About Suchitra

Writes and translates fiction.

படைப்பில் ஒருமை – ரவீந்திரநாத் தாகூர் [மொழியாக்கம்] – 2

படைப்பில் ஒருமை [1] – அறிமுகம்

2

படைப்பின் இலட்சியம்

[குறிப்பு – இந்தக் கட்டுரையில் உள்ள ஆங்கிலக் கவிதை மேற்கோள்களை அப்படியே அளித்திருக்கிறேன். கவிதையின் கூறுகளை விளக்க ஆசிரியர் அவற்றை பயன்படுத்துகிறார், ஆகவே அவற்றின் வடிவத்தோடு அப்படியே வாசிக்கும் அனுபவமே சரியாக இருக்கும். வங்காள, சம்ஸ்கிருத வரிகள் கட்டுரையின் மையக்கருத்துகளை கவித்துவமான எழுச்சியோடு வெளிபடுத்தும் விதமாக மேற்கோள்காட்டப்பட்டுள்ளன. அவற்றை தமிழில் மொழியாக்கம் செய்திருக்கிறேன். —மொழிபெயர்ப்பாளர்]

பண்டைய சம்ஸ்கிருத நூலொன்றில் ஒரு செய்யுள் உள்ளது. ஒரு சித்திரத்தின் பிரத்யேகமான கூறுகள் என்னென்ன என்று விவரிக்கும் விதமாக அது அமைந்துள்ளது. அக்கூறுகளில் முதலாவதாக அது கருதுவது : வ்ருப பேத:ரூபங்களின் தனித்துவத்தன்மை. ஒரு சித்திரத்தில் பல ரூபங்கள் இருக்கலாம். ஒவ்வொரு ரூபமும் இன்னொன்றிலிருந்து வேறுபட்டது. ஒவ்வொரு ரூபத்துக்கும் அதன் எல்லைகள் உள்ளது. ஆனால் அவ்வெல்லைகள் திண்மையானவையாக திட்டவட்டமானவையாக இருக்குமென்றால் அந்தச்சித்திரம் ரூபங்களின் திரளாகவே நிற்கும். திரளின் பயங்கரமான தனிமையே அதனில் வெளிப்படும். மாறாக, ஒரு சித்திரத்தில் உள்ள பல ரூபங்கள், அவற்றின் தனித்தன்மைகளை மீறி, அவற்றுக்கு முரணாகவே, அவற்றை இணைக்கும் ஒருமையின் ஒரு கூரை தாங்கியிருக்கவேண்டும். அப்படி நிகழவில்லையென்றால் படைப்பு நிகழவில்லை என்று பொருள்.

சித்திரத்தின் முதற்கூரான ரூபங்களின் தனித்துவத்தன்மை என்பதை அடுத்து அந்தச் செய்யுள் இரண்டாவது கூராக அளவீடுகளை சொல்கிறது. இதை பிரமாணானி என்ற சொல்லால் குறிப்பிடுகிறது. அளவீடுகள் என்னும்போதே அது பரஸ்பர உறவுகளை குறிக்கின்றன. ஒரு வடிவம் இன்னொரு வடிவத்துக்கு தேவைகான இடம் கொடுத்தே அந்த பரஸ்பரம் உருவாகிறது. உடலிலிருந்து துண்டிக்கப்பட்ட கால் கார்ட்டூன்படத்தைப்போல எவ்வளவு பூதாகரமாக வேண்டுமென்றாலும் இருக்கலாம். ஆனால் உடலுடன் சேர்ந்திருக்கையில் அது உடலில் உயிரெனக் கூடும் ஒருமையுடன் இணைதிருக்கத்தான் வேண்டும். அது தன்னை அளவோடு நிறுத்திக்கொள்ளத்தான் வேண்டும். அப்படி அல்லாமல், உடற்கூறுகளை மீறி எம்பி அது தன்னுடைய சகாவை விட பலமடங்கு நீட்டம் கொள்ளும் என்றால், அது பார்வையாளன் கண்ணுக்கு எப்படித்தென்படுமென்றும், அந்த உடலுக்கே எத்தனைப்பெரிய தர்மசங்கடமாக முடியுமென்றும் நம்மால் ஊகிக்கக்கூடியதே. அளவீடுக் கொள்கையை மீறி, “நான் சுதந்திரமானவன்” என்று சித்திரத்தில் ஒரு அங்கம் மட்டும் முழங்குமேயானால் அது செய்வது கலகமேயாகும். அப்படி கலக்கத்தில் இறங்கினால் அது படத்தின் மற்ற அங்கங்களால் கருணையில்லாமல் அடித்து நொறுக்கப்படும். அல்லது முழுமையுடன் இணையாமல் என்றென்றைகும் தனித்தே நின்றுவிடும். இதில் ஒன்றே அதன் விதியாக அமையும். 

பிரமாணானி என்ற சம்ஸ்கிருதச் சொல் அழகியல் நூலில் அளவீடுகளைக் குறிக்கிறது. தத்துவ நூலில் ஒரு அறிவை அடையும் வழியை, அந்த அறிவுக்கான சான்றுகள் என்னென்னெ என்பதை குறிக்கிறது (பிரமாணம் – சான்று). அறிவுக்குறிய சான்றுகள் எல்லாமே அறிவுடன் சம்பந்தம் உடையவை. ஒவ்வொரு சான்றும், அதிலிருந்து அந்த ஒட்டுமொத்த அறிவு எவ்வாறு அடையப்படுகிறது என்று ஐயம் திரிபட நிரூபித்தாகவேண்டும். ஒரு நாட்டில் உள்ளவர்கள் எப்படி அடையாள அட்டயைக் கொண்டு அவர்கள் அந்த நாட்டின் குடிமக்கள் தான் என்று சந்தேகத்திற்கிடமில்லாமல் நிரூபிக்கிறார்களோ, அதேபோல் ஒவ்வொரு சான்றும் அந்த அறிவின் முழுமையை சுட்டும் விதமாக சந்தேகத்திற்கிடமில்லாமல் அமையவேண்டும். அந்த முழுமையை தனித்தொருவராக நின்று தங்களில் எவரும் உடைக்கவில்லை என்று நிரூபிக்கவேண்டும். தத்துவத்தில் உள்ள தர்க்கச்சான்றுகளின் தர்க்கரீதியான உறவும், கலையில் உள்ள அளவீடுகளின் அழகியல்ரீதியான உறவும், ஒரு புள்ளியில் இணக்கம் கொள்கின்றன. உண்மையென்பது தனித்தனி தகவல்களில் இல்லை. அந்தத் தகவல்களின் இணைவில், இசைவில் இருக்கிறது. இதில் ஓர் பிரபஞ்ச உண்மை பொதிந்திருக்கிறது. இதையே கவிஞன் “அழகு தான் உண்மை, உண்மையே அழகு” என்கிறான். 

அளவீடுகளே பரஸ்பர சமநிலையை உருவாக்குகிறது. படைப்புடைய லட்சியங்களின் கட்டமைப்பை இதுவே அமைக்கிறது. மனிதர்கள் கூட்டமாகக் கூடினால் அது வெறும் திரள். ஆனால் ராணுவப்படையில் ஒவ்வொரு மனிதனும் தன்னுடைய அளவீடின் வட்டத்துக்குள் நின்று செயல்படுகிறான். காலத்தில், வெளியில், நிற்கவேண்டிய இடத்தில் நின்று, நகரவேண்டியபடி நகர்ந்து, செய்ய வேண்டிய செயலை செய்கிறான். ஒரு வீரனும் மற்றொரு வீரனும் பரஸ்பர பந்தத்துடன் அவரவருக்கான இடத்திலும் செயல்வட்டத்திலுமே நின்றபடி செயலாற்றுவார்கள். இதுவே அவர்களை ராணுவத்துடன் ஒன்றியவர்களாக ஆக்குகிறது. ஆனால் அது மட்டும் அல்ல. படை என்பதே அதன் தலைவரின் மனத்திலுள்ள படை என்ற கருத்தின் புற வடிவம். அந்த கருத்தே படையை இயக்கும் ஒற்றை விசையாக உள்ளது. இப்படி, ஒரு படைப்பை இயக்கவும் ஒரு விசை தேவையாகிறது. அந்த விசையின் இயல்புக்கு ஏற்ப, அது கலைப்படைப்பா, அல்லது வெறும் கட்டுமானமா என்று வகுக்கலாம். கூட்டுப்பங்கு நிறுவனத்தின் அமைப்பையும்  நிர்வாக கொள்கைகளையும் உள்ளூர ஒரு விசை கூடி தீர்மானிக்கிறது. ஆனால் அந்த ஒற்றை விசையின் வெளிப்பாடு மட்டுமே அதன் இருப்பின் நோக்கம் அல்ல. அதைத்தண்டிய யதார்த்தமான காரணத்தை நிறைவேற்றவே அது அமைக்கப்படுகிறது. மாறாக, ஒரு கலைப்படைப்பின் தரிசனமென்பது தன்னளவிலேயே நிறைவும் முழுமையும் கொண்டதாகும். 

நம்முடைய இருப்பை, ஆளுமையை, ‘நான்’ என்று நாம் உணர்கிறோம். அது நம்மில் கூடியுள்ள ஒருமையின் உணர்வு. அந்த உணர்வு நாம் மகிழ்ச்சி, அல்லது சோகம், அல்லது பிற ஆழமான உணர்ச்சிகளால் ஆட்கொள்ளப்படும்போது மேலும் வலுவாகிறது. அது வானத்தைப்போல. நீலநிறமாக இருப்பதால் தான் கண்ணுக்குத்தெரிகிறது. நாட்பொழுதில் நிறங்கள் மாற மாற வெவ்வேறு விதமாக தோற்றமளிக்கிறது. கலைப்படைப்பிலும் ஒரு இலட்சிய உணர்சின் விசை அதன் ஒருமைபபட்டுக்கு அவசியமாகிறது. ஏனென்றால் கலைப்படைப்பின் ஒருமைப்பாடு ஒரு படிகத்தின் ஒருமைப்பாடு போல மந்தமானதும், ஈடுபாடில்லாததும் அல்ல. உணர்ச்சிகரமான, ஆற்றல்மிக்க வெளிப்பாட்டையுடையது. இந்தக்கவிதையை பாருங்கள்:

Oh, fly not Pleasure, pleasant-hearted Pleasure,

Fold me thy wings, I prithee, yet and stay.

For my heart no measure

Knows, nor other treasure

To buy a garland for my love to-day.

And thou too, Sorrow, tender-hearted Sorrow,

Thou grey-eyed mourner, fly not yet away.

For I fain would borrow

Thy sad weeds to-morrow,

To make a mourning for love’s yesterday.

இந்த மேற்கோளிலுள்ள வார்த்தைகள் சந்தத்தை வெளிப்படுத்த மட்டும் இவ்வாறாக கோர்க்கப்பட்டிருந்தால் அது நம்மை எவ்விதத்திலும் ஈடுபடுத்தாது. என்னதான் கச்சிதமாக அளவீடுகளோடு சந்தமும் தாளமும் கூடியிருந்தாலும் அது வெறும் கட்டமைப்பாகவே நிற்கும். ஆனால் அதே வார்த்தைகள் உள்ளுரையும் ஓர் இருப்புக்கு வெளிப்புற உடலாக அமையும்போது அது தனக்கென்று ஓர் ஆளுமையை அடைகிறது. அந்த தாளம் வழியாகவே அதில் உள்ளுறையும் அந்த இருப்பு பிரவாகிக்கிறது. வார்த்தைகளில் ஊடுருவுகிறது. அவற்றின் ஏற்ற இறக்கங்களில் துடித்துத்துடித்து உயிர்கொள்கிறது. மாறாக, இக்கவிதையில்லுள்ளே உறையும் உணர்வை வெறும் கருத்தாக, சந்தவிசேஷமில்லாத வாக்கியத்தில் கூறினோமானால், அது வெறுமனே ஒரு செய்தியை வெளிப்படுத்தும். உயிரற்றதாக, பிணம்போல் இருக்கும். அதனை பாடுவதில் எந்தப்பயனும் இருக்காது. அந்த உணர்வுப்பூர்வமான இருப்பு சரியான சந்ததாளவடிவத்தில் அமைகையில் மட்டுமே, ஒருகணமும் நில்லா நீங்கா இவ்வுலகின் நித்தியப்பெருவிழாவில் இடம்பெருவதற்கான உயிர்ப்பு அதனில் அமைகிறது.

இந்த வேடிக்கைப்பாட்டை பாருங்கள்:

Thirty days hath September,

April, June, and November.

இதில் சந்தமுள்ளது. உயிர்ப்பலையின் சாயல் உள்ளது. ஆனால் நம்முடைய இதயத்துடிப்பின் சந்தத்தோடு இந்த வரிகள் இழைவதில்லை, இவ்வரிகளில் ஒருமையை உருவாக்கும் உயிர்ப்பு இல்லை. இவ்வரிகள் கைப்பிடிகள் வைத்தப் பை போல வசதியாக உள்ளன. மனித உடலைப்போல் தவிர்க்கமுடியாததாக, வேறெப்படியும் படைக்கப்பட்டிருக்கமுடியாதென்ற உணர்வை உருவாக்கவில்லை.

நம்முடைய சொந்த கலைப்படைப்புகளில் உறைந்திருக்கும் இந்த உண்மை நமக்கு படைப்பின் அகத்தில் பொதிந்துள்ள மர்மத்திற்குள் ஒரு சின்ன வெளிச்சத்தை காட்டுகிறது. இவ்வுலகின் முடிவில்லா சந்தங்கள் வெறும் கட்டமைப்புகளல்ல. இவை நம்முடைய இதய நரம்புகளை சுண்டி இழுதக்கின்றன. இசைக்கின்றன.

ஆகவேதான் நாம் இந்த பிரபஞ்சத்தையும் ஒரு படைப்பென்று உணரலாகிறோம். அதன் மையத்தில் உயிர்ப்பான ஒன்று இருக்கிறதென்றும், அது தன்னை எண்ணிலடங்கா இசைக்கருவிகளில் வாசிக்கப்படும் முதல்முடிவில்லாத பிரபஞ்ச கானமாக வெளிப்படுத்திக்கொள்கிறதென்றும் நாம் உணர்கிறோம். ஒரு நொடிக்கூட அதன் தாளம் தப்புவதில்லை. வானத்துக்கு வானம் தோரணம் கட்டி விரியும் இம்மாபெரும் உலகக்கவிதையானது வெறும் பருப்பொருட்களின் பண்டவஸ்துக்களின் நிதர்சனங்களின் பட்டியலல்ல. நாம் ஆனந்தத்தை உணரும்போதெல்லாம் அப்பாடலின் நேரடியான தரிசனத்தை அறிகிறொம். நம்முடைய ஆனந்தமே இப்பிரபஞ்ச பேரிருப்பின் ரகசியங்களுக்குத் திறவுகோல். ஒரு பேராளுமை இப்பிரபஞ்சத்தின் எண்ணிலடங்கா ஆளுமைகளின் மேல் தன்னுடைய ஓயாத வெளிப்பாட்டின் வழியே கோலோச்சுகிறான். வக்கீல் வாய்தாக்காரனைப்பார்த்து பாடுவதில்லை, ஆனால் புதுமணவாளன் தன் மனைவி கேட்கவேண்டுமென்று பாடுகிறான். நம்முடைய ஆன்மா அப்பாடல் கேட்டு நெகிழ்ந்து கரையும் போது, அது நம்மிடம் கட்டணமேதும் எதிர்பார்ப்பதில்லை என நாம் அறிகிறோம். காதலின் சமர்ப்பணத்தையே அம்மணவாளனின் குரலில் கேட்கிறோம். மறுக்கமுடியாத ஓர் அழைப்பும்.

சித்திரக்கலை, இன்னும் பிறக்கலைகளில் சில வடிவங்கள் அலங்காரத்துக்கென்றே படைக்கப்படுகின்றனவே, அவற்றுக்கு வெளிப்படுத்த உயிர்ப்பான உள்ளுறையும் இலட்சியம் ஏதும் இல்லையே என்ற கேள்வியை நாம் எழுப்பலாம். ஆனால் அது அப்படி அல்ல. அலங்காரக்கலையில் படைப்பாளியின் உணர்ச்சிகரமான வெளிப்பாடு உள்ளது. “இதன் படைப்பில் நான் மகிழ்கிறேன், இது நன்று,” என்ற உணர்வு.  ஆனந்தத்தின் மொழிபுகள் அனைத்துமே அழகுதான். ஆனால் இங்கே ஒன்று சொல்லியாகவேண்டும். உண்மையான மகிழ்வு என்பது வெறும் கேளிக்கை அல்ல. அழகு வெறும் வடிவலட்சணம் அல்ல. தன்னிலையிலிருந்து பிரிந்து எழுந்து உயர்கையில் உருவாகும் உணர்வே மகிழ்வு. அது ஆனந்தம். உள்ளம் பிணைப்புகளில்லாமல் ஆகையில் உருவாகும் உணர்வது. அழகென்பது இங்கு உறையும் உண்மையான சாரமான ஒன்றின் ஆழமான வெளிப்பாடு. அந்த சாரத்தின் வெளிப்பாடு மட்டுமே நம்முடைய மனங்களை நிறைவடையச்செய்கிறது. வேறு வசீகரங்களேதும் அதனிடத்தில் இருப்பதில்லை. தேவையும் இல்லை. வெகுசில தூயப் பரசவசக் கணங்களில் நாம் உலகத்தைப்பற்றிய இந்த உண்மையை நேரடியாக பிரத்யட்சமாக அறியலாகிறோம். நாம் இந்த உலகை வெறும் இருப்பாக மட்டுமல்லாமல், அதன் வடிவங்கள், ஒலிகள், நிறங்கள், வரிகளினால் அழகூட்டப்பட்டிருப்பதை அறிகிறோம். “என் படைப்பில் நான் மகிழ்கிறேன்” என்று நின்று பெருமையுடன் அறிவிக்கும் ஒன்று  அவற்றின் வழியாக வெளிப்படுவதை நம் உள்ளங்கள் அறிந்துகொண்டே இருக்கிறது.

இதனால் தான் அந்த சம்ஸ்கிருதப் பாடல் ஒரு சித்திரக் கலைப்படைப்பின் இன்றியமையாத பாகங்களாக (1) ரூபங்களின் தனித்துவத்தன்மை, (2) சரியான அளவீடுகள், அவற்றின் ஒருமை என்பதுடன், (3) ஃபாவ: – அதன் உணர்ச்சிப்பூர்வமான மையம் என்று மூன்றாவதாக குறிப்பிடுகிறது.

உணர்ச்சிகரமான வெளிப்பாடு மட்டும் கலையாகாது – அது எத்தனை உண்மையான உணர்வாக இருந்தாலும் சரிசரி இந்தப்பாடல் அதன் ஆசிரியரால் “இரக்கமற்ற காதலியிடம் ஒரு விண்ணப்பம்” என்று தலைப்பிடப்பட்டுள்ளது:

And wilt thou leave me thus?

Say nay, say nay, for shame!

To save thee from the blame

Of all my grief and grame.

And wilt thou leave me thus?

Say nay! say nay!

கவிஞரின் விண்ணப்பத்தில் இருக்கும் தீவிரத்தையோ அதை வெளிப்படுத்துவதற்கான தேவையையோ நான் சந்தேகப்பட்டால் அவர் கோபித்துக்கொள்ளமாட்டார் என்று நினைக்கிறேன். அவர் அந்த பாடலின் வடிவத்துக்கு மட்டுமே பொறுப்பு கொண்டவர். அதன் உணர்வுகளுக்கல்ல. உணர்வுகள் அந்த பாடலை உருவாக்கி வடிப்பதில் வெறுமனே கச்சாப்பொருள் மட்டுமே. பயன்படுத்தப்படும் எரிபொருளுக்கு ஏற்ப நெருப்பு வெவ்வேறு வண்ணங்கள் கொள்கிறது. ஆனால் நாம் எரிபொருளை கவனிப்பதில்லை. அதை பற்றி விவாதிப்பதில்லை. நெருப்பையே கவனித்து விவாதிக்கிறோம். எப்படி ஒரு ரோஜாப்பூ அதன் சாரத்தைத்த்தண்டிய வடிவம் கொண்ட ஒன்றோ, அப்படி ஒரு பாடலென்பது அதில் வெளிப்படுத்தப்பட்ட உணர்வைத்தண்டி முற்றிலும் பெரிதான, வேறான ஒன்று. இனி முந்தைய பாடலைக் காட்டிலும் ஆழமான, உண்மையான உணர்வு வெளிப்பாடு அமைந்திருக்கும் மற்றொரு பாடலை பார்ப்போம்:

The sun,

Closing his benediction,

Sinks, and the darkening air

Thrills with the sense of the triumphing night,—

Night with her train of stars

And her great gift of sleep.

