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Thursday, 28 April 2016

Cultural Rootlessness and Acculturation in Kamala Markandaya’s Possession

Cultural Rootlessness and Acculturation in Kamala Markandaya’s
Possession
M.Indumathi, Ph.D Scholar, Department of English and Foreign Languages,
Alagappa University, Karaikudi-3.
Dr.P.Madhan, Associate Professor & Head i/c, Department of English and
ForeignLanguages, Alagappa University, Karaikudi-3.

This research paper is a modest attempt to prove how Kamala Markandaya through her novel Possession portrays the vacillating self of a South Indian boy who struggles to accept the foreign culture and returns to his homeland after much distress. It is the story of Valmiki, the great oriental artist whose art stifles in an alien country. Lady Caroline Bell, an aristocratic English woman discovers his talent and takes him to London in order to make him a talented artist. Though he becomes a great artist, the expense which he gives is his own soul. In order to recover his own self and to escape from the cultural entanglements in London he breaks his relationship with Lady Caroline Bell and comes back to India.
The purpose of this object is to introduce the theme of exile, immigration and alienation. Thewords of exile, immigration and alienation arecommon in the twentieth century literary scene. Cultural alienation has become a universal phenomenon. The term ‘alienation’ is directly related to the problem of identity and it is employed mostly in the field of sociology,psychology,philosophy and literary criticism that it challenges all attempts at a precise definition. It brings to light the inherent conflict between the two different value systems of the East andthe West. Kamala Markandaya seems to follow the dictum of Kipling’s famous line of “Eastis East and West is West and never the twain shall meet”. She feels that the cultural gap isso wide that there is almost no meeting point between the two.
Indian- English literature deals with the emotional problems of the modern man it reflects the injuries, alienation, de-culturation, frustration, identity crisis that an uprooted individual undergoes. Almost all major Indian English novelist like Mulk Raj Anand, Raja Rao, ManoharMalgonkar, Bhavani Bhattacharya, NayanTara Sahgel, Anita Desai, Kamala Markandaya and Arun Joshi have diluted this dualism of culture in theirdifferent distinctive ways .Like most writers of the Indian diaspora, Markandaya is preoccupied with the conflict between East and West, or that between tradition and modernity. She also ruminates on the contemporary Indian scene, both rural and urban, and in her fiction she explores its economic, sociocultural, and spiritual aspects.On the basis of this, Kamala Markandaya depicts the character of
Valmiki who is a rustic Indian artist. Here, he has been referred as a symbol of the raw Independent India for the possession of whose soul, Caroline Bell, symbolizing the Western civilization, make an all-out effort. The adaption of the alien culture has been proved very difficult.Kamala Markandaya has succeeded showing the immigrant sensibility in ‘Possession’ through the character Valmiki who positions himself in search of identity when he is estranged in foreign land. Val’s crises is portrayed again this intellectual background. He cries out in dejection and disappointment.Caroline’s aggressiveness and Val’s submissiveness represent the characteristics of their representative races. Caroline fails to understand thereligious and the functional values ofVal’s art and she is unable to understandVal’s identification with India symbolizedby the wildness to which he returns. Valmiki’s Indian temperament makes him miss- fit in Caroline’s, as her sexual partner and both get estranged from each other later on.But Caroline is not ready to leave Valmiki in the hands of either Ellie or Annabel because she desires to him. Kamala Markandaya focuses on the craving ofa woman to dominate over a young man absolutely-culturally, physically, morally, and emotionally, that raises later on the danger of acculturation. The nature of Caroline, by and large, is possessive. All her intellectual power, feminine charm and vigor at last makes her a helpless creature; she becomes really powerless andpossessed by her emotional-self, by an agonistic self for possession and at the end there is nothing but danger of de culturation.
Through “Possession”, Kamala Markandaya highlights the problem of possession. It also throws a fresh light on East-West relationship.
References:
Markandaya, Kamala. Possession. Bombay: Jaico Publishing House. 1994.
Venugopal, C. V. "Possession: A Consideration". Perspectives on Kamala
Markandaya,Ed.Madhusudan Prasad. Indo-English Writers

Series 5.ChRziabad: VimalPrakashan, 1984. [150]-53.

Parenting, Acceptance and Tolerance-- 'difficult' children in Far from the Tree by Andrew Solomon

Parenting, Acceptance and Tolerance-- 'difficult' children in Far from the Tree by Andrew Solomon
K.Nagarajan, Guest Lecturer in English, Sethupathy Govt. Arts College.
A. Kumar, Guest Lecturer in English, Sethupathy Govt. Arts College.

