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Akkarmashi - Sharan Kumar Limbale




Easy Read:


Writing is a form of therapy: sometimes I wonder how all those who do not write, compose, or paint can manage to escape the madness, the melancholia, the panic fear which is inherent in the human situation. (Graham Greene 9) Sharan Kumar Limbale is an illustrious Dalit writer in India who has authored extensively up to forty books including his autobiography Akkarmashi (The Outcaste) and is currently Professor and Regional Director of Yashavantrao Chavan Maharashtra Open University and his creative interest rests on the Dalit struggle and identity. Dalit Literature is a new literary canon with an evident disregard for form, content and style, and a vibrant expression of the newly awakened sensibilities which distinguishes it from the mainstream literary traditions. It is a Literature of protest against all forms of exploitation based on class, race, caste or occupation. It rejects both the Western and Eastern theoretical conceptions like Freud’s Psychoanalysis, Barthe’s Structuralism and Derrida’s Deconstruction together with the Indian theories of Rasa and Dhawni. The very foundations of Indian Mythology are questioned and de-constructed by the Dalit writers. They consider the legendary figure Ekalavya as their forefather and Shambooka - another Dalit in Ramayana who was killed by Rama at the behest of Vasishta, is worshipped by the Dalits. These writers express their experiences in stark realistic manner by using their native speech. Their language as well as images comes from their experiences instead of their observation of life. Dr. C.B. Bharti claims: The aim of Dalit Literature is to protest against the established system which is based on injustice and to expose the evil and hypocrisy of the higher castes. There is an urgent need to create a separate aesthetics for Dalit literature, an aesthetics based on the real experiences of life. (The Aesthetics of Dalit Literature) This unique branch of aesthetics is most expressive in autobiographies as the experiences they portray are peculiar only to the communities in which they are born into. Autobiographies are generally written by eminent personalities towards the end of their lives and who have got much to evidence before the world, while Dalit autobiographies are penned at an early age when the author is neither distinguished nor eminent but noted for its depiction of a poignant past that has affected the history of a community. These autobiographies deal not only with the caste system as oppressive but also depict how economic deprivation and poverty are handmaids with caste discrimination. Sharan Kumar Limbale’s Akkarmashi penned at an age of twenty five depicts the meta-realistic accounts of his life as a Dalit in particular and which can be extended to the life of any individual of Mahar community in general. In the text, the narrator moves back and forth between the individual ‘I’ and the collective ‘We’. The experiences of exclusions and ostracizations of both the self and the community are the creative and critical sources used to “create testimonies of caste-based oppression, anti-caste struggles and resistance” (Rege 14) offering a distinct world view. Limbale in an interview notes: The span of my autobiography is my childhood. . . I want write about my pain and pangs. I want write about the suffering of my community. So I cannot give importance to my personal life. I am writing for social cause. . . . My autobiography is a statement of my war against injustice. (The Criterion) This paper centres on the depictions of the “self”; the split identification; untouchability; poverty; education and language as evidenced in Akkarmashi and would argue that Limbale’s suffering is intensified on the account of he being an akkarmashi or illegitimate. To be a Dalit in a caste-ridden society is a curse and to be an illegitimate within the Dalit community is to be doubly cursed. Dalits are “outcasts” to the society but a “half-cast” of an “outcast” is much less than being a human. It is the record of “the woes of the son of a whore” (ix). The paper also makes an attempt to understand the vision and voice of the Dalits as the texts speak for the “outcasts” and are therefore rendered from voiceless and passive objects of history to self-conscious subjects who procreate alternative modes of knowledge and knowing. Limbale projects before the readers an objective and disinterested account of his life from birth to adulthood, carefully creating the image of his community in conflict with the contemporary social and cultural conditions. The narrator’s self reflects his life in particular and the life of the community in general. Toni Morrison observes: Autobiographical form is classic in Black American or Afro-American Literature because it provided an instance in which a writer could be representative, could say, ‘my single solitary and individual life is like the lives of the tribe; it differs in these specific ways, but it is a balanced life because it is both solitary and representative’. (327) A Dalit has no personal life of his own but is dissolved in the engulfing whirlpool of his community. Akkarmashi works as the mouthpiece of the community, it depicts their togetherness in triumphs and tribulations as “the self belongs to the people and people find a voice in the self” (Butterfield 3). As a Dalit Intellectual, the narrator experiences split identification at various levels – as an illegitimate; as a Mahar and even as an educated Dalit who has advanced in social order than his community but at the same time forbidden to step up the established social order by the caste Hindus. Limbale talks about his birth: My first breath must have threatened the morality of the world. With my first cry, milk must have splashed from the breasts of every Kunti. Why did my mother say yes to the rape which brought me into the world? Why did she put up with the fruit of this illegitimate intercourse for nine months and nine days and allow me to grow in the foetus? Why did she allow this bitter embryo to grow? How many eyes must have humiliated her because they considered her a whore? Did anyone distribute sweets to celebrate my birth? Did anyone admire me affectionately? Did anyone celebrate my naming ceremony? Which family would claim me as its descendants? Whose son am I, really? (36-7) In another account, Limbale relates how he owns his name to a sympathetic teacher: The teacher decided to enroll my name in the register after I attended school regularly for four to five days. When he was convinced that I was serious about my schooling he asked me my father’s name. I did not know my father’s name. Strange that I too could have a father! . . . . The teacher Bhosale by name would sarcastically call me the Patil of Baslegaon. I felt good as well as bad to be called Patil. The name of Hanmanta Limbale, the Patil of Baslegaon, was added to my name in the school record. When Hanmanta came to know this he arrived with four or five rowdies. . . . But Bhosale, the headmaster, was an upright man. . . Hanmanta tried all his tricks desperately. He even pleaded. Finally he had to go away unsuccessful. I owe my father’s name to Bhosale, the headmaster. (45) Born of a high caste father – a Patil and an untouchable mother – a Mahar, Limbale became an “akkarmashi”, as his parentage was unacknowledged through the legitimacy of marriage. This curse of being “fatherless” followed Limbale all throughout his life. It became the most heinous of obstructions, a hopeless situation – being tortured for being an akkarmashi within his family and extended to the most decisive moments in his life as seeking an admission in school or college and the prospect of getting married. More than the general shocking life of Dalits, where one suffers in groups, what affects Limbale is his isolated stigma of being an akkarmashi. Limbale is reminded now and then by the society – his position within the position less group of outcasts. He laments, “. . . a man is recognized in this world by his religion, caste, or his father. I had neither a father’s name, nor any religion, nor a caste. I had no inherited identity at all.” (59). Is not this lack of inherited identity, his real identity? The stigma of “akkarmashi” hurls around it intolerable humiliations. The narrator-protagonist is someone more inferior to a Dalit. It is surprising to note that he is an untouchable among the untouchables. His identity is that of an “Akkarmashi” and this is what the narrator tries to present through the many episodes of his life. “Akkarmashi” in Marathi means eleven it needs another one to complete itself, to become twelve, a dozen which signifies completeness. With a government job and education to cushion him, Limbale still finds it difficult to get a wife. Limbale never enjoyed the prospect of selecting a wife of his choice. A single attempt at bride-viewing ends in disaster. At one point the reader suspects Limbale to be satisfied with any woman for a wife. He does not make a choice. He gets a wife out of sympathy and his occasional bribing his would-be father-in-law with alcohol. He notes, “The girl I married needed to be a hybrid like me to ensure a proper match. A bastard must always be matched with another bastard. No one else will marry their daughters to a bastard like me” (98). The text becomes the eye witness account of the horrors of the lives of a particular subaltern community. However, Limbale does not succumb to the pitiable existence but acquires liberation and freedom from his purgatory of caste through education. The knowledge he had acquired from books, had taught him to think differently. He understood that the sufferings of their lives were based on the false concept of superiority. He has imbibed a “Dalit Consciousness”, a consciousness of their own slavery (TADL 71), an understanding of their experiences of exclusion, subjugation, dispossession and oppression down the ages. It is this knowledge that liberates him. Limbale notes in his critical work, Towards an Aesthetic of Dalit Literature, “The conditions that I have written about, the environment that I have written about, no longer exist in my house, because of the position that I happened to hold today” (156). He further explains: Now, after twenty-five years, my past has been so destroyed that I have been cut off from it, I’ve been completely separated from it. Neither have I gone home, nor does my mother see me as I was before. ‘Some big officer has come, some VIP guest has come’: thus will she offer me water. I no longer have the same attachment to my colony, my relatives, my language. Everything has changed. And because of that change, I am done writing about the history that I had to write about. (155) The past does not lure him with its wonders of nostalgia as there is nothing to be nostalgic about. Limbale’s social protests and the subsequent redemption serve as inspiration for other members in the community to use education to overcome their economic and social conditions. Dalit Literature abounds in genuine descriptions of untouchability and poverty in an uncouth day-to-day spoken language. The insurmountable challenge faced by Limbale and other Dalits as young children is hunger. The writer has dwelt on this basic need of man over and again all throughout the book, philosophizing on the evident need of food: God endowed man with a stomach. . . . Since then man has been striving to satisfy his stomach. Filling even one stomach proved difficult for him. He began to live with a half-filled one. He survived by swallowing his own saliva. He went for days without eating anything. He started selling himself for his stomach. A woman becomes a whore and a man a thief. The stomach makes you clean shit; it even makes you eat shit. (Akkarmashi 8) The Caste Hindus in Indian society used to exploit the Dalits by making them do the most menial jobs the whole day just for a piece of bread. The text is replete with incidents of hunger which is projected before a class of readers who are blissfully unaware of such undercurrents. The Dalits are treated worse than animals. Their presence is usually banned from upper-class localities. They were made to hang pots from their necks to avoid polluting the streets by their spittle and had to carry brooms tied to themselves to wipe away their footprints from the “upper caste” streets. In P.I. Sonkamble’s Athavaninche Pakshi, the narrator Pralhad, an orphaned boy relates an incident of throwing away a dead dog: Somehow I controlled my mind and held the tail of the dead dog. As it was completely decomposed, that part of the tail gave way and came into my hand. Though it had a stinking smell, I continued with the job as I had a craving for a small piece of bread which I hoped to get after finishing it. (87) Daya Pawar in Baluta evokes a similar feeling, the narrator reflects: What a coward I am? Who made me such a coward? My life was similar to that of any crawling object in the street which even cannot hiss at the children who poke at it with a stick. Sometimes I used to feel that I have lost all my self-respect just for a morsel of food. (72) The Dalits ousted to the village outskirts lead an inhuman life. Eternally deprived with no money, no land, no work and no education these people falter in darkness with no realisation of human worth. What is evident from the text is that, they never think; rather accept this suffering as their lot. They depend on the Savarnas in the village for work and food. They do not think beyond these basic needs. Men are drunkards and women are exploited by the villagers. From this perspective it is a collective past, Limbale is each and every Dalit deemed untouchable. Dalits are being exploited physically, mentally and socially in the caste ridden society. Though India is politically free with her own Constitution proclaiming liberty, equality and fraternity spearheaded by a Dalit himself, Dr. Babasaheb Ambedkar, it is still difficult for backward classes to lead their lives peacefully. Dalit Intellectuals operate their modes of resistance creatively in Dalit literature, the most powerful being Dalit autobiographies. Dalit Literature is an arduous endeavour from the canonical to the marginal, from mega-narratives to micro-narratives, from the virtual to the real, and from self- emulation to self-affirmation.

