Though the writer is no more, her name continues to conjure up a vision of vibrant features capped by unruly hair, kohl -lined eyes and a big bindi . Her writing hits you with the same intensity. Indira Goswami’s The Blue-Necked God and The Bronze Sword of Thengphakri Tehsildar — translated by Gayatri Bhattacharyya and Aruni Kashyap respectively — revive two very controversial works.
The Blue-Necked God is chiefly about the beautiful and lonely Saudamini and her anguished search for meaning and validity. It is also about the fractured nature of life in the holy city of Braj where greed alternates with godliness, beauty with bestiality, enlightenment with decadence and plenty with poverty. The widowed Saudamini, along with her mother Mrinalini and father Dr. Roychoudhury, is on her way to settle down permanently in Braj, and is exposed to the plight of Braj’s widows, or radheshyamis. Vivid images of the city stamp themselves on Saudamini’s senses: the exquisite sculpture of artist Chandrabhanu Rakesh, the changing moods of the Yamuna, the flower-bedecked processions of deities, disintegration of gender demarcations. But, beneath it all, she is constantly besieged by paranoia, doubts, existential questions to which there appear to be no ready answers.
Indira Goswami paints a searing picture of social injustices where women are used, discarded and preyed upon with shocking regularity. Though it seems deceptively simple on the surface, the images the novel conveys are visceral.
ADVERTISEMENT
In
Captain Hardy has trained the beautiful and statuesque Thengpakhri to fire a gun, ride horses and collect taxes from the locals with unrelenting toughness. Whenever she shows signs of succumbing to the pleas of the impoverished farmers, her superior, Macklinson Sahib, braces her from giving in to pity or weakness. She is promoted to the post of Tehsildar and is soon the most feared tax-collector in the area. But winds of dissent are sweeping through the countryside. The inhuman taxes levied on poor farmers by the British and the cruel treatment meted out to those who fail to pay have provoked strong reactions among the locals and a section of the younger generation are caught making crude bombs and explosives. A visit to Queen Bhagyeshwori in the company of Macklinson ignites a series of events that will alter the history and geography of Assam forever and Thengpakhri finds herself caught in a tug-of-war between her innermost ethics and loyalties.
No two novels could be more different in style and substance. In
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT