Gleanings
Two Lankan women writers!
Maleeha Rajon:
Let
me introduce the writing of two women writers from Sri Lanka. One writes
in English and the other in Thamil. I cannot write an exhaustive review
of these books as this is only a literary and arts column of brief gleanings.
Maleeha Rajon, a Malay woman proficient in both English and Thamil.She
is an English teacher and a trained Thamil teacher. I came to know her
as a colleague in the staff of Alethea International School in Dehiwela.Her
first collection of short stories in English was published in 2002 and
the title of the book was 'The Dance of Life '. She belongs to the Wadiya
Group of Writers, among whom are the dramatist, producer, singer and English
teacher, Haig Karunaratne. The book has the distinction of a foreword by
Ashley Halpe, Emeritus Professor of English, poet, translator, playwright,
musician and scholar.
Ashley notes the 'the unaffected
simplicity of Maleeha Rajon's style and her unfailing quietness of tone
from a limpid translucent medium for perceptive sketches from life as well
as imaginative evocations of less familiar strands in the tapestry of Lankan
experience '.
Another estimation of Ashley
rang true when I read her stories rather belatedly. This is what the professor
said: 'They (the stories) make us crisscross the country and beyond into
the Diaspora, weaving through the layers of class and the varieties of
value - systems that contribute to the richness of Lankan mosaic'.
He adds: 'Her characteristic
form is the sketch, catching impressions without being merely impressionistic...
in all the stories there is an admirable attention to relevant detail of
character and background' and concludes' Permeating all the stories is
a generous sympathy with the human condition. Never judgemental, the author
presents the raw predatory mentality of the professional beggar and the
deep calm of the village monk with equal serenity, though touches show
that she is well aware of the demons of greed, hate and fear. The whole
becomes an encounter with a deeply humane mind'.
After this beautiful summing
up by Ashley Halpe, what more can I say ? I can do one thing: to attempt
an analysis of one of her stories. The story is titled: 'Kunkumap Pottu'
(The Vermilion Mark ). The story is narrated in first person by a middle-aged
Thamil woman, Gauri, married for 27 years to Ragu. She dresses up to go
temple to pray for her son's birthday. Between her home and the temple
there are five army camps.
Her 'pottu' in her forehead
easily identifies her as a Thamil woman. As she gets ready to go, she recapitulates
how she got married with dowry, including jewellery given away on the demands
of her mother-in-law. (Here is an implicit criticism of the typical Thamilian
dowry system by the writer through her character.
The author also uses the
Thamil words applicable to some pieces of jewellery and give in footnotes
the English equivalents).
Her 40 sovereign jewellery
was dutifully given to the groom before the wedding. Now, all that had
gone during the Black July 1983, except her 'Thali' (a pendant symbolizing
Hindu marriage ). During that horrendous genocide, she had to wipe off
the 'kunkumap pottu ', before running for the lives of her husband and
hers. Their son Sathyan was hidden in the neighbour's kitchen. But Alas,
the child running three days of high temperature died. Sathyan, was buried
by their neighbours (the Herath family) without his parents at graveside.
(The writer on behalf of her character says) 'We had no children after
Sathyan.
It was as if my womb refused
to house any more life, to be lost in time of terror. Ragu was devastated.
A mental wreck. I was forced to take over, for I had only Ragu now. We
lost our baby. We lost everything, our peace of mind, our sanctity as human
beings, our belief in right and wrong. Bereft of everything we went back
to Jaffna'.
After 10 years the couple
returned to Colombo. Gauri worships Durga, while her husband worships Siva.
Her goddess, Durga, is the fierce goddess of war but she is also the protector
of women, says Gauri. The meaning of her name is golden one. She will never
remove her 'Thali' and wipe off her 'kunkumap pottu '.
So her 'pottu' stays on
her forehead till they put her in her coffin. (The writer explains the
significance of the 'pottu').
She says that it is a part
of a married woman's dress and that it gives a woman her status in society.
Her character says, 'I wear it with dignity, this ethnic part of my make-up.
'Her friend in the campus described the vibrant colours of 'pottu' she
had worn before marriage as 'dhemala paata'.
Reverting back to the present,
the writer speaks through Gauri in ironical terms: "I am tough now, somewhat
like Durga, who is said to be a combination of all the fierce energies
that her gods gave her. It is also believed that she had eighteen arms
to which the gods gave her weapons to fight. Siva's trident, Agni's flaming
dart and Indra's thunderbolt were some of them. I am determined to go to
temple today, the day Sathyan saw this world.
If he were alive, he'd
be a book-trotting O/L student, just turned 15. Or would he be on the other
side in boots too big for him carrying weapons instead of books ? 'Her
husband warns her. She says: 'He reminds me of the flurry and excitement
my 'kunkuma pottu' causes at check points sometimes.
What with my vibrant coloured
clothes, my 'pottu' and my jewellery 'winking' at them, and my inability
to converse freely in Sinhala, Ragu feels it will be a perfect recipe for
a showdown at any check point today'.
Then she meets her former
neighbour, Mrs Herath, who has two sons in the army -one in the battlefield
and the other in check point in Colombo. Gauri tells her Sinhala friend
about her 'pottu' and the predicaments at the check points. Herath replies
that even she is not spared and that the soldiers ask for her ID and examines
her bag. So, she speaks casually to those who check her. She even gives
them some words of comfort. Mrs Herath consoles: 'Like my son, there are
hundreds of them manning these checkpoints. That is where the difficulty
is, Mrs. Ragu. You are suspicious of them and they of you! 'The story ends
there. No judgement passed by the writer, and she leaves the readers to
ponder. Cheers Maleeha.
She is married to Rajan
who had lived in Thiru koana malai.
Maleeha Rajon and A. Santhan
are two writers in English who subtly portray the struggle for life of
Thamil speaking people in the hands of a small minority of ultra-nationalists,
mono-racists and armed men. Aren't we still not going to learn from past
history ? I am skeptical of the future of our people - all citizens.
Padma Somakandhan:
The
other woman writer is Padma Somakandhan. She too had been in the field
of teaching and is one of the most senior women writers in Thamil in Lanka.
She edits a magazine for women called 'Pennin Kutal'(The voice of Women
). Her husband too (N. Somakandhan) is a leading writer and critic in Thamil,
and author of many books. Padma's third collection of short stories is
titled 'Vealvi Malarhal'(Flowers for a Ritual - that's how I would call
it.) Her previous collections were 'Kadavulin Pookal' (Flowers of God)
and 'Puthiya Vaarpuhal'(New Designs ).She had many awards for her works
both in Sri Lanka and Tamilnadu. I would like to introduce her third collection
'Vealvi Malarhal '.
There are 14 stories which
were originally published in Sri Lanka and abroad in magazines and newspapers.
Eminent Thamil writers Vallikannan (from Tamilnadu), S. Sivagnanasundaram
(Nandhi , emiritus professor of medicine) and S.Ganeshalingan (who also
reviews books for 'The Hindu' of Chennai) have given their considered views
on Padma's writing in this collection.
As Ganeshalingan says,
the writer's feminist views and the crudity of Lankan political and social
problems and their atrocities in the past two decades in these stories.
Fear of death, fear of war, uprooted refugee life and the tragic consequences
are captured by the writer.
'Nandhi' attributes that
even though the writer entered the field of writing in the 1950s, she is
a forward looking thinker and a capable writer.
The keypoint in Padma Somakandhan's
writing is her social consciousness and progressive outlook. Most of her
stories describes clearly the actualities of what the people in Yaalpanam
had encountered in so many years. Their miseries, tragedies, anxieties,
degradation and humility are never understood by the mono-racists who are
in bliss ignorance and divert their focus on secondary things, even to
the extent of negating humane feelings.
These stories and writing
by other writers in Thamil on the agony and the wretched state of living
by the Thamil-speaking people should be translated into Sinhala first and
English later. Will any concerned people come forward to do this?
Contact: kssivan1@juno.com
courtesy: Daily News (Sri
Lanka) |