So be my passing!

My task accomplished and the long day done,

My wages taken, and in my heart

Some late lark singing,

Let me be gathered to the quiet West,

The sundown splendid and serene,

Death.

இந்தக் கவிதையில் வெளிப்பட்டுவரும் உணர்வுகளும் எண்ணங்களும் ஒரு உளவியலாளரின் பார்வைக்குறியவை. ஆனால் கவிதையென்னும்போது அதன் உணர்வுளும் எண்ணங்களும் அப்படியே அதன் கவித்தவத்தில் கரைந்துவிடுகிறது. உயிர்ப்புள்ள தாவரத்தில் கார்பன் உள்ளதென்ற ஞானம் அதை கரியாக்க எண்ணுபவனுக்கே முக்கியம். தாவரங்களின் மீது காதல் கொண்டவனுக்கு அது ஒரு பொருட்டே அல்ல.  

இதனால்தான் நிலத்தின் மேல் ஏதாவது புதியவகை கொள்கையின் உணர்வு, புயலாகக் கிளம்பும்போது அங்கே கலையில் ஒரு பின்னடைவு ஏற்பட்டுவிடுகிறது. அந்தக் கொள்கையுணர்வின் ஒற்றைபப்டையான தீவிரம், படைப்பின் அமர்த்தியான இணக்கத்தின் எல்லைகளை உடைத்து முந்தியடித்துக்கொண்டு தலை நீட்டுகிறது.  தரை மிதித்து புயல் எழுப்பித் தன்னை நாயகனாக நிறுத்திக்கொள்கிறது. அதன் எடையும் அழுத்தமும் படைப்பில் கைகூட வேண்டுய ஒருமையை அதன் பீடத்திலிருந்து அசைத்து பெயர்த்துவிடுகிறது.  இதே காரணத்தால் தான் தேவாலய பக்தி பாடல்களில் உண்மையான கவித்துவத்தன்மை இருப்பதில்லை. தேசபக்தி பாடல்களிலும் இதே குறையை காண முடிகிறது. திடீர் மழையில் பொங்கி எழும் மலைநீர் பெருக்குகள் இவை. தங்களுடைய பாதையிலுள்ளதை அடித்துச்செல்லும் வேகமே இவற்றின் குறிக்கோள், நீரின் ஒழுக்கு அல்ல. இக்கொள்கைகளின் உணர்ச்சிவேகம் வலிமையும் தன்னகங்காரமும் பொருந்தியவை. தங்களுடைய வீரியத்தை வெளிபடுத்த ஒரு அரங்கை அமைத்துக்கொடுக்கும் ஊடகம் மட்டுமே கவிதை என்ற பார்வையுண்டு இவற்றுக்கு. இப்படி எந்த கொள்கைக்காகவும் கவிதை ஒருநாளும் தன்னுடைய ஆன்மாவை பேரம்பேசி விற்றுவிடக்கூடாது. என்னதான் பொதுநலம், சமூகப்பயன் என்ற பெயர்களெல்லாம் சூடிக்கொண்டு வந்தாலும், அந்த சபலத்துக்கு கவிதை இடம் கொடுக்கவே கூடாது. கலைஞனுக்கும் கலைக்கும் இடையே காதலின் தூய ஊடகமான பழுதற்ற பற்றின்மை இருத்தல் வேண்டும். அந்தக்காதலை தூய்மையாக, முழுமையாக வெளிப்படுத்துவது மட்டுமே அந்தக்காதலில் ஈடுபடுவதன் குறிக்கோளாக இருக்க வேண்டும். தன் காதலை வேறெதன் சேவையிலும் பயனாக்கும் அற்ப எண்ணத்தை கலைஞன் அரவே ஒழித்துக்கட்ட வேண்டும். 

அன்றாட வாழ்க்கையில் நம்முடைய ஆளுமை சுயநலத்தின் சிறிய வட்டத்திற்குள் வலம் வருகிறது. ஆகவே அந்த சிறிய இடைவெளிக்குள் நம்முடைய உணர்ச்சிகள், நம் வாழ்க்கையின் நிகழ்வுகள் நமக்கு பூதாகரமான முக்கியத்துவம் பெற்று நிற்கின்றன. அவை தங்களை ஓங்கி ஓங்கி முன்வைத்துக்கொண்டே இருக்கின்றன. அந்த ஓங்கியக் குரலுக்கு முன்னால் அந்த உணர்வுகளும் நிகழ்வுகளும் முழுமையுடன் கொள்ளும் ஒருங்கிணைவு நம் கண்களுக்குத் தென்படுவதில்லை. ஆனால் கலையில் நம்முடைய ஆளுமை நித்தியத்தின் பற்றில்லா சுதந்திர வெளியில் சென்று நின்றுகொள்கிறது. அங்கே தன்னுடைய உண்மையான அளவை அது அறிந்துகொள்கிறது. நம்முடைய வீடு பற்றி எரியும்போது தீயின் தன்மையை நம்மால் புரிந்துகொள்ளமுடியாது. ஆனால் நட்சத்திரங்களில் உள்ள நெருப்பு அலகிலா பேரிருப்பின் உள்ளத்திலுள்ள நெருப்பே தான். அங்கே, அது படைப்பின் லிபியானத் தீ.

(பிரிட்டிஷ் கவிஞர்) மாத்யூ ஆர்னல்ட் நைட்டிங்கேல் பறவையை நோக்கிப்பாடும் பாடலின் வரிகள் இவை:

Hark! ah, the nightingale—

The tawny-throated!

Hark, from that moonlit cedar what a burst!

What triumph! hark!—what pain!

வலி நம்முடைய அன்றாடத்தின் எல்லைகளில் சென்று முட்டும் போது அது நம்முடைய நெஞ்சில் உதைத்து நம்மை பின்னால் தள்ளுகிறது. இது பெரும் வேதனையை உருவாக்கிறது. வாழ்க்கையின் குறுகிய வட்டத்தோடு அதன் தீவிரம் முரண்படுகிறது. அன்றாடத்தில் வலியென்பது ஒவ்வாத அபசுவரமாக ஆகிறது. ஆனால் பெரும் தியாகத்தின் வலியில் காலாதீதத்தின் பற்றில்லாமை உள்ளது. அங்கே பெருவலி தன்னுடைய பூரண கம்பீரத்துடன் வெளிப்படுகிறது. ஆதியந்தமில்லா இப்பெருவாழ்வின் விரிவில் அதற்கான இயல்பான இடம் அமைந்துவிடுகிறது. முகில் திரண்டு கருண்ட வானில் வெட்டும் மின்னல் அங்கே இணக்கத்துடன் வெளிப்படுகிறது. சோதனைச்சாலைக்கம்பியில் நிகழும் மின்னலுக்கு அந்த கம்பீரமும் இணக்கமும் இருப்பதில்லை. அந்த பெருவிரிவில் வைத்துப்பார்க்கையில் பெருவலிகளனைத்துமே பெருங்காதலுடன் பொருந்தி இசைவு கொள்கின்றன. எல்லா வலிகளுமே அன்பைக் காயப்படுத்துபவை. ஆகவே பெருவலியில் அன்பின் பரிபூரண இருப்பும் பரிபூரண அழகும் என்றென்றைக்குமாக வெளிப்படுகிறது. மாறாக, ஒரு வணிக ஒப்பந்தம் கசந்து போகும்போது ஏற்படும் வலியில் கம்பீரம் ஏதும் இல்லை. ஒன்றை ஒன்று கவ்விக் கடித்து உண்டு தீர்ப்பதிலேயே அது முடிகிறது. 

கவிஞன் பாடுகிறான்:

How thick the bursts come crowding through the leaves!

Eternal Passion!

Eternal Pain!

முதல்முடிவிலா காலாதீதப் பெருவெளியில் பொதிந்துள்ள பெருவலியைப்பற்றி வேதக்கவிஞர்கள் பாடுகிறார்கள். ஆம், “எல்லா படைப்பும் ஆனந்தத்திலிருந்து உதிப்பவை” என்று கூறிய அதே வேதக்கவிஞர்கள்.

ஸ தபஸ் தபத்வா சர்வம் அஸ்ரஜாத யாதிதம் கிஞ்ச

தன்னுடைய பெருவலியின் தாபத்திலிருந்து படைப்போன் இவ்வனைத்தையும் படைக்கிறான்.

படைப்பின் மையமான இத்தவம் ஒரே நேரம் பேரானந்தமும் பெருவலியும் தூண்டக்கூடியதாகும். இதைப்பற்றி வங்கநிலத்து நாடோடி மெய்ஞானிகள் பாடும் பாடல் ஒன்று:

ஆனந்தத்தின் இருளில் அமிழ்கின்றன என் கண்கள்

காரிருளின் பரவசத்தில் கமலமலரென இதழ்மூடுகிறது, என் இதயம்

அந்தப்படல் பேசும் ஆனந்தமானது நீலக்கடலைப்போல் ஆழமானது, நீலவானப்போல் முடிவில்லாதது. இரவின் கம்பீரமும் தீராப் பேரழகும் கொண்டது அது. அதன் முடிவில்லா இருள், பிரகாசமாக ஒளிரும் பற்பல உலகங்களை தனக்குள் பேரமைதியின் மகாத்மியத்தோடு அணைத்துக்கொண்டிருக்கிறது. எல்லா பெருவலிகளும் ரணவேதனைகளும் ஒன்றாகும் ஆனந்தப்பெருவெளி அது. 

தன்னுடைய படைப்பின் ஊற்றைப்பற்றி மத்தியக்கால இந்தியாவின் கவிஞன் ஒருவன் ஒரு ‘கேள்வி-பதில்’ கவிதை வழியாக சொல்கிறான் இப்படி:

பறவையே, நீ இரவெல்லாம் உன் கூட்டில் அடைந்திருந்தாயே, அப்போது உன் பாடல்கள் எங்கே இருந்தன?

உன்னுடைய மகிழ்ச்சியெல்லாம் அங்கே தானே இருந்தது?

நீ ஏன் உன் மனதை வானத்திடம் பரிகொடுத்துவிட்டாய், முதல்முடிவில்லாத வானத்திடம் பரிகொடுத்துவிட்டாய்?

பறவை சொல்கிறது:

எல்லைகளுக்குள்ளே ஓய்வாயிருந்தபோது மகிழ்ச்சியை அடைந்தேன்

ஆதியந்தமில்லாமைக்குள் பறந்தபோது என் பாடல்களைக் கண்டுகொண்டேன்!

ஒரு கருத்தை அதன் அன்றாடத்திலிருந்து விடுவித்து அதை பெருவிரிவின் சுதந்திர வெளியில் உயர்த்திப் பறக்கவிடுவதே கவிதை செய்யக்கூடியது. மெக்பெத்தின் அதிகார ஆசை, ஒத்தெல்லோவின் பொறாமை, இவை நீதிமன்றத்தின் முன்னால் கொண்டுவரப்பட்டால் பரபரப்பான செய்திகளாக நின்றுவிடும். ஆனால் ஷேக்ஸ்பியரின் நாடகங்களில் அவ்வுணர்வுகள் தீப்பற்றி எரியும் நட்சத்திரக்கோவைகளுக்கிடையே எழுகின்றன. ஊர்வலமாக புறப்பாடு செல்கின்றன. அங்கே படைப்பு காலம்கடந்த விழைவுகளுடன், காலம்கடந்த வலிகளுடன் அதிர்ந்துகொண்டிருக்கிறது.

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படைப்பில் ஒருமை – ரவீந்திரனாத் தாகூர் [மொழியாக்கம்] – 1

குருதேவர் ரவீந்திரநாத் தாகூர்

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அறிமுகம்

“நான் இங்கே இருக்கிறேன்” என்பது மிக எளிமையான அறிதல். அதை அறிய எனக்கு எந்த விஷேஷப் பிரயத்தனமும் செய்தாகவேண்டிய அவசியம் இல்லை. ஆனால் ‘நான்’ என்ற இந்த ‘என்னை’ உருவாக்கும் எண்ணிற்கடங்காத பௌதீக, வேதியிய, உயிரிய, உளவியக் கூறுகளை நான் பகுப்பாய்வு செய்ய முற்பட்டால், அந்தத் தேடல் எல்லையில்லாத ஒன்றாக ஆகிவிடும். நான் என்பது எனக்குள் நான் உணரும், வார்த்தைகளால் விவரிக்கமுடியாத ஒரு மர்மநிலை. அலகிலாததன் எளிமை அதில் உள்ளது. விரிந்து விரிந்து உடைந்து உடைந்து செல்லும், என்னை உருவாக்கி வைத்திருக்கும், இந்தப் பெருக்குகளை, ஒற்றைப்புள்ளியாக்கி நிறுத்துகிறது. 

என்னில் உள்ள இந்த ஒன்று – ஏகம் – பலவாகிப் பிளந்து பிரிந்து நிற்கும் இந்தப் பிரபஞ்சத்தை அறிகிறது. ஆனால் அது பிரபஞ்சத்தில் உள்ள ஒவ்வொரு பொருளில் உள்ள ஒருமையை, ஏகத்தைத்தான் அறிகிறது. அது இந்த அறையை அறிகிறதென்றால், இந்த அறை அதற்கு ஏகமான, ஒருமையான ஓர் இருப்பு. அறை என்பது பலபொருட்களால் அமைக்கப்பட்டதென்றாலும், அப்பொருட்கள் ஒன்றுடன் ஒன்று முரண்படுகிறதென்றாலும், அறை என்பது ஒற்றை அறிதல் தான். என்னில் உள்ள ஏகம் ஒரு மரத்தை அறிகிறதென்றால், அது அறிவது ஒருமையைத்தான் – மரமாக வெளிப்படும் ஒருமை. 

எனக்குள் இருக்கும் ஒருமை, ஏகம், படைப்பூக்கமானது. படைப்பதென்பது அதற்கு ஒரு பொழுதுபோக்கு. லீலை. அதன்வழியே அது ஒருமையென்ற லட்சியத்துக்கு விதவிதமாக வடிவம் கொடுத்து விளையாடுகிறது. சித்திரங்களிலும் கவிதைகளிலும் இசையிலும் அது ஆனந்தத்தைக் கண்டடைகிறது. உள்ளுறையும் ஒருமைக்கு பூரணமான, பிரிதொன்றில்லாத வடிவத்தை கண்டடைவதன் வழியாக அது அந்த ஆனந்தத்தை அடைகிறது.

என்னில் உள்ள இந்த ஏகம், அதன் தற்புரிதலுக்காக அறிவில் ஒருமையை நாடுகிறது. அதன் குதூகலத்திற்காக ஒருமையின் சித்திரவடிவங்களை படைத்து விளையாடுகிறது. மட்டுமல்லாமல், அதன் நிறைவுக்காக பிரேமையின் ஐக்கியத்தை வேண்டுகிறது. அது தன்னை இன்னொருவரில் தேடுகிறது. இது ஓர் உண்மை. இதை நிரூபணமாக்கும் பேருண்மைகளின் ஊடகங்கள் நம்மிடத்தில் இல்லாதிருப்பின், இப்படிச்சொல்வது சற்று அபத்தமாகக் கூடப் படலாம். பிரேமத்தில் நாம் கண்டடையும் ஆனந்தம் பரமமானது, ஏனென்றால் அதுதான் பரமசத்தியமும் கூட. ஆகவேதான் உபனிடதங்களில் “அத்வைதம் அனந்தம்” என்று கூறப்பட்டுள்ளது. ஒருமை அலகில்லாதது. அவை “அத்வைதம் ஆனந்தம்” என்றும் கூறுகின்றன. ஒருமை ஆனந்தமானது, பிரேமைமயமானது.

அலகிலாத அந்த ஒன்றிற்கு பழுதில்லாத வடிவம் கொடுக்க, எண்ணிலாத இந்த பலவற்றில் இணைவையும் இசைவையும் உருவாக்குவதும், அலகிலாத பிரேமையென்ற ஆனந்தவெளியை, தன்னிருப்பைத் தியாகம் செய்து ஏய்துவதும் தான் தனிமனிதனாக, சமூகமாக, நாம் இலட்சியமென்று எடுத்துக்கொண்டு செய்யக்கூடியது.

Vanangaan [Translation]

A translation of B.Jeyamohan’s Tamil short story Vanangaan (2015). The Tamil story can be read here.

My name is Vanangaan. It means ‘he who does not bow’, a stubborn stiffneck. Yes, that’s really my name. If you want my full name, it’s K.Vanangaan Nadar. No, it’s not my clan-god’s name or anything like that. No one in my family has had this name before me. No one in my caste or kin has such a name. I haven’t met another man with this name. Why, I have never met a single person who has even heard of this name.

It was my father who gave me this name. From the day he gave me this name till the day he died, for twenty-seven years, he kept talking about my name. After getting my engineering degree, my first job was in Bhilai, far to the north. To their ears, our names are all the same. However, the Tamils and Malayalees there used to ask me about my name.

It has been four years since I have come back to Tamil Nadu after retirement. I have a house in the suburbs of Nellai where I live with my wife and daughter. My daughter and son-in-law are disgruntled to hear me use my full name everywhere. Why don’t you just call yourself ‘K.V.Nadar’, they ask. That’s how they refer to me. I don’t, I prefer to use my full name everywhere. If someone looks up in surprise and asks me about it, then I proceed to tell them its story.   

My father’s name was Karuthaan. It means ‘darkie’. Did he also have a surname? Nadar? Well, don’t ask me that. You have no idea about the caste order of those days. There were many kinds of Nadars. Those with lands to their name and pride in their hoary clans would call themselves Nadars. They had homes with courtyards and outhouses and orchads; fields and haystacks and cowsheds. They paid tribute to kings.

For the rest, it was an extravagance to even have a name of your own. My father was born dark, he became Karuthaan. His brother had a large lip, so he was Sundan. His sister was a little more light-skinned than the rest, so she became Vellakutty. It was just like how you would name dogs. I’m not talking about the caste landowners’ dogs, they had fine names. I’m talking about the streetdogs.

My grandfather’s name was Ezhaan. Seventh. He could have been the seventh child. His mother had had nine children, two survived – that’s right, just like dogs. I have seen grandfather’s sister Kunji when I was young. A dark, crooked old crone, but she had a tough body. Though withered and shrunk and shriveled and humped, she lived till eighty. Till she died, she worked in the fields – bearing loads of manure on her head, fetching water for the vegetables, planting banana trees. She was hauling a whole cluster of bananas to the local market, when, with an ache in her chest, she stopped to rest outside a palm sugar shop. She lay down, closed her eyes, and with an expression on her face as if she was enjoying an agreeable breeze of wind, she died.

My grandfather worked as a yearly-wage labourer in the house of a land-owning, upper-caste Karai Nair in town. Their people owned lands and groves all over town. They had two managers, also from the Nair caste, called Kariyastha Nairs, who took care of all the property. For harvesting cocounuts and braiding baskets from coconut fronts, they had fellows from the Kaippalli caste. To pound the grain, women from the Achari caste. Pulayars took care of the rice fields. For all the other menial jobs, there were Nadars. Each caste of workers had its own leader, an overseer. This man was the soverign king of his little kingdom with power to slaughter and bury at will, no questions asked. The rest were consigned to live as the lowest of the low, under the very land his feet stepped on.

In that order of things, everybody was below somebody else. One of the markers of your place in the structure was splittle. Your saliva. If the overseer spat on the wage slave, the wage slave could not wipe it off as long as the overseer was still there. If the manager spat out a long, red stream of chewed-up betel nut juice on the overseer in a fit of anger, then the overseer would have to stand there take it with a meek smile. But the manager waited with a spittoon ready for his master, the Nair, and whenever a member of the Nair’s family puckered up his betel-chewing mouth in readiness to spit, he had to bring it forward under the man’s face. And if someone from the king’s clan visited, the Karai Nair himself had to carry the spittoon and deferentially follow at the heels of the guest.

