by Sneha Sharma | Dec 18, 2021 | Children's Literature
During Diwali vacations this winter, I found in my old library, the book I had so much cherished as a child. It was the story, my father read out to me when I would be tucked in bed or laze on the drawing room sofa, or simply when I demanded.
A Ukrainian folk tale, the book belongs to one of my brilliant memories of story listening experience from my parents, when I was a child and it is a treasure, I would forever behold.
The book ‘A Piece of Cake’ written by Ivan Bahmut, is a story (that runs in flashback), of a little boy named Mikolko, who is happy to be invited over for a dinner party at his Aunt’s. He’s happy also because he gets to wear his father’s shoes. His own, are torn. Mother instructs him to behave gentlemanly and not to gorge on the food Aunt Kalyan serves to him, as they are poor and might be made fun of by the arrogant Aunt; a point which the innocent Mikolko does not completely fathom.
Going by his mother’s instructions, when finally, the children are served dessert – a cake, Mikolko takes only a piece when insisted. When he tries to have a second helping, mother catches him in the act and so does his Aunt. To save his mother the embarrassment, he makes an excuse, that it was the cat he was feeding the cake to! When Aunty tries to humiliate him further by saying how could a cat eat a cake, her jovial son snatches the cake from Mikolko’s hand and feeds it to the cat, who relishes it like anything.
The Aunt stands sullen faced and openly shows disregard for Mikolko and his father, calling him a thief, while Mikolko’s mother cries tears of pride and love on the pleasurable discovery of his son’s mature understanding.
The description of mother’s fear of humiliation and being called out for her poverty, earlier in the story and during the dinner party are natural, real, touchy, naïve and painful.
The book although mentioned in the Goodreads, does not have much literature about either the story or the author. This is unfortunate, because the folklore shows us how children interpret the essential emotions and feelings, like embarrassment and pride, reflected through their parents’ non-verbal expressions, instead of directly experiencing them.
by Sneha Sharma | Oct 23, 2021 | Book Discussions
I read ‘The Cat Person’ posted on New Yorker sometime back and it’s a story you feel compelled to read in one go. I liked it because it was contemporary, realistic and feminist. In spite of its American setting/backdrop, it had a universal appeal. The theme was loud and clear – The power imbalance between older men and younger women dating each other.
It also highlights the concept of consensual sex – how there can still be elements of emotional molestation and superiority and subjugation, falling heavy on female assertiveness.
There were layers of following sub-themes too –
- Dynamics of coercion
- the highly manipulative and self-delusionary phase of early courtship,
Margot is scared of being judged by her boyfriend. She is aware of the storm that would follow if she breaks up with him on the grounds of bad sex. To her horror, the guy does not take the rejection on a casual note and abuses her verbally, pestering her, flooding her phone with mean messaging! No matter how much we advance in this constantly changing landscape of technology, space and astronomy, our fundamentals of a happy survival remain flawed, which starts with the relationship with the women around us.
A young woman in the age of her so-called independence, belonging to the era past feminism and modernism, still feels savaged and besotted by the technology and her relationship with a man.
Other facts about “Cat Person” by Kristen Roupenian –
Cat Person went on to get more than 4.5m hits and become the most-read piece of online fiction the New Yorker has published and has also been prosecuted as part of a ‘man-hating liberal agenda’ by many on social media.
Roupenian’s short story collection – ‘You know You Want this’ has won Roupenian a reported $1.2m advance and is being adapted into an HBO series. The stories work in the theme of – ‘the extent to which men rejected by women hate women, and women rejected by men hate themselves.’
Read the story here –
https://www.newyorker.com/magazine/2017/12/11/cat-person
Suggested Reading –
https://www.theguardian.com/books/2019/jan/26/cat-person-author-kristen-roupenian-dating-ego-power-control
https://www.washingtonpost.com/news/soloish/wp/2017/12/12/why-cat-person-a-new-yorker-short-story-is-essential-reading-for-this-metoo-moment/ –
by Sneha Sharma | Sep 6, 2021 | Book Discussions
A Room of One’s Own by VIRGINIA WOOLF
What is the book all about?