A Devoted Son - Anita Desai

In this short sad story Anita Desai covers the generation gap, identity, the conflict between duty as a son and duty as a doctor, as well as the hypocrisy in perception of the same.

Rakesh’s duties as a son were to study well, score well, work hard, earn well, marry well, settle well and then take care of his family well; Rakesh performed his duties in the superlative degree.

Rakesh is seen as a “perfect” son – dutiful, humble and devoted – but perhaps Desai is commenting on the Indian standards of perfection.

 To begin with, “When the results… golden and glorious.”
· Didn’t even come inside – anxious about results
· “went up the steps” – not ran; calm and composed. No whooping, no leaping into the air
· Duty above self – did not sit down to let it sink in – first went and touched father’s feet
· Father asked, beaming, “A first division, son?” Shows his absolute confidence
· When Rakesh murmurs, “At the top of the list, papa – first in the country,” he is still in shock
· Then Desai narrates whooping, colourful, festive celebration
· After all, with his humble background and glorious results, and all the hard work and sacrifice that went into it, it was a worthy occasion for a grand, extravagant, over-the-top celebration

Themes:

  • generation gap
  • conflict between good doctor and good son: perception, father and son define it differently
  • from Verma's perspective, he has been neglected and wronged as a father and we must sympathize with him
  • we were taught the chapter from Rakesh's perspective - how his duties as a son and as a doctor clashed because of what was expected of him: he was expected to be indulgent towards his father who was also his patient
  • role of the daughter-in-law: Verma had his misgivings about her - "although the daughter-in-law kept tactfully out of the way, the old man could just see her smirk sliding merrily through the air." 
  • different relationship with wife for father and son - father loved his wife and when she died he went to pieces. He especially missed her when he was denied food which his wife, "that generous, indulgent and illiterate cook" readily gave him. Son merely humored his wife. Later we see that upon her discovery of and reporting of his son's dishonesty, he confronts his father, saying things like "I don't allow anyone in my house.." which leads us to the next point:
  • issue of transfer of role of "man of the house"
  • also, in the end we see that Verma might have died younger, but happier
  • father quite petty
  • society's take: jealous then accepting then sympathizing
  • at one point, forgets that he is the son - not with his usual respectful step but with the contemptuous stride of the famous doctor 
Summary :
Anita Desai’s story is all about duty and devotion. It draws a picture of the life of a son. The son is brought up by his father, starts earning his livelihood and then, dutifully looks after his father. However, crisis develops as his father, whimsical due to age, starts misinterpreting his son’s treatment. The question that the story posse is that how long should a son take care of his father? What should be the extent of his dutifulness and obedience? This is a problem of the modern world caused by the busy life. It becomes difficult to attend to the whims of the elderly people after a days’ hard work. But should the duty and the toleration end? Or should a person remain ever dutiful? Should sacrifices be made on our part or should we continue to be self-centered and move and move our own way. The world has both instances of both but which is more acceptable?
Rakesh was a son born to illiterate parents. He was the first to receive education in his generation and how well he utilized it. Villagers felt proud as Rakesh stood first though the jealousy factor didn’t cease to exist. His education took him to the United States of America but to everyone’s surprise, he returned to his country to marry an Indian removing all doubts to marry a foreigner. His devotion towards his parents was proud when he married an uneducated girl of their choice. The girl too was good natured and they were soon blessed with a son. Rakesh’s rise continued and he soon went to the top of the administrative organization, bought a car and thus it was the beginning of his fortune. However, he did not forget his parents and he did take them out in his brand new car. Rakesh was not only devoted but was also good natured. He obeyed his parents, humored his wife, hosted his friends, and in addition, was an excellent doctor. However, Rakesh’s joyride was short-lived. His mother passed away which also ensured his father’s breakdown. Old age caught up with his father and it was difficult to distinguish between his peevish whims and matters of significance. A birthday party for the youngest son had to be broken up at once, when they discovered that the old man was on the verge of death. The old man, however continued to live much longer thereafter.
Rakesh however, accepted his fate and its’ twist. He brought his father’s morning tea, read the newspapers and visited his father after returning from the clinic. All these couldn’t make the father happy and the situation worsened when Rakesh as a father began to supervise his diet. The supervision which included the cutting down on oily, fried stuff, sweets and beetle nut was seen as a sort of disrespect and mal-treatment by his father. The matter was so serious that the old man even went to the extent of complaining to his neighbors. Rakesh couldn’t help but be sterner. He as a doctor believed that strictness was better where his father’s health was concerned. The old man even tried to bribe his grand children which were met with strong reproach from Rakesh.

The father-son relationship began to go haywire. The old man began to hate his son and his daughter-in-law. The wife of Rakesh stayed out of trouble tactfully and Rakesh, able to feel every pulse, neglected nothing about his father. He made constant and repeated attempts to make improvement in his father’s mental and physical health. His efforts went in vain. This is the poignant question that we face to continue or discontinue service of a son to his father.
This is a matter of both culture and tradition. Old age is also called the second childhood. We are always tender to a child in spite of his naughtiness and undue demands. Similarly, we should treat elderly people the same way. We don’t discard children because they disturb us. In case of old people, we become biased, as we have seen them wise and matured before our own eyes. The grey cells become disfuntioning in old age and so elderly people behave in a childish way. Life is hard and difficult and all of us have our own share of problems. However, the rise above limitation will only make us better human beings. Patience and sacrifice shaped our hallmark. We should understand our own maturity and wisdom are not lost and this would help us to be kinder to them. Old age is cyclic and all of us would step into its shoes one day. The remembrance of this fact can wake us up to the reality of this life. Rakesh, in spite of everything else understood this, which made him stand apart and above from the rest.



Points:

  • Rakesh scored the highest rank in the country for his Medical Examination.
  • Instead of getting lost in the most envied success, Rakesh bent down and touched his father’s feet. This cooled the father for it was another reason for the vegetable vender to be proud of being Rakesh’s father.
  • For an uneducated family like Rakesh’s, this success brought cheers. Getting Rakesh educated was Varmaji’s greatest dream.
  • Neighbors came to congratulate the winner, his father Varmaji and his mother.
  • Presents flowed into Varmaji’s house as garlands, halwa, party clothes and fountain pens to last years, even a watch or two.
  • To his neighbors Vermaji told about his son’s touching his feet even after becoming a doctor with a first rank.
  • Some of the good neighbors appreciated this son and this father while others, envious as neighbors are, felt that Varmaji was giving himself airs.
  • Soon Rakesh cleared his MD course with flying colors.
  • Having won a scholarship, Rakesh went to the USA. (Varmaji didn’t know the difference between USA and America)
  • Rakesh worked in some most prestigious hospitals in the USA and won encomiums from his American colleagues which were relayed to his admiring and glowing family.
  • Finally Rakesh returned to his native village. His brothers and sisters came to embrace him but the great son of all times (you will see why) bent down and touched his father’s feet.
  • Rakesh married a girl that his mother wanted him to marry and set up his own clinic. She was a girl of double standards. Will she suit Rakesh? Let’s see.
  • For some years Rakesh worked in the city hospital, quickly rising to the top of the administrative organization, and was made a director before he left to set up his own clinic.
  • Rakesh bought a new car and unfailingly drove his parents in it to his clinic. Varmaji and his wife were the happiest in the world.
  • For a while, Rakesh’s fame seemed to grow just a little dimmer but soon he became the richest doctor in town.
  • Varmaji grows very old and number of ailments leave him bed ridden. He retires from his job in the kerosene shope where he had worked for forty years.
  • Rakesh’s mother passes away. (She was quite fortunate that her famous doctor-son rubbed her feet during her last days)
  • Varmaji was quite helpless and his old age was going to be more miserable.
  • Varmaji fell ill so frequently and with such mysterious diseases that even his son could not cure him.
  • Even when his other sons and daughters ignored his strange illnesses, Rakesh (the pearl of his father) was always with him.
  • Rakesh took great care for his father, brought him morning tea, read him newspaper and reminded him to take medicines.
  • After a while Rakesh began to impose certain restriction upon his father. No sweets, not too much food, no fried food, etc.
  • When the old man resented or tried to bribe Rakesh’s son and wife for his delicacies, Rakesh scolded his father.
  • Rakesh had by this time developed a doctor-patient relation with his father. (That’s how it happen with those who always stand first in exams; they fail in life!)
  • Rakesh was only concerned with his father’s health but the old man thought his son was being miserly.
  • One day varmaji met his neighbor old Bhatia, next door. He told old Bhatia how his son and daughter-in-law refused him food.
  • Varmaji realized that, even with a doctor at home he was not half as happy as old Bhatia. He began to think that his son had crossed all limits.
  • Determined, Varmaji announces that he didn’t need his son’s medicines. All that he wished was death.

India is a Strange Country - Khushawant Singh



This chapter is less about India than it is about Tyson's love for Martha.

What's important in this sad little short story is:
  • Indians' views on foreigners and vice versa
  • Tyson's love for Martha
  • the four types of foreigners - lovers, haters, half-haters and question marks (people whose opinion others don't know about)
  • about the NARRATOR, not author
Summary:


"Stop it, Martha! Stop it at once!" "Good evening, Mr Tyson." "Oh, hello." He had not recognised me, but seeing I was a Sikh, added, "Good evening, Mr Singh.
"Too many natives about the place for the likes of Kenneth Tyson." The Punjabi's wife took up the theme with greater vigour.

Someone quoted Tyson's opinion on Indian sculpture: "Them eight-armed monstrosities, you can have them, and with my compliments!" As to Indian literature, Tyson echoed the views of his distinguished compatriot—"One shelf of a library in Europe is worth more than the entire learning of the East.

"We almost believed you were going to settle down here and take on Indian nationality." "No ruddy fear!" replied Tyson, waving his hand in farewell.

*** I first met Tyson in the bar of the Gymkhana Club sometime in the autumn of 1947—a couple of months after India had gained Independence.

They have no genius, no comprehension of mind, no politeness of manner, no kindness of fellow-feeling, no ingenuity or mechanical invention in planning their handicrafts, no skill or knowledge in design or architecture; they have no horses, no good flesh or bread in their bazaars, no baths or colleges, no candles, no torches, not a candlestick...." The English translators of the memoirs went out of their way to echo Babar's animus against India.

It is on the antiquated thunderbox that the White man has the blackest thoughts about India." Tyson turned around; he had obviously sensed that he was being discussed.

Wouldn't that be nicer?" "But you can't accumulate the passage money." "Oh that! Who cares for a piddling passage!" After some years people stopped asking why Tyson did not go home.

Come along, Simba." Thereafter I saw Tyson almost every evening in Lodhi Park.

*** One summer evening I happened to be visiting an English friend when Tyson dropped in for a drink.

"She's quite happy as long as she has some place to stick her nose into," remarked Tyson, looking proudly at his dog.