There were no daily-wage labourers in those days. The wages were grain, given twice a year during the harvest. You brought the grain home, dried it, and stored it in pots. If you occasionally husked and boiled a little to make some hot gruel, it might last you for two or three months. It took a lot of mental fortitude to make that grain last till the famine month of Aadi. On all other days, you had to make do with the gruel that was doled out of the huge cauldrons at the landlord’s house, along with cassava mash and sour greens. That was only for lunch. At dusk, after the day’s work, you could make a detour into the forest and forage for something that you could cook and eat. That was dinner. Mostly root vegetables. Sometimes greens. If you were lucky, you got a rabbit, or a mongoose, or a bandicoot.

It was a life where you were unaware of the existence of any part of your body except for your stomach. Like an evil spirit seething with unquenched rage, your stomach kept simmering all over. I have heard my grandmother say that hunger is like when the roof’s on fire. Whatever comes to your hand, you fling onto it and try to put it out, there’s no need to wait and examine whether it is worth losing or not. For hunger is the greatest torment that there is.

My grandfather started going to work the day he started walking. He has no memory of a day when he did not work. Backbreaking work that was peppered with thrashings and an unending volley of abuse was followed by an abject weariness at the end of the day that made him drop off to sleep right where he stood. He woke up before dawn the following day to kicks and thrashes to do it all over again. This was all the life he knew. The only knowledge he had about society was how deep he had to bow before different classes of people. His picture of society was simply a hierarchy of deference.

One day, during work, my grandfather hid in the bushes to eat his mid-morning meal. It was the month of the harvest, my grandmother had made him some rice gruel the previous day. She fermented the leftovers overnight and brought it along with her in a little pot. My grandfather loved the sour, fermented day-old cooked rice. While he was hurriedly gobbling it up, the grandson of the Karai Nair happened to go that way to the Sastha temple along with the manager. He was fifteen. He spotted my grandfather eating in the bushes.

When my grandfather saw him, he got up and brought his hands close to his chest and bending over like a manacle, sat down on his haunches and kept his eyes cast down. The little pot with the  gruel was next to him. What passed through the boy’s mind, I don’t know, but with his foot, he kicked some mud into the pot. “Eat!” he said. When my grandfather hesitated a little, the overseer brought down his switch on his back and started hitting him repeatedly.

Like a man possessed, my grandfather lifted the pot to his lips and in a single gulp, downed everything in the pot. Then, retching and heaving, he sunk back on his haunches and arched his body into the ground. The boy kicked mud on my grandfather again, and left the place sniggering. The manager and the overseer joined him in his mirth.

At a distance, my father, Appa, was carrying loads of rice seedlings. To his eyes, my grandfather’s bent, shrunken body looked like a pile of dung. He could smell the stench, he thought. He could see the foul odour and the worms rise from it. At that time, he was filled with an unbearable hatred his father. His heart longed for the man’s death, right then, right there. His tears spilling over into the sludge of rice fields, he turned and walked away.

That night, he spoke to his mother in the presence of his father. “I’m going,” he said. “Ask your son where,” replied my grandfather. “No more place for me here. My food lies elsewhere,” said my father. “That’s right, as if you have food set aside for you waiting somewhere. It’s your good fortune that you get some gruel here. If you don’t want to starve and die in the street, just do your work and be,” replied my grandfather, not looking at him.

“So when every passing dog kicks up mud into my gruel, should I drink it?” Appa burst out. “You sinner, you dare to speak about our master?” cried out my grandfather. “Our lord, our master who feeds us?” and in rage, he picked up the first thing lying around, a broomstick, and started hitting my father over and over. “You are not my son! No, you are a thankless dog… you are not my son at all!” he shouted breathlessly.

The coarse sticks from the broom poking him all over, his body burning, my father stormed out of the hut and sat in the pit dug for planting the little coconut tree. When it was well and truly dark, my grandmother came outside. “Let it go, child… you know his nature. You come in, I will give you some steamed tubers…” she put her arm around him and led him back into the house. They ate the steamed tubers to quench their hunger and slept. But at midnight, Appa woke up and left the house.

However, they caught him easily. When he entered the main road in Nattalam, the man lying on a haystack keeping guard caught sight of him. At the same time, his dog also saw him. It bounded out barking and caught hold of him. The guard came behind the dog and tying him up with the cloth around his waist, dragged him back to his master’s house.

The next morning, the first thing the landlord saw was my father lying outside, bruised and mudstreaked. My father’s overseer was summoned, he got twenty strokes with a switch. They dragged my grandfather there and buried him waist deep in the manure pit. He brought this hands together imploringly. “Master, golden master… he is naive, he does not know what he’s doing. Take heart, please take heart, don’t kill him…” he wailed.

The landlord had the habit of petting his elephant, the tusker Kochaiyappan, every morning. The animal was brought to his front yard in the morning and stayed there restrained through the day, it would be taken back only in the evening. In those days, it was considered auspicious to have a tusker standing in front of your house, its big ears gently fanning back and forth. The servant Nanan Nair brought out a big platter with jaggery and coconut for the elephant. An idea struck the landlord.

“Bring him,” he said. They bound my father’s hands and legs and brought him to the landlord. In accordance with his instructions, they hammered down a stake deep in the space between the four legs of the elephant, and tied my father to that post. My father screamed and flailed in panic. Once he was under the elephant, it was as if his breath had stopped; his sheer terror was visible only by the gentle tremor on the surface of his body. In some time, there was shit and piss coming out of him.

The landlord sat there laughing for a while and then got up. “Let him be there till dusk. Let Kochaiyappan decide whether he should be killed or not,” he said, and left. Appa slowly came back to his senses. In some time, his fear disappeared. Till the end of his days Appa used to marvel at this memory – how his mind became so clear, how he could succinctly remember every little thing that happened that day.

Each leg of the elephant was like the base of a red cotton tree that grows in the jungle, full of cracks and folds; massive and rounded like a felled trunk that had been planted there. It had toenails like the white undersides of cut rootlets. As time passed the toenails started looking like the teeth of a massive demon. They seemed to be sneering at my father. Over his head, the underbelly of the elephant loomed like the stone roof of a low cave. Its penis was like an enormous plough.

Twice, the elephant brushed my father with its trunk; my father thought it was a blow and jumped in terror. After that, the elephant left him alone. With three legs firmly planted on the ground, the animal lifted and shifted his fourth foot on the ground; you could see the underside of the foot then. It was like a huge bundle of clothes. My father noticed that it was shifting its weight often, now on this leg, now on that, and thumping the ground with his big foot. When it tore apart a sugarcane stalk, the animal landed on its foot sending soil flying into the air, Appa yelped, “Ayyo!” Then he observed how the animal was placing the stalk against its foot very carefully. Huge balls of dung landed on the ground behind him with a thump, with the scent of warm, moist vegetation rising off them. Urine the colour of moss poured down on the piles of dung like a mountain stream. Appa’s body had the rank stink of elephant piss.

In the evening when the elephant was taken away, Appa kept lying there. They dragged him away and secured him to a coconut tree with some rope. They brought out my grandfather who was neck deep in the manure pit, and gave him a blow, “Get out of here.” The hot manure pit had burned his skin. His shrunk skin peeling off his body like on a cooked stork, he beat his fists on his chest and cried aloud, “Spare my son, golden master! My keeper, my god… my lord, spare my son, I beg you!” Wailing thus, and getting many more blows in return, he left the place.

All through the night, my father loosed the bonds on his hands bit by bit with his teeth. Then with a sharp stone, he cut the rest of the bonds. He escaped into the darkness of the midnight. This time, he avoided all the roads and thoroughfares. He sneaked his way through the plantations and bushes and fields.

While he ran, his heart with filled with revulsion towards his father. He kept spitting in disgust all the way. The next day, he wondered what fate was in store for his father. “Motherfucker, let him die,” he told himself. It was only sixteen years later when, one day, we were all eating day-old rice together that Appa realized that, even in the throes of prolonged hunger, his father had never touched old rice since that fateful day. He had dissolved into tears then. As Appa used to say “If a man is born wretched, even his revenge can’t be wrecked upon anything except his own body and stomach and soul.”

Appa went from Nattalam to Karungkal and from there to Thingalsandhai. From there, to Nagarcoil. He was eight years old then. He had no truck with books and learning, he couldn’t read or write. He knew nothing about the world outside Nattalam where he had lived till then. Not even second-hand knowledge. In those days, you could reach those towns only by dusty country roads where only carts could travel. There were fields on both sides, occasionally interrupted by small towns. Most of the area was rocky jungle land. Since there were plenty of jackals and wolves in the area, people rarely ventured out at night.

However there is something such as a blissful ignorance. It has a strength beyond what one might imagine. This is one of the lessons that I have learned in all my years of existence. When a man is utterly guileless, God has to to slacken some of his merciless laws for him. He doesn’t have an option. It was on the back of that strength that my father managed to go so far.

When I mentioned this one day, Appa laughed. “Go on now, you senseless fellow. My whole body reeked of elephant. Do you think wild creatures would come near you if you smell like an elephant? How else do you think I managed to escape from the landlord’s yard? Twelve dogs they had on guard, twelve. They took one sniff at the elephant odour coming off my body and promptly scarpered away, their tails tucked between their legs.” My father was like that till the end; his rationality always trumped everything else.

The next evening, Appa reached Nagarcoil. He would have walked thirty-five kilometres. He was used to hunger; his dark, slender frame was used to all kinds of deprivations. When there was a forest fire, Appa used to say, there were always some branches that wouldn’t burn, but lie on the forest floor, burnt and blackened with soot. They used such sticks in their fields. They were diamond-bodied, it was said. No matter what you did, they would neither bend nor break. Appa was like that.

Appa has no memory of what he thought of Nagarcoil. Like an animal, he walked through the streets of the city looking for something to eat. His body was covered with mud and slush. He had covered his loins with a sheath from the betelnut tree tied around his waist. However you should have seen my father. It is rare to see a man more handsome than he. He looked a bit like Denzel Washington. He had kind, gentle eyes. Back then, his eyes would have been even more beautiful. They would have been like rounded stones lying at the botton of a jungle stream – dark, cool, lusturous.

There was an idli stall run by a man called Ganesan near Parvathipuram. Appa scraped the leftovers from the used banana-leaf plates heaped outside his shop, ate it and went to sleep right there. Ganesan was a good businessman who could drive a hard bargain. He knew it as soon as he saw Appa that this boy could work like a bull. He summoned the boy into the shop and gave him a wide-mouthed vessel full of day-old rice and leftovers. Once his stomach had come to it senses, Appa could stand straight. He told Ganesan his name. However, despite repeated questioning, he refused to state the name of his town or any other details. Ganesan realized that he would never be able to get a word more out of this fellow.

Appa worked there for four years. Every morning, he would wake up early and walk a furlong to a stream from where he would fetch pot after pot of water to fill a big wooden trough. Then there was work in the idli stall, till it closed at ten in the morning. After that, he would bring the dishes to the trough and clean them thoroughly with sand and ash. A second round of fetching water. In the evening, after the shop closed business for the day, he washed all the dishes again. It was midnight by the time he finished. He was the last one out every night, locking up the stall behind him.

Tired to the bone, he dropped off to sleep the minute he stretched himself out on the raised narrow porch at the back. However he was up when he heard the first chimes of the church bells in the morning. Ganesan used to often recall the one time when it was raining heavily, and how Appa slept through the downpour like a log though he was soaked to the bone. Appa never got sick. He only ate leftovers – he thoroughly scraped the bottoms of the dishes before washing them and made a meal out of it. No one ever called him aside to give him food.

However, Appa had escaped the violence and abuse of his former days. With regular food, his stomach filled out and his limbs became strong as iron. “A strapping figure, just like the demi-god Maadan, eh? You pube?” Chellappan of the betel-leaf stall used to say affectionately. However Appa now faced new insults. He was never allowed to touch freshly cooked food. Once, when the banana leaf covering a heap of cooked rice flew away, Appa took up another leaf and went towards the food. Ganesan flew out at him. “Hey! No! Don’t touch it! Get out! Out, now!” he hollered.

From that day onwards, he started seeing his new limitations. Except for the narrow sliver of a porch at the back, he was not allowed to sit down anywhere, in front of anybody. Nobody ever gave anything directly to his hand. It would be placed down, he had to pick it up. When he walked on the street, there were always a few people who hollered at him from a distance, “Get out of the way!”

However Appa was happy. He was growing strong, in body and in mind. He had learned to read on his own, and started reading every last piece of paper that passed through his fingers. He learned to do arithmetic. He had even learned to read English letters and started reading a few words here and there. When he was thirteen, he found a new job in Ambrose’s tea stall opposite the court in Nagarcoil. There, he worked as a server. Sometimes, he even cooked the food.

When he was fifteen, a school teacher who had made his acquaintance as a customer at the tea stall saw him reading a page from a tattered English newspaper. “Thambi, till which class did you study in school?” he enquired. “I have never gone to school,” said Appa. “Never?” he asked. “No.” He looked at Appa for a while keenly and asked, “Then how did you read English? Did you work for some white man?” “No, I learnt to read it on my own.”

He could not believe his ears. However, he had no other choice but to believe what he had seen. He said, “Karuththan, how old are you?” Appa was twenty then. “I think you can sit for the first form exams. I will give you the books. You just have to study for four or five months.” Appa read the books he gave him and in a month’s time, he knew them by heart. Till the end, I was astounded by his mental acumen. When he was eighty-two, eight months before he died, he sought out the new pastor at the church here and started learning Latin from him. The pastor still says that if he had only lived a couple of years more, he would have become a great Latin scholar.

Appa wrote the first form exam – that would correspond to our sixth grade – in the Scott Christian College and passed it in the first attempt. He kept working at the same tea stall and studied for the ESSLC exam, also passing that successfully. That is, our eighth grade level. After that, he had paid the fees to appear for the Matriculation exam. Since he was diligent with his duties at work, Ambrose the tea-stall owner had faith in him.

It was in 1921 that Appa met the man whose memory he kept on his lips, every day, every hour, in wonder, in awe, till the last day of his life. On the twelfth of July at eleven in the morning. It was a blazing hot day. A man, maybe twenty-five or twenty-six, dressed in a black coat and a white pleated dhoti, a white bow tie fastened around his neck in the manner of lawyers, entered the stall and sat on the bench. “Get me a cup of hot tea, son,” he said.

In those days, only Nadars used to visit that shop. There were very few lawyers among Nadars back then. Even the few Nadar lawyers were from Bungalow Street, they were London Mission Christians. They walked and talked like Anglo-Indians. They treated the other Nadars worse than the upper caste fellows did. But you could make out from one look that this man was from the south, from Vilavancode. His counteance, his gestures, were all typically provincial. He had undone the buttons of his coat for the heat and lifted his collar high above his neck. He had rolled up the sleeves of his coat till his elbow.

Appa said, “On that day, I did not know who he was. However at first glance, my heart figured him out. Even today the sight of him that day fills my eyes – the way he came in and sat and jiggled his legs and blew on his hot tea and he drank it… if you had seen the way he held himself, you’d have thought was a rural Nadar alright. With his shirt off you would think that he’d scale up ten toddy-palms in the blink of an eye… the Bungalow Street lawyers would have laughed in his face if they had seen the way he was swirling his tea and blowing on it.”

When he was paying for the tea and making enquiries about Abraham’s office, he noticed the book in Appa’s hands. “What is that book?” he asked in the lilting manner typical of Vilavancode folks. “Matric… I have paid the fees for the exam,” he said. “Oh,” he had replied, and getting the directions he needed, left the place. This man’s name was A. Nesamony. He was from a town called Palliyadi near Thuckalay, hailing from the Peruvattar family that owned a little land and some orchads. His father’s name was Appavu Peruvattar. He had completed a BA degree at the Maharaja College in Thiruvananthapuram and a BL degree at the Law College there, and was a bar-at-law at the Nagarcoil court.

Yes, the selfsame man. The man now known as Marshal Nesamony and held in reverence by the Nadars of Kanyakumari as their leader even today. In his time, he was the face of the Congress Party in Travancore; he was the party, the party was him. He won the elections and became the Member of the Legislative Assembly from Travancore. He was instrumental in the forming of the modern day Kanyakumari district and its unification with the post-independence state of Tamil Nadu, he founded the Travancore Congress to facilitate this. At one point, he was the leader of the Tamil Nadu Congress Party. Till the end, he was a Member of the Indian Parliament.

There was a major scuffle the very first day Nesamony went to court. With his legal briefs in hand, he entered the court.There were seven or eight chairs and four three legged stools laid out there. Though the stools were ostensibly meant for the juniors, it always happened that the Nadars ended up perching on the stools. Nesamony went directly to a chair and sat down. The public proscecuter M.Sivasankaran Pillai saw him sitting on the chair; it brought a scowl to his face. He left the place. No one sat near Nesamony. When he realized that he had been sitting there all by himself for half an hour, he realized something was wrong.

The bench clerk Paramasivam bent down discreetly and told him what the source of the problem. The Nadars may sit on the stools. That was how it was. Blood rushing to his head, Nesamony got up and started shouting. “Sons of bitches! If the damned, if the downtrodden don’t have a place here, then what justice is it going to serve?” he hollered, and grabbing the stool, took it out and threw it in the middle of the yard in front of the court. Room after room he went, seizing all the stools, one after another, and flinging them out in the yard.

When Appa was in the tea stall, a clerk from the court came running. “That Palliyadi fellow is making trouble there… he’s off his head.” Some more people came running. There’s going to be murder, they prophesied. “Ah, the son of Palliyadi Peruvattar… he doesn’t know to behave himself. Young blood!” said an old man. In some time Nesamony arrived there, drenched in sweat, short of breath, his clothes askew. “Tea!” he ordered. When Appa gave him the tea, he downed it in one gulp, and flinging a coin on the table, left the place.

In some time, twenty or so goons from Vellamadam came to the tea stall, looking for Nesamony. They pulled out Appa and enquired about him, threatening him with dire consequences. They went high and low, all over Nagarcoil, looking for him. The court was adjourned that day. The whole town talked of this incident. “These Vellamadam fellows, hacking and murdering people is child’s play for them,” they said. It had been far too long since the town saw a good murder, they said.

The next day, Nesamony arrived in a Thiruvananthapuram Pioneer bus from Palliyadi, along with fifty men armed with sticks and sickles. He entered the court with his legal briefs in hand, surrounded by these men. The men stayed in the yard outside the court. Slowly, the place started filling up. At one point, the upper caste Vellala and Nair lawyers had to flee the place surreptiously though the back entrance.

For the next few days, the court was not in operation. The town was panicky. People in the tea stalls and houses could not stop talking about this. The church got involved. The Bishop came forward to talk to the judges, there was talk of submitting an appeal to the resident British officer. This proposal was threatening to the upper caste lawyers. Many of those who had come forward with bravado in the beginning backed out. Even though a few junior lawyers without a case kept protesting, the seniors backed out.

When the court was in session again, there were new chairs that had been bought and laid out for everybody. Nesamony and his friends gathered as a big group outside the tea stall and drank tea. Appa made tea that day. A hundred and seventy eight teas.

Then, Appa saw Nesamony burgeon in front of his own eyes and become an important figure. He slowly stopped coming to drink tea; It became necessary to take tea to his office. When there was no one else in the stall to deliver the tea, Appa himself went there. There were always groups of people gathered outside of Nesamony’s office. You took the tea and walked past the women squatting on the floor, wailing and crying, and the people from the village arguing furiously, and then you would catch sight of Nesamony, shirtless, his white shirt and bow tie hanging on the nail behind him, his legs propped up on a chair in front of him, laughing and talking loudly. It was typical of Vilavancode folks to talk as loud as humanly possible all the time.

There were always some people in there. “Tea for everybody!” he would say. In a day, it would come to two or three hundred teas. At one point, they just hired a boy to make tea for the visitors. Wheever Appa crossed that office, he would hear Nesamony’s laugh and that loud, Malayalam-inflected voice. He would always wonder if the man ever went to court and pleaded cases. However, he was known as the most brilliant lawyer in all of Travancore. They believed that the case would be won if he only so much as came and stood in court.

