‘સૈરન્ધ્રી’- વિનોદ જોશી: પ્રતિભાવ

 ‘સૈરન્ધ્રી’- વિનોદ જોશી 

સૈરન્ધ્રી એટલે અજ્ઞાતવાસમાં વિરાટનગરમાં વિરાટરાજાની રાણી સુદેષ્ણાની દાસી તરીકે રહેલી દ્રોપદી. ‘મહાભારત’ મહાકાવ્યના આમ તો ઘણા બધા રીટેલીંગ્સ થયા છે જે મહાભારતના મૂળકથાનકના પાત્રોને એક નવી દ્રષ્ટિ અને નવા મનોભાવ સાથે રજૂ કરે છે, જેમાંનું એક ‘The Curse or Karna’ અનુસ્નાતક અભ્યાસક્રમના ભાગરૂપે ભણવામાં આવ્યું હતું. પણ વિનોદ જોશીનું ‘સૈરન્ધ્રી’ આનાથી જુદું છે અને તેથી જ રમ્ય અને આસ્વાદ્ય છે.

‘સૈરન્ધ્રી’ને ભારતીય સાહિત્ય અકાદમી દ્વારા 2023માં ગુજરાતી ભાષાની સર્વશ્રેષ્ઠ કૃતિ તરીકે પસંદ થયાના સંદર્ભમાં ‘કવિતાકક્ષ’ દ્વારા યોજાયેલ કાવ્યપઠન પૂર્વે આ પ્રબંધકાવ્યના કવિ શ્રી વિનોદ જોશીએ કહ્યું કે, “મહાભારતમાં વેદ વ્યાસે જે કહ્યું તે મારે અહીં કહેવું નથી, અને મારે જો એ જ કહેવું હોત તો હું આ કાવ્ય ન લખત.” આ કાવ્ય મહાભારતનું નથી, દ્રૌપદીનું પણ નથી, પણ મહાભારતના સૌ પ્રચલિત પાત્રો અને કથાના પાયા વડે - પાયા ઉપર મનુષ્યમાત્રનું કાવ્ય છે. આ કાવ્યમાં ‘મહાભારત’માં  દ્રૌપદી કે સૈરન્ધ્રીની  જે વાત છે તે નથી. અહીં સૈરન્ધ્રીના પાત્ર દ્વારા વ્યક્તિની ખોવાયેલ ઓળખ કે સ્વની શોધ અને આપણી અંદર ચાલતા દ્વન્દ્વની વાત છે. કવિ કાવ્યના નિવેદનમાં લખે છે કે "આપણને સહુને પોતપોતાના કુરુક્ષેત્ર અને પોતપોતાના યુદ્ધ હોય છે. અહીં એવું જે કંઈ છે તે  સૈરન્ધ્રીનું છે."

આ કાવ્ય સ્મૃતિ, સ્વપ્ન અને કલ્પનાના સ્તરોમાં વહેચાયેલું છે જે દ્વારા ભાવકને વિસ્મિત કરે છે અને  આનંદ આપે છે.

કાવ્યનું પઠન કરતી વખતે અમુક ચોપાઈ અને દોહરા મનમાં સતત રમ્યા કરે છે જેનું કારણ સમયાંતરે સૈરન્ધ્રી દ્વારા અનુભવાયેલ- કહેવાયેલ  શબ્દો છે, જે ખરેખર તો આપણા અસ્તિત્વના જ પ્રશ્નો છે તેવું હું માનું છું. સૈરન્ધ્રી વારંવાર પોતાની જાતને પૂછે છે કે પોતે દ્રુપદસુતા અને પાંડવોની પત્ની છતાં પણ એક દાસી? શું ખરેખર આ એ જ દ્રોપદી છે જેના માટે મત્સ્યવેધ સ્વયંવર યોજાયો હતો?

કાવ્યની શરૂઆતમાં જ કવિ વર્ણવે છે,

“વિવશ સાંજ, નભ નિરાલંબ,

નિસ્પંદ સમીર નિગૂઢ,

એક યૌવના નતમુખ ઊભી,

વ્યગ્રચિત સંમૂઢ.”

“હતી નામ રટતી નિજનું -

સૈરન્ધ્રી શ્વાસેશ્વાસ,

હસ્તિનાપુરની મહારાણી,

એ તો કેવળ ભાસ.”

પેહેલા સર્ગમાં જ્યારે રાણી સુદેષ્ણા સૈરન્ધ્રીને પોતાનો કક્ષ છોડી જવા કહે છે ત્યારે કવિએ કરેલું આલેખન અદ્ભુત છે.

“નિત્ય નિજત્વ અવાંતર જોવું,

 અંતરિયાળ પડ્યું આ હોવું.”