'My deah, I'd rather scrub the floors in me own bed-sitter in Tooting Bec than live in one of them ruddy Oriental palaces waited on hand and foot by a horde of black flunkeys!'." "Poor woman, she's had a hard time with someone or the other in her family going down with amoebic dysentery," pleaded the Bengali's wife.

"Well, Tyson, you are off at last," remarked one of his English friends.

The years passed without Tyson taking his home leave.

"Think how nice it would be in a country pub somewhere along the Thames near Richmond! I'd give my left arm to be back in old Blighty." Tyson had been through this before.

In the summer when she was away, people asked Tyson over for supper because they thought he was lonely.

Not a bad chap, Tyson; he accepts drinks from the blacks." No one took up the challenge.

Taking a stroll in the park? Lovely this time of the evening, isn't it? Oh, stop it, Martha!" Martha scampered back and plunged into the rat hole.

One of the haters, a species becoming very rare in this country." Tyson limped up to the bar.

I must get her home." As soon as he left, the discussion on Tyson was resumed with even greater animosity.

Tyson picked up his drink and limped towards our table.

Come along, Martha sweetie." The bitch would extricate herself, cock her head at her master as if pleading for 'just one more rat'; then have a quick sniff inside the hole, a loud snort outside and scamper off happily at her master's heels.

I did not see Tyson in Lodhi Park again.

Anyway there are all the remaining years of one's life." Tyson did not answer.

"I think you've got Tyson wrong," protested the Bengali.

"Here, Martha! Here, Flossie!" The bandicoot turned sharply and made for the road; its shrill tikkee, tikkee marking a sound trail.

Kenneth Tyson belonged to this category.

"You should meet his wife—a real British memsahib, if there is one!" She mimicked Mrs Tyson's accent.

"Good night, Mr Tyson.

Jennifer Tyson does not mince her words.

Tyson picked her up in his arms and brought her in.

"Don't you know Kenneth Tyson?" he demanded.

Tyson attracted attention as he entered.

Tyson preferred to stay in the one part which had many rat holes.

The footnote beneath the passage quoted above reads: "Babar's opinions regarding India are nearly the same as those of most Europeans of the upper classes, even at the present day." Fortunately, there were some foreigners who loved India with as much passion as that with which Babar and "most Europeans of the upper classes" hated it.

Tyson broke down and wept like a child.

Tyson lit his pipe.

Tyson leapt up from his chair and ran out.

Tyson became more solicitous in his address.

Like all ageing Dachshunds, Martha, who had never been mated, began to look chronically pregnant with a belly that barely cleared the ground.

What then kept him in India? And why did he forgo his home leave year after year? Did he have a native mistress tucked away somewhere? *** I found the answers a few months later.

Next come the 'half-haters' who dislike Indians but like the Indian landscape and the conditions of living: big bungalows, servants, shikaar, polo, etc.

Although he did not mix very much with us, he quite obviously liked living there because he never went home on leave." "Half-hater!" remarked the Punjabi lady.

And he was the first Englishman seen in the place since the Club had passed into Indian hands.

Martha shot backwards, ticked off Simba with a few effeminate yaps and then began to circle around him at breakneck speed.

Martha died with her large eyes fixed on her master.

He is quite willing to make friends with Indians." "Now, perhaps," hissed the Punjabi lady.

He was not going on leave; he had resigned his job and was leaving India for good.

His Dachshund busied itself ferreting for rodents while her master waited patiently by smoking his pipe and twirling the leash in his hand.

Estranged - Soudamini Vasuki

Basic meaning of the heading:- "No longer living with their spouse."
FIRST SCENE
Shastri's comment- description about Radha- The family athmosphere changes- Happiness is the feeling between two moments of suffering.
SCENE TWO
Happiness- The news that their house was blessed with their son's baby.
Sadness- The decision of seenu to divorce Radha and marry Neela (M.D's daughter).
SCENE THREE
The parents goes to Radha's room to give her a support- Writer explains her boldness- Pankaja asks her to tell her son about their child, which might change his mind- Radha explains that she wont beg in name of her child.
SCENE FOUR
CLIMAX- The curtain raises to show the climax in which Shastri opens his heart in front of his son and makes his point clear in a straight forward way. He makes it clear that Seenu will have to move another house if he wants to marry Neela. He also specifies that his daughter will stay with them till she wishes to with their grand child who will be coming soon to their house. this gives Seenu a shock and Shastri leaves the room.

Shastri:- A man of honour, dignity and justice.
# Representative of a group of males in the society
# Gives least care for their wife.
# They had a love marriage and his decisions mismatches
# Writer has succeeded in creating a felling of anger towards Seenu
# At a point of time shameless Seenu is presented in front of reader

#The model woman of current society.
# Has her own moral ethics.
# Adjusting and caring.
# Mentally strong.
# Has a powerful character.
# Practical view point
# Decisive.

Main characters*
Simple story, depicts current society.
Character analysis*
Elders first.....
SEENU
RADHA
2. Pankaja, Shastri's wife
1.Shastri
3.Radha
4.Seenu
5. Swami
Thank you for your patience. I mean it :-).
Caring, proud, has his own veiw to life.
Views life practically.
Pankaja:- Typical mother, veiws the facts without complainig about her son. She feels guilty but the mothers care is still present. 
* Points are debatable

Ecology - A K Ramanujan


The day after the first rain,
Monsoon.
for years, I would home
in a rage,
Interesting. What are you so mad about, speaker?

for I could see from a mile away
From a mile away, on the way home
our three Red Champak Trees
OUR three red champak trees
had done it again,
meaning they've done it before

had burst into flower and given Mother
her first blinding migraine
first but not last; blinding because of the extent of the pain she's in in
of the season
these migraines last the whole season

with their street-long heavy-hung
yellow pollen fog of a fragrance
The pollen grains have made the air thick like fog - in fact the air IS yellow with it's heady scent
no wind could sift,
the breeze cannot blow away this fog

no door could shut out
and the doors cannot keep it out either. the whole street in front of them is thick with it; it will seep in through the gaps
from our black-
pillared house whose walls had ears
and eyes,
begins personifying the house
scales, smells, bone-creaks, nightly
visiting voices, and were porous
pollen will get in through the holes
like us,
self-explanatory: we will breathe in this fog of pollen

but Mother, flashing her temper
like her mother's twisted silver,
giving the mother's anger some physical quality: shiny, radiant, expressive in her temper
grandchildren's knickers
soaked, then wrung (twisted)
wet as the cold pack on her head,
wet because she was sweating - cold sweats
would not let us cut down
a flowering tree
Flowering tree. Religious significance. Bad omen.
almost as old as her, seeded,
she said, by a passing bird's
providential droppings
Taken as a blessing - came from the sky

to give her gods and her daughters
and daughters' daughters basketsful
of annual flower
This^ is the extent of what this tree is good for.


and for one line of cousins
adower of migraines in season.
Burn!
(perhaps the pollen allergy is inherited?)


Notice that the whole poem is one single sentence -
 a spitting angry, sarcastic, cutting rant
love-hate relationship with nature
speaker's love for mother (also family)
Questions given:
Is the description of the mother similar to that of other Indian mothers?
Is this poem about the conservation of nature?

Summary

This poem, ‘Ecology’ is taken from Ramanujan’s third volume of poems, ‘Second Sight’, published in 1986. The speaker seems to be the poet himself or some imaginary person who is loyally devoted to his mother. He is very angry because his mother has a severe attack of migraine; a very bad kind of headache, often causing a person to vomit; which is caused by the fragrance of the pollen of the flower of the Red Champak every time it is in bloom. The fragrance is heavy and suffocating as the yellow pollen spreads everywhere. Even the doors of the speaker’s house cannot prevent the strong smell from entering the house. The walls of the house are able to absorb almost everything-the sounds, sights, the human voices, the harsh sounds produced when new shoes are worn. But they cannot stop the fog of pollen dust from the Champak trees.
The loving son therefore decides to cut down the tree, but he is prevented from doing so by his mother who sees the positive side of the tree in her garden. She says that the tree is as old as her and had been fertilized by the droppings of a passing bird by chance which is considered to be a very good omen. The positive side of it is that the tree provides many basketful of flowers to be offered to her gods and to ‘her daughters and daughter’s daughters’ every year, although the tree would give a terrible migraine to one line of cousins as a legacy. The yellow pollen fog is the yellow dust of pollen carried in the air which is thick and heavy like fog which covers the earth.

This poem portrays Ramanujan’s strong interest in the family as a very important theme of his poetic craft. His memories of the past would inevitably bring pictures of his family, especially his mother who is self sacrificing. There is also a reference to his Hindu heritage as he mentions the gods and the ancient beliefs in the poem. The sense of irony is indicated when the mother very angrily protests the idea of cutting down the tree even though she is suffering very badly from the migraine caused by it. She has a kind of emotional attachment to the tree, saying that it is as old as herself.
‘Ecology is a poem which could be read as one single sentence. However, each stanza has one particular idea. There is a casual connection between the ideas and they flow from one stanza to the next. ‘Flash her temper’; an instance of the use of irony because she is very angry at the idea of having the tree cut down. The actual meaning of the word ‘Ecology’ is not followed here but the poet seems to convey the thought that a particular kind of tree may have both negative and positive factors and therefore it need not be pulled down.


Venu reddy

Girl in the Kitchen - Videhi

Analysis:
 Vaidehi’s poem “The Girl in Kitchen” captures the harsh reality of a male dominated society where women are suppressed and ruled upon.2. The poem is a heartfelt plea for freedom by a young girl who is shackled to the kitchen and sings of her longing to be rescued by a knight in shining armour from the drudgery of cooking and tradition-bound activities.3. The poem portrays how women are considered as weak, fragile and brittle as they are not expected to revolt or defend a just cause, like gender equality, in any manner. This highlights the hierarchy of authority prevailing in society where social expectations often put women in positions of lower level power.4. At the one hand, women are considered in the Indian religious scriptures as respectable and worthy of worship And on the other hand they are, in practice, they are exploited, tortured and humiliated.5. Gender discrimination and injustice is widely practiced in the society. Because of the lack of acceptance from the male dominant society, Indian women suffer immensely. Women are responsible for bearing children, yet they are malnourished and in poor health. Women are also overworked in the field and complete all of the domestic work.6. The status of women in India has been subject to many great changes over the past few millennia. From equal status with men in ancient times through the low points of the medieval period, to the promotion of equal rights by many reformers, the history of women in India has been eventful. The position of women in society has revolutionized when it is compared to a hundred years ago all over the world. Years and years ago, women were considered to be responsible for only their house, but now they have more active role in society. With the changing world, they have been altering. Women become more conscious about their status in society. As time passed, women have made progress in view of family rights and business life. Earlier, a woman’s duty at home was just cooking meal, cleaning the house, taking care of children and many things like these but today, with the guarantee of the laws which were made in that time, women gained the rights they deserved in both family and business space.7. They become equal to men in every area owing to the Universal Declaration of Human Rights. Women in India now participate fully in areas such as education, sports, politics, media, art and culture, service sectors, science and technology, etc. Indira Gandhi, who served as Prime Minister of India for an aggregate period of fifteen years, is the world's longest serving woman Prime Minister.8. However, women in India continue to face atrocities such as rape, acid throwing, dowry killings while young girls are forced into prostitution; as of late rape has seen a sharp increase following several high profile cases of young girls brutally raped in public areas. While we see a change in the roles a woman plays in modern society, old traditions and practises have still not changed.9. There still prevail gender differences based on social influence, but not because of nature or biological difference but because of the roles that people play in society. Men tend to be relegated to positions of greater authority. Again, these are social expectations, not biological functions.