Nesamony joined the Travancore Congress Party. At first he contested in the city council elections and was elected its President. After that, it became increasingly rare to find him in his legal office. That was when Appa passed the Matric exam. The schoolteacher Chellappan who was his friend told him one day that the British Government was seeking applications for government jobs in Tirunelveli. He encouraged Appa to apply. Appa had not thought about that till then. He was thirty-three years old. He had no intention of getting married either. His only interest was to go to the town’s Mission Library every day without fail and read.

“You’ll certainly get the job… there are very few candidates who have passed the Matric exam and know as much as you do…” said the teacher. Without much hope, Appa submitted an application.

He received an order to appear for an interview at Tirunelveli. The man who interviewed him was an Iyengar, a Brahmin from Madurai. He asked all the questions in English. Appa answered him in English too. “Did you study at the Mission School?” he asked. “No, I have never been to school,” he said. Iyengar nodded, his face showed his displeasure.

Appa returned thinking that he would not get the job. But in a month, he received a letter stating he had the job. Iyengar had given him the second place. He went to Madurai directly and started his new job. After the eight-month training period, he was transferred to the Survey Department in Tenkasi. All towns were the same to Appa, he knew nothing about Tenkasi. From Madurai, he promptly took the train to Tenkasi and started his new position. 

The day he joined work, he realized that he was not welcome there. The Survey Department’s main office was in Tenkasi. After he had signed in there, he was told to go to Ilanji. Not a single person in the office gave him a smile. “These days anyone can get a job by sucking some white man’s cock,” Irulandichervai, the man who stamped the seal on his order, grumbled loudly. Many people smiled at their desks without turning.

It was only when Appa went to Ilanji in a horse-cart that he realized why he had been assigned there. The whole of that province was, indirecty and directly, under the control of the jamin, a feudatory state, at Injikkudi. There was no law or order there apart from the jamindar’s – feudal landlord’s – orders. The lands could belong to anyone, it could have been earned by anyone, be registered in anyone’s name. If the jamin’s men wanted, they could take it. They could change any registration to their name. It was the practice there that any officer who came to that town had to be the jamin’s slave, there was no other option.

The office was locked. It was an old, low-roofed tiled structure standing by the dirtroad, behind a stone wall. There were all kinds of wild bushes growing wantonly around it. Something like a footpath snaked through the wilderness. Ilanji is a rainy place; all kinds of creepers climbed up the walls of the building and covered the roof completely. He made enquiries there and had the thalaiyari Sankara Thevar – a man appointed by the government as his dogsbody – open the door for him. The building had not been opened for seven or eight months; the whole place reeked of bat droppings. Appa swept the place and cleaned it himself.

Sankara Thevar gave him the complete picture on the first day itself. Appa went with him to call on the jamindar. The bungalow of the jamin stood in huge garden, on the bank of a stream, in the midst of tall coconut trees. At the entrance, near the gate, was the jamin’s office. The clerk and the others used to be there. The jamindar used to come there in the morning once, sign all the necessary papers, and leave for the day.

On either side of the long path leading away from the office, there were metalworked cages housing animals from the jamindar’s personal zoo. He had a few bears, some pythons and a leopard in them. Apart from these, there were other creatures as well – civets, porcupines, jackals, wolves, black monkeys. The office was always filled with the stench of their spit and urine.

The jamindar of Injikkudi was a keen hunter. He had employed a few Pathani Muslims for the express purpose of taming the horses he would ride on his hunts. He also had on hand some tribal men who laid out the traps for the animals. He had the habit of throwing his enemies into the cages with the bears and pythons and leaving them in there through the night. Sankara Thevar said that many such people had died horribly, torn limb to limb by the bear. A small boy had died of fright upon coming face to face with the python in his cage.

When Appa and the Thevar came to the gate, the accountant, a Pillai, came out and addressed Appa. “Hey, you are a Nadan, no? Look at you, coming in like that… stand out there. Don’t climb on the porch. Take off your slippers and put them in the corner over there.” Appa stood outside the office. At eight o’clock everyone in the office was served a glass of pathaneer. Everybody else got their palm drink drink in a earthen cup; only Appa was served in the folded scoop of a broad palm leaf. They told him to dispose of the leaf outside the building after he was done with his drink.

He had to wait there till ten o’clock. After standing for an hour, Appa sunk down to sit on his haunches. At ten o’clock, a davali-peon came in and announced the arrival of the jamindar Periyakaruppa Thevar. The jamindar had had this man dressed in the same livery worn by the davalis in the government’s court. In some time, just like in a court, a liveried footman marched in ‘left-right’ with a silver staff. He shouted unintelligible sounds that made no sense, but had the ring of English to it. Behind him came two men bearing band instruments, the bugle player blowing recklessly into the mouthpiece.

Finally the jamindar Periyakaruppa Thevar emerged, followed by a few attenders. He wore the uniform of a British lieutenant that he had got tailored for himself. There was a pistol in the holder on his waist, white gloves on his hands, and hunting boots on his feet; he came in shifting his portly frame with great difficulty. When he entered, everybody in the room got up and raised cries of praise enthusiastically. He had his right hand raised at shoulder level like Hitler’s soldiers. This performance seemed to be an everyday routine there.

When the jamindar climbed on the steps leading up to the office, he laid his eyes on Appa. Appa was wearing a white shirt buttoned up to the neck and a black coat over it; a pleated dhoti covered his lower body. He had placed his turban on his head like a hat. That was the uniform of all the government officers of those days. “This is a new one. He’s from Travancore. A Nadar,” said the accountant Pillai.

Without warning, the jamindar, started hitting Appa over and over with the cane in his hand. He was bubbling with rage. “Khabardar! Beware…you fool…” he thundered. He ordered the thalaiyariSankara Thevar to shackle up Appa and lash him which a whip. Pillai intervened and tried to pacify the jamindar. He explained that Appa was a government official and it would not be possible to restrain him or lash him. It was only when the subdued jamindar, huffing and heaving, let loose a long string of expletives, that the reason for his rage became apparent. He did not like seeing a Nadar stand in front of him dressed like that.

When he went in, Pillai admonished him and made him take off his turban and shirt. The jamindar would not hesistate to take off your head, he said. His ears burning with fear and humiliation, Appa complied and removed his turban and shirt. He crossed his arms over his bare chest. Red welts streaked across his body where the cane had caught him. When the jamindar came out again, he looked at Appa with malevolence. “Know your place and act accordingly, and you might leave with your head on your shoulders. Understood?” he said, and spat on Appa.

Appa turned and walked away silently, the jamindar’s spit trailing down his body. The spit burned his through body like acid. When he came back to his office, he sunk into a chair, and broke down crying. Sankara Thevar watched with a mild sneer on his face. That whole day and through the night, Appa sat just like that in his chair. Vague, shapeless thoughts flitted in and out of his mind. However, by the next morning, his mind had hardened like stone.

Appa stayed in the office building itself. There was a pond and a toilet in the office premises. He dug himself a woodfire stove at the back. He got his own utensils, rice and lentils, and made his own meals. The peon Kandasamy came in every day to assist him. Sankara Thevar came in when he pleased. Most of his work was at the jamin.

In a month, Appa had read all the files. The Iyer who had worked there before him had toed the jamindar’s line and hung on for eight months, after that he had pleaded for a transfer and vacated the place. Since then, no one had looked at the records. Appa started taking stock of everything carefully and compared the documents with their originals. Subsequently, he wrote a long letter to the jamindar. He pointed out the corrupt records, and instructed the jamindar to register the actual accounts and documents with immediate effect.

In a few days, the thalaiyari came and informed Appa that the jamin’s clerk wanted to see Appa in his office. Appa refused. In two days, he was told that the jamindar himself wished to meet him. Appa refused again. He could imagine how this would have upset the regular course of events at the jamin’s office.

The next day, Sankara Thevar came in with another Thevan who carried a spear in his hand. “Look, it would be good for you if you came with us right now. Wouldn’t look very nice if we have to drag you back kicking and screaming, eh?” he said. Appa responded with barely suppressed rage. “Take me if you can. We’ll know whether the British government – you know, the one the sun never sets on? – has the power to take care of its servants or not.”

The thalaiyari’s face turned ashen. He had never thought about him that way. The black man standing in front of him was a representative of the white man’s great empire! Cannons, helmets, rifles, horses, documents with official seals… he did not say a word more. He stood there for a while twirling his mustache and left. While leaving, he turned his head once to look at Appa.

The very next day, Appa signed the order dismissing Sankara Thevar from his duties. In the afternoon, when Thevar sallied into the office with stick in hand and twirling his mustache, his body giving off the faint reek of liquor, the peon Kandasamy gave him an official-looking brown document. “What is this?” he asked in panic; he could not read. “You’ve been dismissed by the Nadar,” said Kandasamy. Sankara Thevar was petrified and stunned. He had no idea that such a thing was even possible. He came up to Appa and shoved the document in his face. “What on earth is this?” “It’s a government order. It’s not meant to be manhandled like that,” said Appa. Thevar’s hand froze in mid-air. His face turned white. “You don’t need to come in anymore. You can attend to your duties at the jamin full time,” said Appa.

Sankara Thevar opened his mouth to say something, but closed it like a fish almost immediately and walked out in a daze. The next day he came back along with his wife Vandimalaichi and begged and pleaded with Appa. “Sami, master, lord, this wretched man drinks everything he earns. I make do with what little I can palm off and fill our stomachs a little with gruel. Show mercy, don’t hit us where it would hurt us the most!” Vandimalaichi pleaded with a child on her hips. The child watched the scene avidly. An older child, completely naked, stood next to her clutching her waist, digging his nose and staring at them. Thevar hid behind a pillar and watched the proceedings out of the corner of his eye.

“Alright, I’ll make an exception for you. I’m not the sort to fling mud into anyone’s food,” said Appa. To Thevar, “But look. You should come in here every day. You can leave only when I tell you to. You should do what I say. You’re responsible for everything that happens in this office. Got it? “Alright,” he said. “From now, you should always call me ‘sir’. This is a government order. It says so in this document.” “Alright, saar,” said Thevar. Unexpectedly, he made a smart salute.

The next day, the clerk at the jamin summoned Thevar and asked him why he had not produced Appa before them the previous day. Thevar was firm. “Look here, I am a government servant. My government is one that controls even the sun above. You can do whatever you want outside. In my office, saar is my boss. I am his servant. If saar orders me to, I will certainly chop off ten heads in a flash and pile them up in front of him. You shouldn’t mistake me then.”

“Will you chop off my head if he orders you to?” asked the accountant Pillai. “Then? The government tells me to do anything and everything saar orders me to do. You’re just a weakling Pillai. If saar orders it, I would even behead the jamin.” said Thevar. The accountant’s eyes almost jumped out of its sockets. This is an empire that has cast a spell to hold the sun in place, you know? See this notice?” and showed him the dismissal order Appa had given him the previous day. Pillai did not dare to touch it. When Thevar went back to the office, he recounted this tale to Appa.

For a month, this state of affairs continued. When the third notice was dispatched, the accountant came with the notice in hand to meet Appa. “What?” demanded Thevar of Pillai who was trying to sidle into the office unnoticed. “Saar is working, don’t you see? Let him call you, you can go then. Stay here,” he said. The accountant’s face turned pale. Then when he came in, he could not speak. Appa explained the problems with the accounts. “It’s always like this here. The government knows,” he responded weakly.

“Alright. Then I will write to the government,” said Appa. “No one writes to the government from here…” said the accountant. “Then? I need to do my job,” Appa replied. The accountant did not know what to say. “Periyakaruppa Thevar is a favourite of the British collector. He only has to say a word, and the white master will come running here. Did you know that our jamindar Thevar is the collector’s hunting partner?” threatened Pillai. Appa said, “I don’t bother with such things. I will write to them. Let the collector do what he thinks is right. Please let the Thevar know that I am doing my job.”

The accountant Pillai wondered whether Appa was off his rocker. Why did he wish to die foolishly? He knew how many people the jamin had killed and buried noiselessly. “Nadar, you look a bit like my son… let me tell you something. Don’t do this, okay? Apply for leave and get out of here. Get a transfer, go someplace else that’s more suited for you, get married to a good Nadar girl and be happy with your children. This is a town of murderers, they’ll hack you limb to limb and bury your body without a trace. Killing a man is child’s play for our Thevar.”

Appa replied decidedly, “Look, I’ve climbed out of a manure pit to get here. I’ve seen things that are far worse than death. I’m not going to be afraid of anything ever again. Your accounts and calculations may mean many things to you. You can play games with it, meet any ends with it. Me, I’ve just started climbing and got a foothold. This is my foothold now. It belongs to me and the seven generations that will come after me. When I go up, they climb with me. If I let go now, all eight generations fall down, see? So go tell the Thevar that Nadar is ready to die. Go!”

The accountant sat there for a moment, dazed and shocked and then left. Sankara Thevar cautioned Appa. “Saar, please don’t go out. They may be hiding in the shadows waiting to hack at you,” he said. Appa stayed inside. The next morning, the jamindar cantered in on his horse and alighted in front of Appa’s office. The huntsmen who accompanied him stood outside. He was dressed in hunting clothes like an Englishman. Appa did not get up. He did not welcome him in. The jamindar leapt up the steps leading up to the office with a long rifle in his hand. He stood outside Appa’s office and aimed the muzzle at Appa’s face. His hand was on the trigger.

For a moment then, Appa stared at death in the face. Then he said, “Shoot if you want to. It’s a lucky English officer who dies in service in his English office.” The jamindar lowered his gun. “Shoot! If you are such a pussy plucker, if you really think you have the license to kill and loot at will, shoot me and leave. But if I die, it won’t end so simply. You’re stirring up a hornet’s nest! We’ll come for you in droves. Wave after wave, our generations will keep coming for you. Let’s see how many people you can shoot,” said Appa. When he spoke those words, he felt like an audience of thousands was in that room, hanging on to his every word.

The jamindar had not excepted this show of nerve from Appa. He couldn’t think straight after that. His hands trembled. He lowered his gun in hesitation. Appa seized the opportunity.”You think you can shoot me and escape. I am the officer who is supposed to levy the taxes here. It’s not like you think, a collector cannot close this case at his will and pleasure. The white man will find you and hang you. If they decide to hang you, then they would have to give away your lands to someone else, and your cousins will line up to give evidence against you. How would you like that?” he said.

The jamindar slowly regained his poise: his face became still, his eyes narrowed into cunning slits. “You are a cunning fox… but we have had these smarts for ten generations and we’ve played all kinds of games with it. Let’s see. You are an officer in these premises only, yes? Try and step out. An elephant will stomp you to death. A Thevan who is passing you on the street will hack you. What can you do? Let’s see…” he said and left the building, stomping on the steps. He clambered on to his horse and cantered away, the horse’s hooves splashing mud and sludge in its wake.

Appa did not stir out of the office at all. Sankara Thevar had informed him that there were people hiding everywhere, waiting to kill him if he went out. The peon Kandasamy went on leave. But Sankara Thevar stayed behind in the office, armed with his spear. He ate what Appa cooked. At night, he kept guard on the porch, covering himself with a sack cloth; he did not so much as wink. During the day, he slept on the porch. But even the sound of a garden lizard was enough to rouse him to alertness; he sat up with his spear, ready to attack.

For twenty-seven days, this state continued. Appa never set foot outside of the office premises. Thevar went to the post-office, spear in hand, and brought in the letters, he also took back the outgoing mail. He bought all the groceries for Appa. Since he had the ‘government order’ as evidence in his pocket, he walked about with his head held high, unafraid of anyone.

Appa waited for days. Death waiting in front of him, hiding just out of his sight. It was then that, one night, Appa had a dream. That Nesamony came to his tea shop to drink a cup of tea. “Then, how are you, son?” he asked in a loud voice, lifting his coat collar high above his neck. Appa woke up with a start. Immediately, he wrote a long letter to Nesamony detailing the events that had transpired.

Appa thought that Nesamony might take the letter to the collector at Nellai, and maybe he could expect to get help from the police. However on the fifth day, a big group of about a hundred people came from Tenkasi to Ilanji, armed with sickles and spears. Leading the group, was an elephant. Loud cheers – “Victory to the Congress Party! Victory to Mahatma Gandhi! Victory to Pandit Nehru! Victory to Subash Chandra Bose! Jai!”

Appa was in the office in the afternoon when he heard the shouts and hoots and came out to see what was going on. Thevar stood at the gate with a sickle. “Please go in, sir. No man will cross this threshold when I am still alive,” he said. The first thing Appa saw was the tusker elephant that had mushroomed there like a boulder, blocking the gate. He did not understand what was going on. It was only after that that he saw Nesamony.

“Thevar, this is my Nesamony, the lawyer,” Appa said. “Who?” asked Thevar. “My leader!” said Appa and rushed out. Nesamony caught him in an embrace, heart to heart.”You’re born to a father, son, you showed them! You stood up to them! Son, we should always stand up, up in their face, anywhere. Let’s show them… let’s see who raises a finger againt you when you go out. Get up on the elephant,” he said.

Appa protested, “Ayyo!” “Son, I am ordering you to get up there now. Up!” He signaled to the mahout and the elephant bent down its front foot like a step. Appa climbed on its leg and holding on to its ear, threw his other leg around its neck and sat on its head. It was like sitting on a huge rock.

When the mahout signaled, the elephant rose. Appa went up high. All through his living days, over and over, Appa fervently kept describing that single motion – how many times, and in how many words! That movement up above would have been three feet tops. However it happened for an eon in Appa’s mind.

He kept moving up. Higher, higher, higher. The ground slipped under his feet and went lower and lower. The office, its tiled, sloped roof, went low. The branches of the trees went low. The streets, the men, all descended far below him. The sky with its light came low to receive him. He was surrounded by light. The light of the skies. Light that fills the clouds, light that makes the clouds brim over.

When the elephant started moving, Appa felt like he had turned into an elephant himself. “You know what an elephant is only when you climb on it. An elephant is power, understand? You feel like you can invade a fortress with a tiny pin… you should feel the way an elephant walks. That’s what you call a gait. Such majesty!” Appa could never find the words to describe that experience entirely. Appa walked on the sky, swaying, his gait gentle and majestic.

The group with Appa on the elephant at its head went through all the streets of Ilanji, shouting slogans.  When the people at the jamin realized what was going out, the gates of the jamin were closed. “Break it open!” ordered Nesamony. When the elephant lifted a leg and gave the gate an almighty push, the gate opened and promptly swung off its hinges. The elephant walked right to the entrance of the jamin bungalow. When the animals in the zoo smelled an elephant in the premises, they became restless. The bears and leopard walked around in circles. The jungle cats slunked in the corners of their cages and hissed in fear.

Appa was far above the rooftops of the jamin bungalow. He kicked at its tiled roof with his foot. The crowd cheered and hollered. For half an hour they stood there and chanted slogans. Victory to Mahatma Gandhi! To Pandit Nehru! To Subash Chandra Bose, to Kamaraj, to Nesamony! Then they went back to Appa’s office on the elephant.

Appa got off the elephant in front of his office. He felt like there were still some remnants of the elephant’s movements left over on his body. He felt a pleasurable ache in both his thighs. When he kept his legs apart and walked, he felt like he was floating on thin air. “Do you know? On that that my gait changed. After that, my gait always had that elephantine sway in it!” Appa used to say. After dropping Appa off at the office, Nesamony and his group took leave. “No one will lay so much as a finger on you from now on. Be strong!” said Nesamony, before he left.

Yes, after that Appa worked in Ilanji for seven years. He lodged complaints about the jamindar’s financial irregularities. The lands were measured again and partitioned to the right people. At one point, the jamindar’s cousins started working in Appa’s favour and helped him in many ways. When Appa walked on the street, the people who crossed him on the street moved aside and greeted him courteously. They always gave him a wide berth, almost wide enough to fit an elephant.

“In their eyes, I was still travelling around on the elephant,” said Appa. “Because there was always an elephant in my heart. There was an elephant in my gait, see.” The elephant became a part of his name. He always called himself Aanai Karuththaan Nadar, Karuththan Nadar the elephant, even in his letters to me. “A man on an elephant can never bend in front of another. He will not be accommodative and play nice and let people walk over him. Understood?”