“પહેર્યો પરિચય પણ આભાસી.”

 

“દ્રુપદસુતા પણ હું અણજાણી.”

સૈરન્ધ્રીની આ ખોવાયેલી  ઓળખ કાવ્યમાં સતત ગુંજ્યાં કરે છે. 

“નિજમાં નિજનું સત્ય ન જાણે,

નિજને નિજથી નહીં પિછાણે,

નિસદિન ઢાંકે નિજને પહેલાં,

નહીં કોષ્ટકો નિજના સહેલા.”

-આ નાદ સતત સંભળાય છે.

સૈરન્ધ્રીનું ભૂતકાળને ખંખોળવું એની દબાયેલ લાગણીને દર્શાવે છે, સાથે જ વર્તમાનની પીડા પણ એને વળગેલી છે. વળી, તેમાં સૈરન્ધ્રીને થતું કર્ણનું સ્મરણ કાવ્યને રોમાંચક બનાવી દે છે. મહાભારતમાં દ્રૌપદીનો કર્ણ માટેનો અનુરાગ આલેખાયો નથી, પણ અહીં ગુપ્તવાસની સૈરન્ધ્રીમાં કવિ  દ્રૌપદીની સ્મૃતિ અને સ્વપ્નલોકમાં કર્ણને સ્થાન આપે છે અને દ્રૌપદીના હૃદયમાં પણ.

“સ્મરણ રચાયો ફરી સ્વયંવર,

કર્ણ વિરાજે શોભિત સુંદર.”

“વીર કર્ણ મેં વૃથા ઉથાપ્યો”

“પાંડુપુત્રનો મહિમા કીધો,

સૂતપુત્રને ત્યાગી દીધો.”

સૈરન્ધ્રીના કર્ણ પ્રત્યેના અનુરાગને જો આપણે આપણા વાસ્તવિક જીવન સાથે જોડીએ તો હું એવું માનું છું કે એ માત્ર પ્રણય નથી પણ આપણા જીવનની અનેક અતૃપ્ત ઈચ્છાઓ કે જેની કાલ્પનિક તૃપ્તિ આપણે ઇચ્છતા હોય જેમાં સ્મૃતિ અને સ્વપ્ન પણ સંકળાયેલા હોય છે.

“હોય સર્વ પણ કોઈ ન પાસે, 

કોઈ દૂર પણ ભીતર ભાસે.”

આ એકલતાની વેળા તેને કર્ણ તરફ દોરી જાય છે. 

વળી, કીચકનો પ્રસંગ પણ સુંદર રીતે વર્ણવાયેલ છે. સૈરન્ધ્રીના મનમાં જાગેલ ક્ષણિક ભાવ અને તુરંત એમાંથી પરત ફરી કરાતો કીચકનો પ્રતિકાર પણ એટલો જ મહત્વપૂર્ણ છે. 

“કીચક માર્યો એક પણ કીચક હજી અનેક.”

કીચક પર કરેલા આક્રમણ પછી સૈરન્ધ્રી આંતરવેદના અનુભવે છે જેમાં   પાંચ પતિઓમાં વહેચાવું અને દ્યુતસભામાં અપમાન વેઠવું જેવી બાબતો એને પોતાને સ્વાભિમાન તરફ જવા પ્રેરે છે. 

કીચક પરના આક્રમણ પછીનું કારાવાસનું વિસ્તૃત આલેખન પણ લાક્ષણિક છે.

“કઠ્ઠણ કારાવાસમાં કરતી કૃષ્ણા ખેદ 

ભીંતો બદલાઈ ગઈ અન્ય કશો નહીં ભેદ.”

માત્ર ભીંતો બદલાઈ ગઈ પણ અન્ય કશો ભેદ તેની સ્થિતિમાં નથી. 

“સહુએ સહુના સ્વાંગમાં નરવી નિજતા ખોઈ,

જ્ઞાત અને અજ્ઞાતમાં અંતર હતું ન કોઈ.”

સૈરન્ધ્રી આ વ્યથાથી એમ છૂટે તેમ નથી. મને લાગે છે કે સાતમો સર્ગ અગાઉના છ સર્ગનો નીચોડ છે. વળી, આ સર્ગમાં એ પણ સૂચવાયું છે કે ખોવાયેલી ઓળખ પોતાના સિવાય ક્યાંયથી મળી શકે તેમ નથી. 

“હતી જન્મથી ભડભડ બળતી,

નિજ થી છૂટી નિજમાં ભળતી,

નિત્ય કોઈને મનથી મળતી,

નિજમાં ભળવા પાછી વળતી.”