The Professor - Nissim Ezekiel

Poem:
  1. Remember me? I am Professor Sheth.
  2. Once I taught you geography. Now
  3. I am retired, though my health is good. My wife died some years back.
  4. By God's grace, all my children
  5. Are well settled in life.
  6. One is Sales Manager,
  7. One is Bank Manager,
  8. Both have cars.
  9. Other also doing well, though not so well.
  10. Every family must have black sheep.
  11. Sarala and Tarala are married,
  12. Their husbands are very nice boys.
  13. You won't believe but I have eleven grandchildren.
  14. How many issues you have? Three?
  15. That is good. These are days of family planning.
  16. I am not against. We have to change with times.
  17. Whole world is changing. In India also
  18. We are keeping up. Our progress is progressing.
  19. Old values are going, new values are coming.
  20. Everything is happening with leaps and bounds.
  21. I am going out rarely, now and then
  22. Only, this is price of old age
  23. But my health is O.K. Usual aches and pains.
  24. No diabetes, no blood pressure, no heart attack.
  25. This is because of sound habits in youth.
  26. How is your health keeping?
  27. Nicely? I am happy for that.
  28. This year I am sixty-nine
  29. and hope to score a century.
  30. You were so thin, like stick,
  31. Now you are man of weight and consequence.
  32. That is good joke.
  33. If you are coming again this side by chance,
  34. Visit please my humble residence also.
  35. I am living just on opposite house's backside.
Not a conversation but a rambling monologue
Poet mocking "Indian English" by using it - satire
Irony is that a professor speaks it
As given by Prof. Felix, NOTE:
The Professor by Nissim Ezekiel is a satirical poem in the form of a monologue. The poet uses (in order to mock) Indianisms in English and adapts English language t adopt native language structure. A Professor, as the one who teaches, should be in proper command of the medium he uses; therefore the poem is ironical.

Now the explanation:
Remember me? I am Professor Sheth.
Shouldn't the student be approaching the teacher, saying "Good evening, sir, I'm so-and-so from your geography class, batch of '79.."
Once I taught you geography. Now
The horror begins here. "Once I taught you geography"??? This man has obviously never met a Grammar Nazi.
I am retired, though my health is good. My wife died some years back.
It's like he's assuming that the student assumes that he has retired because of poor health. A common Indian misconception.
By God's grace, all my children
Are well settled in life.
One is Sales Manager,
One is Bank Manager,

Both have cars.
Epitome of success: possession of a car. Only in India.
Other also doing well, though not so well.
Air hostess voice: Would you like a preposition, sir? An article? No?
<eye twitches>
Every family must have black sheep.
That's a little harsh - there are non-monetary aspects of success.
Sarala and Tarala are married,
Another common Indianism - rhyming names.
Their husbands are very nice boys.
And of course it's the husbands that matter more.
You won't believe but I have eleven grandchildren.
I have a wealth of progeny and am showing it off.
How many issues you have? Three?
Issues here means children. As used in old English books.
That is good. These are days of family planning.
Stopped at three - family planning. No wealth of children there. Professor feels validated at being wealthier than his student.
I am not against. We have to change with the times.
Whole world is changing. In India also
We are keeping up. Our progress is progressing

Old values are going, new values are coming.
Going where? Ok, fine, what he means to say is that the times are changing and so are the value systems.
Everything is happening with leaps and bounds.
Can I please ridicule him now? He's talking like a child - trying to use all these fancy terms he's picked up from the streets but he doesn't know how to, so it sounds like this ^
I am going out rarely, now and then
Only, this is price of old age
"now and then Only" he said. Direct transfer of Indian grammar to English.
And then he says "price of old age".
But my health is O.K. Usual aches and pains

No diabetes, no blood pressure, no heart attack.
This is because of sound habits in youth.
The poor student doesn't care! Why are you telling him about your "sound habits"?
How is your health keeping?
Nicely? I am happy for that.
Stop. Please. Go wash your brain with detergent and then come back with a less polluted understanding of the English language.

This year I am sixty-nine
and hope to score a century.
Cricket reference; only in India. Life is a cricket match, it seems.
You were so thin, like stick,
Now you are a man of weight and consequence.
Indian twisted pride in being fat - it is a man's honor. Whatever.
That is a good joke.
Crack a joke and murder it by saying things like "I'm so funny"
If you are coming again this side by chance,
Visit my humble residence also.
"humble residence"? You could just say home, you know. At least the listener will be less creeped out.

I am living just on opposite house's backside.
At this point the reader must keep the book down and burst into tears as her faith in humanity dies.
And the listener must walk away slowly and not laugh.

Now, the observations:
Getting serious, now - this poem, although hilarious and ironic, is also depressing. The issue of quality of education is subtly raised here - what a sad system it is, where a teacher - a professor - can't speak grammatically correct English, and sadder yet, because young impressionable minds are subjected to his ineptitude at his own medium of instruction.

Upon further contemplation and discussion, a few more points come to attention:

satirizing Indian priorities in life
listener cannot walk away because the speaker was his professor and therefore must be respected or at least humored
jocular representation of a serious problem

Poem in Detail:
(Lines1-11) The poem, The Professor begins with a question, ‘Remember me?’. The question is from a retired Geography professor to one of his former student. He then introduces himself as Professor Sheth who had once taught Geography to that student. Then he describes his current position, his family and his health. He tells him that his wife has passed away few years back and by God’s will, all his children ‘are well settled in life.’ He also mentions that one of his sons is a Bank Manager and another is a Sales Manager. To describe their social and financial condition, the retired professor says they both own cars. Then he mentions about his third son whom he considers as the black sheep of the family.
(Lines 12-21) The professor then talks about his daughters, Sarala and Tarala. He says that they both are married and leading a happy life. His son-in-laws ‘are very nice boys.’ The professor then proudly tells his student that he has eleven grandchildren. He even asks his student how many issues he has. The student probably says three when the professor says people are going in for family planning these days which is good.
The professor keeps on talking. He talks about the changing times and the importance of change. He talks about how the whole world is changing along with India. He then talks about the change in values. Old values are been replaced by new values.
(Lines 22-35) The professor now talks a bit about himself. He says that he hardly go out because of his old age. Then he says his ‘health is O.K’ but he does have usual aches and pains. He is not suffering from diabetes, blood pressure or heart disease. He says proudly that he is healthy because of the good habits that he has cultivated from his youth.
He even enquires about his student’s health and is happy when he comes to know that the student is in good health. The professor reveals his age, he says that he is sixty nine and hopes to live for a hundred years. He jokes with his student that the latter was like a stick earlier but now he has gained weight and become a ‘man of weight and consequence.’ Finally, the professor asks him to pay a visit to his home if he ever comes near to his dwelling place.



In his poem "The Professor," Nissim Ezekiel employs a certain satire in order to mock Indianism, urbanity, and academic achievement in the one-way conversation of an aging professor and his former student. In this poem, the professor brags about his family, yet there is a mockery of his achievement that has not taught the professor standard English or given him any sense of family security or place in this family. For, his wife has died and his children have moved away,
By God's grace, all my children
Are well settled in life.
One is Sales Manager,
One is Bank Manager,
Both have cars.


With irony, a tool of satire, the professor brags about his children having achieved monetary success and material possessions, yet his loneliness is apparent as in non-traditional, modern fashion his children do not have him live with any of them.
In an effort to seem urbane and modern, the old professor mimics the "conventional wisdom" of the new thinking,
How many issues you have? Three?
That is good. These are days of family planning.
I am not against. We have to change with times.
Whole world is changing. In India also
We are keeping up. Our progress is progressing.


Yet, at the same time the professor mocks himself because he is truly not keeping up in sentiment with the "times" or changing as indicated by his awkward speech and circuitous phrases, as well as his admission that he rarely goes out. Ironically, he comes to the former student to brag, but instead he reveals himself as a man whom progressive thinking has left behind as he lives "just on opposite house's backside."

The Golden Boat - Rabindranath Tagore

The poem:

Clouds rumbling in the sky; teeming rain.
I sit on the river bank, sad and alone.
The sheaves lie gathered, harvest has ended,
The river is swollen and fierce in its flow.
As we cut the paddy it started to rain.

One small paddy-field, no one but me -
Flood-waters twisting and swirling everywhere.
Trees on the far bank; smear shadows like ink
On a village painted on deep morning grey.
On this side a paddy-field, no one but me.

Who is this, steering close to the shore
Singing? I feel that she is someone I know.
The sails are filled wide, she gazes ahead,
Waves break helplessly against the boat each side.
I watch and feel I have seen her face before.

Oh to what foreign land do you sail?
Come to the bank and moor your boat for a while.
Go where you want to, give where you care to,
But come to the bank a moment, show your smile -
Take away my golden paddy when you sail.

Take it, take as much as you can load.
Is there more? No, none, I have put it aboard.
My intense labour here by the river -
I have parted with it all, layer upon layer;
Now take me as well, be kind, take me aboard.

No room, no room, the boat is too small.
Loaded with my gold paddy, the boat is full.
Across the rain-sky clouds heave to and fro,
On the bare river-bank, I remain alone -
What had has gone: the golden boat took all

Summary:
  The theme of loneliness was much sought after by most of the Romantics. Wordsworths’ ‘Daffodils’ begins with the line “I wandered lonely as a cloud...”. In Keats’ “Ode To A Nightingale”, we have the narrator sitting all alone and musing over the melody of the bird’s song. The Ancient Mariner is all alone on the wide wide sea. This aspect as seen in the poetry of the Romantics can be noticed in Tagore’s poetry too.
Loneliness is not merely being alone; it is an outlook, a mood that is reflected by the aid of external phenomenon like a lonely road, a lonely star or a lonely tree. They are just symbols to portray the loneliness present in the inner self.
Loneliness is sometimes enjoyed. At times it is shown as something frightening, and at most of the times, very depressing.
In Tagore’s poem loneliness lends intensity to the theme. For example in the poem ‘THE GOLDEN BOAT’ loneliness is presented with a tinge of pathos. The narrator is all alone sitting on the river bank and his harvest is ready. He puts the harvest load in a boat that goes to the other side of the place left for him. The boat sails away leaving him all alone on the bare river bank. The poem starts with the lines
“Clouds rumbling in the sky, teeming rains, I sit on the river bank, Sand and alone, The scene is all set, 
“The river is swollen and fierce in its flow As we cut the paddy it started to rain.”
So one can intute that things are heading towards something tragic. The boat coming nearer and taking all the paddy are all incidents linked with each other. Ultimately the narrator’s only companion is again loneliness.
“On the bare river, bank, I remain alone­
What I had has gone, the golden boat took all-”

Basically the fact remains that this loneliness is a culmination of helplessness. On all sides he is faced with situations he cannot escape from. There is the harvest that is ready, it has to be cut and stored, on the other side there is rain, so the narrator is left with no choice but to put the paddy in the boat...These incidents are just symbolic representations of man’s life which is at all stages dominated by circumstances and the various vicissitudes of life. At each stage when man gains something he loses some other thing; At each stage he goes through the lonely phase of depression, which he tries to overcome gradually.
The poem ‘Bride’ is a realistic portrayal of the feelings of a new bride. She is all alone.

“As I sit alone with my thought I seem to hear Days ending....
She is worried for there is nobody to share her feelings. She is a village girl and the city atmosphere frightens and depresses her.
“Oh this city with its stony body
Its massive loveless fist has squeezed and crushed
A young girl’s feelings, pitilessly.”

She misses the “boundless fields”, “the open paths”, “the bird’s song” and the “trees.”

She weeps; but there is no one to comfort her; she feels lonely, but the city folk take no heed of her feelings and she “loiters alone”, she longs for her mother and wishes to die and ultimately questions­

“When will my evening come?
All playing end!
The cooling water quench all fires?
If anyone knowns, tell me when.”

The poem is a true picture of the new village bride unable to adjust in the city. The loneliness hangs on. It is a loneliness amidst a crowd. Internally the bride suffers from the pangs of loneliness. Neither the brightness of the moon, nor the flowers can give her any pleasure because she is starved of love and gaiety. When the heart moans, nothing around the world seems pleasant.
In other poems like ‘Flute-Music’ and the ‘Border land’ - We find the narrator is lonely. In ‘Flute-Music’ - the routine life of a clerk - his broken alliance with a girl and life full of disappointments is highlighted. We can get a glimpse of the lonely life that is led in the city. The only solace to his tired self is the music he hears from the neighoourhood - which towards the end rings out a note of brightness.
The other poem ‘Border land’ presents the musings of a narrator who feels, he is floating down on ‘ink- black stream’, surrounded by a host of memories.
All the sounds go faint and there is the fading ‘bird song offering self sacrifice to huge silence’. With this as the background the poet creates a gloomy the!lle and the narrator’s body seems to fuse with the endless night. He is

“Alone, amazed” and ultimately prays
“Sun you have removed your rays, show
now your loveliest kindliest form ­
That I may see the person who dwells in me as is you”

Loneliness is shown with the help of different images. There is darkness silence, fading lights, which signify the loneliness.
William Radice says “Through symbolism, imagery and rhythm,” Tagore’s poems “Communicate with uncanny power states of consciousness beyond or beneath the normal.”The poem ‘Border land’ is one such ­poem where the narrator is at the meeting point of life and death. The tinges of the metaphysical element can be felt in this poem of Tagore.Tagore’s poetry belongs to the pre-­independence era and the anxiety, gloom, uncertainty prevalent in the time, no wonder, made Tagore write poems that were partly patriotic, partly romantic and partly meloncholic. Loneliness thus too is a phase which pervades his poetry for a short span.

Bhopal Lives - Suketu Mehta

***This one is a Pretty big Chapter!!!! But have made it more precise (i.e Short :p) for you***

They will think about what happened the night of December 2 and the early morning of December 3, 1984, when an accident at the chemical plant owned by Union Carbide of Danbury, Connecticut, led to history's worst industrial disaster.
December 3, the International Medical Commission-Bhopal (IMCB) will release its final report on the current medical, social, and economic status of the Union Carbide disaster, a leak of toxic gas that claimed around 10,000 lives in Bhopal, India, 12 years ago.

The report, the culmination of a three-year study by a group of doctors affiliated with prestigious institutions in the U.S., Europe, and Asia, is the first comprehensive, peer-reviewed study of the chronic effects of the disaster that has been released publicly.
The commission found that up to 50,000 survivors are suffering from partial or total permanent disability as a consequence of the gas disaster.


The Night of the Gas
I In the early morning hours of December 3, 1984, water entered under still disputed circumstance an underground storage tank containing 90,000 pounds of methyl isocyanate, a highly toxic chemical used to make pesticides.
This set off the following reaction: CH3NCO + H2O CH3NH2 + CO2 Forty-one tons of methyl isocyanate along with a stew of other highly toxic gases possibly including hydrogen cyanide boiled over and burst through the tank at a temperature of over 200 degrees Celsius and a rate of over 40,000 pound an hour.
Accounts of that night again when in Bhopal someone says "that night," they mean the night of December 2-3, 1984 describe how the gas was going toward Jahangirabad or Hamidia Road; how it hovered a few feet above the ground at some places or how it hugged the wet farm earth in others; how it killed buffalo and pigs but spared chickens and mosquitoes; how it made all the leaves of a peepul tree turn black and how it had a particular hunger for the tulsi plant; how it would travel down one side of a road but not the other, like rain falling a few feet from you while you're standing in the sunshine.
People know the gas like a member of their family they know its smell, its color, its favorite foods, it predilections.
The gas had come on a Sunday, a night when people had dressed up to go out to a film or to someone's house for dinner.

Arun’s Story
Arun's fee for writing up the affidavit and printing up one copy of the ceding card at a printing press (such costs him 100 rupees, or $3) is 3000 rupees ($86).
The gas victim Arun loves his life.
Looking at the pictures the government had put up to alert survivors, Arun did not cry.
On the night of the gas, Arun fell I in love.
As Arun and his family ran, as one by one his parents, brothers, sisters dropped to the ground or got separated from him, Arun felt someone holding his hand and leading him.
Arun moved into Sathyu's house and became a poster child of the activist movement; his story was widely used and he was recruited by all manner of groups, including the youth wing of the Communist Party of India, the state's major political parties, and almost all of the activist groups working on Bhopal.
Arun became a kind of traveling victim, going on tours to talk about the tragedy that had devastated his family, not only all over India, but also, twice, to the United States.
But gradually, Arun went from being a victim to something of a predator.
Sundry scam inevitably pop up in any community where a large amount of money enters the scene all at once, and Arun has learned how to profit from them.
So, for a commission, using an efficient system of bribes paid to every one from clerks to judges, Arun will extract the gas victims' compensation money from the clutches of the government.
Once, when Sathyu was remonstrating with Arun about his misdeeds, Arun responded, "Look at Warren Anderson [then Union Carbide's chairman].
Arun Hates the term "gas victim." Arun sought out the government officer responsible for the announcement and swore: "Your mother's cunt." It's certainly not anything the government will give Arun, or anyone, compensation for.
One night, three of us Arun, his sidekick Ramdayal, and I sit in the gas victims' beer bar, a shed off the housing colony.
Around us are gas victims, all of them men, drinking with the compensation money they should be spending to get treatment for their wives, education for their kids.
On the night of the gas, as his family was dying, as he was falling in love, Arun lost his faith in GodWhen he calms down, he says, “Only work is karma, work is the fruit.” Later I realize what he’s just said, in a single sentence: Krishna’s teaching to Arjuna in the Bhagavad Gita.

The Lifting of the Veils
In the years after the poison cloud came down from the factory, the veils covering the faces of the Muslim women of Bhopal started coming off.
Women W The Bhopal Gas Peedit Mahila Udyog Sangathan (the Bhopal Gas-Affected orkers' Organization), or GBPMUS, is the most remarkable and, after all these years, the most sustained movement to have sprung up in response to the disaster.
As they came together into the organization, the women participated in hundreds of demonstrations, hurried attorneys to fight the case against Carbide as well as the Indian government, and linked dup with activist movements all over India and the world.
On any Saturday in Bhopal, you can go to the Park opposite Lady Hospital and sit among an audience of several hundred women and watch all your stereotypes about traditional Indian women get shattered.

Sajida Bano’s Story
After that, Sajida was forced to move with her two infant sons to a bad neighborhood, where if she went out without the burkha she was harassed.
In 1984, Sajida took a trip to her mother's hour in Kanpur, and happened to come back to Bhopal on the night of the gas.
The factory had killed the second of the three people Sajida loved most.
Her, with her permission, are excerpts that I translated Sir, Big people like you have snatched the peace and happiness of us poor people.
If this vampire Union Carbide factory would be quiet after eating my husband, if heartless people like you would have your eyes opened, then probably I would not have lost my child after the death of my husband.
After my husband's death my son would have been my support.
If you are a human being and have a human heart then tell me yourself what should be done with you people and with me.

Negative-Positive
The gas changed people’s lives in ways big and small. Harishankar Magician used to be in the negative-positive business. It was a good business. He would sit on the pavement; hold up a small glass vial, and shout, “Negative to positive!” Then, hollering all the while, he would demonstrate. “It’s very easy to put negative on paper. Take this chemical, take any negative, put it on any paper, rub it with this chemical, then put it in the sun for only 10 minutes. This is a process to make a positive from a negative.” By this time a crowd would have gathered to watch the miraculous transformation of a plain film negative into an image on a postcard. In an hour and a half, Harishankar Magician could easily earn 50, 60 rupees ($2) in this business. Then the gas came. T It killed his son and destroyed his lungs and his left leg. In the negative-positive business, he had to sit for hours. He couldn’t do that now with his game leg, and he couldn’t shout with his withered lungs. So Harishankar Magician looked for another business that didn’t require standing and shouting. Now he wanders the city, pushing a bicycle that bears a box with a hand-painted sign: “ASTROLOGY BY ELECTRONICE MINI COMPUTER MACHIN.” Passersby, seeing the mysterious box, gather spontaneously to ask what it is. He invites them to put on the stethoscope, which is a pair of big padded headphones attached to the Machin. Then the front panel of the Machin comes alive with flashing Disco Lights, rows of red and yellow and green colored bulbs. The Machin, Harishankar 7 Magician tells his customers, monitors their blood pressure, and then tells their fortune through the stethoscope. The fee is two rupees (six cents). Harishankar doesn’t like this business; with this, unlike his previous trade, he thinks he is peddling a fraud. Besides, he can only do it for an hour and a half a day, and clears only about 15 rupees (43 cents). Harishankar Magician is sad. He yearns for the negative-positive business. Once the activist Sathyu took a picture of Harishankar’s son, who was born six days before the gas came. He died three years later. Harishankar and his wife have no photographs of their dead boy in their possession, and they ask Sathyu if he can find the negative of the photo he took. Then they will use the small vial of chemical to make a positive of their boy’s negative, with only 10 minutes of sunlight.