Appa got married when he was working in Ilanji. I was born. When I was about to be named, the name struck him suddenly. “Vanangaan”. A stubborn stiffneck. One who does not bow his neck in submission anywhere. Amma asked, “What’s that? It’s a weird name.” “No, that’s going to be his name. Vanangaan Nadar,” said Appa. My father gave me an inviolable order at birth.

When I was seven months old, my father took me to Palliyadi to visit Nesamony. Nesamony was reading the newspaper in his living room. He entered Appaavu Peruvattar’s big house and stood in the front hall, facing its famous son. When he asked Appa to sit down, Appa dragged forward a chair, sat down and placed me in the man’s arms. “What’s his name?” asked Nesamony. Appa told him. His face broke into a smile.

The creation of taste (or) Why I translate – an Indian writer’s translation manifesto

There was a recent back and forth between Tamil writer Ambai and translator N.Kalyan Raman in Scroll. Ambai had written about her perception of certain inadequacies in literary translation from an Indian language like Tamil into English. Her protests were a writer’s, and despite some generalizations that I couldn’t entirely get behind, I could sympathize with her writer’s need to be well-represented, her apprehensions about certain perceptions of a hierarchy between English and Tamil – consequently, the translator and the writer – and the demands of the market.

N.Kalyan Raman’s response, from a translator’s perspective, was to clarify the practices in contemporary translation. That is, translation is not finding an exact equivalence of the source text in the other language – it is not in the ‘service’ of the source text – but rather, it an act of creating a negotiated text that does justice to the source text while creating a literary piece in the target language. This is important, for we have so few literary translators around us, and hardly any discussions of their craft, either in print or in literary festivals or otherwise. This ties to what I perceive as a general lack of critical discourse in the larger English-driven Indian literature space.

As both a writer, writing in Tamil, and a translator working between Tamil and English, and thus perhaps as someone who understands both sides of this debate, I have a few things to say on this matter.

Samvada, samanvaya

My understanding of translation is more in line with Kalyan Raman’s perspective than Ambai’s, perhaps because I am a practicing translator. No, translation is certainly not in the ‘service’ of the source text. Nor are the writer and translator in competition.Translator, traitor is a well-worn phrase, but I think it is an idea that comes out of a culture that sees literature, and everything else, as the product of agon. On the other hand I feel that translation is moulded, quite intuitively, by samvada and samanyava, harmony and integration.

The sensitive, skilled literary translator is no traitor, either to the writer or the reader. Sensitivity is its own kind of skill in this enterprise, as the skill in translation is necessarily expanding one’s sensitivity to rhythms of language, meaning and expression in both languages – really, in the languageless zone that underlies both.

Translation is quite simply an act of bringing in harmony and balance. It is an act of tact and grace. The harmony really exists within the translator, for it exists in the languageless zone. Everything else is simply its expression, an expression negotiated with the writer and reader through the text. The translator embraces both the speaker-writer and the listener-reader within themselves and then proceeds to create a nuanced, lengthy dialogue with them both. Often, within the translator, they are both the same person, the translator themselves, now acting as one, now as the other. It is this self-talking, this internal monologue posturing as dialogue, that the reader reads as the translated text.

Where precisely is the harmony achieved? In language, in expression, in meaning.

The facility of reading should be unimpeded in the other language – if possible, creating the same kinds of rhythms and waves and swings in the mind as the original did. This is harmony of language.

The translator should never interpret the text, or try to minimize the interpretive influence, they should adopt the veils and masks of the writer in keeping the erotics of the text, its bhavana, intact. This is harmony of expression.

The translated text should evoke the same kinds of emotions and resonances in the reader, in the same order, to the same extent, with the same overall striking effect as the source. This is harmony of meaning.

Reader, writer, translator

The success of the translated text perhaps lies in how much the reader identifies with the reader within the translator. Or how much the translator is able to persuade the reader of this identification. The writer, when she writes, simply does not think of any reader – she just writes, moulding instinct into form. But the translator always carries the reader within herself too. It is inescapable.

What I can report from experience as a translator is, the most one can do is simply accept the internal reader for who she is and write for her – not obsess too much about the reader ‘out there’. It is simply an instinct, much like the writer’s instinct for form. It is the knowledge, the intuitive certainty within oneself, that “I am an ideal reader, and if it satisfies me, it will satisfy them too”.

The writer, of course, is a very important person in this negotiation – but arguably, not as important as the text, or the reader is. The presence of the writer in the room as the translator works is onerous and intrusive. I cannot imagine encountering the writer in flesh and blood as I translate – it is frankly horrifying to imagine the writer sitting on the translator’s shoulders like a vethalam whispering instructions into her ear as she works.

The writer, too, cannot evaluate a translation wholly impartially, even if they are a reader in the other language. This is understandable. It is a part of the creative process. The writer may perhaps provide feedback on words grossly mistranslated, but any intent or meaning from the text is best left to the judgment of the translator, if there is trust.

And no good translator, no translator who understands translation as an act of harmonizing, will allow overt influence of the writer on the aesthetics of the translated text – it is really too much of a disharmonizing influence. Almost like an intrusive parent trying to clean your room. And my sense is most writers understand this, for there is an equally subtle creative process at play here. It is this trust – between writer and translator, that one will dip and draw out of the great languageless zone just as instinctively as the other did, that matters.

The writer can trust in the text, and the competence of the translator to read them as them. If there is no trust, certainly it is better to withdraw permission. Perhaps an even better thing would be to only entrust translation into those hands and eyes that one implicitly, instinctively trusts.

So this is what I have to say about the act of translation itself, and the relationship and trust that is necessary between writer and translation.

*

Next, on questions of a hierarchy in translation, and the role of the market.

I feel that right at the outset, there is an important distinction to be made. In talking of the ‘market’, the translator is made out to be something of a stooge of the capitalist structure. This is egregious, there is even something insulting about it. This places the translator in the service of the publishing industry, and implies that what is translated is what is in demand in the market.

Perhaps this happens, but I believe strongly that the translator should categorically not be a linguistic mechanic for hire, but a literary initiator (I am translating the Tamil phrase இலக்கிய முன்னெடுப்பாளர்). We may be living through the freest markets of them all, but the translator, as a literary initiator – must still allow himself to be free of even that. For the translator is the crucible of language. In him the language of the poets breaks down, rebuilds, morphs, extends.

The translator as literary initiator

The translator as a literary initiator is a very important role. I predict that this will become particularly important in the coming century in India – or it should, if we feel it is important to transmit some semblance of culture. For we are fast becoming a country where most people are not proficient even in reading, writing and speaking one language, let alone two. In Tamil Nadu, for instance, the young people are comfortable with neither Tamil nor English but with Tanglish – a patois that is neither Tamil nor English, composed of a stilted, repetitive vocabulary that is adequate for their communicative needs. Even machine translation allows for easy exchange of predictable lines of text, but they fail in the face of linguistic expressions like poetry which exist at the bleeding edge of language and represent crucial advances of the human mind.

Language is meaning, ideas are often absorbed first as language itself. Translation is the expanding of ideaspace in that language. Cultural transmission needs vocabulary for new ideas, and that will need a linguistic proficiency that can create flexibly back and forth in the space between languages, perhaps even creating new meanings that transcends both. So even as the common man might move towards a small, compact language with a standardized script, the literary initiator in India will be an individual who has proficiency in multiple Indian and foreign languages, particularly classic languages, who can think in multiple languages, who will stand at the crossroads of ideas like the Buddhist stupas of old used to.

This was always the case. In modern India, Tagore, Bharati and Pudhumaipithan come to mind immediately. Even as standardized prose evolved in the journals and newspapers, these literary masters pushed the boundaries of language and introduced new linguistic and expressive ideas. They read widely and translated even as they wrote – absorbing, reproducing, rewriting. They were writers, poets, but their role as literary initiators owed much to their constant experiments in translation.

The translator as curator

The ideal translator is also a curator. He is a person who collects and transmits ideas through language that he, personally, finds important in time, exciting enough to express and expand on. Thus the translator’s work as a literary initiator lies in the creation of taste, the setting-up of standards.

A literary initiator should only be guided by his own taste, his own standards, irrespective of what the market demands. If the translator envisions of themselves as not simply a language-mechanic, but a literary and cultural initiator, then the demands of the market will cease to become meaningful to them in any way. If the popular press will not publish them, they then seek out small presses, niche presses, or better yet, simply do it online where there is more than enough real estate to go around.

Then, the translator as literary initiator initiates and guides discussion on the literatures he reads and translates, and also the literatures he reads and does not choose to translate. The translator is the lynchpin of the human literary ecosystem, borrowing, lending, expanding, language and meanings, continuously expanding our cultural boundaries.

There is a difference between how a writer translates and how a professional translator translates. A writer or poet often translates from other languages into the language they write to train their mind on the rhythms of the other language expressed in theirs, to discover new ways of expression and style. These, too, are acts of literary initiation, often finding fruition in the original work of those writers and poets. But translators who don’t write originally can also function as readers, appreciators, guides and critics, and help the general reader see what they are translating and why, which writers may or may not want to spend time articulating.

Now that we have a picture of what a translator as literary initiator and curator might look like, we come back to Ambai’s concerns, about hierarchies in translation today, and demands of the market.

*

Hierarchies in translation

Is there a hierarchy in translation? Is publication in English considered a prestige in and of itself?

Yes, there is certainly a prestige associated with publication of vernacular work in English. There are far more readers in English, and then there is the fame that is accorded to writing that appears in English that cannot be compared to the fame of the vernacular writer, except maybe in languages with a thriving literary culture like Malayalam and Bengali. There are networks available to the writer who is recognized by the English speaking academy that a vernacular writer cannot access. An English-language text is likely to be noticed by international readers, and all writers like to be read, especially be people as different from them as possible. There is also the prestige associated with being internationally known.

But most of the perception of prestige, I feel, is because of a paucity of true literary culture in the vernacular. If a writer has enough readers in the language she writes in, enough engagement, discourse and criticism, then that provides the writer with a great dose of health and courage. She would not care so much about translation into English as a language of special status. It might be just as well for the writer for the work to be translated into other Indian languages, for they might find shared-heart readers in greater numbers well within the country.

And then we have this strange state of affairs where a writer with international fame is suddenly discovered in his own country, hoisted on shoulders and hailed – as if international fame inherently is any arbiter of quality. This is because, quite frankly, we don’t have enough readers and translators and critics in our own country to talk fiercely and passionately about what they feel is ‘good’. Ambai’s concerns have some merit to them in this regard – what is translated and ‘taken over’ to the west, is oftentimes what the west wants to see, or what we want the west to see. There is a reason why Mathorubaagan is read in the west, and Aazhi Soozh Ulagu is not. This is not to take anything away from Perumal Murugan, but simply to stress that a robust literary culture will place both works in front of a wide audience of readers, and talk back and forth about the merits of each work, giving the western readers something to think about, allowing them to listen, to expand their literary horizons and values. Indeed, the work of any true literary culture is to mould the taste of its readers, expand their horizons, no matter what the colour of their skin is. They shouldn’t be telling us what is good in our libraries. We should be telling them, and then inviting them to discuss. When there will be enough such voices, the recognition from an international audience will take its proper place, as the acceptance of yet another section of readership, with its own preoccupations and mental slants.

Building such a true literary culture rests on the back of readers. But translators have a role too. A culture with many, good, translators will be a culture where literature exists in all the spaces within and between languages. There will be so many works translated back and forth, so many presses and online portals publishing them, that there would be no fear of niche publishing houses and interest groups deciding “what will be translated”. That will not be a decision left to them, if that is what writers like Ambai fear – that will be a decision made by the translators themselves.

This is particularly true in the international stage. Novels from India, by Indians, about India, tend to be rather similar, and as a matter of personal taste, bland. A robust literary culture within the country will certainly change our dealings with literatures of other nations. There is so much talk on ‘opening up the canon’ – which is fair – but then they place Salman Rushdie and Arundhati Roy in the Indian canon when we have Ilango and Kalidasa and Vyasan and Kamban. Who else will question this, but a translator, who can simply ‘speak’ Ilango to those readers? Surely we have our sahridayas there.

I don’t agree that there is a hierarchy between the Tamil writer and English translator with the translator on top, as Ambai claims. It’s almost surreal and laughable. In France, or Germany, a person can make a living as a professional literary translator. A translator in India is not paid much, nor recognized, even within the literary community. No one knows names of literary translators in India – who was Premchand’s best translator? Bibhutibhushan’s? Bhyrappa’s? It’s even worse for translators into Tamil from English, or between Indian languages. I am yet to read a piece, an essay, written by any Indian English writer about the translators who translated into English from various Indian languages. AK Ramanujan is the only oft-repeated, famous name. So where is the question of this hierarchy.

As far as I am aware, translators today pull no rank on writers as Ambai claims. For we have very good writers in Tamil and I think most of the translators working today are aware, respectful and admiring of their talent. Translation is immersion, deep reading, prayer. I could never translate an author I didn’t like. And it seems rather silly to have a superiority complex because I type my words in English – particularly, when as a writer still exploring and learning the narrative craft, there is always something I learn from every author I translate.

Indian English – the elephant in the room

Indian literature is not just Indian-writing-in-English literature. But the lay, English-educated reader cannot escape this perception. The elephant in the room, is of course, the privilege this society-world holds over the vernacular writers because of their networks and contacts, their clout in the west because they speak its language, and the almost complete absence of critical discourse within this space in India. This state of affairs may not be because of active malice, or haughtiness on the part of the English writers in India – most individuals are quite nice people. But ignorance or malice or lethargy, this state of affairs needs to change. This is a separate concern in and of itself that I won’t go into in too much detail now, except to make the point that translators translating into English oftentimes become part of this culture, and they have the tools and responsibility to change it, expand its horizons. This is already happening with a new crop of talented translators coming up, but there is more to be done.

A manifesto for literary translation in India

All these preoccupations will cease to matter when we will have a real, honest, robust, multilingual literary and intellectual culture in India. And that is what a young team of Indian translators with a mission and manifesto of this sort will be able to accomplish.

What will the aims of such a manifesto be?

1. The young Indian translator shall be well read in two or more languages, preferably Indian languages, with strong likes and dislikes, a keen ear for language, and with interest in writing as an art and a craft. A familiarity with other arts – music, cinema, visual arts – is always helpful.

2. They will translate fast, and translate much.

3. They will translate well, guided by their own personal sense of what ‘sounds’ right.

4. All their activities will be guided by personal taste alone.

5. Publishing the translations as books or with a leading publishing house will not be their goal. It will be published in some form first, even on a blog. There will be constant interactions about the publish text between readers even then. Publication in book form can come later, if necessary. But it should be no hindrance to dissemination of the work anywhere in the world.

6. Translators shall peer review and edit each others’ work, ideally with a sensitive understanding of their aesthetics.

7. Translators shall facilitate an atmosphere for discourse – about works they themselves picked up for translation, about works they did not choose to translate, and about their process of translation itself.

8. Translators shall open up conversations with readers and potential readers as much as they can. A robust literary culture, indeed, an intellectual culture rests on the back of readers.

Unless we bring up a generation of culturally sensitive readers, who read with their eyes and hearts open, and talk about what they like and what they don’t freely and frankly, we will lose our edge. India will become a country of imitators, unoriginal, stilted, affected, with fake, rehashed opinions and ideas that we repeats endlessly for peer points. Indians will not know how to think. Anyone, anytime, can shape our opinions to their will – and the truth is, we are already probably deep in this crisis, as we so often see with social media. Nationalist rhetoric has already blinded a large number of us. And this is such a great pity, because India was always a country of thinkers, debaters, rhetoricians, critics. Our intellectual heritage lies forgotten in our vaults like diamonds growing cobwebs.

So it is truly, massively important that we raise a generation of readers and thinkers – not just mathematically minded puzzle solvers, but logicians, rhetoricians, connoisseurs, artists, critics. It is important because ideas about egalitarianism and secular harmony come from the intellectual culture. It comes out of facing and thinking about ideas we are not comfortable with, not just withdrawing to our own little bubbles. That is tehzeeb, that largehearted spirit of giving and friendship and space. That can happen only with the exchange of ideas. And that begins with translation.

The Riverbed of Butterflies [Translation]

A translation of B.Jeyamohan’s Tamil short story ‘Padugai’. The story can be read in Tamil here.

Singi used to say that the riverbed of butterflies could be found on the slopes of Pandrimalai, beyond the Pechipparai dam and the lake. On lonely nights, I can still hear his low-pitched voice and his tone-deaf singing, interrupted by spits and ‘hrumph’s and liquor-reeking belches. His body was like leather; he credited its robust fitness even at the age of eighty to liquor. Those were nights when the only discernable sound was the rustling of palm leaves when they caressed one another. The shadows of leaves swayed on the moonlight streaming down on the threshing floor. On such nights, Singi would tuck his legs underneath his body and sit in that curious way that any mention of his name immediately brought to my mind. Rocking back and forth, he would start tapping a three-fingered beat on the hourglass-shaped udukku’s lizard-hide membrane, and begin to sing our town’s tales from seventy years ago. His voice kept going even after Venus rose in the eastern sky in the wee hours of the morning, a single silver spangle between the heads of the palm trees. We would rest our backs on beds fashioned out of hay and listen to him, barely awake, flitting in and out of dreams, wandering around in strange trances with Singi’s voice trailing in the background. When we came back to our senses with a start, his voice would still be emerging from the darkness, a solid truth anchoring us in the real world. There would be a glimmer in his eyes. Just before dawn, his head would loll and his voice would break, but never has he actually finished a story. He would simply slump on the ground where he sat. He showed signs of life again only when the sun was high in the sky. Till then, he lay there, surrounded by flecks of spit. Muthamma would come in with a broom in her hand and raise her voice. “What a fine sight! The young masters from good caste getting together with this Paraiyan fellow and lying here like this, heads and feet everywhere! Master, young master…” she would wake us up. “Why do they have to come here, I ask? They could catch a cold, or something worse, and whose loss would that be? No more, I say, not my circus any more. Singi, Singi…look at the way this Parai fellow sleeps! Singi…” she would holler. Singi would lie there, spread-eagled on the bare floor. Next to him lay the udukku, echoing and evoking the sounds it made through the night in our heads. In the light of day, the memories of the night would be very far, almost a dream. During the daytime, Singi would not look like someone who had anything to do with the events of the night. His dark, emancipated body, dew-laden and dusty, would shudder softly with every breath. Rain or shine, it did not matter to him; he was like the sturdy palm tree that stood at the corner of the threshing floor.

Singi used to say that he was born when they were surveying the land to build the Pechipparai dam – all his stories began with his own birth. Slowly, there would emerge a beat in the story, a length in his lyric, and it would turn into a song. The udukku would join in spontaneously. One of the tales that he never tired of telling was the history of Semban Durai.

In those days, if you travelled past Kulasekharam, it was dark enough to mask an elephant even at the height of the noonday sun. And beyond that, like Mooli Alangari’s tears, it rained thirty days a month. It was a forest where jackals feasted on the leftovers of tigers. You couldn’t see the ground for the lush undergrowth. You couldn’t see the sky for the close leafcover. And snaking through, like the dirty white thread worn across the body of an old Brahmin priest, was a one-horse track. It wound its way past Pechi’s bosom, past the Perunchani hill, past the wilderness of Nedumangkadu, and landed at the feet of the deity Ananta Padmanabhan, in Thiruvananthapuram. That was Pechi’s empire. Save for the nails of wild creatures and the feet of the Kani tribes, nothing, not even the scent of the townspeople, could set foot in there. Pechi was the daughter of Brahma; she was the queen of the hills. She was headstrong and no one could subdue her; it was Semban Durai who finally brought her under his thumb. At first, he lured the Kani people by giving them gifts of palm-sugar and weed. He roamed the forests at his will and pleasure, fearing neither the draughty winds nor death itself. Under his heavy tread, the green of the forest withered brown and wasted away. When the forest animals took sight of him, they tucked their tails between their legs, lowered their snouts and scattered in panic. The birds in the sky beat their wings madly, flailing in agony.  If he raised a finger and made a gesture, “Stop!”, even a tiger would stiffen its tail, squirm its body, lower its face and stop in its tracks. Semban Durai was not a man. He was a black demon, a bhootham, who had formerly stood guard at Indrani’s palace in the kingdom of Indran, king of the gods. As a punishment for his misdeeds, he was cursed to take the form of a man. Bound by the power of word and sound, he descended to earth. The kumpiniyan – Company fellow – controlled the bhootham with more mantras. He made the bhootham lift unliftable loads, perform unspeakable deeds. With boons, with gifts; with mandates, with decrees; came Semban Durai, to subdue Pechi; came Semban Durai; to lord over Valli – so went Singi’s song.

