's some great stuff about procrastination in My Friend Sancho, which resonates particularly well for me since I am a world-class procrastinator myself:

I went to office late in the morning. I worked for a couple of hours. That is to say, I tried to work. My mind kept wandering, and the internet gave it places to wander to. Every three minutes I told myself, Just two minutes more, let me just check out this page, then I will work. But I'd check out that page, and click on a link there, or think of something because of what I was reading and go somewhere else, and so on and on until it was almost lunchtime and I was better informed about the world but less so about my own piece.

I have been there. I have been exactly there, more often than I would really like to admit. (And I suspect Abir Ganguly and I are not alone in this!)

Another aspect of the novel I found provocative relates to Abir's attempt to cope with a police officer in his acquaintance named Thombre who has done something questionable. Rather than demonize Thombre as a clear villain, Abir finds himself sympathizing with the officer, who has risen up from a working class background:

Yes, yes, self-loathing is fashionable and I cultivate it well. But really, had I been born in Thombre's place, with his background, his parents, his circumstances, I have no doubt that I'd have turned out worse. Yes, worse: I would have been the lazy schmuck who failed to clear his MPSC and ended up as a mechanic somewhere, or maybe tired for a lower grade of government job, and was miserable--genuinely miserable, not just down because angst is fashionable. I'd have looked at a career path like Thombre's with envy. He had made the best of what life had thrown his way. I couldn't bring myself to condemn him on moral grounds--the world around him, the real world as he put it, had not place for morality. He did what he had to.

I am not sure I agree with Abir's act of sympathy here; what Thombre has done is not really forgivable in my book, no matter what the extenuating circumstances might be. Still, I find the moral quandary Abir has found himself in intriguing, and it's intelligible given where he is going as a character in this novel.

The writing in all three of the passages I've quoted is functional and unadorned. Excerpts like those above probably won't give anyone Grand Mal seizures as Great Writing. But the voice Varma has invented is interesting and the insights are honest; they resonated with me, giving me a reason to keep turning pages.

"Imagining South Asia" Special Issue Now Available

A long time ago, Prof. Kavita Daiya and I started working on a special issue of the journal South Asian Review, with the topic "Imagining South Asia." After several delays, the issue is finally out. Hopefully the cover should give you some idea of what we were after in the issue:



The source of the image is here.

Here is the table of contents:

Fakrul Alam: "Imagining South Asian Writing in English From Bangladesh"

Savitri Ashok, "Battering Ram, Bruised Nation: Postcolonial Nationalism and the Forsaken Promise of Secularism"

Rajini Srikanth, "South Asia and the Challenge of Intimacy in the Global War on Terror"

Alexandra Schultheis, "Reading tibet: Area Studies, Postcoloniality, and the Politics of Human rights"

Bidhan Roy, "From Brick Lane to Bradford: Contemporary Literature and the Production of Asian Identity in Britain"

Lavina Shankar and Rajini Srikanth, "From Multan to Maine: A Conversation with Ved Mehta"

Henry Schwarz, "Resolution, Revolution, Reaction: Reimagining Conflict Transformation Through Art"

Makarand Paranjape, "Imagining India: Aurobindo, Ambedkar, and After"

Kailash Baral, "Identity and Cultural Aporia: Globalization and the Tribes of Northeast India"

Amardeep Singh, "Names Can Wait: Misnaming the South Asian Diaspora in Theory and Practice"

I am putting my own essay online as a PDF if anyone is interested, here. (Needless to say, I would love to hear feedback on the essay if anyone has the time to read it.)

Also, if any of the contributors would like their essays also available online, please let me know.

You can order just the special issue by sending $15 (payable to South Asian Review) to the office of the editor, Professor Kamal Verma, at the University of Pittsburgh. The address to send it to is at this page. For just a few dollars more, you can get an annual individual subscription.

Hello from Delhi (and Dehra Dun, and Chandigarh)

We'll be returning to Goa in a day or two, but meanwhile there was some family visiting to attend to in the north.

First up, Delhi. My dominant impression of Delhi this time around is of seeing construction everywhere for new Delhi Metro stations. In a couple of years (when Delhi hosts the Commonwealth Games), I'm sure it will all be wonderful, but right now it adds to the traffic headache. That said, I was impressed by the new domestic airport terminal (the old one was hopelessly insufficient), and by what I took to be preliminary attempts at revamping the central train station.

We were happy to get to meet Jai Arjun Singh at a Crossword book store (Jai, thanks for waiting for us) in Saket, south
Delhi. The bookstore was in a massive, opulent new mall called "Citywalk Select," which has designer boutiques everywhere (Indian, European, and American), and the general feel of the massive King of Prussia mall near our house in suburban Philadelphia. It was certainly surreal, after seeing continuing signs of poverty elsewhere in the city, and Samian wondered how there could be enough Delhi-ites who can afford to pay $500 for Kate Spade purses to support these stores. Also surreal in such a place was the presence of the writer Ruskin Bond, who I think of as an R.K. Narayan-type writer (simple, elegant, and compelling storytelling), not someone you would ever expect to see in this kind of place. In this case, he was doing a book-signing at the bookstore, which was surprisingly packed.

When you're traveling with a two-year old, you don't get to read quite as much as when you're either alone or with other grown-ups. Still, I've been reading bits and pieces of Carlo Levi's Essays on Delhi here and there, and I thought some passages from his essay "The Invisible Capital" (1957) might be of interest:

The city of New Delhi appears, as you drop suddenly down towards it out of the sky, as something unreal and abstract, an immense placeless space, a utopian place. It doesn't really seem like a city; there is no centre, no cluster of houses, only a vast expanse crisscrossed by immensely broad boulevards that seem to stretch out endlessly into the distance, and dotted here and there by monumental buildings, isolated in the greenery. Much as in the shapeless, amoeboid city of Los Angeles, the distances are so vast that you can only move around by car (this modern conveyance that ensures medieval isolation). It is also reminiscent of Washington, with its plan of an administrative capital, silent and reserved; to an even greater degree, it is reminiscent of London, in the attempt to blend a sense of power with a yearning for the earthly paradise prior to the original sin.

