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Stories

Viceregal Lodge

By Lakshmi Kannan

It took a couple of days to sink in, the serene beauty of the place on Summer Hill, Shimla, and the quiet atmosphere of the campus. Indian Institute of Advanced Study (IIAS), now housed in the regal ambience of the Viceregal Lodge[1], still wore its grandeur well, filtering into interior, the corridors, foyer and the conference room that had a stamp of history. Momentous decisions had taken place in this very room. The sylvan surroundings seemed to have rubbed off on the people too who worked in the offices, for they functioned with a quiet harmony, like it was an unstated requirement.  

Tulsi Shankar’s paperwork went off smoothly in the office. She was given the keys to her allotted flat, a man was assigned to go along with her to help, and she was asked to tell the housing department if she would need anything more for her flat, the kitchen and the washroom. The man helped her unpack her big boxes of books and folders and set up her laptop. The vessels in the kitchen were minimal and very basic. She added the small items that she had got from her home, a saucepan, a ladle, spoons, cups, mugs, tea, coffee, sugar and milk powder. That would do. The man offered to fix a milkman who would deliver fresh milk every morning. The mess served two meals in a day, so there was nothing more to be done except rustle up an occasional upma or poha[2], if one fancied a change.  

Tomorrow, she would explore the books for her area of research in the library, and start her work. She sank into her mattress and made a mental list of the reference books but soon slipped into a deep slumber.

The next few weeks rolled by in a rhythm of studies, notes, typing points on her laptop to draw a skeletal sketch of the chapters for her book. Little did she know how the details she sought would soon rain down on her and submerge her overwhelmingly in. They were right there, within her reach, in the huge library. Sure enough, there were some gaps, but she could always visit the Nehru Memorial Museum and Library at Teen Murti Bhavan in Delhi to fill them up.   

She met the three other Fellows who were also working on their manuscript for their books. Whenever they met, at the dining area in the mess, or while strolling back to the institute after meals, or their shopping trips to the mall, the four Fellows  exchanged notes about how much easier it was when they wrote their dissertation for Ph.D. years ago. They knew exactly what was expected from them — their chosen topic in itself ‘set limits’ for their scope and research took them forward with a controlled sense of direction. But a book? A BOOK? Good Lord, it seemed to be like entering an unchartered territory. It felt adventurous, thrilling even, but alternated with bouts of uncertainly and panic. It often loomed like a road not taken, yet to be explored. Exciting, and scary at the same time.

They decided to help each other with their research for the background. Sudipta Banerjee who taught history, offered to help Tulsi with Hari Mohan Maitee’s notorious case of brutally raping his eleven-year-old child bride, Phulmani Dasi,  causing her death. The case was committed to the Sessions Court in Calcutta in 1890, but Justice Wilson let off Maitee lightly by saying that he had just committed ‘a rash and negligent act’. It was Gidumal Dayaram, a reformer from Bombay, who relentlessly pursued the case of Dasi. On his recommendations, Sir Andrew Scoble based his in 1891. Tripti Sharma from Political Science was equally interested in the steps that led to raising the ‘Age of Consent’ from ten to twelve years, from a legal angle. She had a project for which she needed to know more Sir Andrew Scoble (1831-1916), and the legal aspects of his contribution.   

And all three of them took some lessons in yoga from the fourth Fellow Namrata Tripathi in her flat, just before dinner. She had trained in the Tushita Mahayana Meditation Centre. Namrata often warned them – and herself – of the hazards of sitting down on a chair for long hours to read or write. ‘We’ve to move our limbs and walk, or else we’ll become stiff,’ she laughed, even as she herself spent hours poring over her books for her research on the ghats in Varanasi. Sudipta, Tripti and Namrata looked to Tulsi, a published author, for help in writing their drafts.

“Please, Tulsi,” said Tripti. “We’re painfully conscious that we’re not here to write a Ph.D. dissertation. It is a book, a BOOK, for God’s sake.”

“Yes,” said Sudipta. “We’re anxious that thechapters are readable and don’t come across as boring information. You’re a creative writer, so you can tweak our lines.’