Even when we were children, the Valli river had dwindled to a blue ribbon. In the rainy season, very rarely, you could see it spanning both banks, soil-scented and swirling along. “You should have seen her then! The way she lay, the way she walked… ‘twas Semban Durai who tamed her and put her in place! He got the better of that cunning aruvani’s arrogance!” He pointed to the entrance of the Sivan temple and said that the floodwaters would rise all the way up there in those days. “What do you think you have seen, young master? Do you know how many women that daughter of a widow-whore has herself widowed? The bitch would rush out, sweeping everything in her wake – uprooting banana trees full of fruit clusters and coconut trees with flower-laden heads. See the way the troublemaking moodhi lies now, like a wounded rat-snake, but don’t believe her. She is full of poison. If Semban Durai had not arrived in time, this daughter of a blind whore would have swallowed alive the whole of these parts.” When Singi opened his mouth, Valli was always subjected to a volley of abuse. One rainy season, she had flung her hair open like a banshee and roared down here, and Singi’s father and mother and house and garden had all been washed away to the shores of Thengaipattnam. As Singi used to say, “She’s a blind mooli, a harbinger of misfortune,a blight on the clans.”

It was an evening when the skies were like wet glass. We had gone to see the big dam at Pechipparai. The fierce Valli was left unfettered there; she lay there like a good girl, coyly swirling blue, confined to the bounds of her cement walls. A little water trickled down the sluice like a tear. The bran-coloured mud on the banks carried impressions of a thousand footprints. Radhakrishnan pointed to a distant hill and said, that’s where you can find Singi’s riverbed of butterflies. The hill that he was pointing to looked like it was made of blue smoke. Just above that, a cloud, softly lit, seemed to have frozen in place like a smooth sculpture of crystal.

There was an artificial garden on this side of the dam. A croton plant, gloriously red, looked like a child from the city who had lost her way and wandered into the forest. The few massive trees planted there had gone to sleep. There was the sound of swirling water, the ruckus of homecoming birds. At the western edge, under a teak tree, lay Semban Durai’s grave. For no apparent reason, they had painted his grave in a blinding shade of yellow. They could have painted it green, Durai’s favourite colour. Or even red. “Look here, little master, you will not believe me. We will never see such a man again, yes? Has the little master ever seen a man who was ruddy white, a semban? Ruddy hair, ruddy eyes, ruddy nose…from head to toe, that man was ruddy white. Don’t know what he ate, but if he opened his mouth in a grin, it looked just like a tiger’s. There was no need for him to say a word; it was enough for him to just look; and just like that, you would wet your pants. He was a bhootham, yes he was. A ruddy white bhootham!”

Semban Durai, the Ruddy-White Master who had conquered Pechi, now lay under a tree reeking of bird droppings, in a lush green thicket, all alone. It was not possible to read the name on the grave. The people who managed the site had recklessly whitewashed over it many times. If only he was able to walk, he would not even be in the area, I said. How did he bear to stay under the shade of croton plants? Why him, even Pechi would have run away from that place, said Radhakrishnan, pointing me to the small form in the place of worship dedicated to her. On a large square-shaped stone platform, there stood a gnarled, knobbled, mighty, old tree.  It was teeming with large, thick leaves. Its branches were low on all four sides and hung over them like a tent. Inside, it was half-dark. The ground was damp and slippery with rotting leaves. The bronze face of the goddess was nailed on to the tree. Under it, there was a dark sacrificial stone. The flowers from a week ago lay scattered there. There were flecks of vermilion smeared everywhere.

I felt like I could hear Singi’s voice in the air.

“’Twas Pechi’s blood

That rained down the hills

’Twas Pechi’s hair

That Semban Durai plucked away…”

The Kani folks leading the way, hunting hounds at his heels, and riding a red steed, Semban Durai went to see Valli, his prospective bride, whom he would conquer and tame. On seeing the virgin girl who rushed past him, curling and swirling, he laughed in amusement. “You like to run? Run on. Let’s see how long you run,” he said. “Semban Durai is not going to turn his back on this place without putting you in your place.” Valli, frightened by his threats, ran to Pechi and poured her heart out. An enraged Pechi confronted Semban Durai in the forest. Elephants hanging down her lobes, a python girdling her breasts; her feet on the hills and her head in the clouds, baring fearsome teeth and poisonous fangs; eyes spitting fire and a thunder-like laugh, she manifested before him, in all her glory. All living creatures stopped in their tracks: a sparrow in flight froze in the sky, a falling cascade hung halfway down the hill. The forests shivered; the skies echoed her thunderous voice. Pechi bared her lightning-teeth and demanded, “Have you come to shear my hair, son? Have you come to restrain my daughter, son?”   

Durai did not flinch. “Pechi, if you are a demon, I am a fiend. Do you think your little games will scare me? Get out of my way and stand aside, you moodhi!” he said. Pechi realized then that he was not an ordinary man, there was some mischief afoot. She made herself as small as she could, and took the form of a petite kurathi, ahill tribe-woman, decked in pearls and sandal paste; and with honey-sweet words and froth-like laughter, she stood coyly before him. She summoned up all her coquetries and smiled at him with meaning. She summoned up a hundred enchantments and argued with conviction. Pechi had the authority ordained by the creator Brahma himself. She had given her daughter, Valli, a boon. To restrain Valli is to restrain Pechi herself. The curse of Brahma would destroy the whole world. Pechi, the queen of the hills, is the goddess who protects the lands. She bestows on them medicines to cure their maladies; offers them fragrances to keep their fasts. She protects them. The wild creatures and the Kani people are her children. No stranger should walk around after having betrayed Pechi. It’s not right to harm her children; Pechi will not stand by and watch it. The anger of a mother will destroy whole clans. End civilizations. Don’t test me, run while you can, she said. Durai would not yield. “Do your best to stop me. I came to marry Valli, subdue here pride, restrain her. I will leave only when she is restrained. Do what you can!” he said.

Pechi was trembling with fury. Banging her fists on her chest, screaming with rage, she turned herself into a hurricane and whirled into the forest, dancing like a dervish in a paroxysm of frenzy. Her dance of fury sent deer flying into the air; the mighty jungle trees shuddered like reeds. She whistled down the mountains and entered the town, sacking it clean. Roofs and eaves took to the skies like kites. Cows and goats were flung into the air and died when they crashed to the ground. On the fourth day, there was a downpour of demoniac rain. Floodwaters barraged the town, melding homes with their gardens, fusing fields with their borders. On the fifth day, came Valli. Her hair flying in the wind like palm fronds, howling, beating her breasts, her red saree cascading like waves, she entered the town. She grabbed everything from the stacks of hay to the pots in the kitchen. At the dawn of the tenth day, the whole town was filled with red mud as if it had been swept clean and smeared with cowdung. No one knew where they had come from, but wherever you turned, there were birds. Crows and eagles and storks and sparrows flapped their wings over the muddy tracts. They quarreled and scraped raucously. All through the night, they sat on the roofs and cried, “Pechiyammo, Pechiyammo! Pechi, my mother! Pechi, my mother!” The townspeople were filled with fear. Was it Brahman’s fury? Indra’s curse? They shuddered. What god had they displeased? They appealed to the goddesses at Malaikkavil and Mudippurai and promised them tributes if they relieved their agony. To quench the fire in their bellies, they foraged for lily tubers and mudfish in the slush.

Pechi would not be appeased. There was no melting her heart of stone. Wearing a leaf-skirt, with a coir-box at her waist, with flaming eyes and bellowing breaths, she walked through the town. “Spare my children, Pechi!” wailed the goddess at Mudippurai, falling at her feet. Pechi grabbed her hair and flung her aside. The sword-and-trident wielding goddess from Malaikkavil came to battle with her; Pechi simply kicked her away. I will not spare you even if Brahma himself orders me to, she cackled. Grabbing a handful of poisonous seeds, she flung them all over the town. Where the poison landed, like a patch of forest land struck by lightning, the place blackened and wasted away. The stench of burning corpses followed at her footsteps. The goddesses at Malaikkavil and Mudippurai stayed in their temples and shed tears of sorrow. There was no one who could restrain Pechi. Indeed, the only one who saw her go about town was the shaman-priest Muthan. “Pechi has descended; now she will not rest till she levels this town,” he announced, running from street to street. Semban Durai had touched Pechi and defiled her; that was the reason for her anger, and that was why their town would be destroyed, he said. He said that to pacify Pechi and cool her down, it was necessary to sacrifice a billy goat and offer her worship on the banks of the Valli. “But where will we go for a goat now, O priest?” pleaded the townspeople. Muthan peered at them through his bloodshot eyes, “It’s enough that you dare to make such excuses to Muthan. Don’t take them to Pechi’s ears. She is a devil,” he warned. Everybody cursed Durai. They expected the priest Muthan who had accused Durai to perform some black magic against him. That’s not as easy as you think, said Muthan. He told them that he had perceived with his magic that Durai was not a man, but a bhootham. However, the townspeople, faint with hunger, would not agree to an expensive sacrificial ritual.

Singi would narrate emotionally: it was right at that moment that Durai rode in. Mounted on his red horse, with a hat, boots and a fine coat on, and a double-barreled gun in one hand; with the chendai drummer announcing him, the town’s dogs surrounding him, with a couple of Kani men for guard, he entered town. Upon seeing the fine entry of this stranger, the women and children ran and hid away in their houses. When the chendai drummer announced that all the townspeople should gather around, only a few brave men came forward. The drummer said that they needed wage labour to work in the Pechipparai hills. The workers would be given two annas a day and their stomach’s full of cooked seeraga samba rice, three times a day. The townspeople hesitated. No way he was going to give them so much food and money, he’s just pulling our leg, they said. Immediately, Durai increased the wage to three annas. The head of the Pulayans clarified the amount a few times and made sure that he was hearing right. Then, “The people from our caste will come, master,” he said, falling at the chendai drummer’s feet. The golden words of three annas and three full meals a day spread like wildfire from town to town. Some elderly Paraiyans were astonished. Is this really happening in Pechi’s empire, they wondered. This signals the end of times; the town will be destroyed, cautioned the upper-caste Nairs. The youngsters spat on the ground, “Tell Pechi to go fuck herself.”  There were waves of hungry masses ready to leave. The priest Muthan went into a trance and pronounced oracles at street corners. “Do you want to see all of Pechi’s power? Should she reveal her whole self to you? Is it not enough, what we have just seen?” he leaped around in frenzy. Till the first lot left the town, there was confusion all around. “Rather than stay here and stink, it’s better to go there and die. Durai has promised to provide our gruel. As if Pechi allows us to stay here, that moodhi,” said Kandan Pulayan, and left with a group. And from the next day, the whole town started migrating to the hills. Hordes of people and their cattle herds travelled up the Valli river, foraging, eating, shitting, hooting and shrieking, stopping their journey only by night. The sound of their hooves echoed through the muddy towns they passed by. The riverine waterhens, displaced and restless, entered the town and raised their voices plaintively, foreshadowing bad omens. There was panic and deathly silence all through the town. When Muthan saw even the most faithful of the townspeople leave, he couldn’t bear it any longer and jumped in front of them, blocking their way. A teenager called Gnanamani threw him into the river. Later, he kept saying that he thought the man was capable of swimming and surfacing.  However, the priest Muthan was never seen again. A strange excitement had taken root somewhere in their midst and spread through the horde, overtaking them. A group went around, singing merrily at the top of their voices. They danced madly to drumbeats. When the skies turned pink, when they had lit fires beneath the trees to cook their dinners, men and women danced in circles. All eighteen clans forgot all notions of kinship and coupled with each other. Bawdy songs floated through the silent night, piercing the ears of the townspeople who lay in bed, unable to sleep.

Singi said that in the riverbed of butterflies, there are no trees. It is a marshy slope, never completely dry. There, the sun has just light, no heat. The land there becomes moist when touched by the wind. It’s lush, full of green. “You cannot see a green like that anywhere else, young master! When the sun rises up high in the sky, what a scent it kicks up! The fragrance of the green turns your head. And what flowers! The shrubs are full of flowers…sometimes you can’t see the leaves for the petals…red and yellow and blue…what shall I say? Is there any colour that you can’t find there? Is there any flower that you can’t find there? That is Pechi’s womb! And who is she? She is our mother!” he used to say. His eyes would widen. He would stumble over his words. The udukku would be rattling hard. Suddenly, he would lower his head, take a deep breath and start singing.

Semban Durai first planned to imprison Valli at the northern bend of the Koratti hill. It is a place where Valli bashfully bends and gives way as she passes downhill. Ants started to feast on Pechi’s body. They bored through her right breast, and her left breast gorged up. In pain, Pechi turned over and rubbed herself to relieve her agony – just a rub – and the ants and their homes were flattened to dust. Valli, freed of her restraint, cackled and leaped downhill. Where there had been a mountain, there was a pass now. Durai did not lose heart. When he had rice in hand, were ants going to be scarce to find? He tried building again, a short distance away. Pechi’s army of elephants came teeming in the sky above thir heads. With their ivory tusks flashing silver, they attacked. Water rained down, bridging land and sky. Valli ran with all the energy of the charging elephants. Like a mighty snake, she wound her body around the various malais, slithering and twitching around the hills. Iluppamalai crumbled down. Kadambamalai had deep cracks in it. Ten days later, when the sky brightened, the footprints had been washed away and the forests were pristine once again. Clusters of green leaves cried, Pechi! Pechi! Valli lay like a satiated python with its stomach bulged full, curled and languid on the hills.

Durai could also not take it any longer. He fell at Pechi’s feet. “Forgive me Pechi,” he cried, weeping. In the middle of the thickest, darkest jungle, he built a flame pit and subjected himself to a regimen of rigorous, torturous penances. He sacrificed goats and billies. Along with all his brothers – ghosts and goblins and devils and demons- he offered sacrifices to Pechi. Pechi would not yield. He pleaded, he wept.  When nothing else worked, he drew the sword at his waist and pressed the blade to his neck. He bellowed, “Here, take the head of a bhootham. I say this with Brahma himself as witness. Here, take my head and be satisfied.” Whe he raised the sword, Pechi relented. She took form in the sacrificial fire and danced frenziedly. She came as the wind and cackled with glee, causing all eight directions to shake and tremble. “My offering, give me my offering!” she demanded. “I want a human sacrifice, and I want it now!” she bayed, dancing in fury. “How many men? Just say how many,” said Durai. “A thousand and one,” said Pechi. “That’s all? I’ll give it,” said Durai, unperturbedly. “Where? Where?” demanded Pechi, hopping around impatiently. “On the slopes of Panrimalai, there are a thousand houses. Take them, Pechi. Not a thousand, you moodhi. Five thousand. Take it and be satisfied,” said Durai. She cackled; the forest quaked and trembled. “Promise me, promise me that you will be grateful for the blood you drink!” Durai urged. Pechi danced in fury. She whipped her hair out and slapped it on the ground, in solemn promise.

The next day, even before dawn, Pechi had had her fill. A thousand huts had settled in her belly. For ten days after that, she continued her frenzied dance, and spent all her fury. On the tenth day, as she had promised, she came in front of Durai. Durai sequestered her spirit in an iron nail, and nailed it to the broad trunk of a Vengai tree. He ordained a yearly sacrifice and a monthly worship on the full-moon day every month for the goddess Pechi. He made her an offering of turmeric and a sacrifice of a mature black goat and started his work. Valli’s dark days had begun. After Pechi had been subdued, there was no one for her. Semban Durai grabbed her long hair and curled it around his fist, and finally tamed her arrogance.

Bathed in soft sunlight, the riverbed of butterflies on the slopes of Pandrimalai brought back the memories of Singi like an old, familiar ache. There were lush thickets of green as far as the eye could see. Flowers, masses of colours that filled the eyes made it yearn for something. A slight breeze was enough to set up curves on the carpet of flowers. Butterflies everywhere, like flowers in flight. They were unbelievably huge. “Never catch those blasted butterflies, young master,” Singi would say. “Each one of them is the eye of a dead man. Twitching, twitching, they eternally twitch and wander around here, poor souls.” Eyes, flying here, flying there, their eyelashes fluttering urgently. Their gazes everywhere, all around. I caught hold of Radhakrishnan’s hand. “Let’s go,” I said. The butterflies from the riverbed had taken over the slopes and the valley as well. They withered into the water and swirled with it. They fell into the drinking water and twitched in agony. They sat on the large implements that had bored holes through Pechi’s body, on the rails that sucked her lifeblood and took it to far-off cities, and they trembled. Like bits of coloured paper, they were all over the mud. They were stuck to the dark, wet roofs. Their bodies kept hitting the glass fronts of the buses; they kept slumping down. From within the dewy green of the forest, the butterflies kept coming with no end in sight.

சம்ஸ்காரம் [சிறுகதை]

வராகமங்கலம் என்ற ஊர் இன்று இல்லை. முண்டையான கூரையற்ற வீடுகளும், இடுப்பளவு வளர்ந்த நாணல் புதரும் மட்டுமே ஊர் என்ற ஒன்று அங்கே நின்றதற்கான சான்றாக இன்று எஞ்சியிருக்கிறது. பதினாறாம் நூற்றாண்டில் நாயக்க மன்னன் வேதமங்கலமாக அதை ஸ்தாபித்தார் என்று கூறும் செப்பேடுகள் கிடைத்துள்ளன. ஆனால் இன்று அரசின் பதிவேடுகளில் வராகமங்கலம் என்ற பெயரே கிடையாது. நடுக்காலத்தில் எப்போதோ அந்த ஊருக்கு பாப்பனேரி என்று பெயர் மாற்றப்பட்டது. அக்ரகாரத்து மனிதர்கள் மட்டும் தங்கள் ஊரை விடாப்பிடியாக வராகமங்கலம் என்றே சொன்னார்கள். இன்று ஏரி வற்றிவிட்டது. ஊரின் கடைசி வாசியும் 1991-ல் இறந்துபோனார். இப்போது இந்தியப் பெருநிலத்தில் திக்குக்கொருவராக வாழும் சில முதியவர்களின் பெயரின் முதல் எழுத்தில் மட்டுமே அது ஊராக எஞ்சியிருக்கிறது. காற்றில் எங்கோ, கண்ணுக்குத்தெரியாத வலைப்பின்னலாக. ஒவ்வொரு பெயரும் பூமியிலிருந்து மறையும்போது அதுவும் மறைந்துபோகும்.

[மேலும் வாசிக்க]

நன்றி – கனலி இணைய இதழ்

ஆஷாபூர்ணாதேவியின் சிறுகதைகளைப் பற்றி

[1]

சமீபத்தில் மறைந்த வங்க எழுத்தாளர் ஆஷாபூர்ணாதேவி அவர்களின் சிறுகதைகள் சிலவற்றை வாசித்தேன். ‘Shake the bottle and other stories’ என்ற தலைப்பில் பெங்குயின் வெளியீடாக அருணவா சின்ஹா மொழியாக்கத்தில் ஆங்கிலத்தில் வெளிவந்துள்ள கிண்டில் நூல். 21 கதைகளை கொண்டது. சர்மிளா தாகூரில் முன்னுரையுடன், எழுத்தாளரின் கட்டுரை ஒன்றுடன், இந்த நூல் அழகாக தயாரிக்கப்பட்டு வெளியிடப்பட்டுள்ளது.*

ஆஷாபூர்ணாதேவி அவருடைய மூன்றடுக்கு நாவல் தொடர் வழியாகவே அதிகமும் அறியப்பட்டவர். பிரதம் பிரதிஸ்ருதி (முதல் சபதம், தமிழில் புவனா நடராஜன்), சுபர்ணலதா, பாகுல் கதா என்ற அந்த நாவல்கள் மூன்று தலைமுறை வங்காளப்பெண்களின் கதைகள். அவை நமக்கு நூறு வருட வங்க வறலாற்றை கடந்து வந்த உணர்வை அளிக்க வல்லது. ஆனால் ஆஷாபூர்ணாதேவியின் கைத்தேர்ச்சி தெரியும் இடம் எப்போதுமே அவர் மனித மனத்தை, ஒரு மனம் இன்னொரு மனத்துடன் உறவாடுகையில் கொள்ளும் மாற்றங்களை, திரிபுகளை எழுதும்போது தான். அவர் கண் மனிதர்களுக்குள்ளே பார்க்கும் ஃபோக்கசுடன் எப்போதும் கூர்மைபடுத்தப்பட்டுள்ளது. 