I think the comparison to Washington is probably the most apt (I don't see the comparisons to London or Los Angeles at all). More from Carlo Levi on Delhi below:

Construction began here in 1911, in the last few years of a wold that promised eternal progress and security, and New Delhi remains -- as if it were somehow separate from living reality -- as a perfect document of that time and that empire, of its rationale and the principles upon which it was founded. It is, first and foremost, a magnificent monument to an immense empire, the embodiment of an act of detached, prideful will, a will that celebrated and affirmed itself as eternal by projecting itself into the future. But this power chose not to touch, or roil, or modify nature: rather, it seemed to prefer to identify itself with a nature that existed before time itself, a paradisiacal nature, with an absolute naturalistic utopia . . . In this paradise of the viceroys, the detachment is absolute: remote from the real inhabitants, from life itself, and from all of life's muddled heat, pain, and movement. Everything matches a rigorous hierarchy of reason, a precise, age-old, meticulous ceremony.

The above seems like the point of view of someone who came to Delhi and spent a lot of time in government buildings. From the other point of view, one could say that it's those massive government structures that are detached; the rest of the city, even caked by dust and choked by suspended particulate matter, is very much alive.

One more paragraph from Carlo Levi:

In this gigantic hidey-hole, it is possible to avoid being seen, like gods, and to see nothing. Even today a foreigner who lives in a large hotel or a government building can entirely ignore the country in which he or she lives. Soviet writers, who scrupulously attend, with their interpreters, the sessions of the pan-Asiatic congress (the reason for my journey here), with the paternal grandeur and quasi-British detachment (though instead of whiskey they brought with them Armenian cognac), have waited a full week for the sessions to end before taking their first glances at India. It is possible to stay in New Delhi and see nothing, understand nothing: but it is not easy, because the other reality (to which the sole concessions are stylistic: the Mughal architecture of the viceroy's house and other buildings) filters through everywhere unstoppably, just as the tendrils of plant life work their way into the cracks in an old abandoned wall. The vast English lawns have become, through some unknown alchemy, though still bright green and perfectly trimmed, part of an Indian countryside. All that is needed is a woman washing her sari in front of the India Gate, or a begggar lying careless on the grass: all it takes is the trees, and the orange light of sunset.

Though it's now somewhat dated, and certainly bound up with Levi's particular experience of Delhi as an "official" visitor, much of what he says here seems to me to still apply.

A few more travel notes...

We went to attend a wedding in Dehra Dun, and were staying at a guest
house near the Doon School, the English-medium private school that has educated a shocking number of contemporary Indian writers. On a free afternoon, we walked over to the front gate, and tried negotiating with the rather imposing security team about seeing the campus, but no dice. (Samian made up some story about how we have a friend in America who went there, but it didn't fly.) We were left admiring the lush campus from outside the eight-foot walls, and walked back to our guest house, past local women carrying gigantic loads of felled tree branches on their heads. (Perhaps we saw enough.)

Meanwhile, the town of Dehra Dun is choked with traffic, and the streams that run through are heavily littered with trash and heaps of used plastic bags. (The government knows it's a problem. In several states we've passed through, we've seen state propaganda against the use of plastic bags: "We, the citizens of Uttarakhand, pledge not to use Plastic Bags." I don't know if it's working.)

The drive from Dehra Dun to Chandigarh was particularly scenic, though the views were marred by the fog (smog) that hangs heavily over much of northern India at this time of year. Our driver had some colorful stories, one about a place called Kala Amb (black mango), where, legend has it, there was a special tree that had a branch that only grew black mangoes. For years, the Panchayat of that town conducted its business near the tree, and whenever someone was to be hanged, they were hanged on the black mango branch.

Another intriguing story our driver told us was about the road from Dehra Dun to Rishikesh, where, according to him, wild elephants sometimes like to come out and sleep on the roads at night. You have to go around them, and not trouble them too much, lest they decide to uproot a tree, and smash your car with it. He said there was one particular case of a deranged elephant, who had been exiled from his herd, who went on a rampage and killed quite a number of people in this way (I have no idea if this is even remotely plausible, but it's an intriguing idea: the alienated, sociopathic elephant.)

In Which I Congratulate Adiga and Try to Avoid a Blog-Spat

A few weeks ago, I wrote this post, giving my reaction to Aravind Adiga's novel, The White Tiger. Since then, as many readers probably know, Aravind Adiga won the prestigious Booker Prize for the novel, making him one of only a handful of first novelists to have done so, and also (at 33 years old) one of the youngest writers ever to do so.

While I stand by my assessment of Adiga's novel, I'm not going to bitch and moan about the Booker's selection process or the composition of the committee. Rather, my first response is to congratulate Adiga for the honor, and wish him luck on his next book. (Cheers!)

I was ready to leave it at that, but Manish at Ultrabrown challenged negative reviews of the novel like mine with a post yesterday. For Manish, the complaints against the novel boil down to a question of different ways of failing to achieve authenticity:

I’m going to tease apart two separate kinds of complaints about authenticity. One kind is whether the author successfully executes what he’s attempting, whether you’re pulled jarringly out of the narrative. The other is whether the very endeavor of a highly-educated proxy tackling the voice of the underclass is plausible. (link)

I'm quite sure my complaint falls under #1 -- Adiga fails to do what he is apparently trying to do -- though I'd phrase it a slightly differently: in my view, Adiga never seriously attempts to convince us that his protagonist is a realistic figure, and therefore he never really tries to be "authentic" at all.