Parenting is no sport for perfectionists. He analyses how parents raising "difficult" children, and ends up as an affirmation of what it is to be human. Solomon’s startling proposition is that diversity is what unites us all. He writes about families coping with deafness, dwarfism, Down syndrome, autism, schizophrenia, multiple severe disabilities, with children who are prodigies, who are conceived in rape, who become criminals, who are transgender. While each of these characteristics is potentially isolating, the experience of difference within families is universal. In Solomon’s telling, these stories are everyone’s stories.
He brings out this book of his desire to forgive his own parents, who, while they effortlessly accepted his dyslexia as he was growing up – his mother campaigned for his rights in the face of educational prejudice – flunked the same test when it came to his sexuality. They didn't throw him out of the house, but neither did they disguise their disappointment. Years later, he got to thinking about how parents deal generally with children whose identities fall outside of their own – what he calls the child's "horizontal" as opposed to "vertical" identity – and the result is a fascinating examination of the accommodation of difference.
Religion, race, language and nationality are the customary verticals passed down from parent to child; horizontal refers to traits in a child that are foreign to the parents, either inherent, like a physical disability, or acquired, like criminality. "Vertical identities are usually respected as identities," writes Solomon. "Horizontal ones are often treated as flaws." Chapters follow on families coping with autism, dwarfism, schizophrenia, Down's syndrome, disability, deafness, child prodigy, transgender issues, criminality and children born of rape, and the first lesson of Solomon's research was the non-transferable sympathies of each group. Participants in the book who had shown extraordinary humanity in their own difficult circumstances bridled at the prospect of being lumped in with what they saw as less deserving special interests.
Deaf people didn't want to be compared to people with schizophrenia; some parents of schizophrenics were creeped out by dwarfs. The prodigies and their families objected to being in a book with the severely disabled. Some children of rape felt that their emotional struggle was trivialized when they were compared to gay activists.
Solomon spoke to some 300 families in the course of researching the book, a rebuke to everything shoddy and dashed off in the culture, and the density of his empirical evidence decimates casual assumption. What unites most of his interviewees is a political sense of injustice in the way they are perceived by the mainstream. "Fixing is the illness model," writes Solomon. "Acceptance is the identity model."
With delicacy, he weighs the rights of various pressure groups to self-definition against the pragmatic limits of their arguments. In almost all cases, he finds, it is a better time to be different than it ever was. In the chapter on deafness, for example, he tells heartbreaking stories of deaf children growing up 30 years ago being denied any language, when their parents prevented them from learning sign, thinking it unduly stigmatising. Now, deaf- and sign-culture is widely accepted as valuable in its own right and deaf pride one of the most successful advocacy movements around.
Autism, the subject of Solomon's most interesting chapter because of the complex nature of the condition, is trickier. He interviews animal behaviour expert Temple Grandin, who is autistic, and has worked hard to explain what the condition is like from within, she argues for "aspie and autistic" pride without denying its drawbacks. "If you got rid of all the autism genetics," she says, "you'd get rid of scientists, musicians, mathematicians and all you'd have left is dried-up bureaucrats." Solomon notes that campaigners for autistic pride suffer somewhat in their advocacy, since they are, by definition, autistic, and lack the charm that campaigns of that nature tend to run on.
It's a timely book; the internet has changed the fortunes of many millennial children who might otherwise have grown up feeling isolated, and, along with their parents, given them communities. "I was determined not to be around folks who saw us as tragic," one exasperated mother of a disabled child told Solomon. "Unfortunately, that included my family, most professionals, and just about everyone else I knew." But online, she had instant access to others in her position.
The most contentious of these advocacy groups are the "neurodiversity" campaigners, also known as Mad Pride, who argue for the rights of those with serious mental illnesses to reduce, and in some cases reject, their medication. Here, Solomon presents page after page of interviews with those tormented by psychosis, most of whom became ill in their 20s, compounding a sense in their parents of having "lost" them. Contrary to other categories in the book, it is hard to see schizophrenia as anything other than a theft of identity, and Solomon quotes E Fuller Torrey, the psychiatrist and researcher into the illness: "Freedom to be insane is an illusory freedom."
Consistent across all categories is the extraordinary tenacity of parents' love for their children. (This is not the same as straightforward acceptance.) There are moments of casual heartbreak. The father of Maisie, a severely mentally disabled child in New York, takes her to Central Park and reflects on the fact that, in his position, no one ever thinks to come over "and suggest that their child could play with your child". If it hadn't been for Maisie, he adds, he would have been one of them.There are reminders that, however hard they try, parents can't always protect their children from bigotry, most starkly in the case of Lateisha Green, a transgender woman from Syracuse, New York, shot dead at a party with the words: "We don't want faggots here."
And there are surprises. It's a virtue of the book that it ranges across the socioeconomic scale, and Solomon finds that those parents with high socioeconomic status "tend towards perfectionism, and have a harder time living with perceived defects" in their children than those struggling at the lower end.
The most fascinating and painful interviews are with those parents who forfeit the good opinion of their peers by not doing what is "expected" of them: a woman from Oxford who, after a terrible period of indecision, gives her mentally and physically disabled child up for adoption; the mother of two severely autistic children, who, when her husband asks, "Would you marry me again?", replies, "Yeah, but not with the kids." She adds, "Do I love my kids? Yes. Will I do everything for them? Yes." But, "I wouldn't do it again. I think anybody who tells you they would is lying."
The most powerful interview of the book is with Tom and Sue Klebold, parents of Dylan, one of the two teenagers who carried out the Columbine massacre, and who killed themselves after the shooting. The Klebolds have been vilified on the assumption that they must, surely, have contributed to their son's mental state but there is, Solomon writes, no evidence for it. Of everyone he interviewed, he felt the greatest connection with them. "It would have been better for the world if Dylan had never been born," says Sue of her son. "But I believe it would not have been better for me."
Solomon is never sentimental and, with a cool eye, he acknowledges that "aggrandising the nobility of woe is a coping strategy". Nonetheless, time and again in the book, a positive outlook is shown to be helpful. "A study that looked at children with various complications at birth found, simply, 'the children of mothers who had tried harder to find meaning had a better development outcome'." The mother of a child lost to gang culture would not give up her idea of him as basically good. "In the end, his mother had believed him into becoming who he had sometimes pretended to be."
All parenting turns on a crucial question: to what extent parents should accept their children for who they are, and to what extent they should help them become their best selves. Drawing on forty thousand pages of interview transcripts with more than three hundred families, Solomon mines the eloquence of ordinary people facing extreme challenges. Whether considering prenatal screening for genetic disorders, cochlear implants for the deaf, or gender reassignment surgery for transgender people, Solomon narrates a universal struggle toward compassion and innumerable triumphs of love. Many families grow closer through caring for a challenging child; most discover supportive communities of others similarly affected; some are inspired to become advocates and activists, celebrating the very conditions they once feared. Woven into their courageous and affirming stories is Solomon’s journey to accepting his own identity, which culminated in his midlife decision, influenced by this research, to become a parent.
Elegantly reported by a spectacularly original thinker, Far from the Tree explores themes of generosity, acceptance, and tolerance—all rooted in the insight that love can transcend every prejudice. This crucial and revelatory book expands our definition of what it is to be human.
Works Cited:

Solomon, Andrew. Far from the Tree: Parents, Children and Search for Identity. Scribner,   Reprint edition (October 1, 2013).

Human rights in literature: A study of David Rubadiri’s poems ‘An African Thunderstorm, and ‘A Negro Labourer in Liverpool’.

Human rights in literature: A study of David Rubadiri’s poems
‘An African Thunderstorm, and ‘A Negro Labourer in Liverpool’.
G. Priya,
Asst. Prof. of English,
Nallamani Yadavi Arts and Science College

James David Rubadiri 1930 is a Malawian poet and playwright and novelist. These poems are talking on the arrival of western power in Africa and their impact to the native settlers. When we read African literature, we should remember that, colonization was at its harshest in Africa. As history stands proof, it was highly exploited and savaged by the ambitious ‘white man’. This experience is on the minds of all thinking poets. Rubadiri is ranked as one of Africa’s most widely anthologized and celebrated poets to take up human rights issues in his poetry collection. His poems show a fruitful combination of African influences and European poetical forms. There is a certain melancholy in his poems, which is a common characteristic of black poets from Africa and other regions of the world; it is maybe the black humor that better describes the poetry of Rubadiri. Poetry and human rights have always been good bed fellows. Many poets around the world have contributed to the discussion of human rights. It is an accepted fact that without being rooted in the culture of land it is difficult to give authenticity to the writing. Rubadiri’s poetry has been praised as being among “the richest of contemporary Africa”. He said that Malawi needed help to build its democratic institutions.

David Rubadiri’s “A negro Labourer in Liverpool” exemplifies the pathetic situation of the average negro. The poet asserts how his individuality is suppressed in a white dominate society. This poem strives to highlight the plight of a negro in Liverpool. The indefinite article ‘a’ points to the lack of specific identity. They are just one among group, one of the communities, who do not necessarily posses any individual identity. A negro labourer in Liverpool presents a vivid picture of the lot of the black negroes. The white masters who brought these negroes, branded and made them do works in coal mines and elsewhere. These negroes who works in the coal mines did not have basic things to lead a meaningful life. The extreme cruelty inflicted on them reduced to the level of animals. When the poet passed a negro labourer walked not as human beings but as ‘shadows amist dark shadows’ (5). The word itself has own meaning without any authenticity or reality of being of its own. The place ‘back street pavement’ (2) where he lived was used to carry on all sorts of illegal activities.  

They neither talked nor walked with an upright gracity. They were simply ‘slouched’ (2).
His face was not normal. It was ‘taut haggard and worn’ (4). Treated as a slave for a long year they had forgotten to up a straight head. Their bowed head tells the people of the world that they do not enjoy even the freedom to hold their head high.

A heart heavy
With the load a century’s oppression,
Glouriosly sought for an identity (18-20)

David Rubadiri hints at the indifference of society as a whole to the plight of the labourer as he states that when he passing them. He slouches on dark backstreet pavements. His ‘marginalization’ is evident in his position ‘slouching’ (2). Further, it is also emphasized in his being side-stepped on the pavements. Again the pavement is qualified by the phrase ‘dark backstreet’ (2). The head is ‘bowed’ (3) when it would have preferred to be straight. He is overcome with fatigue and totally exhausted. He is a dark shadow amongst other shadows. He has no unique identity, his life is not colourful.
The poet asserts that he has lifted his face to his, as in acknowledgement. Their eyes met but on his dark Negro face. The poet probably refers to the reflection of the speaker’s eyes in the eyes of the labourer. The eyes are foregrounded on his dark face. There is no sunny smile as he wears a forlorn expression. The sun is an important and recurrent motif in African poetry. A wise man once said that a man is poor if he does not have a penny; he is poor if he does not possess a dream. The labourer here neither has hope nor longing. Only the mechanical ‘cowed dart of eyes’(11) that is more mechanized than the impassive activity of the people. People in their ‘impassive’ fast-forward life fail to notice the labourer. He painfully searches for a face to comprehend his predicament, acknowledge his suffering. It expresses his utter solitude and utter desperation.
David Rubadiri once confronted a negro laborer from Liverpool, the negro labourer wore a dark negro face.  The only thing he seeks for a warm smile, or a nod of understanding translating into the acknowledgement of his suffering. The negroes back is has been bent by oppression, colonialism and collective submission to a force that has been deemed indestructible his work resigned to his fate with lack of feeling and spiritual numbness. His only fulfillment lies in sweat of his labour. Smile which comes naturally to human being did not come to him. The semblance of smile he put up was listless. There was no expression of hope for the future in his face.
The negro labourer cart his eyes in a quick fashion. His looks are full of fears caused by the cruel treatment of the masters. The fears of whip haunt his looks. He pierced into impassive crowds. The crowd did not respond. His heart was burdened with sufferings and unbearable pain. Poet expresses inner most feelings of negroe slavery in the hands of white masters. Through the lines ‘a heart heavy/ with the load of a century’s oppression’ (18) we can understand the situation of the negroes who wants come out from the hardest work. The lines which proves the ‘for they too groping for a light’(24) searching for the new things to happen in their life. The speaker put forward the question to the readers:

will that sun
That greeted him from his mother’s womb
Ever shine again?
Not here-
                        Here his hope is the shovel
                        And his fulfilment resignation (25-30).
He awaits a new dawn, as fresh as that promised as he arose from his mother’s womb. He longs for the rays of hope of a sun that will never set for him. Presently his hope is his shovel-his hard work, and he discovers content in its fulfillment.
Bottom of Form
Top of Form
Bottom of Form
Top of Form
Bottom of Form
Top of Form
Bottom of Form
In his creations, that melancholy is accompanied with irony and sarcasm that painfully touch the vital experience of his race. However, this classic of African poetry, from whom we will not forget his quality as a very recognized poet in the world, he gathers some elements that make his poetry one of the richest of contemporary Africa.

                        From the west
                        Clouds hurrying with the wind
                        Turning sharply
                        Here and there
                        Like a plague of locusts (1-5)

The poem “An African Thunderstorm” describes a typical African thunderstorm, with all its intensity. In African society, rain is a blessing; everything loves the approach of rain, not just children. It is good for the crops and animals, as it increases the harvest. However, when we read this poem, we did not get the feeling that the author is happy; he concentrates on telling us about the damage that the rain and wind do. For example a plague of locusts is never a good thing, at least for the crops. It calls attention because the poet uses this simile while referring to the wind that brings rain, a good thing.

                        The wind whistles by
                        Whilst trees bend to let it pass.
                        Clothes wave like tattered flags
                        Flying off (22-25)

It is possible to interpret the poem as the effect of colonial domination on the native land. The time that the poet has lived- his country got independent in the early 1960’s can be convincing. At least he was familiar with that part of the history of his country. It also alludes to domination by such words as “trees bent to let the wind pass” (15) clouds ride stately on the back of the wind. The tattered flags have a nationalistic connotation. The interpretation provided could be making a mountain out of a mole-hill but also, there can be more than meets the eye. That the why it is important to know as much as possible about the historical context in which the poet lived. Amidst the smell of fired smoke /And the pelting march of the storm. (32-34).
David rubadiri’s poem is an eloquent poetic testimony to not only the multiple human rights challenges such as race, respect, national identity, unequal access to assistance and the like. Humans have a right to their history and their places; harrased them is a violation of such right. The negro labourer is a representative of the class of negro slaves. Who were put to unjust sufferings by their white masters.


References:
            David Rubadiri “An African Thunderstorm”
            David Rubadiri’s “A Negro Labourer in Liver pool”
            www.poem hunters.com
            www.rukhaya.com
            www.us-african literature foundation.com

            www.litrature warms blogspot

Is There a Place for Me? – Remorse of Gay in E.M.Forster’s Maurice

Is There a Place for Me? – Remorse of Gay in E.M.Forster’s Maurice

Dr.S.Ravikumar
Assistant Professor
Sree Sevugan Annamalai College
Devakottai.

            From the dawn of the world, the people worship the land, water, air, space and fire and the natural resources. Besides, they respect the living species of the Earth also. But for the case of Gay or Lespion, do you believe that they are fairly treated by the people? Indeed, we don’t have a positive answer. The people refused to accept them as a human being and treated them as an alien. Due to the neurological problems, they like the male or female vice versa. It couldn’t be understood by the society. The society doesn’t acknowledge the feelings and emotions of the LGBT. Hence, they have forced to have a relationship with their own gender people and become Gay or Lespion.
            On seeing the LGBT on the streets, the people see them as prostitute and cursed them that they break the shackles of their golden traditional values. It is beautifully explained in Maurice by E.M.Forster. He also hesitated to publish this novel, even though he had written it before World War I. he thinks that if he publish it, the society won’t recognize him. And so, he waits for the right time and makes some necessary changes in this novel to convince the society. In order to create this novel optimistically, he has added some flovour to strengthen his views on the treatment of homosexuals. But, it does lost its originality and remains unchanged. It becomes a snap shot of homosexual love. It can be seen from his words:
A happy ending was imperative. I shouldn’t have bothered to write otherwise. I was determined that in fiction anyway two men should fall in love and remain in it for the ever and ever that fiction allows, and in this sense Maurice and Alec still roam in the greenwood. […] happiness is its keynote – which by the way had had unexpected result: it has made the book more difficult to publish ( E.M.Forster, Terminal note of Maurice 236).
            With reference to the abovementioned verbatim, the researcher could see that there is room for homosexuality in England during his life time. It forces him to withhold this novel. In addition, it has the contents: to envision a world, fictional and realistic, in which two men could “fall in love and remain in it” was beyond the scope of the modern writers. Generally, most of the eminent philosophies and theories were ridiculed by the rulers as well as the people in the beginning. But, later they understood the reality of those words. Likewise, this novel was also waiting for the delivery for six decades.
            In Maurice, Forster breaks the traditional customs of man marrying woman. He creates an eponymous character Maurice Christopher who married another man Alec. Earlier he had a romantic relationship with Clive Derham, his Cambridge colleague, when he was studying. But, his dream of love becomes dreams only and it has made him frustrated. Because, Clive married a women by obeying the chain of social beliefs. It has been expressed by Maurice remorsefully:
I was yours once till death if you’d cared to keep me, but I’m someone else’s now – I can’t hang about whining for ever – and he’s mine in a way that shocks you, but why don’t you stop being shocked, and attend your own happiness? (230)
             