*

Then there were the Associate Fellows (called AFs) who could visit the IIAS three times in a span of three years or more, and were allowed each time to stay for one month to consult books in the library and work towards their M.Phil thesis. Hopefully, after their M.Phil, they would be admitted to Ph.D. programmes in their colleges. Each AF was given a single room in the hostel.

 The women were nearly through with their lunch. Over the dining table, they whispered to each other about the time they would meet Namrata in her flat in the evening, for yoga lessons. Also learn some tips for meditation, a most elusive practice for them.   

The Associate Fellow sitting across two tables was loud. No surprise. Ever since he came from Hyderabad, he has been the most vociferous critic of the food served by the Mess. He was unsuccessful in forming a lobby to join him in his protest and ‘do something’ about the ‘atrocious food’. The others AFs heard him out, some nodded in agreement, but carried on with their work.

Tulsi and her friends considered all that as noise and hurried through their meals.

The man from Hyderabad came over to their table.

“How can you stand this horrible food?” he asked.  

“Well…it’s a change, certainly, from what we are used to,” said Namrata, in a placatorytone.

“A change! It’s appalling. You can do something about it. Each one of you haveakitchen in your flat,” he said.

“What!” said Sudipta, getting up from her chair.

“You’re four ladies. You can easily take turns and cook,” he said, glancing at the other AFs over his shoulder.

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[1] Viceregal Lodge, formerly the residence of the British Viceroy of India, is the present Indian Institute of Advanced Study that has a library with archival acquisitions that go back to the times before the British rule in India.  The magnificent building is also a tourist attraction for its stunningly regal structures designed by the British architect Henry Irwin, built in the Jacobean style during Lord Dufferin’s tenure as Viceroy.

[2] Upma—Semolina based savoury dish: Poha – A savoury preparation of flattened rice

Dr. Lakshmi Kannan is a poet, novelist, short story writer. Her recent books include Guilt Trip and Other Stories (Niyogi Books, 2023) and Nadistuti, Poems (Authors Press, 2024). For more details, please see http://www.lakshmikannan.in and her entry in The Routledge Encyclopedia of Indian Writing in English (2023).

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

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Categories
Contents

Borderless, November 2023

Art by Sohana Manzoor

Editorial

Counting Colours… Click here to read.

Conversation

Banjara author Ramesh Karthik Nayak discusses his new book, Chakmak (flintsone), giving us a glimpse of his world. We also have a brief introduction to his work. Click here to read.

Translations

Demanding Longevity by Quazi Johirul Islam has been translated from Bengali by Fakrul Alam. Click here to read.

Moonlight, a poem by Bashir Baidar, has been translated from Balochi by Fazal Baloch. Click here to read.

Maithili Poetry by Vidyanand Jha has been translated from Maithili by the poet himself. Click here to read.

The Window and the Flower Vase has been written and translated from Korean by Ihlwha Choi. Click here to read.

Tagore’s Tomar Kachhe Shanti Chabo Na (I Will Not Pray to You for Peace) has been translated from Bengali by Mitali Chakravarty. Click here to read.

Poetry

Click on the names to read the poems

Michael Burch, Aineesh Dutt, Stuart McFarlane, Radhika Soni, David Mellor, Prithvijeet Sinha, John Grey, Ahana Bhattacharjee, Ron Pickett, Suzanne AH, George Freek, Arshi Mortuza, Caroline Am Bergris, Avantika Vijay Singh, Ryan Quinn Flanagan, Kisholoy Roy, Rhys Hughes

Poets, Poetry & Rhys Hughes

In A Parody of a Non-existing Parody: The Recycled Sea, Rhys Hughes uses TS Eliot’s ‘The Waste Land’ to create a new parody. Click here to read.

Musings/Slices from Life

The Theft of a River

Koushiki Dasgupta Chaudhuri tells a poignant truth about how a river is moving towards disappearance due to human intervention. Click here to read.

In Quest of Seeing the Largest Tree in the World

Meredith Stephens writes of her last day in California. Click here to read.

Beyond Horizons: A Love Story

Sai Abhinay Penna shares photographs and narrative about his trek at Chikmagalur. Click here to read.

Musings of a Copywriter

In Crush on Bottles, Devraj Singh Kalsi inebriates his piece with humour. Click here to read.