On Manish's category #2, the question of whether writers can ever plausibly write in the voices of people not like themselves, I think it's pretty clear that South Asian writers do this all the time -- one thinks, first and foremost for me, of Rohinton Mistry's A Fine Balance. The point of view of working class Bombayites (from the Chamaar caste) in Mistry's novel becomes convincing, even though Mistry is not himself from that background. The audience/readership dynamic is also not really very different: English-speaking readers, in India and especially abroad, are inevitably going to be much better off than the people whose lives they're reading about. The one difference might be that many Indian readers I've heard from have felt that the The White Tiger seemed to be intended for non-Indian readers, while I've never heard the same complaint about A Fine Balance (it's not clear to me where this reaction comes from, so I won't say more about it).

All Indian writers who write socially-engaged fiction in English and publish in western markets are potentially susceptible to the same attack on their authenticity, so in my view it's pointless to even discuss it; it's a structural problem. Rather, it's much more interesting to talk about the way their stories work internally. Mistry succeeds because he puts in the time and effort to imagine what his characters' lives would be like in rich detail, and what their voices might realistically sound like given the limitations of their experience. It takes space to do it -- in my view, this kind of realism can't be done with a few catchy aphorisms or a reductive concept of the divide between rich and poor (Adiga's "light" and "dark"). Which isn't to say that a socially-engaged novel has to be 3000 pages long to be ultimately compelling; rather, good novelists pick out the most telling details and leave out everything that isn't strictly necessary.

Let me give an example of a book that I think does some of this better than The White Tiger does, based on an idea given to me by my wife. Samian, who was raised in Bombay, also didn't like the style of Adiga's novel very much, though she did feel that the plot picked up and became quite exciting towards the end. In a conversation with our local book club last month, she contrasted Adiga's novel to Amitava Kumar's under-read Home Products, a novel that actually covers some of the same ground as Adiga (the journey from Bihar to the big city; the gap between rich and poor; the gap between local poverty and violence and Bollywood glamor), though it does so in a very different way.

Here is a passage from near the beginning of Home Products, which we could contrast to the passage I quoted last time from Adiga's novel:

Her name was Mala Srivastava and she was from a small town near Patna. She had been in the local papers even earlier because she used to recite poems at public meetings. Her poems mocked the manhood of Indian leaders; she called upon Indian youth to cross the border and slaughter people in Pakistan; she wanted the national anthem inscribed on the body of Benazir Bhutto. Mala was only twenty-one when she died. People said that she was pretty. Those who'd seen her performing said she was arrogant and wanted everything from life. A couple of the press reports after her death mentioned that during a visit to Bombay, she had been arrested briefly for having stolen gold jewellery from her host's apartment.



When Mala had still been in high school her father was killed in a road accident and the family had fallen on bad times. But at the time of her death she had been living for a year and a half in a large house in Buddha Colony. The story went that Mala did not need to pay rent on that house in Patna. Her neighbours said that white cars with red lights would deliver sweets and gifts at her door whenever the festivals rolled around. Politicians and officials were regular visitors to her house at different times of the day and night. (Amitava Kumar, Home Products)

You only get a few telling bits and pieces about Mala Srivastava from these paragraphs (there is more to come that I'm not quoting), not a total encapsulation. What you do get, however, is in my view quite provocative and intriguing. Now compare back to the same paragraph from Adiga:

Me, and thousands of others in this country like me, are half-baked, because we were never allowed to complete our schooling. Open our skulls, look in with a penlight, and you’ll find an odd museum of ideas: sentences of history or mathematics remembered from school textbooks (no boy remembers his schooling like the one who was taken out of school, let me assure you), sentences about politics read in a newspaper while waiting for someone to come to an office, triangles and pyramids seen on the torn pages of the old geometry textbooks which every tea shop in this country uses to wrap its snacks in, bits of All India Radio news bulletins, things that drop into your mind, like lizards from the ceiling, in the half hour before falling asleep—all these ideas, half formed and half digested and half correct, mix up with other half-cooked ideas in your head, and I guess these half-formed ideas bugger one another, and make more half-formed ideas, and this is what you act on and live with. (Adiga, The White Tiger)

This is in fact a perfect encapsulation, so perfect that it doesn't really need personalized details. We have Balram Halwai in a nutshell, which frees Adiga to jump right into his very propulsive plot (and I concede that the novel is highly readable and entertaining; it is also worth noting that this is by no means an easy thing to do).

These two characters from the two novels have certain things in common (I'll spare you the details), but are drawn very differently. Where with Amitava Kumar's prose you get the definite sense that the narrator cares about Mala Srivastava in her individuality, to me Adiga's style suggests he's more interested in the generalizations about India his Balram Halwai allows him to make, than in Balram himself.

I don't want to push on this too hard, and I definitely don't want to get into a tedious "blog-spat" with my friends at Ultrabrown. Though I study and teach literature for a living, one thing I've realized over the years is that taste really is subjective, and one reader's minor glitch is another reader's fatal flaw. It's not a science, and that's something to embrace, not hide from with smarty-pants jargon: I love the fact that I can go out to dinner with a group of Indian software engineers, doctors, and so on, and have great conversations about the books they're reading. (I also love the to-and-fro with readers in blog-land, needless to say.)