The Plague of the Lawyers
As it transpired, after prolonged legal wrangling, the Indian Supreme Court unilaterally, without giving the victims a chance to make their case, imposed a settlement to the amount of $470 million, with the government to make up any shortfall.
Out they stepped from the plane, blinking and squinting in the strong Bhopal light, covering their noses with handkerchiefs as they stepped gingerly through the dung-strewn lanes of the slums, glad-handing the bereaved, pointing to their papers and telling their translators to tell the victims “MILLIONS of rupees, you understand? MILLIONS!” And so the people signed, putting their names down in Hindi, or just with their thumbprints.
The court held that the proper venue for the case should be in India; spectators were treated to the uniquely edifying spectacle of hearing the Indian government’s lawyers argue the inadequacy of its own legal system, countering Carbide’s lavish testaments to the excellence of the very same system.
That was the last the family heard from the man they believed came on behalf of “the American government.” So now they ask me, what should they do with this paper that they’ve been holding on to for 11years? “Tear it up and throw it away,” I tell them.
“Client agrees to pay attorney as attorney’s fee for such representation one third (33%) of any gross recovery before action is filed, forty percent (40%) of any gross recover after action is filed but before the commencement of trial, and fifty percent (50%) of any gross recover after commencement of trial.
Out of the total settlement amount of $470 million plus interest since 1989, the government had, by May of 1996, only disbursed some $241 million.
He did not return phone calls.) Responding to such abuses, the Indian parliament passed a law declaring itself the sole legal representative of all the Bhopal gas victims.
“This contract is performable in Bexar County, Texas.” On the night of the gas, Rukmini abandoned her three-year-old son, Raju, who was dead, and ran with her five-year-old daughter, Rajini, who died three days later.
Had the victims succeeded in suing the company in its home country and winning, they would probably have bankrupted the giant corporation, much as the asbestos liability cases bankrupted the Manville Corporation and breast-implant litigation bankrupted Dow Corning.
The reason was simple: everybody knew that any potential damage award given out by an Indian court would be considerably smaller than one awarded by a U.S. court.
As of May 1996, the government has passed rulings on only about half of them – 302,422 – and awarded compensation for injuries to 288,000 Bhopalis.
Carbide executives were delighted; they speedily transferred money to the government.
“The American government gave us this,” he says.
The first victim did not see the first rupee of Carbide’s money until Christmas of 1992, eight years after the night of the gas.
A In the Oriya slum, 11 years later, word spreads that a visitor form America has come, and a cluster of people come to meet me.
A young man, Bhimraj, and his mother, Rukmini, approach me hesitantly, holding out a carefully preserved piece of paper.
“Contract between law office of Pat Maloney, PC, of the city of San Antonio, Bexar County, Texas, and Suresh.


The Quantification of Loss
If a family has five affected people who get 200 rupees ($6) each [in interim relief], that’s a thousand rupees a month, so they don’t want to work.” A There is a widespread belief that the people destroyed by the gas – who tended to come from the poorer sections of Bhopal – aren’t receiving deserved compensation for grievous injuries that they are legally and morally entitled to, but some sort of unearned windfall that’s made them indolent.
You also write.” Although the government isn’t releasing figures about the average amount of rewards, the welfare commissioner’s office told me that the maximum compensation awarded for deaths is 150,000 rupees ($4286), except in a small handful of cases.
The payments the government has been disbursing since 1990 for interim relief (200 rupees, or $6 a month) are also deducted from the awards.
Union Carbide claims that the compensation is “more than generous by any Indian standard.” Is it really? For comparison, Laique pulls out the schedule of standard compensation set by Indian Railways for railway accidents.
Clerks in government offices demand anywhere from 100 to 2000 rupees ($57) to move papers, depending on the size of the awards.
For personal injury cases, 90 percent get 25,000 rupees, or $714 (the award bestowed on most of the survivors I spoke to directly).
Mohammed Laique, a local lawyer who has been representing claimants from the beginning, gave me the standard rates of compensation.
This means that from an award of 25,000 rupees, the maimed survivor in September 1995 could expect to receive as little as 7600 rupees.
For most deaths, the amount awarded is 100,000 rupees ($2857).
This belief is prevalent among the rich in Bhopal, government officials, and Carbide executives.
A government psychiatrist who has done a close study of the minds of the gas victims has come to this conclusion: they don’t want to work.
In his luxurious office, he has a computer, a bank of three phones, a sofa, a huge desk, and an executive chair in which he reposes under a big picture of Mahatma Gandhi.
The schedule is gruesomely specific:
  •  In case of death: 200,000 minimum 
  • For disability of 1 leg: 120,000 
  • If one or two hands are cut off: 200,000
  • If one or two legs are severed: 200,000
  • Thumb cut off: 60,000
  •  If four fingers cut off from one hand: 100,000
  • 3 fingers cut off: 60,000
  •  2 or 1 fingers cut off: 40,000 
  • Breast cut off: 180,000
  • For problem with 1 eye: 80,000 
  •  Hip joint fracture: 40,000
  •  Minimum for bodily injury: 40,000

“And the railways give very fast decisions, plus interest after three months,” adds Laique. During the bloody communal rioting that followed the destruction of the Babri Masjid mosque in Ayodhya in 1992, the government gave a minimum of 200,000 rupees ($5714) to the families of each person killed; these were people of the same socioeconomic status as Carbide's victims. It's clear that, if a Bhopali had any choice in the instrument of his death, it would be financially much more advantageous to be killed or maimed in a train wreck or at the hands of a religious fanatic than through an American multinational's gas cloud.

Moral Responsibility
Carbide is doing nothing to monitor the settlement amounts, to ensure that the victims’ financial needs are being taken care of; its labs are doing no research, nor is the company funding any, on the long term effects of methyl isocyanate; and there is no monument in Danbury or at any other company site to the gas victims of Bhopal.
Berzok emphasizes that whenever he was in Bhopal, traveling openly as a Carbide employee from the U.S., “I was treated very graciously, very hospitably, and that was true of all my visits over the years.” Maybe if the victims saw their enemy in person, could put a human face on him, witnessed his genuine anguish and his tears, there could be some hope of forgiveness, or even of reconciliation.
I inquired of several people and the feeling in general for those who were here 10 years ago was that there really was no interest in discussing their personal feelings [about Bhopal].” Berzok himself has been to India some 15 times in connection with the Bhopal disaster, not to help the victims but to help the Indian subsidiary better manage its public relations.
Images of Anderson are drawn all over walls in Bhopal; they depict a stick figure with a top hat below the slogans “Hang Anderson” or “Killer Carbide.” An activist, Satinath Sarangi, once gave the children of the survivors in the slum where he lives pens and paper, and asked them to draw pictures of Anderson.
Anderson's 1984 Bhopal expedition marked the last time a senior Carbide executive from Danbury got his shoes soiled in the city.
Staying at the posh guest house that Carbide used to own in Shamla Hills, Berzok has never once visited the slum colonies where the victims live and die; and he doesn’t recall a single name or a single distinguishing feature of any of the victims.
Carbide may have accepted “moral responsibility” for the disaster, but has never apologized to the people of Bhopal.
The Carbide hypothesis goes like this: a disgruntled employee, upset about being demoted, deliberately introduced water into the methyl isocyanate tank, setting off the deadly chemical reaction.
After the assets of its Indian subsidiary were seized by Indian courts, Carbide made a virtue out of necessity and, at the Supreme Court’s direction, announced that it would use the frozen assets to set up a trust to build a new hospital for the survivors.
Carbide will not name the saboteur, even though it promised to do so in court “at the appropriate time.” That was in 1986; a decade later, an appropriate time has still not been found.
As Carbide’s chief of public relations Bob Berzok put it to me when refusing my request to talk to anyone but himself at the company, anyone at all from the president down to a cafeteria worker, “This does go back 10 years and I’m not interested in disrupting the business going on here.
“Much of the world’s safety engineering community doubts the veracity of Carbide’s sabotage evidence,” writes Wil Lepkowski, the American reporter who has most closely followed Bhopal, in Chemical and Engineering News.
“Now if I meet Anderson in the street I’ll kill him.” I have also met people who don’t think Carbide is to blame.

Brian Mooney's Story 
 Drye & Warren, “with people who belonged to country clubs and played squash.” Kelley Drye, one of the oldest and most prestigious law firms in New York, was also Union Carbide’s outside counsel.
It was, he says, “a naive belief that people, especially people with suits on, are not capable of malice and wrongdoing, especially on such a large scale.” Also, in this case, the opposing side, in the courts at least, was the Indian government, “not a pristine entity either.” But gradually Bhopal, and other cases he was working on that were even more untenable personally, dominated his thoughts.
In the summer of 1995, Mooney decided to go to Bhopal and study the effects of the legal system on the very people his former employer had commanded him to battle against.
He was here to gather their stories, he told the women, so he could relate them to his students, so that maybe those students, uniquely powerful because American, would think twice about how the decisions they might make as corporate executives would affect the lives of people half way around the world.
One day that summer, Mooney found himself in the park of the gas-affected women, at one of their Saturday rallies.
Mooney at the time was a few months out of law school, so when the Bhopal case broke, he was not one of the senior attorneys there.
Mooney slowly realized that he had no remaining faith in the legal system, that it had an inefficiency woven into its warp and woof.
After a few years of drifting, Mooney applied to graduate school at the University of Michigan at Ann Arbor for the doctoral program in anthropology.
Mooney quit Kelley Drye in 1988.
A woman at the firm asked Mooney to serve the summons; he still isn't sure if she knew that he was gay, but he laughed and said absolutely not.
Mooney, who is gay and a former Catholic, used to celebrate mass on Saturday evenings at a Greenwich Village church with a gay Catholic group.
The archdiocese of New York, through its legal counsel Kelley Drye & Warren, sued the protesters and obtained an injunction against them.
Mooney was put to work on legal research, principally insurance-coverage issues.
I Mooney had to rationalize to himself the reasons why he was working for Carbide’s law firm.
He told the women that he was studying to be a teacher, and the students that he was teaching at the moment didn't know anything about the rest of the world and they didn't know anything about corporate ethics.
Every morning that December he would open The New York Times and read gruesome accounts of the dead and dying and then take the subway to Park Avenue to put in a full day’s work preparing the defence of the corporation that had done this to them.

A Charge Against Earnings 
It is ironic that a disaster such as Bhopal [would] leave its victims devastated and other corporate stakeholders better off.” Before Bhopal, the worst industrial accident in world history, Union Carbide was involved in the worst industrial tragedy in American history, the death in the 1930s of up to 2000 of its workers due to silicosis during the building of the Hawks Nest Tunnel in West Virginia.
In the financial maneuverings that took place during the takeover battle, Carbide gave its shareholders a $33 bonus dividend plus $30 a share from the sale of its battery business, and gave its top executives a total of $28 million in “golden parachutes” to foil future takeover attempts.
Bhopal made the company prey for a takeover attempt a year after the disaster, which forced Carbide to divest itself of its consumer operations and concentrate on its highly profitable core chemical business.
It says, “We reinstate Carbide as our number one major chemical stock idea.” Not once does the name Bhopal come up in the report.
“Clearly, by any objective measure,” says Arthur Sharplin, a management professor who studied these dealings, “Union Carbide Corporation and its managers benefited from the Bhopal incident.
If a person owning a single share of Carbide stock worth $35 in December 1984 had reinvested all dividends and distribution rights, that share would have been worth more than $700 a decade later.
When I went up to the Carbide headquarters in Danbury, Berzok proudly handed me an effusive Paine Webber report on the company, dated September 1995.
If there’s a happy ending to this story, it’s for the Carbide executives and shareholders.










An Indentured Spirit - Tejaswi

++++ Add Notes

1. Comment on the title of the essay.
2. Write a charactersketch of Maara.
3. Discuss the relationship between man and nature, as in the narrative, "An Indentured Spirit."
4. Discuss the relationship between the author and Maara.
5. How does the wordly-wise Maara outwit the intellectually superior narrator? What does it tell you about life and living?
6. Comment on Maara's superstitions and faith, and how it works to the advantage of the narrator.