Following a mentor’s suggestion to read autobiographies/memoir of the heroes to capture the intricacies of their lives and learn the lessons they did the hard way, I came across ‘Room of one’s own’ – which wasn’t autobiographical but rather a literary critical essay on women fiction writers during 1920s. It falls under highly recommended reading for artists, literature history lovers, students of English literature, women writers and in general for all those simply needing an inspiration to write. Virginia Woolf, after a thorough research on women and fiction wrote this book as a ‘stream of consciousness.’
Why read it in today’s times?
As a piece of feminist writing, focusing on the problems of a woman writer belonging to a previous era, is the book worth reading?
Woolf’s use of language and intelligence has been highly influential on English literature and she is one of the foremost modernist literary figures of the twentieth century. For the writers learning to polish their strokes, not only reading but a study of some of Woolf’s work certainly proves valuable.
This book in particular talks about the genius of Bronte sisters, about English novelist George Eliot, how brilliant these writers were to be able to perform and produce sheer pieces of brilliance, working in extreme constraints, even hiding the fact that they were writing fiction, frightened to express their fondness towards the art, covered their writing with a blotting, for the shame of wasting their time with “scribbles” being a woman (as Jane Austen did whenever someone came into the common room), wrote in the living room with thousand practical distractions, ten children to look after, as the line was so predominantly considered a male profession.
George Eliot had to write under a male title for acceptance of her work. These harsh facts open our eyes to the atrocities that women writers and women in general faced as a fairer sex in Woolf’s era and prior. As an Asian community, the revelations surprise us because for us the West has always stood for freedom, expression and liberty and the violence and injustice done to women even if in a different era, the kind still prevalent in Indian societies, makes the read relevant enough for the artists and their male and female counterparts.
A female writers’ essential space
With the imaginary example of William Shakespeare’s sister, assuming she is equally talented as him, Woolf reasons, it’s not the difference of physical strength that had led historically, more work of writing from men than women. Her analysis of old literature and the basic gender roles discovers that men are at an advantage of space, money and education. In her quest to conquer the literary world of 16th century, this imaginary character of Shakespeare’s sister is blocked at every step by the society for being a female aspirant of writing.
So, it raises a point that for such female aspirants of writing, independence and solitude are essential for artistic creation. She needs a room of her own, money to buy herself that and a lock on the door.
The Conclusion
The conclusion of the book does satisfy the believers of feminism –
“It would be a thousand pities if women wrote like men, or lived like men, or looked like men, for if two sexes are quite inadequate, considering the vastness and variety of the world, how should we manage with one only? Ought not education to bring out and fortify the differences rather than the similarities?”
She also concludes that each human has a multifaceted personality and that each artist must draw from both male and female parts of the mind.
“In each of us two powers preside, one male, one female… The androgynous mind is resonant and porous… naturally creative, incandescent and undivided.
And most importantly she insists to write freely without any fear of judgement.
Relevance of the text to a modern female writer
Apparently what appears to be a minor attribute – having a space of one’s own, raised in the context of women writers’ quintessential need, something that a modern female writer might choose to laugh at -becomes a thought of serious consequence.
The space here has metaphorical context of literal-physical and mental arrangement a woman needs to write well. She needs to be free from the anxiety about the eligibility and trustworthiness of that ‘someone’ who is looking after her kids and household while she writes, at least till the time her children become independent. That’s when she can completely surrender to the world of her creative abilities and the magic it begets. A modern female writer too cannot choose to laugh at this one after all, as the problem is still very much relevant for her.
My personal account
When I wrote only as a hobby, I had to many times hide the fact that I am writing for the fear of being caught in doing something menial, something that is not paying one in money. I waited for the room to be empty as directly telling someone to leave for my writing in private, might be considered hysterical. I couldn’t design my own time and in stead my time of writing was decided at the mercy of others. I never openly discussed with my family how writing relieves me and is so beyond a hobby. When I started writing for Times and took to teaching as a job, many times in the alibi of working for my employers, I wrote my heart out. My excuse was now eligible for consideration.
Few years back although, during one of our evening walks, I explained to my husband and my sister, how imagining my routine days without some pleasure writing, would be difficult for me and how the regret would hover around when I am older, they took my earnest appeal in consideration and not only could I make time for doing what I loved to do but stood tall with motivation (motivation was never something I thought I would be needing so much because of the lapse in practice!).