આ કાવ્ય કવિએ સ્ત્રીને અર્પણ કર્યું છે સાથે જ તેઓ આ નારીવાદી અભિગમથી લખાયું ન હોવાની સ્પષ્ટતા કરે છે. પરંતુ છઠ્ઠા અને સાતમા સર્ગમાં કરેલ સૈરન્ધ્રીનું વર્ણન સ્વમાં સ્થિર થયેલી નારીનું આલેખન કરે છે. સૈરન્ધ્રીએ સ્વબચાવ માટે કરેલ કીચક પર આક્રમણ પણ તેને એક યુયુત્સુ તરીકે સ્થાપિત કરે છે. પણ જો આ અલ્પ અર્થગ્રહણને બાદ કરું તો હું એ સમાપન તરફ આવું છું કે આ કાવ્ય માત્ર સૈરન્ધ્રીનું નથી પણ મનુષ્યમાત્રનું છે જેનું સમર્થન કવિ પણ કરે છે. આપણી અંદર ચાલતા દ્વંદ્વ આપણા સિવાય અન્ય કોઈ જાણી શક્તા નથી અને કદાચ એટલે જ તે દુઃખદાયક પણ છે. ગુપ્તવાસની ઓળખ છતી ન થાય તે હેતુથી તે કોઈને કંઈ કહી પણ શકતી નથી. પતિ સામે જ હોય છતાં એની પત્નીની રક્ષા કરી શકે નહીં, જો ઓળખાય જાય તો ફરી વનવાસ અને અજ્ઞાતવાસ. આપણી પોતાની ઓળખ પણ કેટલી ગુપ્ત હોય છે! સૈરન્ધ્રીની જેમ આપણને પણ આપણે શું છીએ એ સમજાતું નથી. આપણે પણ સ્મૃતિ, સ્વપ્ન અને કલ્પનાથી ગ્રસ્ત રહીએ છીએ. 

આ કાવ્યનું અધ્યયન કરતાં સમજાયું શા માટે આ કાવ્ય શ્રેષ્ઠ છે. કવિની કલ્પના આપણને મહાભારતને સાથે લઈ એક નવી જ કથા તરફ લઈ જાય છે અને તેમાં આપણે આપણને પણ  જોઈ શકીએ છીએ.

આ કાવ્ય મેં પહેલા પણ વાંચેલું. પણ કવિમુખે કાવ્યપઠન સાંભળવું તો એક લ્હાવો હતો. એમાંય એમની કાવ્યપાઠની છટા કાવ્યને સમજવાની ઘણી અસમંજસ દૂર કરી દે છે. કાવ્યને સમજવા માટે પ્રારંભે ભાષા થોડી  અઘરી લાગી, પણ કવિ મુખે થયેલા ભાવાત્મક કાવ્યપઠનથી આખુંય પ્રબંધકાવ્ય સાંગોપાંગ સમજાયું અને આહ્લાદક લાગ્યું. કવિતાકક્ષ દ્વારા આવો સુંદર ઉપક્રમ રચાયો તેનો અને આ પ્રતિભાવ લખવા મળ્યો તેનો આભાર.

'Gun Island' by Amitav Ghosh

 Thinking Activity

This blog is written in response to the thinking activity assigned by Dr. Dilip Barad sir on Amitav Ghosh’s Gun Island.

Amitav Ghosh:

Amitav Ghosh, born July 11, 1956, is an acclaimed Indian author known for novels exploring national and personal identity, notably in India and Southeast Asia. Awarded the Jnanpith Award in 2018, he spent years teaching before becoming a full-time writer. His diverse works include "The Circle of Reason" (1986) and "The Shadow Lines" (1988). Ghosh delved into science fiction with "The Calcutta Chromosome" (1995) and explored historical narratives with "Sea of Poppies" (2009) and the Ibis trilogy. His recent works like "Gun Island" (2019) and "Jungle Nama" (2021) touch on climate change. In 2018, he became the first English-language writer to receive the Jnanpith Award.

Gun Island:

Gun Island is a novel written by Amitav Ghosh in 2019 which traces the familiar cross cultural patterns in his earlier novels. The narrative involves journeys, diaspora, and experiences at sea, addressing environmental issues like climate change and ecological threats, consistent with themes in "The Hungry Tide" and "The Great Derangement."

The story follows Deen, a rare book scholar from New York, who returns to the Sunderbans in West Bengal to unravel the legend of a seventeenth-century merchant, Bonduki Sada-gar, and his conflict with the mythical goddess Manasa Devi. Ghosh describes the merchant as a symbol for trade and profit, exploring the tension between economic interests and ecological concerns, symbolized by the goddess's pursuit of the merchant. As Deen investigates further in Venice, he discovers a connection between the merchant's name and the old Arabic name for Venice, al-Bunduqevya, meaning guns. Ghosh contrasts the historical journey of the prosperous Gun Merchant with the contemporary struggles of Bangladeshi migrants facing challenges and opposition in Venice.