So let's begin with the character sketch, shall we? Elaborate on the points I'm listing below:

aged, reluctant
assumes accusatin of theft, defends himself using irrelevant points like "won't fit me"
very bitter about puppy - ruined his sleep
lazy old mn - weary old man
too old to be tempted to steal
leisurely soul
believer: birth-rebirth cycle
very "worldly wise"
"extraordinary intelligence lurked beneath the cover of idiocy"
very nice line: "didn't see much difference between the visible and the invisible, the form and the formless. The formless wind became manifest as a cloud; the same cloud became even more tangible as water."
peculiar logic and powers of intelligence
"They know these things. If the chappals are placed wrongly, the dogs will leave them alone thinking they belong to a ghost. Tell me what a ghost's feet are like. Aren't they in reverse?"
"To see the chappals placed in reverse and realize, 'o-ho, a ghost has left its chappals and gone inside,' Kiwi would need to know a lot of things........... ghosts truly exist." - self-explanatory; quote it as author's disbelief
better to learn to live with Maara's thoughts, logic and intelligence and the beliefs that suffused his blood
But all this is in part one. In part two, Maara's character evolves into a "wily old man" who had sub-contracted his work to Chowdi and slept soundly in a flimsy hut near the fields while Chowdi guarded the author's estate night and day, fist-cuff and locks in hand.


I hope you've read the chapter - none of this will make sense otherwise.

In Custody - Anita Desai




You can watch the full movie :

https://www.youtube.com/watch?v=6ZDbaqGC7k8



About the Author:
Anita Desai was born in Mussoorie in 1937, educated in Miranda House, Delhi. She was prominent amongst the post - independent writers in India. As a novelist Desai looks at India and the Indian social scenario from an outsider’s perspective. It is this perspective that makes her novels distinct. Some of her famous works are Cry, the Peacock, Bye Bye Blackbird, Fire on the Mountain, Fast and Feasting, Village by the Sea. Besides novels she has also written short-stories and children’s fiction. She is also a visiting professor in prestigious international Universities.


About the Novel:
In Custody subtly deals with serious themes of the social and cultural repercussions of politically independent India. The novel is set in a suburb in the north of India, the protagonist Deven is a lecturer in Hindi. His love for the poetic language Urdu and his meeting with the legendary Urdu poet Nur is the main thread of the novel. The poverty and helplessness of both these characters are woven with much elegance and touches upon the hegemony of languages.

The novel initiates with an air of gloom hung over in the atmosphere of Mirpore, the small village-ish town giving shelter and occupation to the novel’s protagonist, Deven. Deven is a simple professor of a college in the department of Hindi, a department that carried the capacity of high literature but, presently lies, almost in a dilapidated condition, firstly, due to the lack of enthusiasm on the part of the students to master the subject-a subject that had little or no value in the job market and secondly, due to the composition of the town itself, a 0town of the tea wallahs and the truck drivers, in short inhabited by a class of people that form a distant part in the desire to grasp the beauties of philosophy, art and poetry. Into this dismal world , comes a ray of hope in the form of his childhood friend and companion, Murad. Murad, is the editor of a Urdu magazine that aims to publish long lost unpublished pieces of poems of high artistic value of the once famous, decrepit poet Nur Shahjenahabad. Deven being an Urdu lover leaps in joy as Murad gives him the
opportunity to interview the poet, something that he had wished since the time he relished the penmanship of Urdu poets and novelists.

The twist in the tale occurs when he finds how the life of Nur whom he considered as the epitome of reverence and regard,the God of Urdu poetry, is fraught with misery and poverty. Not only poverty in the sense of the lack of material goods but the poverty of the mind, the psyche. He is not only plagued by ill-health but also by his surroundings. The competition between his two wives, the noise and chaos of the fanatics, and the absence of decorum all combined create a distorted atmosphere, an unaesthetic ambience.

It’s Deven who gets entangled in the innumerable chains of difficulties surmounting Nur in the process of his interview. The interview turns out to be less of an oration of his lost poetry and more a revelry comprising rum, kebabs, biryani and gluttunous talks combined with an inefficient assistant and a second hand tape recorder meant to record Nur’s voice, in an attempt to make the work easier (as copying his words by hand would have been cumbersome). All this leads up to dismal failure, making him shell out money on food, on room rent, on bribing his first wife to fix up the appointment, followed by Nur’s letter back in Mirpore about his intention to visit Mecca and to inform about his cataract operation. The whole novel portrays a descending trajectory of Deven and the rise of miseries coupled with misfortunes.

The novel questions the meaning of friendship that stands on selfishness and insensitivity as observed by Deven’s relationship with Murad, the bonds of marriage mirrored in Deven’s complascent behaviour towards his wife and the educational system of the nation where students with scientific backgrounds are meant for the luxuries of life whereas those with a knack for humanities are shown to rot in dingy classrooms. This fact is also revealed in the way in which Deven’s hindi students take technical classes outside in order to get employment, giving least importance to the learning of the subject within the college premises. This is a reflection of the fact that the art, culture, heritage and history of the country lies threatened in front of the emerging technological boom of the globe. The novel can be regarded as an optimistic tale of Deven and Nur in spite of the repeated pessimisms hovering in their lives. This is because Nur at the end finds himself a custodian to breathe to him his life as it actually is and Deven gets the opportunity to take the custody of the divine poet whom he almost worshiped. This is an achievement in itself .Composed by Anita Desai, the novel is a portrait of human lives as it exists in their own exclusive circumstances, of the hypocrisy and pretension lying within the human spirit, of the difference between the town and the city life, of human helplessness and oppression on the road to ones aspirations.


Outline:
This is a novel about a small-town man, Deven, who gets the opportunity to go interview his hero, the great poet Nur, the greatest living Urdu poet. Having always loved Urdu poetry and missed the chance to be an Urdu language professor, he is charmed into going to Delhi the big city. Even though he shrinks at the idea of possibly being exploited by his sharp and selfish friend Murad, the dream of meeting Nur draws him on. So he sets off on a number of adventures on Sundays, the one free day that he should have spent with his wife and son.

What Deven finds at his hero's house is misery and confusion. Having sunk into a senile old age, surrounded by fawning sycophants, married to a younger calculating wife who wants to use his glory to win herself fame, Nur is not what he once was. Or perhaps he always was this.

Deven, a shrinking and weak man, is somehow drawn to this old poet, wishing to help and protect him even as he cannot defend himself. Perhaps it is the tie of Urdu poetry that he remembers from his treasured times as a child with his father.

In order to save the name and works of Nur for posterity, he decides to record his voice on tape for his small-town university. In the process Deven is exploited monetarily and emotionally, where Nur's family and hangers on demand money to keep themselves happy, Murad refuses to pay him for submissions to his self-proclaimed literary magazine. His wife Sarla is indignant at his time away, his fellow professors think he is having an affair in Delhi or push him to get a taping of Nur's voice. The saddest part is the result of the sessions. Drunk and encouraged by his admirers who follow him along to the sessions, Nur offers nothing new or novel.


Theme:
Identity and language
Post-Partition
Hindi- Muslims poetry
Social and cultural repercussions of politically independent India
Poetry
Language
Culture
Decadence
Identity
Conflict between Fantasy and Reality

Themes of identity and language are explored and developed.This is vital considering the context in which Desai sets so many of her novels, which is post-Partition and the massive upheaval that occurred as Pakistan was created as a separate nation and many Muslims and Hindus had to relocate and an imaginary border was created in a nation. The focus on language is shown in Deven, who focuses on Hindi poetry because he has no choice but to teach the language of the majority where he is based. However, he has a love of Urdu poetry, and when he tries to interview a famous old Urdu poet, Nur, he is insulted by his head of department with the following words:

Note the way in which, in this quote, the language you speak and your interest in it becomes a vital signifier of religious and national loyalty. The violence in the head of department's words reveals just how much language was such a massive issue in post-Partition India, and how expressing even a love of old Urdu poetry was seen as a mark of betrayal and being a traitor. Desai in this novel then writes of the way in which nationalism became a vehicle for the annexation of important cultural roots that form such an important part of the tapestry of India.


Summary:
Indian Literature in English has journeyed a long way to achieve its present glory and grandeur. Beginning with the trio of Raja Rao, R.K. Narayan and Mulk Raj Anand; today it is assimilated in the rubric of Post Colonial Literature. At present it is enriched by a sizeable number of women writers read and acclaimed all over the world. Their works offer penetrative insight into the complex issues of life. The fictional concerns of these women writers are not limited to the world of women and their sufferings as victims of male hegemony they also express social, economic and political upheavals in Indian society. Among these women writers Anita Desai has earned a separate space for her particular attention towards psychological insight and existential concerns. Her sensitive portrayal and understanding of intrinsic human nature makes her writings conspicuous and captivating. She herself admits her preference for the internal world of the psychic space that has always been a major concern in her fictional writings: “My writing is an effort to discover, underline and convey the significance of things. I must seize upon that incomplete and seemingly meaningless mass of reality around me and try and discover its significance by plunging below the surface and plumbing the depths, then illuminating those depths till they become more lucid, brilliant and explicable reflection of the visible world.”1 Apart from concentrating on the problems of women and the way they impact their mind, Desai’s novels have an irresistible appeal for the treatment of the external world of politics impacted by momentous historical events. For example, her Clear Light of Day (1980) and In Custody (1984) fictionalize the life impacted by the tragic saga of the partition. The present paper is an attempt to analyze the dynamics of motive and mode that make In Custody an artistic achievement.

1. Desai’s treatment of the questions related to the social role and implications of language forms the central thrust of the novel. Her motive becomes amply clear when she replies to a question related to the theme of the novel in the following words: “I was trying to portray the world of Urdu poets. Living in Delhi I was always surrounded by the sound of Urdu poetry, which is mostly recited. Nobody reads it, but one goes to recitations. It was very much the voice of North India. But although there is such a reverence for Urdu poetry, the fact that most Muslims left India to go to Pakistan meant that most schools and Universities of Urdu were closed. So that it’s a language I don’t think is going to survive in India ………There are many Muslims and they do write in Urdu; but it has a kind of very artificial existence. People are not going to study Urdu in school and college anymore, so who are going to be their readers? Where is the audience?”

2 . The fictional discourse in the novel presents a critique of the essentialist nature of the understanding of language that treats it as related to particular communities. Her treatment of the problematic of language culture divide also marks a rejection of the view that considers langue as the real custodian of any language. In the process it marks a preference for Bakhtinian view of language that treats the parole or language in use as the real language. Language in such a view, instead of being related to any community in particular, is related to the people who use it irrespective of the community they belong to. Another view about language that finds fictional expression in the novel is related to the use of language - its teaching or learning – is not always a matter of communal responsibility rather it is more related to one’s vocation.

In the novel Deven, a lecturer in Hindi in Ram Lal College in Mirpore is assigned the job of interviewing an old Urdu poet, Nur, living in Old Delhi. He loves Urdu and Urdu poetry but has to choose Hindi as a subject for teaching because of its value in the job market. . He says: “I am only a teacher……..must teach to support my family.”