A final note. Ironically, though I've now devoted two posts to debunking Adiga (but also congratulating him on his success. Congratulations again!), I could easily see myself teaching The White Tiger in introductory courses on Indian literature to undergraduates. It is likely to appeal to my students, while also giving me good reasons to talk about the social issues and cultural phenomena Adiga invokes in his book. (I've had good success teaching other books I haven't loved, including Mohsin Hamid's two novels; both Moth Smoke and The Reluctant Fundamentalist actually worked better than personal favorites of mine, such as The Satanic Verses and A Fina Balance).

Reading Comprehension, and the Nutty Generalizations About India It Inspired (A Guest Post)

I was talking to a Ph.D. student I work with, Colleen Clemens, about her experience working as a grader for the AP English exam. She had been assigned to work on a question about an Indian author, Anita Desai (the passage was from Fasting, Feasting), and she was shocked at how the students tended to use the passage as an excuse to throw out a series of flagrant generalizations about India and Indian culture. Incidentally, Colleen went with a group of first-year students to India last December, so she's seen parts of the country herself. The following post, then, is a one-off essay by Colleen:

Recently, I served as a reader for the AP English exam. Imagine a room with 1500 college and high school teachers sitting on folding chairs (with no lumbar support) for eight hours a day, seven days straight, reading the almost one million essays written by nervous, twitchy high school students hoping to test out of their first-year college English course. In a stroke of luck and irony, I was assigned Question Two on this year’s exam, in which students were asked to read a passage from Anita Desai’s Fasting, Feasting and do a close reading to glean insight into Arun’s experience as “an exchange student.”

As an AP grader, I read the same question all week (over 1100 essays.) In order to make us efficient grading machines, we spent a morning calibrating our responses to the 0 to 9 grading scale—we could see right away that we had much to learn about India from these high school students. Though reading 1100 essays has dulled my memory, I still know that several times I had to stop and mutter to myself comments such as “Yes, there are trees in India” or “No, India is not all trees.” I admit, after traveling there in December, much of India made little sense to my western sensibilities—I am still not sure why I saw an elephant walking in Hyderabad traffic or how people can cross the street with such confidence in Delhi—and I am certainly not an expert on India. But I know that there are bound to be trees in a country of over a million square miles.

I haven’t read the Desai book, but looked it up after I got home. The passage on the exam comes right at the end of Desai’s novel:

[FROM Fasting, Feasting]It is Saturday. Arun cannot plead work. He stands despondent, and when Melanie comes to the door, dressed in her bathing suit with a big shirt drawn over her shoulders, and stares at him challengingly, he starts wildly to find excuses.

Mrs Patton will not hear them. No, she will not. Absolutely not. So she says, with her hands spread out and pressing against the air. ‘No, no, no. We’re all three of us going. Rod and Daddy have gone sailing on Lake Wyola and we’re not going to sit here waiting for them to come home—oh no.’

Arun must go back upstairs and collect his towel and swimming trunks. Then he follows Melanie to the driveway where Mrs Patton is waiting with baskets of equipment—oils and lotions, paperbacks and dark glasses, sandwiches and lemonade. With that new and animated prance galvanising her dwindled shanks, she leads the way through a gap in the bushes to one of the woodland paths.

Melanie and Arun follow silently. They try to find a way to walk that will no compel them to be side by side or in any way close together. But who is to follow whom? It is an awkward problem. Arun finally stops trying to lag behind her— she can lag even better—and goes ahead to catch up with Mrs Patton. He ought to help carry those baskets anyway. He takes one from her hands and she throws him a radiant, lipsticked smile. Then she swings away and goes confidently forwards.



‘Summertime,’ he hears her singing, ‘when the living is eeh-zee--’

They make their way along scuffed paths through layers of old soft pine needles. The woods are thrumming with cicadas: they shrill and shrill as if the sun is playing on their sinews, as if they were small harps suspended in the tress. A bird shrieks, hoarsely, flies on, shrieks elsewhere, further off—that ugly, jarring note that does not vary. But there are no birds to be seen, nor animals. It is as if they are in hiding, or have fled. Perhaps they have because the houses of Edge Hill do intrude and one can glimpse a bit of wall here or roof there, a washing line hung with sheets or a plastic gnome, finger to nose, enigmatically winking. Arun finds the hair on the back of his neck begin to prickle, as if in warning. He is sweating, and the palms of his hands are becoming puffy and damps. Why must people live in the vicinity of such benighted wilderness and become a part of it? The town may be small and have little to offer, but how passionately he prefers its post office, its shops, its dry-cleaning stores and picture framers to this creeping curtain of insidious green, these grasses stiffing with insidious life, and bushes with poisonous berries—so bright or else so pale. Nearly tripping upon a root, he stumbles and has to steady himself so as not to spill the contents of the basket. [Anita Desai, From Fasting, Feasting]

Arun “cannot plead work” and must go on a Saturday excursion with Melanie and Mrs. Patton. Clearly, there is tension in the family (i.e., Melanie has an eating disorder, and Arun knows it), but Arun goes into the “insidious” wild though he would prefer to be back in town. The passage—though only a few paragraphs—evidently was all the students needed to make grand claims about India such as the ones that follow:

Arun cannot possibly speak English. He is so incapable, Mrs. Patton must speak in simple sentences (yes, they conflated the narrator with the character) so Arun has any chance of understanding her. And when she sings “Summertime…when the living is eeh-zee,” Arun doesn’t know the word “easy” so he mishears her (this is an example of “epizeuxis,” a word not one person at the table had seen before—lots of students gave us what we would call the “tour of literary devices,” i.e., “on your left you will see alliteration, on your right you will see pathetic fallacy”). Because he cannot speak English, he doesn’t want to go on the trip. In fact, Indians like to work so much, he wants to work on Saturday (missing the subtlety that he “cannot plead work”) instead of going to the beach, an all-American day that he does not understand because he wants to work; one must remember that Indians are very studious. He wants badly to go into town; India is so crowded, Arun is afraid of having the space available to him by being outdoors. But at the same time, India is a jungle (we saw this word so many times, we actually started a pool at our table, chipping in a quarter and the next person to see it would win the pot) full of wild animals such as tigers. Arun feared being in the wilderness—he couldn’t see the birds, so he didn’t know what else was lurking in the wild. And why go outside when he can be in town where he can enjoy the air conditioning, something he would not have seen in India (many students added this air conditioning detail though the passage does not mention it) even though India is REALLY hot? One student exclaimed “He actually got sweaty!” In fact, Indians live in deserts and are afraid of “woodsy” areas. Inside Arun wouldn’t have to see birds—a scary sight since there are no birds in India. Since India is a primarily urban country, Arun would not know how to be in nature, especially when people in India don’t go on picnics. How could they go on picnics? The women would have to walk behind the men and they would trip over their veils! That is, the few women Arun would have ever seen since Indian men don’t see Indian women, women who don’t wear makeup and are more “natural” than American women. Instead of picnicking, the Indian people who are mostly Muslim spend their time worshipping cows, which Arun would certainly have wanted to do on Saturday instead of going to the beach.

I wish I were making up or exaggerating in this pastiche, but I am sad to report I am not (and I didn’t even mention the students who read Arun as a Native American on the Trail of Tears). Ultimately, many students did note his “uncomfort,” “cultural electrocution,” “discomfortableness,” and “awkwardidity,” but of concern is how angry they were with Arun for not “getting on board” and enjoying an all-American day at the beach. Of when Arun trips over a branch, one student boldly stated "Finally Arun trips, putting a cherry on top of the ice cream sundae that is his misery.” The tenor of many of the essays was that Arun should see how lucky he is to be in the United States and get over his fear of the wild. Most kids saw that he felt uncomfortable, but the general attitude was he was just a spoiled brat—as our question’s skit writers put it, Arun is a “privileged little Punjab”—who doesn’t see the glory of the west. Scariest of all were the students who read Arun as an animal himself, so out of the range of human experience they couldn’t even see that he was a boy.

Some astute students did notice he is silenced by the overbearing Mrs. Patton, that the tension between him and Melanie may have been cultural and gendered, that he feels out of place because he is an exchange student, not simply because he is an Indian out of his “comfort zone”--“a stranger in a strange land.” In the end, the question writers did the students a disservice by writing “Indian writer Anita Desai” in the prompt: this subtle othering of the writer opened the door for students to make wild and unfounded claims about India using Arun—and Desai—as their vehicle. Those students who noticed the difficulty of negotiating between cultures scored well on the question and may perhaps be exempt from their first-year composition course. The others will be sitting in my class next year, and I will do all I can to debunk their repository of generalizations about India and the rest of the world.

[Amardeep here again.]
Even if you haven't read the novel, what do you think of the passage above? What does it tell us about the relationship between Arun, Melanie, and Mrs. Patton, and what is the author doing with all of the strange imagery about the "benighted wilderness"?

And -- would this passage by the "Indian writer, Anita Desai" lead you to comment on whether there are trees in India, whether or not there are cities, electric power, English-speakers or automobiles there?

"Indian Nonsense"

I came across an anthology called The Tenth Rasa: An Anthology of Indian Nonsense, while browsing in a bookstore in suburban Philadelphia. The book is a collection of nonsensical poems and short stories from all over India, most of them translated into English. It’s one of those rare Penguin India titles that ended up getting distributed in the U.S. (An earlier book, which I discovered in exactly the same way, was Samit Basu’s The Simoqin Prophecies. Also, I should point out that the editors of The Tenth Rasa have started a blog to promote the book.)

I’ll say a bit more about the idea behind the collection below, but what I have in mind for this post is a celebration of nonsense by example, not so much a thorough review For now it might make sense to start with a couple of poems. First, the spirit of the collection is perhaps best captured by a favorite Sukumar Ray poem, “Abol Tabol,” (translated alternatively as "Gibberish" or "Gibberish Gibberish" to catch the reduplication), first published in Ray’s book of the same title in 1923:

Come happy fool whimsical cool
Come dreaming dancing fancy-free,
Come mad musician glad glusician
Beating your drum with glee.
Come O come where mad songs are sung
Without any meaning or tune,
Come to the place where without a trace
Your mind floats off like a loon.
Come scatterbrain up tidy lane
Wake, shake and rattle ‘n roll,
Come lawless creatures with willful features
Each unbound and clueless soul.
Nonsensical ways topsy-turvy gaze
Stay delirious all the time,
So come you travelers to the world of babblers
And the beat of impossible rhyme.
(Translated by Sampurna Chattarji from the Bengali)

("Glusician" is not a typo, by the way; its utter unjustifiability is in some sense the point of the poem.)

Another of my favorites from the collection is an almost-limerick, originally written in Oriya by a writer named J.P. Das, and is called “Vain Cock”:

Taught to say ku-ku-du-koo, ku-ku-du-koo
He only said, ‘cock-a-doodle-doo’
Such a vain cock—
You’re in for a shock:
Not tandoori, you’ll only be stew.

(The joke here of course is that in many Indian languages a rooster’s cry is rendered along the lines of ‘ku-ku-du-koo’, and presumably in the Oriya version of “Vain Cock” the phrase “cock-a-doodle-doo” is rendered phonetically exactly as in English. The Vain cock, in short, is due for stew because of irremediable Anglophilic tendencies in his onomotopoeic ejaculation.)