Notes from Japan

In Address Unknown, Suzanne Kamata shares a Japanese norm with a touch of humour. Click here to read.

Essays

Peeking at Beijing: The Wall

Keith Lyons travels to The Great Wall and writes of the experience. Click here to read.

Cinema, Cinema, Cinema!

Gayatri Devi writes of the translation impact of cinema, contextualising with the Tamil blockbuster, Jailer. Click here to read.

Coffee, Lima and Legends…

Ravi Shankar explores Lima, its legends and Peruvian coffee. Click here to read.

Stories

Jonathan’s Missing Wife

Paul Mirabile sets his story in a small town in England. Click here to read.

The Tender Butcher

Devraj Singh Kalsi weaves a story around a poetic butcher. Click here to read.

Book Excerpts

An excerpt of The White Shirts of Summer: New and Selected Poems by Mamang Dai. Click here to read.

An excerpt from Ramesh Karthik Nayak’s Chakmak. Click here to read.

Book Reviews

Somdatta Mandal reviews Ali Akbar Natiq’s Naulakhi Kothi, translated from Urdu by Naima Rashid. Click here to read.

Ranu Uniyal reviews I am Not the Gardener: Selected Poems by Raj Bisaria. Click here to read.

Anita Balakrishnan reviews Lakshmi Kannan’s Guilt Trip and Other Stories. Click here to read.

Bhaskar Parichha reviews Akshat Rathi’s Climate Capitalism: Winning the Global Race to Zero Emissions. Click here to read.

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Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Review

Guilt Trip and Other Stories

Book review by Anita Balakrishnan

Title: Guilt Trip and Other Stories

Author: Lakshmi Kannan

Publisher: Niyogi Books

The short story distills within its succinct form a moment from the amorphous flow of life experiences and re-presents it with a crystalline clarity.  A reader cannot help but be transformed by this epiphanic moment as it serves to illuminate some of life’s most baffling ambiguities. Lakshmi Kannan’s latest book of short stories, Guilt Trip and Other Stories, published in 2023, includes thirteen such stories that provide an insight into the lives of people navigating the vicissitudes of life.

In a similar vein, the entry on Lakshmi Kannan in the Routledge Encyclopedia of Indian Writing in English, Eds Manju Jaidka and Tej N. Dhar (2023), observes that her short stories “are explorations of lived experience that create an apocalyptic dimension. They pitch the reader between the luminal space of the living and the dead”.

 Several writers have commented on the exacting nature of the short story form, as it denies writers the space to develop their themes or trace the arc of their characters’ lives, its taut boundaries requiring every word to be justified. Given the number of women indulging in practising this genre and attaining great acclaim, it has been suggested that the short story is particularly suited for women’s subjects, the preoccupation with domestic life and the vagaries of human relationships. It is thought that the inflexible limits of the form serve as a restraint on elaborate descriptions of the sprawl of family life, condensing them to into chiselled vignettes that allow gleaming insights to shine.

 Lakshmi Kannan, a virtuoso of the short story, has published twenty-eight books, including collections of poetry, novels in both English and Tamil and translations. She is a bilingual writer who writes in Tamil under the penname Kaaveri. She is a prolific writer whose recent books include a historical novel The Glass Bead Curtain (2020, c2016), an English translation of Tamil writer T. Janakiraman’s acclaimed novel The Wooden Cow (2021) and a collection of poetry Sipping the Jasmine Moon (2019).

This collection Guilt Trip and Other Stories contains eleven short stories and two longer   stories, ‘Janaki turns a Blind Eye’ and ‘VRS’. Although pan-Indian in nature, Lakshmi Kannan’s stories are able to effortlessly showcase the ineffable flavour of Tamil culture. Her protagonists are frequently educated women, who struggle to reconcile their desire to be treated as equals within their families, dealing with the cultural mores that seek to restrict them to their homes and kitchens. The varied themes of Lakshmi Kannan’s stories include the spiritual awareness of the transience of human life as seen in the story ‘Open the Gate’. Another story that evokes spiritual transcendence is ‘Floating Free’, where a grieving daughter is comforted by a hummingbird which she sees as the reincarnated spirit of her mother.