முதல் சபதத்தில் சத்தியவதியின் வளர்ச்சியும் மாற்றத்தையும் அவள் குடும்பத்துடனும் ஊருடன் கொள்ளும் உறவையுமே முதன்மையாகக் காட்சிப்படுத்துகிறார். படிப்புக்கான வேட்கையுள்ள எட்டு வயது சிறுமி, பழமைவாதியான கொடுமைக்கார மாமியாருடன் சேர்ந்து வாழ்வதன் வழியாகவே தன் உரிமைகளை தக்கவைத்துக்கொள்ளமுடியும் என்று உணர்ந்து வைராக்கியமாக வாழ்ந்து வளர்கிறாள். ஒரு கட்டத்தில் தன் பிள்ளைகள் படிக்கவேண்டும் என்ற உறுதிப்பாட்டின் அலையில் எழுகிறாள். கணவனை கல்கத்தாவில் வேலைத்தேடத் தூண்டுகிறாள். நகருக்குக் குடிபுகுகிறாள். நகரில் அவள் எல்லைகள் விரியத்தொடங்குகின்றன. கணவன் எதிர்ப்பை மீறி சிறு பள்ளியில் மாலை நேர ஆசிரியை ஆகிறாள். இந்த மனிதக் கதையாடலுக்குப் பின்னணியில், மங்கலாக, வங்காள மறுமலர்ச்சியும் இந்தியச் சுதந்திர போராட்டத்தின் உதயமும் நிகழ்ந்துகொண்டிருக்கிறது. ஆனால் வரலாற்றின் கதையை நேரடியாகச் சொல்வதில் ஆஷாபூர்ணா தேவி மெனக்கெடுவதில்லை. வரலாறென்பது தனிமனிதர்களின் விருப்புவெறுப்புஉறவுபிரிவுகளின் அலை என்ற அளவிலேயே வரலாறு அவர் கதைகளில் இடம்பெறுகிறது. இந்தக்கதை நிகழும் அதே தருவாயில் இந்தியா முழுவதும் எழுந்த சத்தியவதிகளை பற்றி நாம் நினைக்கையிலேயே அந்தக்கதையின் வரலாற்றுப் பரிணாமம் துலக்கம் பெறுகிறது.

தன்னுடைய சிறுகதைகளிலும் ஆஷாபூர்ணாதேவி மனித மனத்தின் வெவ்வேறு முகங்களை காட்சிப்படுத்துகிறார். நாவல் நமக்களிக்கும் வரலாற்றுச் சித்திரத்தைப்போலவே, சிறுகதைகள் வழியாக, இருபதாம் நூற்றாண்டு வங்கச் சமூகத்தில் நிகழ்ந்த மாற்றங்களின் ஒரு குறுக்குவெட்டுத் தோற்றத்தை அவரால் நமக்கு அளிக்க முடிகிறது. ஆனால் இதுவும் பின்னணித் தோற்றம் தான். ஆஷாபூர்ணாதேவியின் கதைகளின் களன் பெரும்பாலும் நடுத்தர வர்க்க வீடும் மனையும் அங்கே வாழும் மனிதர்களும் தான். இந்தக்களத்தில் வைத்து மனித மனத்தையே அவர் எழுதுகிறார்.

அவர் கதைகளை வாசிக்கையில் ஓர் இறுக்கப்பட்ட உணர்வை தடுக்கமுடியவில்லை. ஏனென்றால் கதைகள் பெரும்பாலும் நிகழ்வது நான்கு சுவற்றிற்குள். வங்காள கூட்டுக்குடும்பத்தின் வேவுபார்க்கும் கண்களுக்கடியில். காட்சி நகரத்திற்கு மாறினாலும் இந்த அமைப்பு மாறுவதில்லை. ஒரு ஃபிளாட்டின் சுவர்கள் இன்னும் இறுக்கமாக மனிதர்களை பொத்திவைக்கிறது. வேலைக்காரிகள் கண்வாங்காமல் எல்லாவற்றையும் பார்க்கிறார்கள். ஏகாந்தம் என்பதே இல்லை. எப்போதாவது கதை நகருக்குள் நகர்ந்தாலும் பேருந்துகள், டாக்சிகள், கட்டடங்கள் என்று அதே நெரிசல் உணர்வு ஏற்படுகிறது. 

ஒரு விதத்தில் இவர் கட்டும் களம் காஃப்காவையும் அசோகமித்திரனையும் நினைவு படுத்துகிறது. நவீனத்துவ யுகத்தில் மனிதன் அன்னியப்படும் சிக்கல் இக்கதைகள் சிலவற்றில் ஒரு சாயலாகக் காணமுடிகிறது (நீலக்குருதி, கதாநாயகன் போன்ற கதைகளில் வரும் வேலையில்லாத இளைஞர்கள்). கதைமாந்தர் பலரும் வெவ்வேறு காரணங்களுக்காக தனிமைப்பட்டிருக்கிறார்கள். 

ஆனால் ஒரு மாதிரி (template) நவீனத்துவப் படைப்பில் வருவதுபோல் நிறம், குணம் இல்லாத மனிதன் நவீன யுகத்தின், அபத்தத்தின் சுழற்சியில் மாட்டிக்கொள்ளும் கதையை ஆசிரியர் சொல்வதில்லை. இக்கதைகளின் பாத்திரங்கள் ஒவ்வொருவரும் வெவ்வேறு நிறங்கள் கொண்டவர்கள். ஒரு பண்பாட்டுப்புலத்திலிருந்து வந்து காலமாற்றத்தில் சிக்கிக்கொண்டவர்கள்.  அவர்களுடைய சிக்கலான மன அமைப்புகளை ஆசிரியர் மீண்டும் மீண்டும் நமக்கு காட்சியாக்குகிறார். இந்தக் கதாபாத்திரங்களின் இறுக்கம் அவர்களுடைய சூழலிலிருந்து வருகிறதா, அல்லது அவர்களுடைய சொந்த மன அமைப்புகளிலிருந்தும், எண்ணச்சுழல்களிலிருந்தும் வருகிறதா என்று நம்மை எண்ண வைக்கிறது. 

நவீனத்துவப் படைப்பு மனிதன் என்ற தனியனை உலகு என்ற ஒற்றைப்படையான, புரிந்துகொள்ளமுடியாத சுழற்சியில் வைத்து ஆறாய்கிறது. ஆனால் இந்தக்கதைகளில் ஆசிரியர் மனிதனை தன்னைப்போன்ற மற்ற மனிதர்களுக்கிடையே வைக்கிறார். ஒவ்வொரு மனிதனுக்கும் மற்றவர்களின் அளவுக்கே ‘தான்’ என்ற உணர்வும், தனக்கான நியாயங்களும், ஆசைகளும் ஆத்திரங்களும் இருக்கின்றன. அவை ஒன்றுடன் ஒன்று மோதும்போது புரிந்துகொள்ளவேமுடியாத இறுக்கமும் தனிமைப்படுத்தலும் உருவாகிறது. ஜனசமுத்திரத்தில் அன்னியப்படுகிறான் மனிதன். எங்கும் தண்ணீர், எங்கும் தண்ணீர், குடிக்க மட்டும் ஒரு துளி இல்லையே என்ற கவிஞனின் வரி நினைவுக்கு வருகிறது.

சிறந்த உதாரணம் ‘கழைக்கூத்து’ என்ற கதை (A Balancing Act). ஒரு குடும்பம். வேலைக்குப்போகும் குடும்பத்தலைவி, அவள் கணவர். அவர்களுக்கு நான்கு வயது மகள். மகளை ஒவ்வொருநாளும் வேலைக்காரியிடம் விட்டுச்செல்ல வேண்டும். வேலைக்காரிக்கும் வீட்டுக்காரிக்கும் ஒத்துப்போகாது. குழந்தைக்கும் வேலைக்காரியை பிடிக்காது. ஆனால் சகித்துக்கொண்டு வாழ்வதைத்தவிர வேறு வழி இல்லை. ஏனென்றால் வேலைக்காரிக்கு இந்த வேலை தேவை. வீட்டுக்காரிக்கு வேறு ஆள் கிடைக்கமாட்டாள். மாமியார் ஊரில் இருக்கிறாள். அவர்கள் வாழும் பழையபாணி வீட்டுக்கு அவள் தான் சொந்தக்காரி.  அவள் ஒத்துக்கொண்டால் வீட்டை விற்றுவிட்டு, ஒரு ஃபிளாட் வாங்கி, ஒரு வண்டியும் வாங்கி வாழ்க்கையை மேம்படுத்திக்கொள்ளலாம். ஆனால் மாமியார் பழையகாலத்து மனுஷி. கணவர் கட்டிய வீட்டை விற்கமாட்டேன் என்று அடம்பிடிக்கிறார். அதே நேரத்தில் மகன், மருமகளுடன் வந்து வாழவும் அவளால் முடியவில்லை. 

இந்தக்கதையில், ஒவ்வொரு மனிதரும் மற்றவர்களுக்கிடையே விடப்பட்டிருக்கிறார்கள். உணர்வுரீதியான நெரிசலில் வாழ்கிறார்கள். ஒருவர் தன் சுயவிருப்பை நிறைவேற்றிக்கொள்ளும் அளவு மற்றவர்களை சார்ந்தே தீர்மானிக்கப்படுகிறது. சமரசம் ஒன்றே சாத்தியம். மகன் அம்மாவுக்கும் மனைவிக்கும் இடையே சமரசம் செய்ய வேண்டும். மனைவி வேலைக்காரிக்கும் குழந்தைக்கும் இடையே சமரசம் செய்யவேண்டும். வேலைக்காரி பிடிக்காத வேலைக்கும், தன் பிழைப்புக்கும் இடையே சமரசம் செய்தாக வேண்டும். குழந்தை தன் வயதை மீறி பெற்றோருக்கும் வேலைக்காரிக்குமிடையே சமரசத்தை அடையவேண்டும். மாபெரும் கழைக்கூத்தாட்டம்.

ஆனால் இத்தனை சமரசங்களை நிகழ்த்தும் போக்கில் அவர்கள் ஒவ்வொருவரும் மற்றொருவரை தோற்கடிக்க நினைக்கிறார்கள். ஏமாற்றப்பார்க்கிறார்கள். கள்ளத்தனம் செய்கிறார்கள். பொய் சொல்கிரார்கள். குரூரமான உண்மைகளையும் சொல்கிறார்கள். இந்தப்பின்னலில் தங்களை  நிலைநாட்டிக்கொள்வதன் மூலம் தொடர்ந்து இறுக்கமடைகிறார்கள். 

ஆஷாபூர்ணாதேவியின் கதைமாந்தர்கள் அனைவருமே சாதாரண குடும்ப உருப்பினர்கள். ஓய்வுபெற்ற மாமனார்கள், வீட்டில் அன்னியப்படும் கணவர்கள், மனைவியர், மகள்கள், விதவையான அத்தைமார்கள், குழந்தைகள். ஆனால் ஒவ்வொரு பாத்திரத்திற்கும் அதன் interest உள்ளது. கதைக்குள் ஆசிரியர் அதை தெளிவாகவே வரையருக்கிறார். வெவ்வேறு கதாபாத்திரங்களின் interest-கள் மோதுவதைத்தான் ஆசிரியர் கதையாக்குகிறார். கதாபாத்திரங்கள் தங்களுடைய interest-ஐ பாதுகாக்கக் கிட்டத்தட்ட போரே புரிகிறார்கள். உணர்வுரீதியாக, சமூகரீதியாக, அவர்கள் கையில் கிடைக்கும் அத்தனை ஆயுதங்களையும் பிரயோகிக்கிறார்கள். சில சமயங்களில் அத்துமீறி தரம் தாழ்ந்தும் கூட போகிறார்கள். அத்தனையும் மீறி திருப்தியுறாமல் இருக்கிறார்கள்.  

கணவன் பணிவாழ்க்கையில் முன்னேர நாட்டியமாடும் மனைவியை பகடைக்காயாய் பயன்படுத்துகிறார் (‘நறுமணத்தின் சாரம்’) . பணவெறி பிடித்த கணவனுக்கு பாடம் புகுட்ட வருமானத்துறை அதிகாரியான முன்னாள் காதலனை வீட்டுக்குள் அழைக்கிறாள் மனைவி (‘ஓரினப்பறவை’). விதவையான பிறகு வீட்டில் தன் இடத்தைத் தக்கவைத்துக்கொள்ள கணவரின் தம்பியை முப்பது வருட நீதிமன்ற வழக்கில் கட்டிவைக்கிறார் அண்ணி (‘ஆயுதம்’). வீட்டில் வருமானமில்லாமல் வெகுநாள் தங்கிக்கொண்டிருக்கும் கணவரின் நண்பனை அப்புறப்படுத்த அவனைப்பற்றி பொல்லாப்புகளை பறப்புகிறாள் மனைவி (‘கதாநாயகன்’).

அதே சமயம் கதைமாந்தர் அனைவருக்கும் அவரவர் நியாங்கள் இருக்கின்றன. ஒவ்வொருவரும் கையறு நிலையில் இருக்கிறார்கள். அவர்கள் உலகம் காலுக்கடியில் வழுக்கிச்செல்கையில் கையில் கிடைப்பதையெல்லாம் உடும்புப்பிடியுடன் பிடித்துக்கொள்ளும் வேகமே அவர்களில் செயல்படுகிறது. ஒவ்வொருவரும் தங்கள் இயலாமையை சமாளிக்கத்தான் இத்தனை நாடகமாடுகிறார்களா என்று எண்ண வைக்கிறது. 

மகளின் கணவர் இறந்துபோகிறார். செய்தி வரும் தருணத்தில் மகள் அமர்க்களமாக அலங்காரம் செய்துகொண்டு அத்தை மகள் கல்யாணத்திற்கு புறப்பட்டுக்கொண்டிருக்கிறாள். அவளுடைய தாய் செய்தியை அவள் விழாவிலிருந்து திரும்பிய பிறகே சொல்கிறாள். சமூகமே கொந்தளிக்கிறது. மகள் தன் வாழ்வில் அனுபவிக்கவிருக்கும் கடைசி உற்சாகத் தருணம் அது. அதை முடிந்த அளவு நீட்டிக்க நினைப்பதில் என்ன தவறு என்று அம்மாக்காரி தருக்கி நிற்கிராள். அதில் உள்ளது அன்னையின் இயலாமை. கூடவே, ஒரு விதமான அறவுணர்வு. தன் வட்டத்திற்குள் அவள் செயல்படுத்தக்கூடிய ஒரு எதிர்ப்புவெறி. (‘ஏமாற்றுக்காரி’)

ஆக ஆஷாபூர்ணாதேவி சொல்லும் கதைகளின் களன் வேண்டுமென்றால் அடுக்களையும் மனையுமாக இருக்கலாம். ஆனால் அவர் சொல்லும் கதைகள் மனிதனின் இயலாமையைப் பற்றியவை. அதிகாரத்தை, அதிகார மோதல்களைப் பற்றியவை. 

அடுக்களையானாலும் சரி, நாடாளுமன்றம் ஆனாலும் சரி, போர்க்களம் ஆனாலும் சரி. மனித மனம் ஒன்று தான். மனிதன் தன்னைப்போன்ற மற்ற மனிதர்களுக்கு இடையில் தான் வாழ்ந்தாகவேண்டும். அவனுக்குச் சுய பாதுக்காப்புணர்வு இருக்கும் வரையில், அவன் இயலாமையை உணரும் வரையில், அவன் தன் இடத்தைத் தக்கவைத்துக்கொள்ள முயற்சிப்பான். அது நியாயமாக அமையும் போது போறாட்டமாகும். அத்துமீறும்போது சுரண்டலாகும். அதிகார வேட்கையாகும். இந்தப்போக்கை நாம் தொடர்ந்து வரலாற்றில் பார்க்கிறோம். ஆனால் இதற்கு ஆதாரமான அமையும் மனித மனத்தின் பரிணாமங்களை ஆஷாபூர்ணாதேவியின் எழுத்து துல்லியமாக, கருணையில்லாமல் அம்பலமாக்குகிறது. வேடங்கள் இல்லாமல் நம்மை நாமே பார்த்துக்கொள்ளும் ஒரு தருணத்தை இந்தக் கதைகள் நமக்கு அளிப்பதே இவற்றின் முதன்மைக் கொடை. 

ஆக, அவர் களத்தை வைத்துக்கொண்டு அவரை ‘சாதாரண அடுக்களை எழுத்தாளர்’ என்று குறைத்துவிடுவது அவருக்கு நீதி செய்வதல்ல. ஒரு கதையின் களத்தை மட்டுமே வைத்து அதை ‘நல்ல கதை’ அல்லது ‘சாதாரணக் கதை’ என்று தீர்மானித்துவிடமுடியாது. வெவ்வேறு சாதி,மதப்பின்னணிகளின் அடுக்களைகள், நகரங்களின் அலங்கோலங்கள், பயங்கரமான வன்முறைக் காட்சிகள், பாலியல் நாடகங்கள் என்று பல களங்களைக்கொண்டு எழுத்தாளர்கள் எழுதுகிறார்கள். ஆனால் அந்த களத்தில் ஆசிரியரின் ஃபோக்கஸ் எதில் உள்ளது என்பது தான் கேள்வி. களன் ஒன்றே கலையை ஆக்குவதில்லை. ஃபோக்கஸ், அது வெளிப்படும் விதம், இவையே கலையை தீர்மானிக்கிறது. 

ஆஷாபூர்ணாதேவி பள்ளிப்படிப்பு இல்லாதவர். இளம்பிராயத்திலேயே மணமாகி, ஆசாரமான குடும்பவாழ்க்கைக்குள் வாழ்ந்தபடி 3000 சிறுகதைகளும் 150க்கு மேற்பட்ட நாவல்களும் எழுதியிருக்கிறார். அவர் எழுதியதெல்லாம் அவர் கண்ட ‘அடுக்களைக் கதைகள்’ தாம். ஆனால் அவர் ஃபோக்கஸில் சிக்கியது மானுட மனங்கள். அவை போடும் நாடகங்கள். ஒன்றுடன் ஒன்று தொடுக்கும் சமர். நான் அவர் கதைகளை வாசிக்கையில் என் குடும்பத்தின் மனிதர்களை நினைத்துக்கொள்கிறேன். ஆனால் அதே அளவுக்கு நான் பணிபுரிந்த ஆராய்ச்சித்துறையின் முகங்களையும் நினைத்துக்கொள்கிறேன். பல மில்லியன் டாலர்களும் உலகப்புகழும் அறிவதிகாரமும் புழங்கும் நடைக்கூடங்களும் ஆஷாபூர்ணாதேவியின் அடுக்களை மனிதர்களால் தான் நிரம்பிவழிகிறது.