And yet one more, this time by Annada Sankar Ray.

“What the Little Girl Learnt”

A-ha!
Yes ma!
Baa baa black sheep
Have you any wool?
No ma! No ma!
That’s all bull.
Not black, not a sheep.
Not at all woolly.
So where’ll I get wool?
You’re wrong, fully.
(Translated from Bengali by Sampurna Chattarji)

We obviously lose a little here in translation from the Bengali, especially at the end. But the point still comes through: “No ma! no ma!/That’s all bull” is a way of talking back to the dominance of English nursery rhymes in India, even outside of "English medium" elite spaces. Shakespeare and Dickens may have begun to give way to Tagore and Rushdie in Indian English literature classrooms, but "Baa baa black sheep" and the gloom-filled "Ring a Ring a rosies" still rule the nursery rhyme canon. (In this case, "black sheep" also has a certain possible racial tinge, which Ray seems to be resisting.)

Other nonsense rhymes in The Tenth Rasa have a bit of an anti-colonial flavor to them as well. For instance, there’s a Tamil folk rhyme translated by V. Geetha:

Mister Rat, Mister Rat
Where are you going?
I’m going off to London
To see Elizabeth Queen.

You’ve got to cross the seven seas
Pray, what’s your solution?
I’ll buy a ticket for a plane
And fly across the ocean.

You will get hungry on the way
Pray, what will you eat?
I’ll buy bajjis and vadas, hot,
And give myself a treat.

(Vadas, yum. Exactly what I would want to eat if I were going on a journey across the seven seas, to see the Queen of England…)

The many words for different kinds of food, in different Indian languages, is also widespread theme, as we see in a short tidbit from Sampurna Chattarji’s collection, “The Food Finagle: A Culinary Caper”:

Idli lost its fiddli
Dosa lost its crown
Wada lost its violin
And let the whole band down.

(The above was originally written in English, and part of the pleasure here is in hearing the sound of south Indian dishes – Idli, Dosa, Wada – spilling phonetically into English.)

As I hope these examples illustrate the pickings in The Tenth Rasa are quite rich. People who haven’t been exposed to this type of writing before might want to also get ahold of Sukumar Ray’s wonderful Abol-Tabol, for which a quite decent English translation is available.

And Heyman, Satpathy, and Ravishankar have piqued my curiosity about the Indian experiences and writings of the father of English nonsense writing, Edward Lear (Lear spent two years in India, and left an extensive travel journal, as well as a handful of excellent poems, including “The Akond of Swat” and “The Cummerbund”)

For the curious, here is a bit more on the way this volume was put together:

The Title. The title is an allusion to Bharata’s Natya Shastra, which has a famous chart of the nine literary Rasas, or moods (“spirits”): love, anger, the comic/happy, disgust, heroism, compassion, fear, wonder, and peace. The one that was missing was perhaps the rasa of “whimsy” – or nonsense. The Bengali writer Rabindranath Tagore noticed the absence, and suggested that a tenth rasa might be needed (he also published a volume of writing for children, as well as a collection of Bengali folk rhyms called Khapchhada (1937), which has never been translated in its entirety. And Sukumar Ray, the most famous Indian nonsensicalist of all (the Indian Lewis Caroll) took up this charge quite directly, which contained an apologia at the beginning of the Bengali edition: “This book was conceived in the spirit of whimsy. It is not meant for those who do not enjoy that spirit.” In his introduction to The Tenth Rasa, Heyman points out that the Bengali for “spirit of whimsy” is “kheyaal rawsh” – where “rawsh” is the Bangla version of “rasa.” Thus, The Tenth Rasa.

The Sense in Nonsense. Some readers might think we are just talking about “pure” nonsense, but Heyman defines the specific literary genre he is working with quite carefully:

We may begin by classifying literary nonsense texts as those where there is a type of balance between ‘sense’ and ‘non-sense.’ Such balance is necessary if the text is not to become either plane sense, as in a best-selling crime novel, or utter gibberish, as in a baby’s babbling. The former is unremarkable, the latter, unintelligible. Good nonsense engages the reader; it must ‘invite interpretation’, implying that sense can be made, but at the same time it must foil attempts to make sense in many of the traditional ways.



In order to keep the balance, the ‘sense’ side of the scale must weigh heavily: Nonsense thus tends to be written in tight structures, that is, with strict poetic form or within the bounds of formal prose. It also usually follows meticulously many rules of language, like grammar, syntax and phonetics. Nonsense stories are about identifiable characters and the usually simple plots are understandable.

In short, in order to be interesting, nonsense has to be carefully crafted; it usually bowdlerizes the kinds of literary forms with which we're most familiar.

A little bit later, Heyman describes the distinction he makes between nonsense and related genres like riddles, fantasy, and fables:

Jokes, riddles, light verse, fantasy, fables—none of these forms is in itself nonsense. A joke is funny because it makes sense; nonsense is funny because it does not. A riddle is clever because, eventually, it makes sense; nonsense is clever in how it suggestively does not. Light verse, fantasy, fables… nonsense can live in any of these forms and more. Indeed, it thrives on some overarching form that gives it some recognizable shape and meaning—something to make sure the nonsense techniques do not make the text explode into boring gibberish—yet the form itself provides only such (necessary) restraints; it does not equal nonsense. Thus, nonsense is a kind of parasite inhabiting a host form, yet it has a life of its own.

In short, what we’re speaking of is not just any old bakwas, but the most refined rubbish.