Ghosh portrays a diverse range of characters from different countries, blending myth and history, fact and fiction. "Gun Island" juxtaposes nostalgia for a lost past with contemporary concerns, offering a rich exploration of cultural, environmental, and human complexities.

1. How does this novel develop your understanding of a rather new genre known as 'cli-fi'?

In simple words, Cli-Fi- Climate fiction is literature that deals with the climate change. Climate fiction aims to raise awareness about climate issues and increase socio-political consciousness. It often depicts changing environments due to human impacts.

 The term ‘Climate Fiction’ (in short, cli-fic) is coined by Climate Activist Dan Bloom while noting the articles from Scientific American. He observed that most of the popular science fiction novels concentrate on the rapid changing of weather. With his perception, many critics and writers contribute their ideas on this genre. (Gnanambigai)  Ghosh wrote many novels with the back drop of climate change and global warming including The Great Derangement, The Hungry Tide and Gun Island.  The novel, ‘Gun Island’ by Amitav Ghosh develops our understanding of a new genre known as ‘Cli-Fi’. The novel is of course about myths and crosscultural narratives but parallel, Amitav Ghosh emphasizes Climate change within the culture and region in which the novel is set. It depicts climate disasters like cyclones, floods, wildfires, and their effects on humans and non-humans. 

In the novel, Amitav Ghosh emphasizes the impact of climate change on the lives of the characters. The narrative is not merely a work of fiction but a reflection of real-life events and consequences of climate change. The characters are profoundly influenced by the devastating effects of climate change, particularly cyclones and floods. He draws from actual instances to make his points more compelling and relevant. The people of West Bengal and Bangladesh are depicted as victims of cyclones and floods, which leave them destitute as their lands are ravaged by these natural calamities. The encroaching sea during such events makes it challenging for them to access potable water and food, as their lands are submerged.

The novel begins with the mystery of Sundarbans and in contrast, ends with the enlightenment in Sicily. Ghosh develops the world in which every major character escape from one disaster to fall in another disaster like the gun merchant of seventeenth century who elopes from the trap of Manasa Devi, the goddess of snake. Deen comes to Calcutta to spend his winter vacation. His causal visit to the shrine in Sundarbans changes his whole life in the novel. Ghosh creates Deen, in the place of Gun Merchant of seventeenth century. Deen follows the footsteps of the old hero and then find out the connection between the past and the present. Ghosh presents Gun Island with the backdrop of climate changes of the world. The characters witness the disasters in the novel. Nilima Bose, who runs an NGO, serves as a voice for the victims of these calamities. She informs Dinanath about the hardships endured by the people and recounts the devastating impact of the Cyclone Bhola in 1970.

“In West Bengal it was the Sundarbans that absorbed the impact of the cyclone. Lusibari, the island where Nilima and her husband lived, suffered a great deal of damage: a large chunk of the island was ripped away by the storm surge, houses and all. The damage to Lusibari was, however, a pale shadow of what was visited on the islands and settlements to its south…….

 

On each outing they saw horrific sights: hamlets obliterated by the storm surge; islands where every tree had been stripped of its leaves; corpses floating in the water, half eaten by animals; villages that had lost most of their inhabitants. The situation was aggravated by a steady flow of refugees from East Pakistan. For several months people had been coming across the border, into India, in order to escape the political turmoil on the other side; now the flow turned into a flood, bringing many more hungry mouths into a region that was already desperately short of food.”(Ghosh)

The second cyclone hit the same place in 2009, called “Cyclone Alia”.

In the novel, when Nilima visited the shrine of Mansa Devi, it was easy to go there. But later when Dinanath went to see the shrine, the place was quite muddy and full of water, suggesting that the water had reached the shrine. This was the reason why Nilima Bose wanted Dinanath to take note of the shrine, which may no longer exist.

“.....I believe the dhaam’s still there, but who knows how much longer it’ll remain? The islands of the Sundarbans are constantly being swallowed up by the sea; they’re disappearing before our eyes. That’s why I feel that some record should be made of it; for all I know that temple might be an important historical monument.”(Ghosh)

The climate change causes the migration of humans as well as animals and insects. The novel incorporates the wildfire in Los Angeles and the hightide in Venice.

Because of the rising temperature of Earth, insects find it difficult to adapt to climate conditions. Lisa is doing research on Bark Beetles that are insects which are lived by eating the leaves of the trees. But, in the mountain areas, those kinds of beetles are rare, and even eat up the whole tree for survival. That generates “a long drought” (109) and “a huge wildfire” during the conference which celebrates the seventeenth-century edition of The Merchant of Venice in Los Angeles. At the time, there is a long wildfire spreading in and around Los Angeles. Due to this wildfire, the conference venue was changed to a safer place.