In his early days, Maurice is not interested in having heterosexual and feels discomfort. He thinks that even birds and bees also do not have this kind of physical contact. Then, its being a human being, why do we violate the nature? It nurtures his mind. Eventually his inner urge doesn’t allow him to prevent him from heterosexual and has an illegitimate relationship with Mr.Ducie, when he is fourteen years old. His ambivalent state of mind is revealed through the mouthpiece of Mr.Ducie:
He was attentive, as was natural when he was the only one in the class, and he knew that the subject was serious and related to his own body. But he could not himself relate it; it fell to pieces as soon as Mr.Ducie put it together, like an impossible sum (emphasis mine 7).
It shows his inadaptability with the mechanism of heterosexual involvement. It is because of linking of not only organic but also the genetic roots. In Maurice, the hypnotist, the act putting people into a state that resembles sleep but in which you can hear and respond to questions or suggestions, tries to recover Maurice to recover from his dilemma and find that he is affected by the ‘Congenital homosexuality’ (167). It helps the people to arrive at wrong conclusion about Maurice. After knowing that it is incurable so-called disease, Lasker Jones, the hypnotist, made a conversation about the state of England in regard to homosexuals.
“And what’s to happen to me? Said Maurice, with a sudden drop in his voice. He spoke in despair, but Mr. Laskar had an answer to every question. I’m afraid I can only advise you to live in some country that has adopted the Code Napoleon,” he said.
“I don’t understand.”
“France or Italy, for instance. There homosexuality is no longer criminal.”
“You mean that a Frenchman could share with a friend and yet not to go to prison?”
“Share? Do you mean unite? If both are of age and avoid public indecency, certainly.”
“Will law ever be that in England?”
‘I doubt it. England has always been disinclined to accept human nature.”
Maurice understood. He was an Englishman himself, and only his troubles had kept him awake. He smiled sadly. “It comes to this then: there always have been people like me and always will be, and generally they have been persecuted.”
“That is so, Mr.Hall; or, as psychiatry prefers to put it, there has been, is, and always will be every conceivable type of person. And you must remember that your type was once put to death in England.” Forster 196).
            Though Maurice is a pathological novel about the homosexuals, it becomes a wedge between the two predominant directions: Culture and Nature. It is not a problem of homosexual to have a mutual relationship with the society; on the hand, it is a problem of society to have a cordial relationship with the homosexual.
            During the period of Forster, most of the novels end with the tragic flaw. So, he wants to be a different pole and ends this novel with happy ending. Because, he wants the homosexual to be happy at least in his novel. It is expressed: “If it ended unhappily, with a lad dangling from a noose or with a suicide pact, all would be well, for there is no pornography or seduction of minors” (236).
            Forster suggests, in due course, that perhaps the shears need to unravel the knot of (hetero) normativity are not found through death, solitude, and pain, but rather, through life, union, and happiness. Maurice, rather than basking in solitude, finds strength through Alec, and assures him that they “shan’t be parted no more, and that’s finished” (225). Hence the researcher concludes that E.M.Forster leaves a page for homosexuals in Maurice, a novelty novel, whereas the society declined a place for them.
Work Cited:
Forster. E.M. Maurice. Toronto: Macmillian of Canada,1971.