While it might not be so simple for many other female counterparts, it still makes sense to discuss about one’s passions and desire to pursue a hobby, and if it is writing, about the ‘space’ one very much needs for her muse.
This book can give confidence to so many women wanting to express their unheard voices through their ink.
Suggested Further reading –
Analysis of Virginia Woolf’s A Room of One’s Own
by Sneha Sharma | Jul 15, 2021 | Children's Literature
The world of children’s literature fascinates me and I many times find myself immersed into it. I read out to my kids, popular works of classic and contemporary Indian and American writers. Blessed with an audience of intent listening, it’s not just reading but lots of answering too, to their obvious and logical curiosities, which mark my fun time with my little listeners.
This week we decided to pick Rudyard Kipling’s Rikki-Tikki Tavi– the famed tale of a valiant mongoose who fights for his master with a deadly snake and his wife, Nagaina.
The story quickly got us hooked and was read out in a single sitting, without any break.
But my own curiosity of knowing behind-the-scene anecdotes and analysis of almost every story that I like, takes the course of some research. I found there were innumerable analytical essays and research submissions in renowned journals written on this enchanting story of Kipling.
Rudyard Kipling was known for his imperialist agenda, which also seeped into his stories and poems. Rikki-Tikki Tavi, if we note the symbolism behind it (which is hard to ignore), brings this agenda into the fore. The hero mongoose, on a second look is then reduced from a brave heart to a loyal colonial subject of imperialism and the narration thus implies the saving of an economically downtrodden India at the mercy of compassionate Britishers.
Take up the White Man’s burden–
Send forth the best ye breed–
Go, bind your sons to exile
To serve your captives’ need;
On fluttered folk and wild–
Your new-caught sullen peoples,
Half devil and half child.
– Kipling, “The White Man’s Burden”
Post-colonialism refers to the period when the colonizers leave the country of their rule and return to their homelands, leaving behind significant trails of their culture and influence in the colonies. The story is set in that era as a backdrop as it was written during that time. The white couple portrayed in the story represents the Britishers who proclaimed to help the ‘uncivilized’ or the ‘heathens’ (adherents of a religion that does not worship the God of Judaism, Christianity, or Islam.) by staying amongst them, apparently to help these underdeveloped countries deal with famine, provide medical aid and make them more ‘civilized.’ Kipling saw the British Empire as a means to establish the groundwork for civilization in countries like India, but not without lifting its image to the appellation of a culture superior to the rest.
Many consider him a victim of naivety and idealism because of his extreme opinion and the superior notion about his culture.
This story is without much evidence to support the attribution of evil to Nag and Nagaina, with the adjectives like ‘Black’ and ‘Wild’ describing their negative character. Their negativity in the story emerges on the grounds of law of the land which requires punishment to someone who kills. This reflects narrator’s subjective bias. Since the law of nature governs the snakes, the characters can’t really be considered negative. They can be considered threatening to the humans in the bungalow, but not idealistically villainous as the snakes considered humans threatening too for their eggs. Also, when we read more about Kipling, we can’t help but notice how the character description of Nag and Nagaina, resonate so much with the ideologies of his culture’s superiority.
Tacking advantage of the personal enmity between snake and mongoose and on account of the perks the Mongoose foresaw in being faithful to its masters, as instructed by its mother, he story makes the owners keep the mongoose as a guard against the snake and a playmate for their child, symbolic of the Indians whom the Britishers picked as their loyal subjects.
This revelation was heartbreaking. However, the innocent curiosity of children remains unaffected, to simply know what happens ahead in this enchanting tale of a valiant mongoose guarding a family, which saved it from drowning and dedicates its life to their safety and guard. And with Kipling’s magical skill of hooking his audience with his splendid supply of imagination, it would have been unfair to keep the children deprived of devouring his work.
by Sneha Sharma | May 27, 2021 | Book Discussions
Elements of Gothic Symbolism.
The word ‘Gothic’ originated from a music category with dark morbid lyrics. In literature, Gothic fiction refers to the one exploring the elements of fear (even horror – haunted castles/homes), death and gloom and the romantic elements of nature, individuality and high emotion.