The reference of snakes at the beach in Los Angeles and the reason was explained that it is due to the climate change that the snakes are also migrating. as Cinta says,

"These snakes generally lived in warmer waters, to the south, but sightings in southern California had become increasingly common: their distribution was changing with the warming of the oceans and they were migrating northwards...."

In The Journey of the Gun Merchant, he also encounters various calamities.   

While going to rescue Tipu, Dinanath and Piya encounters tornado.

In the novel, there are various research is done or being done by its characters which is related to the climate change. One of them is of Piyali Roy on Dolphins. It is due to the industrial waste that the nearby climate and rivers are spoiled and thus dolphins dies due to this.  Because of the rapid climates, she clears that not only humans are affected but also, animals are also suffocating. Through Piya, Ghosh points out that the chemical fertilizers that humans are using can reduce the oxygen level of the water.

2. How does Amitav Ghosh use the myth of the Gun Merchant ['Bonduki Sadagar'] & Manasa Devi to initiate discussion on the issues of climate change, migration, the refugee crisis, and human trafficking?

Amitav Ghosh uses the Myth of the Gun Merchant ‘Bonduki Sadagar’ and Manasa Devi to initiate discussion on the issues of climate change, migration, the refugee crisis, and human trafficking. The protagonist of the novel, Dinanath Dutta is a dealer of rare books who was also a researcher on folklore. His study of various folklore is quite different as he believes that folklores are just stories and have nothing to do with reality. However, the myth of Gun Merchant and Manasa Devi which is told by Nilima Bose in which the Gun Merchant refuses to be the devotee of Manasa Devi, travels across the globe to escape from Manasa Devi. 

In "Gun Island," Amitav Ghosh skillfully weaves the myth of the Gun Merchant, Bonduki Sadagar, and the goddess Manasa Devi to engage in discussions on critical global issues. The Gun Merchant serves as a metaphor for the environmental impact of unchecked profit-driven activities, drawing attention to climate change. Manasa Devi, the mythical goddess, symbolically advocates for the protection of the natural world, emphasizing the need for collective environmental awareness.

The exploration of the name Bonduki Sadagar leads to the discovery of the exploitation of Bangladeshi migrants as illegal labor in Venice. Ghosh connects historical trade routes with contemporary human trafficking, highlighting the challenges and exploitation faced by migrants in their hazardous journeys. The novel also addresses the strong opposition and resistance encountered by illegal migrants in Venice, offering a commentary on the current global refugee crisis. Through these narrative elements, Ghosh skillfully intertwines myth and contemporary issues, providing a nuanced exploration of climate change, migration, the refugee crisis, and human trafficking.

Here is an interactive map prepared by me tracing the journey of the Gun merchant:

3. How does Amitav Ghosh make use of the 'etymology' of common words to sustain mystery and suspense in the narrative?

Amitav Ghosh often employs the etymology of common words to add layers of meaning, mystery, and suspense to his narratives. In "Gun Island," for instance, Ghosh explores the etymology of the name "Bonduki Sadagar," initially thought to mean "Gun Merchant." This linguistic exploration becomes a tool for sustaining mystery in the narrative. As the protagonist, Deen, delves into the origins of the name, he uncovers that the old Arabic name for Venice was al-Bunduqevya, also related to the word for guns.

This linguistic revelation introduces ambiguity and intrigue into the story. The initial assumption that the name refers to a merchant dealing in guns is challenged, and a new interpretation emerges - the Merchant who went to Venice. The shift in understanding alters the trajectory of Deen's investigation and adds an element of suspense, keeping the reader engaged in unraveling the mysteries surrounding the characters and their histories.

By intertwining the etymology of common words with the plot, Ghosh not only sustains suspense but also underscores the interconnectedness of language, history, and the narrative's thematic elements. This literary device enhances the depth of the storytelling, inviting readers to actively participate in decoding the layers of meaning embedded in the words, contributing to the overall richness of the narrative experience.

4. What are your views on the use of myth and history in the novel Gun Island to draw the attention of the reader towards contemporary issues like climate change and migration?

Amitav Ghosh's adept use of myth and history in "Gun Island" serves as a compelling narrative strategy to illuminate contemporary issues like climate change and migration. By seamlessly weaving the myth of the Gun Merchant and the goddess Manasa Devi into the story, Ghosh creates a symbolic framework that resonates with broader concerns.