RIGHTS OF AN INDIVIDUAL AS PORTRAYED IN SASHI DESHPANDE’S THE DARK HOLDS NO TERROR

RIGHTS OF AN INDIVIDUAL AS PORTRAYED IN
SASHI DESHPANDE’S THE DARK HOLDS NO TERROR
Dr. P. Saraswathi,M.A.,M.Phil., B.Ed., Ph.D.,
Associate Professor and Head
Department of English,
J.K.K.Nataraja College of Arts and Science
Individuals possessing different integral personalities and will power are united in marriage. They are expected to form a single entity but it is important that each person should retain his /her own identity. By fulfilling his/her role, he/she contributes to the happiness of a home. In India, the object of this sacramental contract is to realize the love of Supreme Being through the secular experience of love.
Sashi Deshpande’s novel The Dark Holds No Terror documents a process of emancipation by ordeal. In Deshpande’s novel, the heroine-Saritha (Saru) a doctor marries a person of her choice and settles in Bombay. The love showered by Manu makes her experience bliss. As she ascends the stairs of life, her fame and income makes him feel inferior to her. Spurred by the question of an interviewer, he asserts his supremacy by assaulting her physically during nights. Her life becomes miserable and she lives a dual life - a life of hope, activities and aspirations in the day time and that of a trapped, frightened animal in the night. Unable to bear this painful agony, she regrets her decision for having married him against the wish of her parents. “The fisherman’s daughter was wiser; she sent the king to her father and it was the father who bargained with him.” (66)
The awareness of her position, in a male dominated, tradition bound India pains her and the anguish is revealed when she addresses the students as follows:
A wife must always be a few feet behind her husband. If he’s an M.A you should be a B.A. If he’s 5’4’ tall you shouldn’t be more than 5’3’ tall. If he’s earning five hundred rupees, you should never earn more than four hundred and ninety nine rupees. That’s the only rule to follow if you want a happy marriage… No partnership can ever be equal. It will always be unequal, but take care it is unequal in the favor of the husband. If the scales tilt in your favor, God help you, both of you (137)
The painful experiences in her life make her realize that her life with Manu is meaningless and hence she decides to leave her house. Disillusionment in her life makes her analyze her marital relationship and she recalls:
“…but now I know it was there it began this terrible thing that has destroyed our marriage…And so the esteem with which I was surrounded made me inches taller. But perhaps, the same thing that made me Inches taller made him inches shorter. He had been young man and I his bride. Now I was the lady doctor and he was my husband.” (42)
Under the pretext of her mother’s death, she returns to her parent’s home. The bitter fact that her home was not a home for her pains her miserably. ”It [Manu’s home] was not home; nor was this [father’s home] home. How odd to live for so long and discover that you have no home at all” (192).
She is also aware of the fact that “It was not to comfort her father that she had come. It was for herself” (43). Her search for home is indirectly a search for peace, which has to be found within oneself and not from outside. No external force can induce peace in one’s mind. Her stay at her home provides an opportunity to take a walk down her memory lane and assess her own self. Many times while staying in her father’s home, she muses: “what if I carry my own hell within me”? This doubt in the mind of Saru makes us recollect the wise words of Milton: “the mind is in its own place and in itself can make a hell of heaven or heaven of hell”.
The realization that she has been her own enemy makes her overcome the timidity in her. She has left her home, searching for an identity and she realizes that her identity lies in her role as a doctor serving humanity, as a wife, and as a mother. She decides not to endure any more humiliation because of Manu’s failure and her success. She decides to assert herself and fight her own battle. She realizes that her life is her own which she will have to shape as well as face the events of her life. The stay at her parents home has made her realize that she can “lift ourselves out of ignorance; we can find ourselves as creatures of excellence, intelligence and skill” (Richard Bach 27). She has understood that she has every right to live her life as she prefers.
She has understood that through her identity as a doctor she can render noble service to humanity and that she can find refuge in her own self. With this decision, she confronts her husband and goes back to Bombay. Her professional success has strengthened herself and through this self assessment she acquires her identity
Her love for her children and dedication for her profession, added to her self realization, enables her return. As she says: “If we can’t believe in ourselves, we’re sunk” (220).. She becomes aware of the fact that we have to live “in our mind and existence is an attempt to bring that life into physical reality- to state it in gesture and form” (Ayn Rand.518).
Saru learns a valuable lesson in the end that loneliness could be destroyed by love and human interdependence, which can be described as
the Enhancement of human life, a certain divine rage and enthusiasm… [which] unites him [an individual] to his race, pledges him to the domestic and civic relations, carries him with new sympathy into nature, enhances the power of the senses, opens the imagination… (161)
Could Saru abandon her children and husband thus? For this question that rises in our mind, the author has provided answers. Saru has a faithful nurse. Yet, at times, she recalls that her son refuses to go to bed unless she covers him with his blanket and her daughter too will not go to School, if her mother does not stand at the door and say ‘Bye’.
The readers are forced to agree with her decision and feel that “one school is finished and the time has come for another to begin.” (Richard Bach, 38)
Saru’s decision to return home may be considered as the impact of her culture- the typical Indian motherly attitude to sacrifice herself for the success of her children. Saru’s exit paves way for her entry.
The Dark Holds No Terror conveys many valuable lessons. Definitely, the dark holds no terror. It is the negative energy of the creative mind that induces imaginary shapes in the dark and thereby induces fear in us. It is in our hands to control, restrict, subdue and conquer fear. Deshpande’s message is clear-‘Never give up your position in your life’. The story advocates another valuable message.” No one can stop you from doing what you really want to do.”(152)
Theme of loneliness too finds its place in this novel. The words of Saru’s mother “We are alone and we have to be alone” (176), makes us recall the words of Paul Elmer More:Your life shall indeed be solitary until death, the great solitude, absorbs it at last. …this is, the burden and the penalty laid upon us, by the external decrees for the sin we have done, and the sins of our fathers before us. (123)
We are also reminded of Thomas Wolfe’s views that “Loneliness is the central and inevitable fact of human existence” (155). Through love and service to humanity, she has derived a new meaning in her life. Saru has understood the predicament of her life. She can neither be considered as the representative of liberated modern woman nor as an orthodox one. The sudden awakening in her may be considered as the result of her education and that of her professional success. Though it is unconvincing, yet we, the readers are well aware of the fact that the bitterest hours of life are the most uplifting because the painful agonizing distorted moments teach valuable lessons in life.
WORKS CITED
PRIMARY SOURCES:
Desphande, Shashi, The Dark Holds No Terrors. New Delhi: Penguin books, 1990.                  (Further references to the play are from this edition and will be included                                     parenthetically within the parenthesis)
SECONDARY SOURCES:
Bach, Richard. Jonathan Livingston Seagull. London: Pan Books Ltd., 1973.
Emerson, Ralph Waldo. “Love”. The Complete Works of Ralph Waldo Emerson
Essays. (First Series). Ed. Sully and Kleinteich. New York: N.P.: 1883.
Literary Criticism: A Reader. Ed. David Lodge. London: Longman Group Ltd.,  1972.
More, Paul Elmer. “The Solitude of Nathaniel Hawthorne”. An Anthology of          American Literature.1890—1965. New Delhi: Eur Asia Publishing House, 1967.
Rand, Ayn. The Fountain Head. (New York: The Bobbs Merrille Co., 1971