3. Otherwise he has great love for Urdu poetry and fondly remembers his father’s liking for it. On the other hand the people like the head of the department of Hindi in his college associate language with community and dislike Deven’s love for Urdu. When he applies in person for one week’s leave to conduct an interview with the legendary Urdu poet Nur Shahjahanbadi; the head of the department, Trivedi, bursts out: “I’ll get you transferred to your beloved Urdu department. I won’t have Muslim toadies in my department; you’ll ruin my boys with your Muslim ideas, your Urdu language. I’ll complain to the Principal, I’ll warn the RSS, you are a traitor. "

4. Trivedi’s violent reaction to Deven’s request clarifies how language becomes a signifier of religious identity and national loyalty. This linguistic confrontation leads to communal riots. The novelistic discourse here gains greater relevance in terms of contemporary language base politics gaining significance in political and social affairs. The novel presents the Hindi /Urdu controversy that involves communal implications and does not allow the languages to become objective mediums of communication. This controversial issue taken up in the novel has been aptly explained in the following words: “The Hindi –Urdu controversy by its very bitterness demonstrates how little the objective similarities between language groups matter when people attach subjective significance to their languages. Willingness to communicate through the same language is quite a different thing from the mere ability to communicate.”

5. The political meanings attached to these cultural activities resulting in communal divide is rejected in the novel. At the same time the false beliefs of the people who developed a highly romantic attitude towards poetry and language also stand exposed in the novel. The poets and writers no doubts play a significant role in the progress of a language but their romantic notions tend to play havoc with it. Instead of understanding the use value of language some of them tend to attach a romantic notion of false pride in being a poet or writer in a language and, like Nur, consider certain forms of behavior as essential. It is perhaps because of such an attitude towards poetry and language that Nur, in his senile old age, still lives with the aristocratic habits, feeding his pigeons, gulping rich food and gathering around him a group of admirers whom he supplied rich food and liquor. Treating themselves as the custodians of a language, and by implication a culture or cultural group people like Nur indulge in glorifying their role. Even genuine attempts of persons like Deven are spurned by Nur simply because he fails to understand language freed from established views associating language with certain cultural groups or persons and artists like himself : “Urdu poetry...How can there be an Urdu poetry when there is no Urdu language left? It is dead, finished...So, now you see its corpse lying here, waiting to be buried…Those Congress-wallahs have set up Hindi on the top as our ruler. You are its slave. Perhaps a spy even if you don’t know it, sent to the universities to destroy whatever remains of Urdu, hunt it out and kill it…It seems you have been sent here to torment me, to show me, let me know to what depths Urdu has fallen. All right then, show me, and let me know the worst.”

6. The sense of doubt and personalized feelings related to Urdu as a language with Nur himself mark an understanding of language in narrow terms. The novelist’s artistic achievement here lies in keeping the fictional discourse free from such views about language. The fictional presentation of different perspectives about language also finds extension into existential issues related to broader human experience. How the novelist has brought these diverse forms together can be explained through her use of different fictional devices . Nur’s ailing body symbolically represents the sickening state of Urdu. The psychological pain of Deven is alter-ego of Nur’s physical pain. Deven is torn between the conflict of dreams and duty. Murad, editor of Awaz is in some better position than Deven as he has not surrendered to Hindi. He wishes to crown Urdu its coveted crown. His accusation of Deven as a traitor haunts him perpetually. Whenever he enters Urdu arena, he feels like an alien. Sincerity of purpose, zest, hero-worship of Nur help Deven in no way to realize his dreams. Deven’s failure is reminiscent of Desai’s tragic vision. Her novels never end in the fructified results. In Custody adds one more name to the series of novels which show an ultimate catastrophe waiting for her protagonists. The sordid reality of the world clashes with Deven’s brittle world of dreams. The collision smashes his hopes. He is caught in the muddle of linguistic-politics. The debunking of Urdu from mainstream is equally painful to him. But his Hindu religion stands in the way to his loyalty. His meetings with Nur made him clear the essential absurdity of life and Desai’s existential interpretation of human predicament. Who was Nur? A poet? An idol? A god? Or perhaps he was Deven himself wedged in the labyrinth of unexpected reversal of incidents. Apart from this, the use of different symbols and metaphors marks the way the dynamics of motives and mode functions in her novel. Symbols and metaphors are the beautifying components of the novel. For example, Murad’s face serves as a metaphor. He is facially disfigured by pockmarks; he epitomizes an Urdu speaker who is tainted by his contempt for Hindi. The title of his magazine is Awaz meaning voice. Paradoxically, nobody around is interested to hear the voice of Urdu. It incorporates the sighs and cries of a diminishing language. When Deven visits Nur for the first time, he witnesses the symbols of death and decadence on his way. A dead body of dog, a floating fly in the cup of tea and a group of crows feasting on the dead dog: “He turned and peered out of window to see if the dog lay on the road, broken, bleeding or dead. He saw a flock of crows alight on the yellow grass that grew beside the ditch, their wings flickering across the view like agitated eyelashes.”

7. The dead body of dog stands for the putrefying condition of Urdu language in the hands of its new masters, it also bears a resemblance to Nur and his exploitation by his cronies. The setting and locale of Nur’s residence are symbolic of dereliction and filth. Deven finds himself entrapped and could not find an exit from the mazy surroundings. Nur’s residence was in Chandni Chowk which looked like a market in a nightmare. The peeling, stained walls of the office buildings wore a squalid look. Deven could not imagine the dwelling of his hero among these ruins. The stench of unclean lanes, overflowing gutters, quacks with their powders held his breath. Chandni Chowk had witnessed the mutilated bodies of its residents during partition. It seemed as if someone has pulled out its liveliness and cursed it with morbidity. Siddiqui, the head of Urdu department is symbolic of past grandeur of Muslims. He is not entrusted with the job of custodian of Nur’s poetry because he himself is living on the fringe of the society. Murad chooses Deven for this vocation as he belongs to the emergent group i.e. Hindi. Siddiqui’s home in a dilapidated villa has an air of impeccable royalty and majesty. He is the silent spectator scrutinizing the shifting interests of the society. His ancestral home is his lucrative commodity which he plans to sell to some landlord. He is unmarried and spends lavishly on himself and his friends. He is patronizing and encourages his servant for his melodious voice. Symbol of surahi appears twice in the novel and in different contexts. First it appears when Deven is singing to himself the poetry of Nur & is nourishing a lingering hope in his heart to make his life worthwhile with his friendship of Nur. Surahi an earthen jar, container of water becomes a reservoir of nectar of life, in search of which Deven is traveling. It holds the promise, fulfillment of Deven’s hopes. At another time, towards the end of the novel, surahi becomes a signifier of impending summer, like a doom waiting for Deven, slicing his throat. Like Eliot, Desai only suggests, never confirms. There are thunders in her world but not a shower for rejuvenation. In the same way, Desai’s presentation of man woman relationships in a patriarchal society reveals her concern and understanding of different forms of woman’s experiences through an effective interplay of motive and the medium The women in the book seem vicious, specially the enraged young wife of Deven’s hero, the poet Nur. Just as the male characters are entrapped in an unsuccessful world, the female characters feel frustrated within a patriarchal society that reduces them to clinging to these men who fail to provide them what they want. Deven’s wife Sarla hates him and feels disgusted at his failures. All her dreams of a luxurious life are dashed to the ground because of his meager income. But the way she registers her protest is nothing more than a symbolic dissatisfaction with her lot. It may be because of the centuries of serfdom that runs through their blood that these women fail to rebel openly. “Sarla never lifted her voice in his presence- countless generations of Hindu womanhood behind her stood in her way, preventing her from displaying open rebellion. Deven knew she would scream and abuse only when she was safely out of the way, preferably in the kitchen, her own domain. Her method of defence was to go into the bed room and snivel, refusing to speak at all, inciting their child to wail in sympathy.”

8. Deasi is an advocate of the legitimate rights and freedom of such unfortunate women. “Anita Desai has conveyed her women characters’ fundamental dependence on men through her lexicon and tropes of mastery, command and domination. Her women sometimes do attempt to assert their independence and self- sufficiency, but their quest for identity is thwarted at significant junctures ……No woman in Anita Desai’s novels ……..has been fortunate enough to free herself from the shackles of femininity.”

9. The character of Imtiaz Begum is problematic. She belongs to the family of dancers, and is second wife of Nur. She is bold enough to call Deven a jackal who has come to relish the blood out of Nur’s body when he will be dead. She calls universities “asylum of failures”. Her powdered and painted face, reptile like movements disgusted Deven. Her insistence on telling her story to Deven is symbolic of Indian Women Writers who tell their own stories and that of other women. In her previous novels, women protagonists were of poetic temperament and male characters were cold and calculating: Maya-Gautam, Monisha-Jiban, and Sita- Raman, all represent such couples. But, here, the situation is reversed. Imtiaz Begum and Sarla mock at the poetic sensibilities of their husbands because they fail to meet their corporeal needs. The bold letter of Nur’s wife towards the end of the novel presents her as an icon of New Woman. She gains respect as a character by asserting her rights and abilities, Deven never manages such fiery rebellion. “The elegance and floridity of her Urdu entered Deven’s ears like a flourish of trumpets and beat at his temples while he read. The essential, unsuspected spirit of the woman appeared to step free of its covering, all the tinsel and gauze and tawdriness, and reveal a face from which the paint and powder had been washed and which wore an expression that made Deven halt and stumble before he could read on.”

10. Deven did not have the courage to read the poetry of a woman, because she is a woman. Her bold questions point out the bias of a sexist society: “Are you not guilty of assuming that because you are a male, you have a right to brains, talent, reputation and achievement, while I, because I was born female, am condemned to find what satisfaction I can in being maligned, mocked, ignored and neglected? Is it not you who has made me play the role of the loose woman in gaudy garments by refusing to take my work seriously and giving me just that much regard that you would extend to even a failure in the arts as long as the artist was male? In this unfair world that you have created what else could I have been but what I am?”

12. Her angry statements make the reader reevaluate what they previously had only seen through the eyes of a male character. By making women’s aggravation understandable, the primary unsympathetic portrayals of women characters turn out to have been of Deven’s and not the author’s perceptions. This new image of woman makes prominent feministic concerns in Desai’s works. Nur’s wife is the representative of a feminist who explains the change that has taken place in Indian society that new woman will tell her story: “Not long ago a woman who spoke about herself was considered a loose woman. To voice a pain, to divulge a secret, was considered sacrilege, a breach of family trust. Today, voices are raised without fear, and are heard outside the walls of homes that once kept women protected, also isolated. Some of the women who speak here have stepped out. Others, who have not, are beginning to be aware, eager to find expression. But let them speak for themselves.”

13. The novel incorporates language- confrontation, male- dominance and existential concerns of Desai. All these components are bound with the beauty of language which never fails to satisfy the aesthetic sense. Though there is an ultimate catastrophe waiting for Desai’s protagonist, yet it is his will to struggle which makes him indefatigable, a traveller in the never ending quest for identity and purpose in life. The interaction of the fictional concerns and their artistic presentation makes the novel an artistic whole and stands testimony to Anita Desai’s maturity as a novelist.