The Gun Merchant becomes a metaphor for profit-driven human activities, emphasizing the repercussions of unchecked trade on the environment. Manasa Devi, a mythical figure, embodies the voice of nature, advocating for environmental awareness and protection.

The exploration of historical trade routes and the name Bonduki Sadagar grounds the narrative in a real-world historical context, accentuating the ongoing impact of past actions on contemporary challenges. The novel suggests that understanding historical trade patterns is essential for addressing modern issues.

Ghosh's narrative deftly draws attention to climate change as a consequence of human actions, using the Gun Merchant's journey as a metaphor for the environmental impact of trade and profit-seeking behaviors.

The connection between the Gun Merchant's name and migrant exploitation in Venice establishes a poignant link between historical trade routes and contemporary challenges of migration and human trafficking. Ghosh highlights the enduring nature of human struggles across different time periods.

In essence, Ghosh's masterful use of myth and history in "Gun Island" elevates the narrative, creating a thought-provoking exploration of the interplay between past and present. The novel engages readers in reflecting on the consequences of human actions on the environment and the complex issues surrounding migration in the modern world.

5. Is there any connection between 'The Great Derangement' and 'Gun Island'?

Yes, there is a thematic connection between Amitav Ghosh's "The Great Derangement" and "Gun Island." Both works share a focus on environmental concerns and climate change, examining the profound impact of human actions on the natural world.

In "The Great Derangement," Ghosh explores the cultural and historical reasons behind society's apparent inability to address the imminent threats of climate change. He critiques the lack of representation of climate change in contemporary literature and examines how the narrative techniques of the modern novel may contribute to this derangement.

  "Gun Island" delves into environmental issues, particularly climate change, as one of its central themes. The novel weaves together the myth of the Gun Merchant, historical trade routes, and the goddess Manasa Devi to symbolize the consequences of human actions on the environment. The narrative draws attention to the interconnectedness of past and present, with the Gun Merchant's journey serving as a metaphor for the environmental impact of trade.

The thematic overlap lies in both works' engagement with environmental issues, making them complementary in their exploration of humanity's relationship with the natural world. While "The Great Derangement" focuses on the cultural and literary aspects of climate change, "Gun Island" integrates these concerns into a fictional narrative, using myth and history to amplify the ecological message. Together, the two works offer a comprehensive reflection on the urgent need to address and understand the challenges posed by climate change.

Recently, in 2024, Amitav got is awarded by Erasmus Prize for writings on climate crisis.(Read More...)

References:

Ghosh, Amitav. Gun Island: A Novel. Penguin Random House India Private Limited, 2019.

Gnanambigai, S. Sathiya. “CLIMATE FLUCTUATIONS, DECAMPMENT AND SUBJUGATION IN AMITAV GHOSH’S GUN ISLAND: A CLIMATE FICTION.” INTERNATIONAL JOURNAL OF RESEARCHES IN BIOSCIENCES, AGRICULTURE AND TECHNOLOGY, no. 17, 2021, pp. 253-261.

“Indian literature | Ancient Texts, Epic Poems & Modern Works.” Britannica, 17 February 2024, https://www.britannica.com/art/Indian-literature. Accessed 21 February 2024.

Joshi, Rita. “Gun Island by Amitav Ghosh.” World Literature Today, 2019, https://www.worldliteraturetoday.org/2019/autumn/gun-island-amitav-ghosh. Accessed 21 February 2024.

Scroll Staff. “Author Amitav Ghosh wins Erasmus Prize for writings on climate crisis.” Scroll, 8 March 2024, https://scroll.in/latest/1064898/author-amitav-ghosh-wins-erasmus-prize-for-writings-on-climate-crisis?fbclid=IwAR3HiWpM4xlgP6q1umZSweGbltBHW6nbQ58Sx1KHY8v7gkefLZdmF7cFCiA&sfnsn=wiwspwa&mibextid=VhDh1V. Accessed 13 March 2024.

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Shifting Centers and privileging margins: Roy's Approach in The Ministry of Utmost Happiness

 Thinking Activity

This blog is crafted in response to the thinking activity assigned by Dr. Dilip Barad sir, Head of the Department of English, MKBU. As a part of that, I will try to answer the questions assigned by sir. Which are, 

1) How is the intertextual references to other writers in the novel connected with the central theme of the novel? [also mention the epigraphs in English & Hindi] Click Here to visit my blog

2) What is the symbolic significance of Vulture and Gui Kyom (Dung Beetle) in the novel? Click Here to visit my blog

3) Instead of privileging the center stage, "The Ministry of the Utmost Happiness" shifts the spotlight to the back alleys and hidden corners, granting agency to those typically relegated to the sidelines. Analyze how Roy's decision to center the periphery enriches our understanding of social, political, and existential realities often ignored by mainstream narratives.

3. Instead of privileging the center stage, "The Ministry of the Utmost Happiness" shifts the spotlight to the back alleys and hidden corners, granting agency to those typically relegated to the sidelines.

Introduction:

In the novel 'The Ministry of Utmost Happiness', Arundhati Roy, instead of privileging the center stage, shifts spotlight to the black alleys and hidden corners, granting agency to those who typically relegated to the sidelines. Arundhati Roy Talks about those whose life and stories are marginalized thorough the mainstream narrative which includes transgenders, Dalits etc.

In the book Review of "The Ministry of Utmost Happiness" by Arundhati Roy, Amitava Kumar also notes that The novel gives a voice to marginalized people in India like transgender persons (hijras) and those from lower castes. It challenges the nationalistic, Hindu-centric history promoted by the current government. Moreover, the novel tells fictional stories based on real news events, like the case of an Indian army officer who committed murder-suicide in California after being accused of human rights abuses in Kashmir.(Kumar)

He suggests Roy's outspoken commentary on issues like war, injustice and globalization has led to threats from nationalist figures, predicting a "storm brewing" over this novel that challenges mainstream Indian history.

In "Social Exclusion: A Subaltern Perspective in Arundhati Roy’s The Ministry of Utmost Happiness", Bose and Haq explores the  integration of the theme of social exclusion and subalternation in the novel.(Bose and Haq) This article is very much interesting which tries to incorporate Michel Foucault's ideas on social exclusion in the Middle Ages and modern times:

"In the Middle ages, exclusion hit the leper, the heretic. Classical culture excluded by means of the General Hospital, the Zuchthaus, the Workhouse, all institutions which were derived from the leper colony. I wanted to describe the modification of a structure of exclusion."

"Once leprosy had gone, and the figure of the leper was no more than a distant memory, these structures still remained. The game of exclusion would be played again, often in these same places, in an oddly similar fashion two or three centuries later. The role of the leper was to be played by the poor and by the vagrant, by prisoners and by the 'alienated'..."

It discusses how societies have tended to exclude those seen as not fitting the "basic mission", through authority, status and stigmatization based on racism, classism, misogyny, etc. It introduces Arundhati Roy, an activist writer who has written extensively about power and powerlessness:

"She has a great concern upon the never-ending struggle between power and powerlessness, which has remained a recurring theme in her writings."

Anjum:

Anjum is a central character who represents the marginalisation faced by transgender and intersex people in Indian society. As the article states:

"Transgender people are classified as a third gender and termed neither men nor women. They have been facing social exclusion and alienation and also identity crises for a long time because they can't define themselves in conventional male or female terms."(Bose and Haq)

Anjum is born intersex, initially named Aftab. The novel vividly portrays the trauma and rejection Anjum faces from a young age:

"After discovering that her child (Anjum) was not a normal boy, Anjum's mother even tried to hide it from her husband. The child's sexual identity shocks and terrifies the mother...There, in the abyss, spinning through the darkness, everything she had been sure of until then, every single thing, from the smallest to the biggest, ceased to make sense to her."(Bose and Haq)

Anjum faces bullying, social stigma, and lack of belonging due to not fitting neatly into male/female gender binaries, as it is described in the novel how his classmates use to make fun of his gender identity: 

"He's a She. He's not a He or a She. He's a He and a She. She-He, He-She Hee! Hee! Hee!"(Roy)

Yet Anjum asserts her female identity, becoming "Delhi's most famous Hijra" in an act of self-realization, even though as the novel shows, transgender people continue to face "legal, social, and economic challenges."

In this way, Anjum's character represents the profound discrimination, exclusion and "identity crisis" faced by transgender Indians. Her journey of self-discovery despite immense social stigma allows the novel to humanize and give voice to this severely marginalized group.

So in portraying Anjum's lifelong struggle with rejection, bullying, and the search for self-identity and acceptance, the character is vital in depicting one of the core marginalized groups whose exclusion is central to the novel's themes.

Dalits:

Saddam Hussain represents the marginalisation faced by Dalits in The Ministry of Utmost Happiness, with relevant quotes:

Saddam Hussain, originally named Dayachand, is an important character portraying the oppression and marginalization of Dalits (those from the lowest castes) in Indian society. He is born into a low-caste, dalit family, but after his father is mercilessly murdered by an unruly mob for being suspected of killing a cow, converts to Islam. He faces alienation and exclusion in society on the base of his caste.

Saddam's background highlights how Dalits have historically faced brutal violence, exclusion and lack of rights due to the unjust caste system. The fact that his father is lynched by a mob on the mere suspicion of harming a cow demonstrates the degree of dehumanization Dalits confront.