Violation of Human Rights as Visible in Mahasweta Devi’s Draupadi

Violation of Human Rights as Visible in Mahasweta Devi’s Draupadi
              Dr Meera Rao I K
HOD & Associate Professor
Dept. of English
Govt. Women’s College
Vijayanagar,
Mysore, Karnataka.
Mahasweta Devi is not only a Bengali writer of repute but also a Human Rights Activist. She, no doubt, owes her decision to write and pursue social work to her parents from whom she has inherited these qualities. She was born on 14 January, 1926 in Dhaka, British India, in an affluent family to literary parents. While her father was a well-known poet and novelist, her mother too, was a writer and a social worker. Mahasweta Devi has spent her entire life spearheading the cause of the marginalized, the dispossessed, the voiceless, the suppressed and the exploited. Her pen has always been a tool for expressing the stark realities faced by the downtrodden dalits, the helpless tribals and the vulnerable women in an inhuman world. Her focus is on the struggle of the tribal communities of West Bengal, Bihar, Madhya Pradesh and Chhattisgarh. In recent years, Mahasweta Devi has been deeply involved in the study of the ‘life history of rural tribal people’ in West Bengal. She has shown a lot of interest in issues pertaining to women, the dalits and the tribals and upheld their cause. These issues have always been the thematic consideration of her writings throughout her literary career. Her fiction speaks of the atrocities on women, the tribal people and the dalits by the moneylenders, the potent upper caste landlords and the inhuman government authorities. This is what Mahasweta Devi states, regarding the source of inspiration for her writings:
I have always believed that the real history is made by ordinary people. I constantly come across the reappearance, in various forms, of folklore, ballads, myths and legends, carried by ordinary people across generations. ... The reason and inspiration for my writing are those people who are exploited and used, and yet do not accept defeat. For me, the endless source of ingredients for writing is in these amazingly noble, suffering human beings. Why should I look for my raw material elsewhere, once I have started knowing them? Sometimes it seems to me that my writing is really their doing.
Mahasweta Devi writes in Bengali and most of her writings have been translated into various Indian and foreign languages and this, no doubt, has brought her universal recognition. Her prolific literary career began with her first book, Jhansir Rani (The Queen of Jhansi) published in 1956. The coming years saw the soaring of her literary career to unimaginable heights. She has published twenty collections of short stories and close to a hundred novels, primarily in her native language of Bengali.  
Most of her works have been translated to English by
Gayatri Chakravorty Spivak who is considered as ‘the doyenne of postcolonial analysis’. Some of her well-known works are: Agnigarbha (Womb of Fire, 1978); Breast Stories (1997) translated by Gayatri Chakraborty Spivak; Bitter Soil (1998) translated by Ipshita Chanda; Breast-Giver (1987) translated by Gayatri Chakravorty Spivak; Draupadi  (1987) translated by Gayatri Chakravorty Spivak; Of Women, Outcasts, Peasants, and Rebels (1990)translated by Kalpana Bardhan; Imaginary Maps: Three Stories (1993) translated by Gayatri Chakraborty Spivak; Our Non-Veg Cow and Other Stories (1998) translated by Paramita Banerjee; Mother of 1084 (1997) translated by Shamik Bandyopadhyay; The Wet Nurse (1990): In Truth Tales-Contemporary Stories by Women Writers of India.
This paper intends to briefly examine the violation of Human Rights as visible in Mahasweta Devi’s short story Draupadi, which is one of the three stories from the collection Agnigarbha. It is considered one of Mahasweta Devi’s most famous short stories and centres round the life of a rebel woman Draupadi. As the dalit tongues cannot pronounce the name Draupadi it becomes the tribal version Dopdi. It is based on the retaliation by the West Bengal State Government on the Naxalite activities of 1967-72 wherein the Police and the military forces used brutal and inhuman force, including kidnap, murder and rape to quell the Naxalite uprising. The central character Dopdi Mejhen is a twenty seven year old Santhal tribal woman who upholds the cause of the tribals. She is not only proud of her ‘pure unadulterated black blood of Champabhumi’ but also her forefathers who ‘stood guard over their women’s blood in black armour’ (Holmstrom, 100). She is targeted by the Government because she is considered a naxalite informer and part of a revolutionary guerrilla maoist group. Hence, she is on the hit-list of the police who think that her arrest would lead them to the others.
Dopdi, a lower caste woman was named after the mythic Draupadi of the Mahabharata by her upper caste mistress whose husband Surja Sahu, a landowner and money-lender is killed for having refused to share water with the Dalits. Hence, Dopdi and her husband Dulna are considered the prime suspects in the murder.  Both Dopdi and Dulna go into hiding after the incident but Dulna is shot dead when he is drinking water from the falls by the soldiers. On the instruction of Senanayak, the elderly Bengali specialist in combat and extreme-Left politics, Dulna’s corpse is kept as a bait to trap anyone who comes to take it away. However, no one turns up to the disappointment of the soldiers who are in hiding and Senanayak. The search for Dopdi continues as she becomes the trustworthy courier and the savior of her group. She ‘loved Dulna more than her blood’. Hence, after his death, she takes on herself the responsibility of saving the fugitives. She sees at the Panchayat Office, with her own eyes, that there is a reward of two hundred rupees for her head. If caught, she knows that she would be tortured. She tells Mushai’s wife that when the police counter, “. . . your hands are tied behind you. All your bones are crushed, your sex is a terrible wound. . .” (Holmstrom, 98). Senanayak befriends the tribals and betrayed by her own lot Dopdi, who is on the run, is successfully apprehended by Senanayak at 6.53 p.m. In an hour she is brought to the camp and questioned. Before leaving for dinner, Senanayak states to the soldiers, ‘Make her. Do the needful’’ (Holmstrom, 102).