A recurring trope among the stories is the equating of women with food and cooking, a reflection of the way women are often perceived in Indian society. Lakshmi Kannan elaborates on this idea observing that in the Tamil cultural milieu the regressive rural-urban divide continues as the norm. Several people, particularly men, do not have a progressive outlook even when they interact with contemporary women who are successful professionals. The author notes: “In Tamil Nadu, the retrograde maxim that a ‘woman’s place is in the kitchen and backyard’ still functions with a mind-numbing attitude irrespective of her economic, social or professional status”. The author employs this trope in the stories ‘Dregs’, ‘Kitchen Fire’, ‘The Colour Green’ and ‘Ladies Watch’. The latter two stories also delineate an allied theme, the insensitivity of adult children in the diaspora who do not hesitate to use their aging parents as unpaid domestic help. Another food related subtext that Lakshmi Kannan introduces is the selfishness of men who demand that the women serve them plenty of food, yet callously consume it without caring to check if there is enough for the women and children of the household.

Nevertheless, the author does not fall into the trap of essentialising Indian men as selfish, uncaring boors. In the story ‘As Dapper as the Come’ she turns the notion of a well-dressed, attractive man being arrogant and self-obsessed on its head. The dapper young man lends a ready helping hand to an older couple in distress unmindful of sullying his expensive suit. Furthermore, in the charming story ‘A for Apple’, the author explores the delight that a small-town boy from Karnataka takes in the rhythms and sonic vibrations of his vernacular, Kannada.

It is perhaps in narrating the strength of the bonds formed among women who use them to circumvent or subvert the rigid hierarchies and oppressively restrictive customs that govern traditional families that Lakshmi Kannan is at her most impressive. She explores the corrosive jealousies, subterfuges and pettiness that undermine relationships within a family. The long story ‘Janaki turns a Blind Eye’ is replete with irony. Narrated in five sections, the story relates how a nearly blind matriarch Janaki helps a young bride defeat the machinations of the senior members of the family who are plotting to steal her jewellery and silverware. ‘Addigai’ and ‘Annapurna Bhavan’ are two stories where the interaction between women may be set in counterpoint.

In the former, a grandmother furtively bequeaths an heirloom necklace on her granddaughter, warning her never to wear it at family celebrations. When Priya, the granddaughter, wears it just once several years later to a family wedding, she is rudely interrogated by the hostess as to how she came by it. The acquisitiveness and jealousy within this affluent family is in stark contrast to the warm camaraderie that characterizes the bonds between women in a small middle-class eatery in the story ‘Annapurna Bhavan’. The well-to-do narrator insists on eating at the same eatery as her driver where she is assailed by the aromas of the food she had earlier eaten in her childhood. The unabashed enjoyment of their food by the women at the eatery, their friendly banter, their freedom from family constraints and their closeness exhilarates the narrator. 

Yet it is not just Lakshmi Kannan’s significant themes — the refusal to be bound by narrow definitions of womanhood, the flowering of the creative impulse, a child’s playful linguistic experiments, the conflicts between appearance and reality – that make her work stand out. It is her prose that evokes both the asymmetries and passions in everyday life with a poetic intensity that is remarkable. An acutely observant chronicler of the incongruities, the asymmetries, the felicities and the marvellous absurdities of life, Lakshmi Kannan is able to express it with precision, empathy and humour. She has an innate sensitivity to the jealousies, treasons, duplicities, compromises, evasions, tender feelings and sentimentalities that characterise human relationships.

Lakshmi Kannan’s stories highlight the extraordinary within the quotidian, revealing the layering of the concrete and the mysterious, the interweaving of diverse elements that reveal that nothing is ever as it seems on the surface. She shows us that even the most ordinary individual has hidden facets that can never be completely known. It is her treatment of the special bonds that can be forged among individuals and contradictory nature of human relationships that makes Lakshmi Kannan’s fiction so special.

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Dr Anita Balakrishnan is the author of Transforming Spirit of Indian Women Writers published in 2012. She is a contributor to the Routledge Encyclopaedia of Postcolonial Studies edited by Sangeetha Ray and Henry Schwarz.

Email ID: shalkri@gmail.com

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International