By converting to Islam, Saddam attempts to escape the stigma of being seen as an "untouchable." However, as the passage notes, he still experiences "alienation and exclusion" due to his origins in the oppressed Dalit community. 

The novel gives Saddam a voice and platform as a "representation of the subaltern in the novel." As a subaltern, he represents those systematically excluded from power structures and denied the ability to be heard or participate in society.

So through Saddam's character, the reader gains insight into the brutal historical oppression of Dalits, their attempts to escape stigma and gain rights, and how they continue to face marginalization through "legal, social and economic challenges" even in modern India. 

Saddam's story, along with the other marginalized characters like Anjum, helps give the novel a strong focus on including the voices, experiences and struggles of those typically excluded, silenced and rendered subaltern by dominant power structures and prejudices in Indian society.

Tilo:

Tilo is a highly significant character in the novel. She represents challenging traditional gender norms and facing oppression as a strong, rebellious woman. As the passage states:

As it is said in "Social Exclusion: A Subaltern Perspective in Arundhati Roy’s The Ministry of Utmost Happiness", "Her existence in the world of fiction challenges some assumptions about the roles that men and women play in the public and private spheres. As she broke free from the constraints of family life and transitioned from the private to the public sector as an activist, her social and political identity began to take shape."

Tilo defies expectations of how women should behave. She "slipped off her leash" and gave the impression of "taking herself for a walk while the rest of us were being walked—like pets." 

Her story illustrates the struggles and oppression faced by women who assert their independence and step out of traditional feminine roles into the public sphere as activists. The article notes she "witnessed the brutal treatment of citizens by military officers" and was punished by having her head shaved when interrogated.

Tilo also connects to the oppression faced by Kashmiris, through her search for the Kashmiri activist Musa. As the article states: "Through Tilo's life, the miserable existence of the Kashmiri people is intricately portrayed." 

So Tilo is an important character representing both feminist resistance to patriarchal norms, as well as solidarity with other oppressed groups like Kashmiris. Her story highlights the interlinked struggles against authority, gender discrimination, and violent state oppression.

In this way, the character of Tilo is vital in portraying central themes of the novel - social exclusion, intersecting forms of oppression and discrimination, and challenging unjust power structures through activism and dissent. Her narrative allows the novel to explore the complex links between gender, activism, and marginalization.

Conclusion:

Thus, Roy deliberately centers narratives from the margins and peripheries of Indian society throughout The Ministry of Utmost Happiness. Roy exhibits amazing ingenuity in crafting a literary dais for the people who exist on the fringes of the Indian society. Her novel functions as an "eyewitness account" giving voice and platform to those typically excluded and rendered subaltern by dominant power structures and prejudices.

Through portraying a diverse array of marginalized characters like Anjum the transgender woman, Saddam Hussain the Dalit man, Musa Yeswi the Kashmiri separatist, and Tilo the feminist activist, Roy challenges mainstream narratives that have silenced or dehumanized those on the peripheries. As the article notes, Roy does not use margins "to divide people but, on the contrary, they are employed to cement the bonds of solidarity." The intersecting stories allow Roy to offer a multifaceted "portrait of difference and dissent," highlighting how various forms of oppression like gender discrimination, casteism, state violence and ethnic nationalism are all interlinked in excluding certain groups from full participation in society. By centering these peripheral perspectives, Roy provides a powerful counter-narrative to dominant official versions of Indian history and identity.

Introductory Presentation on 'The Ministry of Utmost Happiness:

Works Cited

Bose, Bidyut, and Mohd InamUl Haq. “Social Exclusion: A Subaltern Perspective in Arundhati Roy's The Ministry of Utmost Happiness.” Redalyc, 30 December 2022, https://www.redalyc.org/journal/7038/703874214018/html/ . Accessed 16 February 2024.

Kumar, Amitava. “Arundhati Roy offers a portrait of India from the margins - Amitava Kumar.” Bookforum, 2017, https://www.bookforum.com/print/2402/arundhati-roy-offers-a-portrait-of-india-from-the-margins-17970.  Accessed 16 February 2024.

Mohsin, Syed Wahaj, and Shaista Taskeen. “Where Margins Intersect: A Study of Arundhati Roy’s The Ministry of Utmost Happiness.” International Journal of English Language, Literature in Humanities, vol. 5, no. 10, 2017. ResearchGate, https://www.researchgate.net/publication/339676425_Where_Margins_Intersect_A_Study_of_Arundhati_Roy's_The_Ministry_of_Utmost_Happiness.  Accessed 16 February 2024.

Roy, Arundhati. The Ministry of Utmost Happiness: Longlisted for the Man Booker Prize 2017. Penguin Books Limited, 2017.

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