Dopdi is sexually assaulted and gang-raped the whole night by the soldiers who think that they are teaching her a lesson. The next morning Dopdi is ‘thrown on the straw. Her piece of cloth is thrown over her body’ (Holmstrom, 103). When she is asked to go to Senanayak’s tent she ‘tears her piece of cloth with her teeth’. The commotion brings Senanayak out of his tent and he is shocked to see Draupadi, ‘naked, walking towards him in the bright sunlight with her head held high’ (Holmstrom, 103). While the guards become nervous, a shocked Senanayak is about to cry, ‘What is this?’ However, he stops when he finds Draupadi standing naked before him with her ‘thigh and pubic hair matted with dry blood. Two breasts, two wounds’ (Holmstrom, 104).
Rape is always seen as an act of dishonor, loss of chastity, loss of respectability and humiliation for a woman. However, Dopdi confronts her abusers boldly instead of cowering before her tormentors. She redefines the definition of rape with her ‘nakedness’ by making use of her body as a weapon to thwart and mock her rapists. While she walks with her head held high, Senanayak who had asked his soldiers to ‘make’ Dopdi and the guards become nervous and shocked. Infact, the menfolk are made to hang their heads in shame. She challenges the ‘masculinity of her rapists’ when she ‘spits a bloody gob at Senanayak and says, There isn’t a man here that I should be ashamed. I will not let you put my cloth on me. What more can you do? Come on, counter me – come on, counter me - ?’ (Holmstrom, 104). She then ‘pushes Senanayak with her two mangled breasts and for the first time Senanayak is afraid to stand before an unarmed target, terribly afraid’ (Holmstrom, 104).
The cold-blooded murder of Dulna, while he is drinking water, is certainly, a violation of human rights and as for the gang rape on Dopdi, a helpless tribal woman by the soldiers, no right-thinking man in a civilized society would approve of the barbaric and monstrous act. The hounding of the tribals by the government in the name of Operation Bakuli and Operation Jharkhani Forest and the police atrocities on the innocent tribals are questionable. Thus, Mahasweta Devi dons the role of a Human Rights Activist and asks: Why after confrontations are the skeletons discovered with arms broken or severed? Could armless men have fought? Why do the collar-bones shake, why are legs and ribs crushed? (Holmstrom, 96). These questions stand as a testimony to the violation of Human Rights on the part of the government, the Police force and the Army.
The deftness and the mastery with which Mahasweta Devi handles the situation both as a writer and a Human Rights activitist is seen at the end of the story. She addresses the injustice meted out to Dopdi and restores the reader’s faith in the machinery of justice by projecting Dopdi as an ideal representative of womanhood and not as weak and helpless as the mythic Draupadi of the Mahabharata. While the mythic Draupadi turns to Lord Krishna for help, Dopdi handles the situation on her own. The subaltern defies Senanayak himself, laughs at him and says, The object of your search, Dopdi Mejhen. You asked them to make me up, don’t you want to see how they made me? . . . What’s the use of clothes? You can strip me, but can you clothe me again? Are you a man? (Holmstrom, 104).
In conclusion it can be contended that throughout history, literature has always upheld the dignity, the self-esteem, the self-respect and the pride of the downtrodden. In fact, literature has always represented the ‘voice of the voiceless’. In that sense, Mahasweta Devi has provided justice to her powerful character Dopdi by making Senanayak and his men hang their heads in shame. A feeling of helplessness, nervousness and fear is seen in Senanayak when Dopdi refuses to put on her clothes. His ‘unarmed target’ proves to be a ‘deadly missile’ which Senanayak himself cannot confront. The reader’s empathy too, would go a long way in making Dopdi a heroic character.  While Human Rights is embedded in rules and regulations, literature crosses all boundaries—caste, sex, religion, race, etc. and provides justice to the downtrodden and in that sense, Mahasweta Devi has proved herself to be a spokesperson of the subaltern, the marginalized and the downtrodden. It can be stated that among the short stories of Mahasweta Devi Draupadi is not only the most thought-provoking but also a disturbing one. The short story throws light on the fact that the government tries everything within its means—force, kidnapping, murder, rape and custodial death to quell the naxalite movement which at times ends in atrocities and victimization or the death of the innocent. This, inturn, results in the violation of the rights of human beings who deserve to live and lead life with dignity. The fugitives are never given a fair hearing as in the case of Dulna and Dopdi and the police atrocities are never questioned because the subaltern is voiceless. Mahasweta Devi has disproved this aspect and made her protagonist the voice of the ‘wronged’ women. Through the voice of the powerful character Dopdi’s Mahasweta Devi has shown the means of obtaining social justice which is the birthright of all human beings.
References
Holmstrom, Lakshmi. Ed. The Inner Courtyard: Stories by Indian Woman. New Delhi: Rupa & Co., 2007. Print.
            Hameed. Syeda. S. Sexual Abuse in Revenge: Women as Targets of communal Hatred. The       Violence of Normal Times: Essays on Women’s Lived Reality. Ed. Kalpana kannabiran.           New Delhi: Women Unlimited, 2005. Print.
Rani, T.Jyothi and K.Katyayini. Violence on women in the Context of Indian Political     Economy – A study of Mahasweta Devi’s Sri Ganesh Mahima and Draupadi. Kakatiya   Journal of English Studies.Vol. 18, 1998. 123-132. Print.
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