The protagonists of such novels are usually Gothic heroes, who are hard-core romantics (Gothic and romance are intricately related)
Edgar Allen Poe’s poem ‘Annabel Lee’ or ‘The Black Cat’ and works of Charles Dickens, Mary Shelley’s Frenkenstein, Bram Stoker’s Dracula, Oscar Wilde’s The Picture of Dorian Gray are other examples using Gothic symbolism.
It includes mystery and suspense, (burials, ghosts, flickering candles etc. Ann Radcliffe’s 1794 novel, The Mysteries of Udolpho is a suitable example.) foreshadowing – omens and curses, settings such as gloomy castles, mountain regions, graveyards etc.
Supernatural Elements
While apparitions are characterised in a story to evoke fear or suspense, Wuthering Heights, a 430-page read, except at three or four instances, uses supernatural elements to mostly convey the psychological suffering of Heathcliff through his loss of Catherine.
(Few instances of supernatural occurrence in the story – after dozing off to sleep dreaming about Joseph, Lockwood experiences the presence of a ghost in Wuthering heights and is woken up by the rubbing of a branch of fir-tree against the window lattice. Also, when Nelly receives Heathcliff in a ‘ghastly paleness’, few days before his death or when Heathcliff recounts his ghostly encounter with Catherine’s spirit, and when after his death, people strongly believe that Heathcliff haunts the moors and Wuthering Heights.)
The Moors or the open fields
A silent but powerful link between the two households.
The emphasis on the moors in the story – wide, wild expanses but yet infertile lands – symbolise a linkage between the two households – Wuthering Heights and Thrushcross Grange, while also separating them from the rest of the village to give a feel of exclusivity, epitomizing the two homes as two major leads of the story – one as the hero and the other in a strong supportive role. The moors also represent Heathcliff and Catherine’s wild and free-spirited love.
The two houses, more than anything else, represent the temperament of their owners – one, God-fearing, peaceful and calm, similar to the description of his residence (Edgar – owner of Thrushcross Grange) and the other – owners of Wuthering Heights – one, a child of open lands and wilderness (Heathcliff) and the other, the epitome of aggression (Hindley).
Through through certain props in the setting of the story, Bronte has bridged the gap between the presence and physical absence of the leading characters to strengthen the plot.
Like the oak-paneled bed is symbolic of Catherine’s childhood, it symbolized also the isolated and secret life of Catherine when she hid from Heathcliff and wrote her journals, the corner of the bed dearest to her and provided comfort to the small girl escaping violence and searching for her expression. Towards the end of the story, Heathcliff too dies in the same bed with the window open, symbolizing that his spirit has escaped to become one with Catherine’s.
When Lockwood sees Catherine’s ghost through the same window, desperately wanting to come inside, it symbolized the fact that nobody can be spared loneliness in a place that belonged to someone, who so passionately sought its company that it seemed to be possessed by her eternally, even beyond her death.
The windows and the lattice
The windows and the lattice pervade the story as symbols of enclosure and entry of the elements of the world outside, especially the weather – sometimes alien but mostly resonating with the world within Wuthering Heights.
Weather as a prominent symbol in the story also describes the tumult within the hearts of its inhabitants – the characters have been firmly rooted in the natural images of their environment. The elementary forces of nature have been aptly used by the storyteller to introduce the readers to the changing landscapes of the characters’ emotions by way of narration and dialoguing.
Taking Nelly’s narration as an example when she described the night of Heathcliff’s departure from Wuthering Heights, we have this –
‘About midnight, while we still sat up, the storm came rustling over the Heights in full fury. There was a violent wind, as well as thunder, and either one or the other split a tree off at the corner of the building; a huge bough fell across the roof and knocked down a portion of the chimney-stack, sending a clatter of stones and soot into the kitchen fire.’
Wuthering Heights, during the time of its first release in 1847 was considered controversial on religious and moral grounds. But today it is one of the greatest classics in English literature. The symbolic devices the author uses to communicate the soulful love, wilderness and emotional turmoil of her lead characters, remain a subject of interest for many literature enthusiasts and language experts.
To me, the book, after three reads, has become a treasure to cherish and a tale to revisit, whenever the weather reminds me of Nelly narrating the intriguing story of Catherine and Heathcliff.