Rushdie @ Google

Last week I was in New York for just a few hours, accompanying some family members who had a chore at the Canadian Consulate. My three hour visit to the city happened to coincide with Salman Rushdie's reading at the New York corporate office of Google, on 8th Ave, so I left my family members to fend for themselves for an hour, and hopped on the A/C/E. I'm related to someone who works in the office, so even though I am a bearded English professor, I was able to enter the Googleplex for lunch (at their legendary cafeteria), and see the reading at this unusual venue.

First of all, the turnout was striking, considering that this is an office comprised mainly of software engineers and sales/marketing people working for an internet search/advertising giant. The auditorium within the office was full, with about 200 people -- about what you might expect to see at a college or university with an English department. Quite a number of people had copies of Rushdie's new novel with them. In short, Googlers read.

Second, the reading was being teleconferenced live with three other Google offices, which you could see on a screen projected behind Rushdie's head. (By contrast, when we have readings at Lehigh, we have enough trouble just getting the microphones to work...)

Third, in keeping with Google's "do your thing" office environment, there was a bright red exercise ball just hanging out on the floor of the auditorium, about 10 feet from the podium. It was unclear to me whether it was there as a seating option, or simply as decoration (the bright red goes well with the Google office's bright, "primary colors" palette).

Rushdie himself tailored his comments to his environment quite nicely, reinforcing my impression of Rushdie as a demi-God of public speaking engagements.

First and foremost, Rushdie acknowledged the role that search engines and the internet in general have come to play for him as he researches and writes his books. The new book, The Enchantress of Florence, is a historical novel set in the Early Modern period (the time of Akbar the Great in India). The idea of the book is to link the cultural and historical milieu of Akbar's India to Europe in the Renaissance, using an abducted Indian princess who ends up in Florence.

While earlier, the internet "had a lot of breadth, but not a lot of depth," Rushdie said, now there are major resources available for serious scholars, who earlier might have had to travel to several research libraries to gain access to rare historical documents.

Rushdie did a fair amount of research online for the project, and for the first time, he decided he needed to include a bibliography of web sites along with the extensive bibliography of books he consulted while writing the new novel.

Some of the websites he mentioned are: Persian Literature in Translation (where you can find the Akbar-Nama, Akbar's Regulations, and Muntakhab ut-tawarikh), Gardens of the Mughal Empire, and Richard Von Garbe's Akbar, Emperor of India.

Rushdie also talked a bit about the way in which the growing availability of information about world history in the internet might transform how we think about history. Again he was in some sense talking to the employees at Google: "though you are all people interested in the future," the kind of work being done by companies like Google has a significant potential to transform contemporary understandings of the past.

An audience member asked the question, along the lines of, "what could we at Google do to make your job easier?" and in response Rushdie mentioned his reservations about the digitization of in-copyright literary works that has been part of the Books.Google.com project. He wasn't opposed to digitizing current books in principle, but argued that it has to be done in a way so as to make sure that authors are fairly compensated for their works. (Otherwise, he stated, rather direly, "it could destroy the publishing industry.") In my experience using Books.Google.com, the "snippets" view seems to work quite well to limit access to in-copyright texts, so perhaps Rushdie was being overly alarmist here.

As for the novel itself, Rushdie managed to convey a lot about what he's up to in The Enchantress of Florence without actually reading an excerpt. The anecdotes about "Angelica" in Ariosto's Orlando Furioso, Akbar's sacrificed sister, and the gay culture of Renaissance Florence, all piqued my curiosity, anyway.

At the end of the reading, I dutifully took my copy of The Enchantress of Florence up to the author for signing, and was pleased that, for once, I wouldn't have to spell out my name.

(As for my thoughts about the new book -- wait just a bit. I'm about 60 pages into the novel, and enjoying what I'm reading thus far. The story he published in the New Yorker a few weeks ago, The Shelter of the World, is part of the new book, so if you liked that you might enjoy the new novel as a whole.)

Review: Preeta Samarasan's "Evening is the Whole Day"

The situation for the Indian community in Malaysia has worsened in recent months, as many readers may be aware (see here and here, for starters). There were a series of major protests a few months ago, and as I understand it the situation remains tenuous (though I must admit I haven't been following the political situation there closely).

Most people in the west know little about Malaysia, and indeed, even in India, it’s really by and large Tamil communities that have a strong historical connection to the country (see Wikipedia here); the Indian diaspora in Malaysia is, by and large, a Tamil diaspora. Given the recent tensions and the general interest in different South Asian diasporic experiences, a novel like Preeta Samarasan’s Evening is the Whole Day will likely be of interest to many readers.

*

Evening is the Whole Day is a strong first novel, chewy with language and rich with intricate attention to detail. The book is structured as a series of out-of-sequence chapters, which do provisionally move the story forward even as the novel’s “present” skips back and forth – like that Christopher Nolan movie whose title I can no longer remember.

The story centers around a Tamil family in the Malaysian city of Ipoh, circa 1980, and the real emotional core of Evening is the Whole Day is a contrast between two young women along class lines. Uma Rajasekharan struggles to survive her teenage years in a dysfunctional family (a badgering, snobbish grandmother, a largely absent father with a dark secret, and a resentful, often cruel mother), but finally escapes, relatively unscathed, to attend college in New York. (I’m not giving anything away, incidentally; the first chapter of the novel is set a week after Uma’s departure.) By contrast, the servant girl, Chellam, is forced to bear the weight of the collective madness of her master, mistress, their respective children, and the master’s wayward brother (known memorably in the book as “Ballroom Uncle”). Chellam is in every sense ruined, first by her nuclear family (her father is a drunk), and then by her damaged employers. Meanwhile the children in the Rajasekharan family are able to continue to live their lives without directly confronting the shame and hypocrisy that should be their parents’ legacy.