*அதென்ன ஆங்கிலத்தில் மட்டும் தான் படிப்பீர்களா?  ‘எலீட்’ எழுத்தாளரா நீங்கள்? என்று கேள்வியோடு எழும்பும் வாசக நண்பருக்கு – வெளிநாட்டில் வாழும் எலீட் எழுத்தாளர் ஆகிவிட்டதால் வேறு வழி இல்லை. கிண்டிலில் புத்தகங்கள் உடனுக்குடன் கிடைக்கின்றன. அவை பெரும்பாலும் ஆங்கிலத்தில் இருக்கின்றன. ஆஷாபூர்ணாதேவியின் கதைகள் தமிழில் மொழிபெயர்க்கப்பட்டுள்ளன – வங்காளச் சிறுகதைகள் என்ற பெயரில். மொழிபெயர்ப்பாளர் புவனா நடராஜன். ஆனால் இந்தப்புத்தகம் கிண்டிலில் கிடைக்கவில்லை. ஆகவே அருணவா சின்ஹாவின் சமீபத்தைய ஆங்கில மொழியாக்கத்தையே நாடவேண்டியிருந்தது. அருணவா சின்ஹா இன்று இயங்கிவரும் ஆங்கில மொழிபெயர்ப்பார்ளர்களில் தனக்கென்று ஒரு இடத்தை உருவாக்கிக்கொண்டிருக்கிறார். மொழிபெயர்ப்பு ஈடுபாடு உள்ளதால் அவருடைய மொழிபெயர்ப்பு உத்திகளை கவனிப்பதிலும் எனக்கு ஆர்வம் இருக்கிறது. ஆகவே ஆங்கிலத்தில் வாசித்தாலும் தமிழில் அதைப்பற்றி எழுதி என்னுடைய ‘எலீட்’த்தனத்தை இரண்டு மடங்காக்கிக்கொள்வது தான் இப்போதைக்கான பிரதிக்ஞை.

தோற்கடிக்கப்பட்டவர் – ஆஷாபூர்ணாதேவி

வாசகசாலை சிறந்த அறிமுக எழுத்தாளர் விருது

வாசகசாலை விருது அறிவிப்பு

இன்று வாசகசாலை அமைப்பின் சார்பாக கடந்த வருடம் யாவரும்/பதாகை வெளியீடாக வந்த “ஒளி” புத்தகத்திற்கு சிறந்த அறிமுக எழுத்தாளர் விருது வழங்கப்படுகிறது.

விருதை நேரில் வாங்குவது சாத்தியமாகவில்லை. அதை ஒட்டி ஒரு சிறிய ஏற்புரை மட்டும் அரங்கில் வாசிக்கப்படுவதற்காக எழுதிக்கொடுத்தேன்.

ஏற்புரை

வணக்கம். வாசகசாலை அமைப்பின் சிறந்த அறிமுக எழுத்தாளர் விருதை பெறுவதில் மகிழ்ச்சியை தெரிவித்துக்கொள்கிறேன். வாசகரின் உள்ளோத்தோடு உரையாட முடியும் என்பதுதான் எழுத்தாளருக்கு ஆகப்பெரிய மகிழ்ச்சி. அவருடைய ஆற்றல் வெளிப்படுவதும் தர்மம் நிறைவேறுவதும் அவ்வாறுதான். என் ஆரம்ப நூல் ஒன்று வாசகர் மத்தியில் கவனம் பெற்றதும் இந்த விருதுக்கு தேர்வு செய்யப்பட்டதிலும் ஓர் எழுத்தாளராக என் இலக்குகள் சார்ந்து நம்பிக்கையும் பிடிப்பும் கூடுகிறது.

இந்த நூலில் பலவிதமான கதைகள் இருப்பதாக வாசகர்கள் கூறுகிறார்கள். என் வரையில், இந்த நூலின் ஒவ்வொரு கதையும் என் தேடல் களத்தில் ஒரு முனையாக பாவிக்கிறேன். என் தேடல்களை எழுத்தாக்க சரியான வெளிப்பாடு முறைகளை கண்டரிந்து அவற்றை எழுத்தில் நிகழ்த்துவதே இனிவரும் காலத்தில் நான் செய்யும் பணியாக இருக்கப்போகிறது. இந்தப்பயணத்தில் வாசகர்கள் என்னுடன் வரவேண்டும் என்று விரும்பிக் கேட்டுக் கொள்கிறேன்.

விருது பெற்ற அனைவருக்கும் என் வாழ்த்துக்கள். வாசகசாலை அமைப்புக்கு நன்றி.

Some notes on Venmurasu

(Some notes, originally written on Twitter (Jul 16, 2020), here. Republished (Aug 13, 2020), here)

Tamil writer Jeyamohan, whom I’ve translated in the past, has finished writing his novel series titled “Venmurasu” (The White Drum). The scope of the work is breathtaking. 26 separate standard fiction length novels, over 25000 pages in print, written over roughly 6.5 years. The author serialised the novels, a chapter a day, since 2014. The last chapter of the last novel was published last night.

Venmurasu is written entirely in Tamil, a classical language of antiquity like Latin or Sanskrit, with a rich literary tradition, but still spoken today. It is based on the Indian epic, the Vyasa-Mahabharatha. For non-Indian readers, it’s a living story still narrated in oral and art forms, that’s centres on an Iron-age civil war in the Indo-gangetic plain. It depicts a time of great social, political and moral transition. 

In India, a period that held the seeds for the subsequent emergence of the Nandas and Mauryas and the rise of Buddhism. But it’s also a family saga, an internecine bloodbath between cousins; an investigation of dharma, righteousness; a philosophical text; a devotional text.  It includes genealogies, mythologies, moral texts.

Needless to say, it has all the inherent complexity that’s just ripe material for a novel. And indeed, narratives in the Mahabharatha (Mbh) have been novelised in literary form in many Indian languages over the past century. Off the top of my head – Mahasasmar (Narendra Kohli, Hindi), Parva (SL Bhyrappa, Kannada), Randamoozham (MT Vasudevan Nair, Malayalam), Yagnaseni (Pratibha Ray, Hindi), Yuganta (Iravati Karve, Marathi), Yayati (VS Khandekar, Marathi), Nithyakanni (MV Venkatram,Tamil) and additionally numerous serialisations and novelisations in English – Ashok Banker, Ramesh Menon, Chitra Banerjee Divakaruni, Kamala Subramaniam, Meenakshi Reddy Madhavan etc. Shashi Tharoor’s The Great Indian Novel sets the characters in the context of India’s freedom struggle .However, most of the stand-alone novels in this list present the epic from the view of one character (Randamoozham, Yagnaseni) or one sub-story (Yayati) or one perspective (Yuganta).

They sacrifice breadth in favour of depth. Or they are serials with a mostly flat narrative structure, that adheres to the plot of the original epic. Or they are subversions of the original tales, but mostly again limited to one character or perspective, without sufficient space to allow the reader to live and dream. Venmurasu is different from all these previous attempts in multiple ways. In its scope, its formal aesthetics, and its vision. The grandeur and artistic merit that sets this work apart stems from these aspects. Broadly, what Venmurasu does to the Mbh is what Shakespeare did with the story of Donwald to create Macbeth, or what Wagner did with the Norse myths to create the Ring cycle. It refashions the original with artistic purpose to create a greater whole, a parallel, modern epic.

Venmurasu is a modern literary text, a novel series or roman fleuve like Romain Rolland’s Jean Cristophe or Emilie Zola’s Les Rougon-Macquart. However Venmurasu differs in that each novel in the series has its own aesthetic, narrative form and vision. There are Tolstoyan multigenerational epics, romantic comedies, poetic novels in versified prose, philosophical novels, fantasies, travel and war novels The entire series traverses a whole gamut of characters, major, minor, mythical and invented, running into several hundreds. They abound with all the delight of novelistic detail – landscapes, histories, mythologies and genealogies, recipes and rituals, technical descriptions of iron-age ships, war implements and Chinese telescopes, forays into various philosophical, religious and artistic schools.

Familiar tales are told and retold and subverted in a variety of voices, juxtaposed against each other to create new readings. Folk and subaltern tales, orthodox narratives, modern and ancient myths, women’s stories, children’s stories and animal stories in a single tapestry. They are layered with the main narrative, resulting in astonishing interpretations and insights into the original epic, that’s still living fabric in India. Then, this insight swings the reader’s gaze back into contemporary society, where much of the same tensions still exist.

Arguably, the greatest thing about the novel series however is its vision. It is perhaps the vision at the heart of all Indian thought : the nature of suffering, and the possibility of liberation. That alone makes this work a uniquely Indian text. Venmurasu’s vision was perhaps first captured by Jeyamohan in a short story he wrote in the 90s, called Padma Vyuham (The Lotus Maze), written in almost the same aesthetic style.

The story is about Subhadra’s grief over the death of her 16 year old son Abhimanyu in the Mbh war. Abhimanyu’s death came about because he did not know how to find his way out of the lotus maze. Subhadra is convinced that that is his fate. So she reasons that if she could somehow teach him that secret before he’s reborn, he’d be protected from such a fate in his next birth. She finds a rishi who can see through time, who tells her that Abhimanyu is already ready to be reborn in another womb. He shows her a lotus, rapidly closing even as he speaks, with two wriggling worms inside. She can talk to him before the petals close forever, he says.

She looks at the two worms wriggling around each other, and asks the rishi, who is the other one. “That’s Brihatkayan, the former Kosala king,” he says. He had been killed by Abhimanyu in the war, but they would be twins in their next birth. Subhadra is horrified. “You brother is your mortal enemy, beware of him,” she cries out, even as the rishi reminds her of the lotus maze. But before she can get to the secret of the lotus maze, the petals close tight over the worms. Subhadra tries frantically to prise them apart, to no avail. Doubly thwarted, Subhadra laments her own fate, when her brother Krishna quietly asks her if she knew how to escape from her own maze. She is stopped short by the question and in a flash, the chain of events that she has set into motion unwittingly dawns upon her.

The Lotus Maze’ encapsulates the themes that are played out to grand effect in Venmurasu – deterministic fate that links human lives, suffering that cycles over generations and births, and for most part, the utter incomprehensibility that baffles man in the face of such madness.  The aesthetic lynchpin that holds the tale together is the symbol of the lotus maze, a tightly circular war formation, always in flux, that is easy to penetrate but highly difficult to escape from. In the story, the lotus maze becomes a symbol for fate itself. Thus a minor tale in the epic expands into a much grander theme.

Venmurasu uses the same technique to much greater effect – over a 26-novel cycle, the canvas is much broader. The novel thus becomes a simulacra of life itself, but one that stretches our perceptions out Thus, this is not a novel about the Mbh, or a retelling, or even an alternative narrative. It is, like every great literary text, a parallel life, but one that uses imagery and archetypes from the Mbh to deepen and broaden the scope of its inquiry. Book lovers often have periodic obsessions – often discovering an author and reading all their works one after the other – or getting hooked onto a series and getting into fandom mode for years.

People my age can relate to our obsession over Harry Potter in our teen years. With the books releasing every couple of years or so, there was pre-booking, braving long lines and often finishing the whole thing in two or three days only to call a friend and discuss all the highlights, open questions (and ‘ships). HP was no classic, but now I realise its ppeal was due to its faux classicism. Its archetypes and narrative tropes help to tell a compelling, eternal story, even as the milieu is utterly fresh. Venmurasu is literary fiction, but I’m amazed by how popular it is for such a niche work. I think it’s fundamentally because it just tells an amazing story. I started reading it in 2018, four years after it started coming out, and I have read 18 out of the 26 novels published so far. There are a few dozen people who followed along, reading a chapter a day, and have finished all of it.

The fandom is thus fundamentally different, immersive, almost meditative in quality. The basic frame tale of the Mbh is also well-known, so the reading and discussions would often not be about what had/would happen, but how the tale was told. Like rasikas in a Carnatic concert discovering something new in the rendition well-heard kriti, or a connoisseur finding a nuance in a master batsman’s classic shot, the reading was often about the manodharma, creative interpretation. But the whole effect is rather surreal. One one hand we are immersed in the colours of individual tales and their interpretations.

For example, the mythological tale of the competition between Kadru and Vinata is layered with the stories of Gandhari and Kunti. Such treatment deepens our feeling of the conflict at play, pulling our emotions in, keeping us invested in the play. On the other, even as we read, we are subliminally aware of the inexorable pull of fate that we are powerless to do anything about. In the grand picture, we are confronted with the immense bleakness of war, death, destruction and endless eternal suffering, in the face of which all former whims and rivalries pale. All this adds up to a sense that on one level, everything matters, all our passions and conflicts, truly and deeply, for they chase us through genealogical and mythical time – and we have no choice but to act through life soaking up all their colours, with all the intensity of children absorbed in play. But on the other hand we are fundamentally helpless handmaidens of these selfsame wills, and fate itself, so none of this can matter at all in any essential sense. We are left with a simultaneous sense of grandeur and emptiness, illusion and rude awakening, meaning and the lack of it, in the face of historical, social, political, moral and personal upheavals. The conundrum of life itself is evoked thus.

(Venmurasu can be read in full, here)

வைரமுத்துவும் தமிழ் இந்துவும்

ஆசிரியர் குறிப்பு –

அக்டோபர் 2018-ல் மீ டூ என்ற இயக்கத்தின் வாயிலாக, கலைத்துறை உள்ளிட்ட பல பொதுத்துறைகளில் இயங்கும் பெண் உறுப்பினர்கள், தங்கள் பணி நிமித்தமாக தங்களுக்கு நிகழ்ந்த பாலியல் தொந்தரவுகளை பகிர்ந்துகொண்டார்கள். இவ்வகை தொந்தரவுகளும் சிக்கல்களும் பெரும்பாலும் தனிமையில், சாட்சிகளில்லாமல் நடைபெறுபவை. நாசூக்காக நிகழ்த்தப்படுபவை. சட்டத்தின் முன்னால் நிறூபணம் செய்யக் கடினமானவை. ஆனால் பெண் ஊழியர்களின் வேலைச் சுதந்திரத்தை ஆழமாக குறிவைத்து முறியடிக்கும் வல்லமை கொண்டவை.

இந்த அலையின் பகுதியாக பல பெயர்கள் வெளிவந்தன. கவிஞர் வைரமுத்து அவர்களின் பெயர் கிட்டத்தட்ட 13 வெவ்வேறு நபர்களால் சுட்டப்பட்டது. தன்னை விட வயதிலும் வாழ்வனுபவத்திலும் புரஃபெஷனலாகவும் இளைய இடத்தில் இருக்கும் பெண்களை இவர் குறிவைத்து வேட்டையாடியதாக குற்றச்சாட்டுகள் வெளிவந்தன. அதிகாரப்பூர்வமாக எந்தப் புகாரும் அளிக்கப்படவில்லை, ஆகவே எந்த நடவடிக்கையும் மேற்கொள்ளப்படவில்லை. அதே நேரம், பெரும்பாலும், அவருடைய சக ஊழியர்களும் நண்பர்களும் பொதுவாக அவர் பணிப்புரியும் தமிழ்ச் சினிமா சூழலும் அவருக்கு எதிரான குற்றச்சாட்டுகளை பெரிதாக எடுத்துக்கொண்டதாகவோ, கேள்விக்கு உட்படுத்தியதாகவோ தெரியவில்லை. அப்படி செய்ய வேண்டிய நிர்பந்தமோ தார்மீகக் கடமையோ தங்களுக்கு உள்ளதா என்ற பரிசீலனையும் நடந்ததாகத் தெரியவில்லை. அதைப் பற்றிய விவாதங்களை நாசூக்காக தவிர்த்ததாகவே தோன்றுகிறது.

ஆகவே இது ஒரு சிக்கலான பிரச்சனை. நமக்கு முன்னால் தனித்தனியாக இத்தனை பெண்களின் வாக்குமூலங்கள் இருக்கின்றன. அவை நம் சட்டத்துடன் உரையாடும் இடத்தில் இல்லை, நம் மனசாட்சியுடன் உரையாடும் வகையில் மட்டுமே உள்ளன. இந்த பிரச்சனையில் செய்யக்கூடியது, இது மறக்கப்படாமல் மீண்டும் மீண்டும் நம் கூட்டு மனசாட்சி முன்னால் திறந்து வைக்கப்படவேண்டும் என்பது மட்டும் தான். ஒரு வகையில் இவ்வகை சிக்கல்களை பொறுத்தவரை தீர்வுகள் இல்லாத இந்த நிர்பந்தமே நம் கையறு நிலையின் அத்தாட்சி. “நியாயமார்களே நியாயமார்களே” என்று பொது மனசாட்சி முன்னால் கைநீட்டி நியாயம் கோர வேண்டியதிருக்கிறது.

போன மாதம் தமிழ் இந்துவில் வைரமுத்து அவர்களின் பிறந்தநாளை முன்னிட்டு ஒரு சிறப்புப்பக்கம் வெளியிடப்பட்டது (இப்பொழுது நீக்கப்பட்டுள்ளது). அதன் கட்டுரைகள் அவர் பணி சார்ந்த புகழ்ச்சிக்கோவைகளாகவே இருந்தன. இந்த குற்றச்சாட்டுகளை பெயருக்காகக்கூட அந்த இதழ் குறிப்பிடவில்லை. இது சார்ந்த விவாதம் எந்தத் தமிழ் mainstream media விலும் நிகழ்ந்ததாகத் தெரியவில்லை. ஆகவே இந்த சிறப்புப்பக்கம் குறித்துத் தொடங்கிய விவாதம் பிரதானமாக இதை சுட்டிக்காட்டி, மீண்டும் இந்த குற்றச்சாட்டுகள் மீது வெளிச்சமும் விவாதமும் கொண்டுவர எத்தனித்தன.

அதன் பகுதியாக எழுதப்பட்ட குறிப்புகள் இவை. முகநூலில் பகிர்ந்துகொள்ளப்பட்டன.

இந்த வலைத்தளத்தை இலக்கியம், கலை, தத்துவம் குறித்த என் பகிர்வுகளை மட்டுமே வெளியிடும் இடமாக பேணவேண்டும் என்று நினைத்திருந்தேன். பொதுசமூக நிகழ்வுகளை, அரசியல் சார்ந்த கருத்துகள் வேண்டாம் என்றும்.

ஆனால் இந்த விவாதத்தை பொறுத்தவரை என்னை உந்துவது ஒன்று, ஒரு தார்மீகப் பொறுப்புணர்வு, அதைத் தட்ட முடியவில்லை. இரண்டு, குறிப்பாக கலைத்துறையில் இந்நிகழ்வுகள் தொடர்வதை பற்றிய என் தனிப்பட்ட ஆர்வம். கலைத்துறையைக் குறித்து ஒரு நாவல் எழுத வேண்டும் என்ற விருப்பம் எனக்கு உள்ளது. இந்நிகழ்வுகள் இத்துறையில் நிகழும் இன்றியமையாத ஆணவமோதல்களின் ஒரு வெளிப்பாடு. ஆகவே இதைக் கடந்துபோக முடியவில்லை. இந்தக் குறிப்புகளையும் இங்கே பதிவிட்டு வைக்கிறேன்.

பொதுவாழ்வில் இயங்கும் எல்லா ஆளுமைகளையும் ஒற்றைப்படையாக அணுகாமல் முழுமையாக தொகுத்தே பார்க்கவேண்டும் தான். வைரமுத்து அவர்களை ஒரு எடுத்துக்காட்டாக எடுத்தால் அவர் சினிமாப்பணிகளை, இலக்கிய இடத்தை, மேடைப்பேச்சை, தமிழ்க்கவிஞர் என்ற பொது அடையாளத்தை கருத்தில் கொள்ளாமல் அவர் மொத்த இடத்தை வகுக்க முடியாது.

ஆனால் இந்த ஒட்டுமொத்தத்தில் அந்த பதிமூன்று நபர்களின் குற்றச்சாட்டு எங்கே நிற்கிறது, அதன் இடம் என்ன, அந்த வெளிச்சத்தில் அவர் பணிகளின் அர்த்தம் என்னவாகிறது, என்பது முக்கியமான கேள்வி. நம்முடைய ஊடகங்களை பார்த்தால், “அதனால் எதுவுமே ஆகவில்லை” என்று சொல்வதாகத்தான் புரிந்துகொள்ள முடிகிறது. அப்படித்தானா என்று கேள்விகேட்கும் முயற்சியாக எழுப்பப்பட்ட கேள்விகள், தர்க்கங்கள் இவை.

– சுசித்ரா, 18.8.2020

வைரமுத்துவும் தமிழ் இந்துவும் – 1

இது வைரமுத்துவின் இலக்கியத் தகைமை சார்ந்த விவாதமா?

வைரமுத்துவும் தமிழ் இந்துவும் – 2

கலைஞர்களும் ஒழுக்கமும்

வைரமுத்துவும் தமிழ் இந்துவும் – 3

வைரமுத்து மீதான குற்றச்சாட்டு என்ன?

சில்வர்ஸ்க்ரீன் இந்தியா இதழில் வெளியான கட்டுரை (ஆங்கிலத்தில், ஆசிரியர்: கிருபா கே)