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The Higher Education of Geetika Mehendiratta

Title: The Higher Education of Geetika Mehendiratta

Author: Anuradha Marwah

Publisher: Rupa Publications

Boyfriend

There is communication because there is no communication, thundered the supervisor in a sudden spurt of lucidity.

Three dark heads bent obediently over the notebook to glean these pearls of wisdom.

‘When I say cat, you may think of a black cat, a white cat, a fat cat, a thin cat…’

I wondered where to put this in. I was going to write a dissertation on A House for Mr Biswas by V.S. Naipaul, I had decided last night. At what point should I bring in the feline? This brand new structuralist approach… For the past twenty minutes, this impressive lady from Sorbonne had only spoken about the difficulty in identifying cats. I had even drawn one in my notebook. Structuralism had spread far and wide, she had told us; it had reached Cornell, where a professor had simplified it at once for the simple non-European brain. Only Americans are capable of such simplifications, she had added laughingly.

Cornell, America… Vinita.

Vinita had changed so much. She now had a baby girl. She did all the household chores herself, she had told me. She had become plump. Her breasts had lost their upright quality; she had even started applying a lot of make-up—bright lipstick, mascara and eyeshadow.

She wouldn’t know about American universities though—that wasn’t the America she had gone to. She had gone to drudgery and loneliness… No servants to chat with all day long.

In Ratish’s house, there were servants… Lakshmi said Ratish was far too predictable. She said I was predictable too. That I would get married in a hotel, watched by a whole lot of people I didn’t know; that I would have two easy deliveries and be pleasantly miserable all my life. She even predicted I would get fat.

When I told her I wasn’t predictable and would make her sit up one day, she began singing ‘Girls Just Want to Have Fun’.

Every discourse has a mediatory role as an instrument of change.

Who would mediate between my estranged parents and me?

Which discourse—the discourse of commitment or the discourse of tradition? Lakshmi or Ratish?

Ratish had come to Desertvadi to say that he loved me. Mummy had said it was absolutely dreadful the way I could never make up my mind about boys. She had cried. Andy had cried too; Papa was the only one who hadn’t. And then, suddenly, there had been a letter from the university saying I had cleared the written exams for the MPhil programme, would I appear for an interview?

I was where I wanted to be, for the first time in life, although the umbilical cord of parental expectations was yet to be cut… Ratish said he valued family and respected my parents, and that I should be gentle with them… Cruel to be kind, kind to the potential children in my womb. What if there weren’t any? What if I couldn’t have any? So much of our planning would go haywire, Ratish. I would have been cruel for nothing.

There would be nothing to do except cry or make a phone call to your office… No patter of little feet. What would I do with you then?

Tonight, we are going for a party, I will ask you then.

Words are either arbitrary or associational.

Is that a word, ‘associational’, or was it coined in Sorbonne this very summer? Lakshmi says it would be better to check the professor’s antecedents; perhaps she is not from Sorbonne at all.

Lakshmi looks down on our department anyway.

Economics people have this strange nose-in-the-air attitude towards languages. Our department was housed in the School of Languages, so everybody thought it was a Linguistics department… But we were doing literature, three of us. One was from Utkal University, Orissa; another from Ramakrishna Mission, Pondicherry; and I, from Rajasthan University.

I was disappointed that there was nobody from Lutyenabad in our course. All Lutyenabad students went to the Capital University because all the jobs were there. I had heard that there was a danger of never landing a job in Lutyenabad after doing an MPhil from Jana University.

So Andy, your curse may yet materialize—if I don’t have children and I don’t get a job. You had said as much, hadn’t you?

‘You will never be happy, Geetika, never… Don’t think you can find happiness by wrecking mine.’

But what could I do, Andy?

‘Geeti, my mother wants us to marry,’ you had said.

‘But Andy, my parents do not want me to marry yet.’

‘Look, the situation is getting very difficult for me. My parents are rather worried about the fact that your parents have not made any overtures to them.’

‘Why don’t you explain to them—’

‘I have done enough explaining. Your brother got married without even calling his parents for the wedding…’

‘What does Bhaiya have to do with this?’

‘Geeti, I can understand my parents… They didn’t question my decision to marry you. Surely, they are entitled to some sort of say in my affairs.’

‘I am not saying they are not…but Andy, what am I to do?’

You could never answer that one, could you, Andy? It just went on and on—your duty towards your parents, the obduracy of mine. I was tempted, sorely tempted, to just tell my parents that I was marrying you that very day but Ratish’s card saved me.

It came by the evening post the day you left Desertvadi after extracting a promise from me that I would speak to my parents. It was a lovely card; it said: ‘I can’t forget you, little one’.

It became easier to write that letter to you, dear Andy… It became easier to tell you, when you came running after receiving that letter, that it won’t work… But it wasn’t easy dealing with the lava of your frustrated anger as it burnt down my unsuspecting ears whenever I picked up the phone for months after that.

‘You bitch, you found somebody else at the Sportsaid, didn’t you? Don’t think you can ever be happy with him…’

Discourse becomes necessary because of the ambiguity inherent in the nature of language.

But I understood even what you didn’t say… I knew that I had wronged you, Andy. I did not cry as much as you did; I would have to make up for it. I had always appeased the gods by crying… This time, I slipped up…

About the Book: Desertvadi, Rajasthan, is a retirees’ paradise, but for a young girl like Geetika it is a claustrophobic trap. Academically gifted and sexually curious, she feels suffocated by small-town mediocrity and dreams of faraway lands and liberated lives – the kind that fill the pages of her beloved novels.

So, when an opportunity to study in the big, bustling Lutyenabad presents itself, Geetika leaps at it, eager to get away from her parents and the miasma of chronic boredom that envelops Desertvadi. Soon cosmopolitan life begins to feel like a snug fit especially when her new boyfriend, a famously fine catch, offers her the many luxuries of a conventional marriage.