There are, admittedly, limitations to Evening is the Whole Day. The style and the wordplay may strike some readers as too similar to Arundhati Roy’s style in The God of Small Things, though I personally wasn’t bothered by this. Actually, I think there are merits to building intensity and drama into the sprawling, challenging idiolect Samarasan uses – every sort of word is in here, including a number of Malay and Tamil phrases included without a glossary (most can be understood from context, though a few could not; people who know some Tamil might see things in this novel that I missed.). At the same time, I think there are considerable merits to rather different approaches, like Jhumpa Lahiri’s minimalism. (I recently read Lahiri’s new book, Unaccustomed Earth, and thought some of the stories were magnificent.)

What was more bothersome to me was the somewhat narrow focus on the internal drama of a single, affluent family. After a glorious first two paragraphs at the opening of the novel, my heart sank a little once Samarasan settled on a relatively static locale (the "Big House"). Though Samarasan is hardly inattentive to the divide between rich and poor in her book, I expected to hear more about the plantation-working Tamils of Malaysia, who, as I understand it, make up the majority of the Indian population in the country -– and who are generally far from affluent. Instead, all but two of the main characters are born into wealth (the exceptions being the mother, Vasanthi, and the servant, Chellam).

There is a back-story offered, showing how the Rajasekharan family came to be so prosperous while so many of their expatriate countrymen remained dirt-poor, but the origins of the wealth are to a great extent taken for granted by the younger members of the family. Finally, non-Indian Malaysians (specifically people who are ethnically Chinese and Malay) are also surprisingly few in number –- though perhaps that simply reflects the cultural and linguistic enclosures of Malaysian life. (If so, it’s too bad; it’s tragic to think that whole communities in such a diverse society could have remained nearly completely isolated from one another for so long.)

Perhaps in future novels, if she’s inclined to stay with Malaysia as a location (she’s lived in the U.S., but now lives in France – she might find inspiration elsewhere), Samarasan can take us further into the broader world of Malaysian life.

Having said that, several chapters in the middle of the novel do work though some of the ethnic and political upheavals in Malaysian society, starting in the late 1960s, and these were the chapters I tended to find most gripping.

Here is a dialogue between Appa (Raju Rajasekharan), who was born into wealth, and attended Oxford before returning to Malaysia to practice law, and Amma (Vasanthi), who comes from a lower-middle class Tamil family in the city of Ipoh. Amma doesn’t have much education, or understanding of the fragility of the political environment for Indian Malaysians:

[Appa] “The problem with their racial politics,” he began, “is that—“


[Amma] “Aiyo, all this politics I don’t know lah,” she said. “Whatever they want to do as long as they leave us alone it’s okay isn’t it?”


“Leave us alone? Leave us alone? You call this leaving us alone? Their bloody article 153 and their ketuanan Melayu, yes yes I know you’ll insist you can’t understand a word of Malay, so let me explain it to you, let me tell you what it means: it means Malays are masters of this land, do you understand? Our masters! With that kind of language—“


“Tsk, after all it’s their country, what, so why shouldn’t they be the masters? Just because you cannot sit at home and keep quiet means—“


“But it’s our country just as much as the bloody Malays’! Do you realize some of our families have been here longer than theirs? Ask the Straits Chinese—“


“Tsk, all these grand ideas…”


Grand ideas. The sin of which he’d always stood accused, by Lily and Nlini and Claudine, by others before and after them. The difference was that Amma’s own ideas really did stop there. Her very thoughts trailed off into nothingness, not just her sentences. (99)

It’s interesting for Amma to say, “all this politics I don’t know lah,” given that she’s a character who doesn’t know any Malay. (The Indians from poorer backgrounds are less engaged with the broader Malaysian culture or the Malay language, while the more affluent Indians are acutely aware of the dangers of that isolation.)

Again, though there are a few chapters that engage with politics along these lines, this isn’t truly a political novel. Tunku Abdul Rahman’s and Lee Kuan Yew’s names appear only once each (and you have to be looking). Here is another passage, with Amma and her eldest daughter Uma, traveling by rail on the brink of the ethnic/political riots of 1969:

For now he, a Malay man seated across the aisle and behind Uma and Amma, concentrated on correcting certain misperceptions. “Eh thanggachi!” he called out softly, leaning sideways in his seat, his teeth yellow under the black velvet of his songkok. “Thanggachi!”


Thanggachi meant little sister in Tamil, but Uma, six years old, in stockings and a smocked dress with a sash, knew two things without having to think about them: 1) the Malay man didn’t really speak Tamil; and 2) she wasn’t anyone’s little sister.


“I’m not thanggachi,” she said, and, by way of honest-but-friendly introduction: “I’m Uma Rajasekharan.” Only implied, but keenly felt by all present: And who are you, audacious songkok wearer with yellow teeth?


“Tsk,” said Amma, one hand flicking Uma’s knee, “don’t be rude.” She shut her eyes against the green glare streaming through the curtains and leaned against the headrest.


“Oh oh, so sorry lah thanggachi,” said the Malay man,” but I tell you something, okay?”


[…] “Keretapi Tanah Melayu mean railway lah thanggachi,” the man went on. “Meas Malay Land Railway.” Malay Lands means Malaysia lah, thanggachi, that also you don’t know ah? Looking at me with eyes so big, your own country also you don’t know the name is it? Aiyo-yo thanggachi, your own Na-tio-nal Language also tak tahu ke? No shame ah you, living in Malay Land but cannot speak Malay? Your mummy and daddy also no shame ah, living in Malay Land and never teach their children Malay?” (116)

If you find dialogues like these interesting (they are, I should say again, not fully representative), you’ll probably enjoy Evening is the Whole Day.