The Philosopher’s Stone

First published in The Thumb Print. Click here to read.

“…the destruction of what you people call evil, is less just and desirable than the conversion of this evil into what you call good…”

 — The Caves of Steel by Isaac Asimov

Is it possible to change evil to good? Are we the right people to judge what is evil or good and go on a witch hunt and start a riot that disrupts lives? The words above were mouthed by a humanoid robot at the end of the novel — in a society where differences among humans persist despite technological advances. Human nature then seems similar to what it is now, though in a futuristic setting.

Recently, reading Devaki Jain’s autobiography, The Brass Notebook, made one thing clear. If you really want something, you can get it. But the desire has to be strong enough to override the feeling of having lost out because one often needs to pay a price. The other thing that is noticeable is Jain’s ability to override societal values with their judgemental outlook of good or evil, of what is acceptable and what is not. A South Indian Brahmin, born in 1933, she cast aside the patriarchal norms surrounding her to reinvent her life in the way she wanted. In the process, she was touched by many great lives and she touched many lives with her own work. She was a woman who with her convictions helped many less privileged and went on to prove that economics needed to be redefined beyond the reaches of patriarchal and colonial thought processes. 

Jain was sexually harassed a couple of times — the kind of molestation which could well be fodder for the ‘me too’ movement or for a less vocal woman, the incident could result in a feeling of being abused and losing self-worth. But she treated them as events to be merely brushed aside and moved forward to live the life she wanted — a strong woman and an influencer. The most impressive thing is that she published her autobiography after having crossed her eighties, at a point when most are obsessed with geriatric issues. Would she have been judged evil by the patriarchal society whose norms she upended? Would she be judged good by the people whose lives she changed with her open outlook and daring theories?

A woman similar to her was created by Aruna Chakravarti in her novel Suralakshmi Villa. Suralakshmi found her own groom late in life — a married irresolute man who she dumps when she finds him sexually molesting and trying to rape her ward, a young Muslim girl. She goes on to open a thriving hospital in rural Bengal and helps the less privileged. Suralakshmi would probably be living in a time parallel to Jain. Again, a strong woman not given to regrets and with the ability to brush aside smaller issues. 

One of the features that is truly inspiring about Chakravarti’s women in novels like Suralakshmi Villa and Jorasanko, her story of the Tagore family, is the strength she portrays in her women, who despite being surrounded by patriarchal values are able to stand for themselves and hold on to their sense of self-worth and independence, as seen in the character of Jain in The Brass Notebook. This is a recurring theme in Chakravarti’s short stories too, like Through the Looking Glass, where the protagonist despite being a victim of patriarchal abuse lives a life of struggle but feels like a princess near the conclusion. The “old, ugly, unloved Pomo Dasi had vanished. Rajkumari Promoda Sundari, only daughter of  Sreel Sreejukta Raja Raghobendra Chandra Rai, seventeenth in line from the Chandra Rai dynasty of Garh Bishnupur, was sporting with her companions in the royal gardens.”  

What could be this philosopher’s stone that makes a human regain their self-worth? 

(Click here to read the full essay)

In Conversation with Aruna Chakravarti

(First published in Borderless Journal, republished in Countercurrents, translated to Persian and published in Arzhang)

A woman who weaves stories from the past, from history, from what has been and makes them so real that they become a part of ones’ own existence – this has been my experience of Dr Aruna Chakravarti and her writing. A winner of the Sahitya Akademi award for her translation of Sarat Chandra’s Srikanta, Vaitalik award and Sarat Puraskar, Chakravarti was the principal of a prestigious women’s college of Delhi University for ten years. She is also a well-known academic, creative writer and translator with fifteen published books. Her novels Jorasanko, Daughters of Jorasanko, The Inheritors have sold widely and received rave reviews. Jorasanko and its sequel are based on the women in the household of Rabindranath Tagore. Jorasanko one of the best and most impactful books I have read in my life and with a flavour of realism that transports you into that era. The focus on the strength that resided in women trapped with a set of patriarchal values in colonial India is amazing and attractive. Suralakshmi Villa, her latest novel which was released at the start of 2020, is also modelled on a woman from the past as she will reveal in this exclusive interview.

You are a multiple national award- winning writer. At a point you stopped writing. Why?

I had started writing during my childhood and had continued to do so through my school days happily and unselfconsciously. I wrote poems, short stories and even tried my hand at a novel. But when I joined the English Honours course in college and was introduced to the academics of literature; when I learned the principles of criticism and picked up the ability to distinguish good writing from mediocre, a change came over me. I suffered from a loss of self-worth. I felt I was not and could never be a good writer. Self-criticism is good but unfortunately it worked adversely for me. I convinced myself that my work was imitative and lacking in merit. From that time onwards I stopped writing.

When did you take up writing again? Did your translations come first?

It happened nearly twenty- five years later. Yes, my translations came first. The cycle of negative feelings about my writing, to which I had strapped myself, broke in a miraculous way. The year was 1982.  At a chamber concert of Rabindra sangeet, in which I was taking part, a Gujarati gentleman from the audience made a request. He asked if one of the participants could translate the songs that were being sung so that non-Bengalis, many of whom were present, could understand the words. Since I was teaching English in a Delhi University college at the time, all eyes turned to me. I was horrified. To be called upon to translate a literary giant like Rabindranath Tagore, that too his lyrics, without any preparation whatsoever, would have daunted anyone leave alone me with my record of diffidence and self-doubt. But to my own shock and bewilderment, I agreed. The rest is history. There was a publisher in the audience who offered to bring out a collection of Tagore songs in translation. That was my first publication. Tagore: Songs rendered into English came out in 1984. Though the publisher was practically unknown, the book created waves in literary circles. Other translations followed. Srikanta by Saratchandra Chattopadhyay and later Those days and First Light by Sunil Gangopadhyaywere published by Penguin India. I also picked up a number of awards.

It was Sunil Gangopadhyay who advised me to try my hand at creative writing. After some hesitation I did so. My first novel The Inheritors was accepted by Penguin India and published in 2004. After it was shortlisted for the Commonwealth Writers Prize, I found the courage to write more.

You were the Principal of a Delhi University college. Did your work impact your writing?

No strangely enough it didn’t. My creative inspiration never drew from my experience as a Principal. I was dealing with women from a younger generation. I was privy to their concerns, their joys and sorrows, their fears and aspirations.  I understood their psychology. Yet I never wanted to write about them except in a tangential way. As part of a larger context. For me the present failed to provide the spark that kindled my creative imagination. That came invariably from some past memory. In a strange way the past seems more meaningful to me than the present.

But my role as an administrator helped me in another way. Office work is dry and prosaic. But it is worthwhile work. And, much as I felt good doing it, I looked forward intensely to the end of the day when I could doff my Principal’s hat and don my writer’s one. And, having indulged myself by writing till late into the night, I was ready to take up my work schedule the next morning. The two interests sustained each other and created a balance.

Why did you translate the writers? What did you learn by translating them? Did it impact your own story telling or knowledge base?

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