But life in a metro impacts her in ways she never expected. Her aspirations inflate, her tastes evolve, and her ambitions solidify.  As her boundaries expand uncontrollably and the daydreams she was escaping to inevitably shatter, Geetika is compelled to face some tough questions.

Published in 1993, The Higher Education of Geetika Mehendiratta was one of India’s earliest campus novels. Republished for a new generation, this is a bold and intimate coming-of-age tale – unafraid of its hunger and unashamed of its heat.

About the Author: Anuradha Marwah is a professor, playwright, and novelist. Her wide-ranging publications also include poems, essays, articles and reviews. Aunties of Vasant Kunj, her fourth novel was published in 2024 to immense acclaim. Anuradha lives in Vasant Kunj, surrounded by a community of trees and cats.

Click here to read the review of the novel

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Bhaskar's Corner Tribute

Bidyut Prabha Devi – The First Feminist Odia Poet

By Bhaskar Parichha

Bidyut Prabha Devi

Bidyut Prabha Devi (1926 – 1977) is celebrated as one of the most prominent female poets in Odia literature. Hailing from Natara village in the Kendrapara district, she was the second daughter of the esteemed writer, Nimai Charan Das, and Rekha Devi.

Raised in a traditional family in Bamphisahi, Cuttack, she received most of her education independently, attending Ravenshaw Girls’ School until the ninth grade. Inspired by her father and notable Odia poets like Nanda Kishore Bal and Kunja Bihari Das, she began her journey into poetry in 1940.

Her first collection, released in 1944 when she was merely 18 years old, featured patriotic poems that celebrated the cultural and natural heritage of Odisha. It highlighted her early ability to create vivid imagery and convey emotional depth, drawing from her rural background and the literary traditions of Odia.

Her 1950 collection, Utkal Saraswata[1], was recognised as a significant contribution to education, being included as a poetry textbook at Utkal University. In addition to poetry, she also wrote for children, for which she was awarded by the Government of India in 1955, acknowledging her impactful contributions to children’s literature.

Bidyut Prabha’s poetry explores the challenges faced by women, societal limitations, and the theme of empowerment, weaving together both personal and universal experiences. It embodies her feminist viewpoint, tackling matters such as gender inequality within a conservative framework, all while preserving a lyrical and approachable style.

She authored numerous plays, although specific titles are not extensively recorded. Her theatrical pieces frequently conveyed social messages, resonating with her socialist and feminist principles. Her writings were recognized for their clarity and moral depth, rendering literature accessible to younger audiences. Some of these later works are less documented but showcase her reflective and philosophical nature.

Influenced by socialist principles, her poetry examined social disparities and advocated for the marginalised. Her self-taught approach was characterised by clear and evocative language, rendering her work both relatable and profound.

Bidyut Prabha’s writings were revolutionary for their era, especially in their focus on women’s issues within Odia literature. Her son, Sachidananda Mohanty, a distinguished educationist and litterateur, has translated her works, thereby preserving her legacy.

Writes Sachidananda Mohanty[2]: “In recent decades, feminist historiography in eastern India has paid welcome attention to issues of education, creativity, and sisterhood across linguistic barriers. It has recognised women’s pivotal role in shaping the public space at the intersection between feminist history and literary creativity. Scholars like Judith Walsh, Tanika Sarkar, Malavika Karlekar, and others have brought to our attention forgotten life-narratives of literary women of the region who have created a tradition of their own.  Bidyut Prabha Devi, recognised as a major female voice in pre-modern Odia poetry, belongs to a poetic tradition represented by an illustrious sisterhood, comprising Reba Ray, Kuntala Kumari Sabat, Haripriya Devi, Debahuti Devi, Nirmala Devi, Tulasi Das, and Brahmotri Mohanty, among others. 

“While Bidyut Prabha may be known in Odisha, her feminist poems, based on her deep understanding of domesticity and patriarchy, have not been sufficiently read outside the state. Even in Odisha, her ‘romantic poems’ are widely anthologised at the cost of the more powerful compositions that address the woman’s position and identity in terms of the entrenched power structures in society.”

According to Mohanty, Bidyut Prabha’s feminist poetry stands out distinctly from the prevalent ‘Advice-for-Women’ genre in the region. She bases her work on her own life experiences and resonates with the growing feminist consciousness in Odisha, which is championed by literary feminists and social reformers like Sarala Devi[3], who played a pivotal role as a mentor to Bidyut Prabha. This journey was marked by its transnational influences. Sarala Devi had a strong connection with poet Annada Shankar Ray, a key figure in the Odia Romantic movement.

Her impact on Odia literature is significant, particularly as one of the earliest notable female poets in a predominantly male literary environment. Her contributions are rooted in her capacity to merge lyrical elegance with social critique, enhancing the inclusivity, reflection, and cultural relevance of Odia literature. Her work continues to serve as a foundational element for feminist and regional narratives in Odisha.

She was married to Panchanan Mohanty. Following health challenges in 1966, her literary output took on a spiritual dimension, shaped by her connection to the Sri Aurobindo Ashram, Pondicherry. Unfortunately, she took her own life.

Bidyut Prabha Devi’s poetry, deeply rooted in feminist and socialist ideals, continues to motivate and inspire, with her centenary of birth being commemorated in 2025 as a representation of women’s empowerment in Odisha.

[1] Odia Literature

[2] A literary sisterhood, Vol. 65, No. 6 (326) (November-December 2021), Published By: Sahitya Akademi

[3] Sarala Devi (1904-1986) – Odisha’s first Satyagrahi, first female legislator and first feminist writer.

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Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and ResilienceUnbiasedNo Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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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