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CHAPTER II

A REVIEW OF KAMALA MARKANDAYA S

LITERARY CONTRIBUTION

2.1 Introduction:

The study of literary contribution of any author depends on study

of literary career of the author. A holistic approach is needed to take an

overview of the contribution of Kamala Markandaya. Hence, it is of vital

importance to understand approach, vision and perspective of the writer.

The writer develops his perspective on the canvass of the period. Kamala

Markandaya was product of the age and era in which she was developed.

Hence Kamala Markandaya s contribution must be examined on these

lines.

Kamala Markandaya enjoys unique position in Indian writing of

English because of her exclusive depiction of the ailing alienation in her

characters. It would be interesting enough to take a review of her major

works.

56

It has been rightly pointed out:

The emergence of the Indian novel both in English as

well as native languages has coincided with the

resurgence of national consciousness. (1)

Kamala Markandaya is also a product of the same phase. Further it

is true that:

The critical years between 1935 and 1947 constitute

a significant phase in the development of Indian

English fiction. (2)

Kamala Markandaya is the outcome of this phase which represents

value crisis in Indian life in general and English literature in particular.

Kamala Markandaya evolved her works in the phase of transition. She is

standing on the border lines of two world wars and she has witnessed

changes in the post- independence period. Village was a component

which was influenced by these changes and Kamala Markandaya truly

manifested these changes.

Kamala Markandaya is amazingly serious to rural social problems

in her writings. She is able to depict rootlessness in an effective manner.

57

Her greatest achievement is that she is able to reflect the theme with

minimum character. The base of her fiction can be described in her

perfect understanding of social dynamics. A.K.Chaturvedi has rightly

pointed :

The literary scene in the beginning of the last century

was dismal, but the fact remains that really

pioneering efforts were made by Indian novelists to

exploit the resources and potential of a flood form for

self expressions. (3)

Kamala Markandaya is one of those writers who have ably

reflected socio cultural problems in her novels by explaining these

conditions. Reflecting of social realities is the core of the success of

Indian novels and various Indian writers in English have tried to do that

from time to time be it the depiction of the various problems of village

life in Anita Desai s Village By The Sea, or the eternal problem of riot in

Shashi Tharoor s Riots or the Indian political scenario in Nayantara

Sahgal s Storm in Chandigarh.

It has been rightly observed:

Novel in India in all regional languages as well as in

English novel inevitably from concern with what they

58

lay without to what lay within from landscape to

inscape. (4)

Kamala Markandaya s fiction also amply testified the same

phenomenon.

2.2 Coming up of women writers on forefront:

The rise and development of women novelists in India reflected a

process of change both in society as well as literature. The advent of

writers like Jhabvala, Anita Desai, Kamala Markandaya, Nayantara

Sahgal, Kamala Das, Shashi Deshpande, Iqbalunissa Hussain, Rama

Mehta and Gita Mukharji saw a revolutionary approach in Indian

literature in English. These women writers were bold, extremely

confident, emotional, sensitive naturally and extremely revolutionary in

their approach. They deliberately chose those themes which highlighted

the agony of female protagonists.

It has been observed :

The coming up of English writers has to be seen as a

natural corollary of the focus on inscape of novel in

given the tradition v/s modernism, socialism can

continuous, women had so much to hold back, so

much to suppress willingly or unwillingly and the

59

subtle values of the working of their mind needed a

sympathetic character. (5)

The novels of Kamala Markandaya also revealed the same process.

The social psychology of women writers must be examined on the basis

of their writings. Being sensitive as well as realistic women writers are

able to explain the social intricacies rightly. Their understanding of

realities is based on perfect social analysis and complexities, which are

not based on imaginations. Exploring the socio cultural dynamics in the

new world, these women writers are able to pin point the complex realties

along with depicting the emotional dilemma of female protagonist

belonging to almost all the classes of society both educated and

uneducated, employed and unemployed, single, divorcee, spinster and

married and most importantly, of all ages.

Thus, it can be said:

In Kamala Markandaya s novels we can see subtle

blending of realism and romance like other writers.

(6)

In some of her works confrontation of eastern and western cultures

can also be observed. It is also evident from her works regarding

frustralism that reveals after exposed to the western urban culture. The

60

reflections of such rootlessness appear in recurring patterns, revealing in

day to day life of the period in transition.

The Indian women writers revealed fine blending of Indian and

western narrative in their own form and style be it the characters of Anita

Desai such as Maya of Cry, the Peacock or Monisha of Voices in The

City, Bim or Clear Light of Day or Sita of Where Shall We Go This

Summer? or the characters of Nayantara Sahgal like Nanda Kaul of Fire

On the Mountain or the main protagonist Gita of Rama Mehta s Inside

The Haweli. All these females are stronger than their male counterparts

and symbolize strength. Kamala Markandaya is an interesting addition of

this significant era. She represented beginning of this phase in an

interesting manner.

Kamala Markandaya represents the beginning of

early feminist aspirations in Indian English writing.

The primary enquiries of modern feminism try to

describe the strength of other sex. The feminists

describe women as a one half of the sky. This ideology

is revolving because it is against statusquo. (7)

Kamala Markandaya has also revealed same early roots of these

feminist tendencies. Kamala Markandaya is in favor of change. She

strongly believes that change is something which is inside every human

being. However, this change can both be positive and negative. In a

61

country like India where women have the secondary status and they have

merely the role of puppets to play in both their parental and maternal

home, change is only the negative factor in their lives. In her novels she

has tried to help the rootlessness faced by women in the changed

conditions.

L.K. Sharma has rightly pointed that:

Of all the novelists it is Kamala Markandaya who

points out how the dimensions in the economic and

social order affect women more adversely than man.

Through Rukmani and Nalini, she pleads for better

education and employment opportunities, so that

inherent biases in the social structure can be

removed. (8)

Kamala Markandaya draws Indian span of life and also establishes via

media between East and West. The selected themes by Kamala

Markandaya are unique and moreover, her treatment is more effective.

The structure of her novels show that fact after fact is presented within

the story without commentary or criticism, one gets an idea of how life

flows in an Indian village, particularly in a village in a state of transition.

The technique is thus, perfectly adequate for the purpose the novelist has

in mind. The characters in her novels are very simple, transparent and

62

realistic. Kamala Markandaya must be credited for reflecting complex

Indian character fused with dilemma and inconsistencies in their

behavior. Her ruthlessness can be seen while presenting these characters

fully embedded with philosophy of life. Critical review of her novels

reveals that she depicts social life in a very dynamic way. Kamala

Markandaya s Nectar in a Sieve focuses on the priorities of rural India,

which are productivity of nature and fertility of women. On one hand her

brilliant descriptions of harvest, the enormous productivity of Mother

Nature, the fruitfulness of trees, and on the other, her celebrations of

motherhood, which is an indispensable part of womanhood makes this

novel a lively and fruitful study in fertility. The symbolism is highly

realistic and creative. Symbols are essentially words which are not merely

connotative, but also evocative and emotive. In addition to their meaning,

they also call up or evoke before the mind s eye host of associations

connected with them, and are also rich in emotional significance.

Thus it can be stated that Kamala Markandaya is trying to bring

rootlessness rather flawlessly in almost all her novels. Rootlessness in her

characters is an integral part of their lives, which becomes a part of their

daily schedule, in spite of all the misery and sorrows faced by them.

Rootlessness is inevitable in all these feeble human beings and they all

are destined to face it

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2.3 Contribution of Kamala Markandaya:

Kamala Markandaya is truly a genius writer who has all the

creative qualities. She had a good grasp of Indian society and culture and

she was able to provide a clear way of social reality. Kamala Markandaya

has imprinted her personality on modern Indian English effectively

through her important novels. :

The first decade of 20th century show several original

works of modernism. (9)

Kamala Markandaya is also the product of the same age the age

that essentially talked about modernism at every aspect and in the lives of

female protagonists. This modernism can be seen in the life style,

reactions and the approach of female protagonists. That s the reason,

Monisha on finds her in-laws intrusion into her private life awkward

while, her younger sister Amla dates a much elderly man in Voices in

The City by Anita Desai while, Bin decides to remain a spinster for the

sake of her brother in Clear Light Of Day by Anita Desai, again. Thus, it

can be said that it is true that :

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Important novelists both in Europe, America and

India also came on forefront during two world

wars. (10)

Amerjit Singh has noted that:

Of Indo English writers as a medium of

communication seems significant in the multi lingual

Indian structure. (11)

Kamala Markandaya has developed her own style of revealing

ideas in English language, which she has evolved with her own efforts.

2.4 The Rise of Kamala Markandaya :

It is the time that shapes a writer. Writers reshape history but

sometimes specific history also gives a birth to a writer. Kamala

Markandaya is not exception to this. The rise of Kamala Markandaya as a

novelist is in a specific time span after World War-II. Literature is a

product of socio cultural conditions prevailing at the time.

R.S.Pathak has observed :

The problem of alienation is intimately related to the

loss of and quest for one s identity. (12)

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Needless to say that alienation is the outcome of that rootlessless

which dominates into the minds of sensitive individuals. In this regard,

Kamala Markandaya has been quite successful in depicting her characters

in the same light.

Dr. S.C. Sharma has observed :

Known for writing about culture clash between

Indian urban and rural societies, KM enjoys the

unique position in Indo English literature. Her writings

mainly focus on rootlessness, which is an outcome of

alienation. (13)

Donald Oken rightly suggests that:

it is the loss of identity that results in alienation.

(14)

In their article, S.C. Sharma and Shweta Bakshi has commented :

Kamala Markandaya s Nectar in a Sieve, which

is her first novel is best example of this identity

66

Crises and it is described by American Library Association,

as a notebook of the year. (15)

While, R.K. Dhavan says :

One will fail to realize adequately the magnitude

of the problem of loss of identity unless, we bear

in mind that it is in the center of all problems

including alienation. A sense of identity is a

perennial , sustaining creative force in a

writer. (16)

Kamala Markandaya also maintained this creative force.

Kamala Markandaya enjoys a unique position in the modern Indian

English writing. She has risen to the status when Indian English writing is

expected a quality change in the form of writings. She represents a

turning point which is both in favor of womanhood at one hand and is in

favor of rural life on the other hand. Therefore, it can be said that Kamala

67

Markandays is an exclusive combination of modernism mingled with

traditionalism which is such an essential component of Indianness.

Hence, regarding Markandeya, the following statement appears to be

quite apt.

Truly :

Kamala Markandaya had great hopes for India. Her

most famous novels, Nectar in Sieve, told the story of

woman who faced incredible hardship yet never

ceased to dream of a better life. Nectar, which takes

it s from a poem by Samuel Coleridge, is typical of

Markandaya sforward-thinking perspective. (17)

Kamala Markandaya has been progressive enough to depict social

philanthropy through her effective crafting in the form of novels. Her first

work Nectar in a Sieve opened a new age revealing truth and reality of

Indian life, which was not caught by earlier writers. Kamala Markandaya

is the first to operate such complicated social issues reflecting

rootlessness in the life. Her progressive attitude forms backbone of her

68

social understanding. Depiction of such characters forms an important

feature of her novels.

Due to its hidden qualities as well as its perfect social messaging:

It became an instant classic and a staple of college

literature coursework. Drawing comparisons to

ThomasHardy snovels, Nectar in Sieve is anchored by

a strong female character. (18)

This female character and their realities take Kamala Markandaya

close to feminism which was slowly beginning in India.

Kamala Markandaya is very much positive in thinking and she had

a profound impact of liberal values due to her education in Madras

University and her experience as a journalist exposed her to undergo

through many social realities, due to which she has written many short

stories in her early career. The social vision of Kamala Markandaya truly

testified her righteous perspective.

It has been observed:

The protagonist s optimism serves dual purposes. It

allows Markandaya the writer to imagine a better

future both for the characters and the country, yet it

69

also renders the realities and disappointments all the

more real in light of such blind faith. (19)

Kamala Markandaya successfully operates feeling of rootlessness

in this novel, which is her unique contribution. She wrote about changing

Indian village when she witnessed many problems in the complex Indian

village. The socio economic life had become most disturbed when she

wrote her novels.

The works of Kamala Markandaya have been both appreciated and

criticized for her merits and demerits. Her explorations in history as well

as culture in her educational span had evolved cultural perspective after

Independence of India, which she has depicted in her fictions.

It is true that :

Much of the criticism devoted to Markandaya swork

has been focused on its postcolonial overtones and

the ways in which India has evolved since its

independence from British rule. Despite her interest in

writing about Indian identity and culture,

Markandaya herself was an expatriate, living in

England for most of her life. (20)

70

Due to this long stay in UK, she interestingly compares life in India

and England as well as a poignant feeling of rootlessness, which she has

kept on experiencing after independence in the post colonial period.

It has been pointed out:

The dispossessed personality s search for identity is

in fact a Common place theme in modern fiction, but

for most Indo- English novelists the quest has a

peculiarly Indian immediacy. (21)

The identity crises are serious matters, which she has interestingly

acquired and reflected in a perfect manner in Nectar in a Sieve.

Kamala Markandaya s Nectar in a Sieve was her first published

work, but it was a smash hit. The story is about a strong heroine character

whose name is Rukmani who doesn t have any heroic qualities yet, she

captures the entire attention of the readers due to her reactions and the

ultimate strength that she shows till the end. Rukmini represents the

strong woman of India who remains strong in spite of lots of storms in

her life. Though she doesn t have any specialty which the normal heroine

has in the fictional world, Rukmani still is able to capture the attention of

readers specially females who are coming from middle class and who are

just like her. Kamala Markandaya has very successfully narrated the

agony of a mother who breaks into pieces on seeing her children succumb

71

to the negative situations. As she narrates the story in which the readers

are in-wrapped in her pain.

Loosing sons and seeing her daughter becoming a

prostitute, Rukmani still standsstrong. (22)

It would be worthwhile to analyze Kamala Markandaya s search

for identity and to see how far she has presented rootlessness in

exploiting and affirming it in her works.

The main problem of Rukmini in Nectar in a Sieve is the problem

of identity crisis which almost all characters face.

In this regard, the following statement is quite true:

The value of sufferings in Kamala

Markandaya s novels Nectar in a Sieve can

be cited as best example of identity crises.

(23)

Thus, it can be said that the present novel is the story of a character

that is quite positive. However this positivity works as a negative factor

for Rukmini since, she becomes an apt model of suffering. Kamala

Markandaya successfully conveys to us that mainly in lower society,

72

poverty and natural calamity becomes the major cause of suffering and

sometimes even changes the lives drastically. Thus, it is true that:

Kamala Markandaya s Nectar in a Sieve portrays

its positive woman characters as ideal sufferers and

nurturers. The cause of her suffering springs mainly

from poverty and natural calamity. (24)

Regarding the true reflections of woman images, Meena

Shirwadkar has made an apt point.

She has observed :

Women are from the rural sections of society. They

are the daughters of the soil and have inherited age

old traditions which they do not question. Their

courage lies in meek or at times cheerful way of

facing poverty or calamity. (25)

Dr. Meena Shirwadkar has rightly described women images in

Indian novels. Her able reflections show how miserable life was led by

Indian women in post-modernism period. The post- modernism period is

ideally the period that saw the uplifting of the status of women in this

country, however, ironically, this is also the period that saw the suffering

of women at its peak in various manner such as the increasing evils of

73

dowry deaths, female feticides and female infanticides, domestic

violence, differentiation between genders, selling of young girls, man

handling of females of all ages, innumerable pregnancy deaths, deaths

due to negligence, divorces, and many more problems of similar nature.

Kamala Markandaya has selected various themes and characters from

rural settings in India and she has succeeded in portraying these

characters due to her minute observations.

Sharma and Bakshi have noted:

Rukmani, the main character, and her daughter Ira

display suffering throughout the novel. Rukmani

works hard and is devoted to her gentle husband. She

endures blow after blow from life: poverty, famine,

the divorce of her barren daughter, the deaths of her

sons, her daughter s prostitution, and finally her

husband s death. When she finds the emotional

center of her life, her relationship with her husband,

threatened by the discovery that he fathered another

women s sons, neither strikes out at him nor

crumbles (26)

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Ups and downs in the life of Rukmani finally present her

rootlessness which is a part of her deep sufferings in the drama of life

which she had witnessed yet she emerges as a successful winner at the

end due to immense strength and courage shown by her.

Kamala Markandaya represents cross section of Indian people from

village life by reflecting character of Rukmani and Era. Besides, a

competent piece of literature cannot divorce itself from traces of national

identity.

All good literature, as Robert Frost observes, is national because

the writer is concerned, whether he wishes it or not, with his

environment, his people, his situations and the events that take place

around him. Only by belonging to his soil and people can he discover his

roots and find a voice that will ring with authenticity and integrity.

Kamala Markandaya truly represents this phenomenon in her literature.

Rukmani s long struggle in her life is social theme which Kamala

Markandaya has effectively portrayed. Rukmani represents numerous

Indian women who go through lots of sufferings and harassments in their

lives at various levels but in spite of suffering endlessly, they never even

conceive the idea of rebelling against the torture and humiliation they go

through. Perhaps that s the reason, that in spite of various laws supporting

females unconditionally, not many females actually take the help of court

75

of law to get their rights and many times, just to avoid the humiliation

and the harassment they are going through.

Rukmani is no exception to this. Like other 90% Indian female,

instead of revolting, she accepts whatever comes to her be it good or

bad. She simply gets numbs with grief in such negative situations instead

of responding or retorting.

It has been pointed out:

"She accepts the blow and moves on in life. In

addition, when her son Raja is murdered, even her

thoughts do not express rebellion. She moves from

numbness to grief, thinking, For this I have given you

birth, my son, that you should lie at the end at my feet

with ashes in your face and coldness in your limbs and

yourself departed with trace. Then she begins to

wash the corpse and prepare it for burial. (27)

The style of Kamala Markandaya has touched the social reality in a

successful manner. Her characters are factual and represent the reality in

76

an exclusive manner. Like other characters of other novels, they don t

react extremely, rather they try to accept situations and sometimes even

try to find a way out. Most of the times, they remain numb which actually

happens in reality. When tragedy strikes, very few people have the gifted

talent to revolt against them else 90% people simply give up.

Thus, it can be said that the symbolic reflections done by Kamala

Markandaya are not only realistic but they reflect grievances of her

characters.

According to S.C. Sharma:

Rukmani survives. No pain or injustice can cause her

to rebel or seek revenge. In fact, Markandaya

subverts Rukmani s only violent reaction: when she

finally physically attacks shadowy figure in her home,

thinking it a woman who has previously robbed her

family of precious rice during a famine, the woman

turns out to the her daughter Ira. Yet although

Rukmani s general submissiveness may appear a

weakness to Western readers, from another point of

view she has incredible strength. (28)

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Kamala Markandaya s women images are not exception to this

phenomenon. It is true that we have to follow these lines while examining

these forces behind social realism. Thus, Rukmani represents dialectics

which India had witnessed after arrival of modern western culture.

Further while understanding social life depicted by Kamala Markandaya,

there are two different views. These two views, which represent

conflicting western and Eastern value, explicitly appear in Nectar in a

Sieve Rukmani confronts the Western doctor, Kenny, who urges, you

must cry out if you want help. it is no use whatsoever to suffer in silence.

Who will succor the drowning man if he does not glamour for his life?

In response, Rukmani thinks, Want is our companion from birth to

death, familiar as the seasons or the earth, varying only in degree. What

profit to bewail that which has always been and cannot change? But

Kenny, the Westerner, believes that, there is no grandeur in want or

endurance. In contrast, Rukmani, the Indian woman, sees suffering as

good the spirit and endurance as a necessity, because she cannot change

her situation.

Like Kamala Markandaya finds in a strange position, it has been

observed:

The horns of his dilemma are due to cultural

colonization, notwithstanding his political

independence. An overwhelming number of Indo

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English novelists are imitative and derivative. They

tend to behave like a group of hypnotized people,

who are heirs to two sets of customs and are shaped

in their daily lives by dual codes of behavior and

whose moral intertia and flabbiness. (29)

Kamala Markandaya s Rukmani truly reflects three different

phases on Indian village life. One during freedom struggle, the second

during two world wars and third in the post independence period.

Shirwadkar has critically analyzed women images in Indian fiction. Even

Kamala Markandaya s works represent how these images have changed.

It has been rightly pointed Indo-Anglian novels portray women as Sita-

like characters. By fulfilling cultural values, however, Rukmani and Ira

find in their way of life not only suffering but also a sureness and inner

peace.

Shirwadkar claims that:

Women in later novels lose even the satisfaction of

this fulfillment, because they find themselves trapped

between the traditional and modern requirements for

women. Earlier images of calm, enduring women

change to new ones, of frustrated women caught

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between the Sita-Savitri figure and the modern,

Westernized woman. (30)

The dialectics between these two one traditional and other modern

can be witnessed in various literary works of Kamala Markandaya.

2.5 Brief Review of Basic Works:

Every writer has its contributions in some specific areas. Kamala

Markandaya s works are relevant to social reality. The cultural conflict is

also reflected in her works.

The ten novels written by Kamala Markandaya can be

chronologically noted below one after another:

Nectar in a Sieve was her first novel published in 1954. The

said novel was able to attract readers as well as critics. It deals with the

life story of Rukmani and Nathan against the background of suffering and

agony of rural India. This novel is a portrayal of social relationship.

Michel Foucault a French intellectual, argues that :

Power is an imminent in all social relations and that

all social reactions are relations of power whether in a

family or in the layers (hierarchy) of Government and

other social institutions. (31)

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Kamala Markandaya s fiction is not exception to this phenomenon.

The second novel Some Inner Fury published in 1955 was also

a woman narrator, Mira, the heroine, but she is entirely different from

Rukmani, the woman narrator of her first novel. Mira is a sophisticated

and westernized and the central theme of the novel may be said to be the

clash between passion and patriotism and the Some Inner Fury of

passion is symbolic of Indian passion for independence. Her novels

record changing view of Indian life in the post freedom movement.

Kamala Markandaya s third novel A Silence of Desire was

published in 1960 and marks a further evolution of her genius. She leaves

economics and politics behind and is more concerned with spiritual

realities. The mode of narration not auto biographical, but is carried on in

the third person. Thus the spiritual reality is an important character of

this novel.

Possession is a fourth novel published by Kamala Markandaya

in 1963. The said novel is different from the other novels in as much as

its action moves from India to London and back again to India. Its theme

is wider and more universal and its narrator, Anasuya, though a woman,

is not its heroine, but a minor character.

The Handful of Rice is the fifth novel published by Kamala

Markandaya 1966, which is an important novel. In this novel, not a

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woman, but a man occupies the central place and the narration is carried

on by the omniscient novelist. The appeal in the novel is universal.

The Coffer Dams is the sixth novel published by Kamala

Markandaya in 1969 which shows a further maturity of the powers of our

novelist. Her art has grown more sophisticated and she writes now, less

from the freshness and compulsion of spontaneity and rather more from

the assurance of her mature craftsmanship. Thus it seems there is a

continuous evolution in the style, diction and vision of Kamala

Markandaya as a novelist.

The seventh novel published by Kamala Markandaya is The

Nowhere Man published in 1972. It is a powerful novel which studies

the theme of East West encounter through individual relationships and

experiences. Its central figures are nowhere man i.e. Indian immigrants in

England who belong neither to India nor to England. This novel echoes a

psycho sociological view of Kamala Markandaya to look at the problem.

The Two Virgins , is eighth novel published by Kamala

Markandaya in 1973. In this novel Kamala Markandaya once again

returns to India. The setting is provided by some unknown and remote

Mysore village, and as in Nectar in a Sieve the theme is once again the

disintegration of the rural way of life under the impact of modernity, and

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the sustaining power of the spirit as evidenced by those who live in

Nature. This is a dialogue between rural and urban setting in the decade

of 80s.

The Golden Honeycomb is the ninth novel which marked a new

impact on contemporary English literature produced by Kamala

Markandaya. In folk energy, life enhancing force that debunks the

standard and the authoritative version or view point is the character of

this novel.

A Pleasure City is the last novel published by Kamala

Markandaya in 1982. The said novel is a period novel in which there is

no scope to touch on British influences that survived the Raj. It is really

the third dimension of the political confrontation, the breakdown of

personal relations that Markandaya is chiefly concerned with. The

economic life of fishing community of the coastal settlement is given in

this novel. This novel is a unique contribution made by Kamala

Markandaya. The writer has presented number of new angles here. Rikki

and Tully in A Pleasure City symbolize the meeting of Indian and

western social life. Rikki is the protagonist of the novel around whom the

story rotates.

Thus, the above brief review of Kamala Markandaya s ten novels

can prove that Kamala Markandaya enjoys unique position in Indian

English literature. Her literary period 1954-1982 established a profound

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impact of her style and reflections on Indian prose writing. Her

contributions have enriched Indian literary efforts in English to a great

extent.

M. Joseph has rightly observed that:

The novels of Kamala Markandaya give us ample

proof not only of her talent, but also of her crusading

spirit for the welfare of the humanity. (32)

Further it has been observed that:

Far from the tragic vision, wells and pity and

solicitude for mankind that keeps seeking truth,

goodness, and beauty even though human ideals are

not ever lasting and this concern is manifested in her

work. (33)

Thus, Kamala Markandaya in her novels makes out a realistic

presentation of the life, which is the fate of Indian peasants and farmers

and common man even today. Her tragedies are relevant and realistic in

nutshell.

In short Kamala s treatment of Indian rural life is comprehensive

and all embracing. It is not idyllic, poetic or one sided, as that of

84

Wordsworth but realistic and truthful. Through her treatment, she has

focused attention on the wretched plight of the poor and the destitute, and

has a showman particularly to her western readers, a way of life

remarkable for its heroic endurance and innate goodness.

Kamala Markandaya s success as a novelist thus reveals in her

simplicity, realism and symbolism together in an interesting fabric of

social life.

The concern for humanity is the essence of her novels. In this

chapter social milieu and cultural ethos reflected in the novels of Kamala

Markandaya has been studied in the context of rootlessness, leading

towards tragedy and pathetic life.

2.6 Art Vision and Spirit:

The art, vision and spirit of the writer are interrelated aspect. It is

the vision of the artist that reflects in his writings.

Every piece of literature is closely related to national identity. H.

W. Longfellow had rightly remarked that:

nationality in literature is good but universality is

better. But in being universal, literature does not have

85

to become unconcerned with national values and

cultural traditions. (34)

Kamala Markandaya s works explain both national and universal

values. Many of her themes touch ethno cultural traditions and they have

also universal appeal touching humanitarian values. Novel as a form of

literature must be examined in three dimensional analysis touching

contours of art, vision and spirit.

Joytsna Sahu has observed that:

Every great work of art reveals a confrontation

between spirit and matter. It is born of this

confrontation, without any commitment. It leaves the

readersand viewerswith tension. (35)

This tension can be lessened by understanding the artistic vision of

the writer or authoress. The artistic vision and spirit behind it can help to

understand the core of the work. It has been observed that:

Every great work of art leaveswith that twilight zone

to be lighted by readers from generation to

generation. (36)

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Critics also help to strengthen these positive aspects of the writer.

Here we have to understand Kamala Markandaya s positive aspects of

representing art, vision and spirit.

Kamala Markandaya s fictions revealed a three dimensional

realities touching art, vision and spirit. The content in Kamala

Markandaya s work, Possession can be studied in an artistic spirit.

Aurobindo has rightly observed:

Art is neither whole matter nor whole spirit. It

accepts both the worlds, but belongs to its own world.

All art starts from the sensuous and sensible, or takes

it as a continual point of reference or, at the lowest,

uses it as a symbol and a fount of images; even when

it soars into invisible words, it is from the earth that it

soars; but equally all art worth the name must go

beyond the visible, must reveal, must show us

something that is hidden, and in its total effect not

reproduce but create. (37)

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Kamala Markandaya truly manifests this artistic vision. The

Possession is based on dialogue between the artist and his art.

It is further pointed out :

Markandaya s Possession is based on the

predicament of an artist and his art. An artist like his

art is a free spirit. Any attempt to possess him is to

put an end to his art. Markandaya s Possession is the

story of Valmiki, shortened as Val, a born artist. He is

a prodigy who paints on the mud wall of his village in

Tamilnadu with the help of charcoal. He paints

whatever comes to his heart. Caroline is awestruck to

see thisyoung prodigy painting. (38)

Such creative reflection is represented in Possession . The

aesthetic sense of Kamala Markandaya must be well appreciated in many

ways.

Kamala Markandaya had taken her work Possession to the

highest level of her expression. She had a good grasp of creative

experiences. The communication transformed by her can be described as

a high quality. She had excellent contributions to her own abilities. It is

true:

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An artist needs the experiences of both the worlds:

the world of the spirit and the world of the senses or

what Germans would call Guist and Nature. An

artist needs to understand both the worlds, Vita

active and Vita Contemplativa. Art captures the

romance of living but at the same time it is larger

than life. (39)

Such a vision is reflected by Kamala Markandaya in her

Possession . The study of Kamala Markandaya s novels requires a pure

Indian aesthetic sense. We can understand them by developing insights

based on philosopher Sri Arobindo, whose genius formulations can be

testified to Kamala Markandaya s works. Her each novel has some social

philosophy based either on art and life. She never goes in the dilemma of

art for the sake of art or art for the sake of life. She touches both of them

in a very balanced and equilibrium, which is the real success of her

works.

The study of modern English literature is thus based on

understanding of creative and artistic vision of a writer in the span of

time. Kamala Markandaya touches realism in a creative manner. A

realistic look towards a literature reveals social facts and cultural currents

prevailing in the contemporary society. A stylistic approach towards the

narrative style of Kamala Markandaya differ Nectar in a Sieve and

89

Possession . The expressions on social canvas differ distinctly.

Markandaya touches hunger, poverty, and rootlessness in a distinct

fashion in the Post-Independence period. There was a feeling of

disillusionment in the mind of Rukmani and she becomes a victim of the

changed conditions around her. Possession the artist draws lines in his

own fashion. Kamala Markandaya provides voice to the voiceless and

gives a tribute to conflict and struggle made by her characters against

prevailing conditions. Her artistic reflections both in past and present

minutely touch social reality and she paints grief and agony of the poor as

a steady graph of her own style, revealing social cardiograph of complex

problems. The East-West conflict she touches is not artificial, and crude,

but it is very simple and creative enough to grasp the situation. Changing

values in Indian society have been depicted by major women characters

drawn by Kamala Markandaya in all her novels. What matters significant

is her artistic abilities, vision and spirit which is essentially Indian. In

spite of her long stay in Western countries what symbols she uses have a

significant value.

The artistic point of view which looks very significant can be

described as time span and language that Kamala Markandaya has

effectively used. The tell of Rukmani has many facets but what matters is

the message of Indian women s story of exploitation. It is stated that

social functions of art is to reveal social facts. Kamala Marikandaya has

reflected social conflicts in a true sense.

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Nectar in a Sieve can be described as a classic of a hunger theme.

The novelists before Kamala Markandaya viewed the village as a place of

idyllic existence and placid rhythm of life. However, Kamala

Markandaya changed the vision. She truly reflected rural India in

transition. She had reflected vision of life which was based on reality.

Kamala Markandaya represents hopes and aspirations of rural poor. Her

novels truly manifest discourse of renaissance. The novel Pleasure City

can be described as example of this new frontier. What important is the

reflection of social values in an artistic manner.

Ventakat Reddy has truly pointed out:

Nectar in a Sieve is perhaps the first Indian novel in

English in which a sincere attempt has been made to

project a realistic picture of rural India in all its shades

and details, famine, drought, excessive rain, struggle

for survival, eviction, superstition, hunger and

starvation. (40)

The credit of creative reflections goes to Kamala Markandaya for

exploring different themes and different characterized in an artistic

manner. A.K.Sharma has observed:

91

The remarkable feature of Kamala Markandaya s

novels is the realistic portrayal of her characters. She

is a gifted novelist with an artistic perfection and

simple expression. (41)

M.K.Bhatnagar has correctly noted :

Having come to a stage of fine efflorescence in the

nineteenth thirties, Indian English fiction retained the

same momentum even as it crossed the Gandhian age

and entered the post Independence phase. (42)

In the post Gandhian age, a number of novelists came on the

forefront and Kamala Markandaya is one among those who dominated

literary scene from 1950s and 60 onwards. She was one among the star

who represented women novelists. These writers represented the creative

artistic and their own vision as well as spirit to touch the society and

culture in entirely fresh and new perspective. These faces were fresh, new

and had a revolutionary attitude. They were absolutely different from the

former stereotype writers who merely concentrated their attention on

depicting the traditionally male dominated, evil stricken society whose

loopholes were much more than its specialty. Rather, these writers

concentrated on depicting the real face of society that became their

specialty and needless to say that Kamala Markandaya was one of them.

92

2.7 Images and Symbols :

It is observed that an image is described in a Dictionary of Literary

Terms as one that covers the use of language to represent objects, actions,

feelings, thoughts, ideas, states of mind and any sensory or extra sensory

experience.

An image does not necessarily mean a mental picture . (43)

The use of meaningful symbols is the true success of Kamala

Markandaya s writings.

Symbols and symbolism represents success of a novelist. Kamala

Markandaya has exploited symbolism in many ways in her novels.

Symbolism is an important power that novelists possesses to reflect his

powerful sentiments and feelings. In literary communication this

symbolism is used interestingly to reveal ideas, options and events by

making a fearless reflection of facts. Kamala Markandaya s novels Two

Virgins is the best example of symbolism.

Ramesh K.Srivastava has rightly pointed out:

One reason for the adverse critical reception of

Kamala Markandaya sTwoVirgins is the novel sbeing

so heavily loaded with symbols and skin-deep

93

connections that the characters and incidents appear

as mere flag bearers of the novelist s ideas. In order

to depict various characters and their evolving

personalities, Markandaya makes use of a series of

symbols and images which are from birds and

animals, living and lifeless objects, such as, mouse,

dove, eagle, butterfly, bats, wood, etc. (44)

Thus, it can be said that Kamala Markandaya uses an ample

amount of imagery and symbols which not only help her to depict her

characters more effectively but also helps her in giving her narrative a

poetic touch. Her use of imagery can be easily compared with the

imagery used by Anita Desai such as the symbol of Nataraja in Cry, The

Peacock and the city of Calcutta which is used as city of destruction in

Voices in The City.

Thus, symbolism is a vehicle of reflection of social process by

Kamala Markandaya. Further it is true :

the other symbolswhich have been used in relation to

the various stages in the evolution of Lalitha are the

butterfly, the dove, and the eagle. (45)

It is required to unfold these symbols to understand the theme.

However these symbols are slightly complex in nature and hence, a

94

comprehensive observation is required to understand them. However

these symbols and images enhance the beauty of the narrative and add

more depth to the theme. These symbols also depict the intelligence of

the novelist and her perfection in describing her characters so beautifully.

The symbolism has been interestingly further elevated by the writer.

It is true that:

The injured monkey symbolizes a cripple who is not

welcome in the tribe whether of animals or of human

beings. His mother obviously intended it to die when

she abandoned it because the tribe could not accept

the cripple, even if it could tolerate one. (46)

It is required thus, to unfold these complex symbols to correlate the

theme. Margaret P. Joseph has rightly pointed out :

the thematic pattern in Kamala Markandaya s novel

explores the suffering arising out of the struggle

between the tradition and the modern the individual

95

and society, or one race and another. And the

difference between things as they were, as they are,

and as they ought to be between the ideal and the

actual or between the East and the West. (47)

Kamala Markandaya has treated different themes by using

symbolism in an interesting manner. It is said that communication is

interaction of symbols and those who create good symbols they rule

others for a long time. Kamala Markandaya is also ruling people s mind

since long period.

Thus, in this chapter introduction to Kamala Markandaya s works

has been given and a critical review of her literary contribution was

presented. She represented an era that dominate coming up of women

writers on fore front. Further, the role of Kamala Markandaya as a

novelist was examined. A brief review of her basic work was given.

Further art vision and spirit in her novels was highlighted and finally,

images and symbols were unfolded systematically. In the next chapter,

themes in Kamala Markandaya s novels have been discussed.

96

REFERENCES

1) Yeshnan M. Aesthetics of Indo English Political Novels , article

in the book, Indian Writing in English A Critical Perspective

Creative Books, New Delhi, p.12.

2) Ibid., p.15.

3) Chaturvedi A.K. Tribal in Indian Novels , Atlantic Publishers,

New Delhi, 2008, p.9.

4) Bhatnagar M.K. and Rajendra M. (Ed.) Indian Writing in

English, Vol. IX, Atlantic Publishers, New Delhi, 2000, p.3.

5) Ibid., p.3.

6) Ibid., p.4.

7) New Light on Women Novels in English , Vol.IV, p.8.

8) Sharma L.K. The problems of Women in Kamala Mankandaya s

Novels , Prestige Publishes, New Delhi, 2001, p.110.

9) Hudson E. Authors, works and Issues Essays on Indian

literature , Cyber Tech Publishers, New Delhi, 2009, p.48.

10) Ibid., p.49.

11) Naik M.K. (Ed.) Aspects of Writing in English Macmillan

Publishers, new Delhi, 1997, article by Amarjit Singh, p.5.

97

12) Dhawan R.K. Explorations in modern Indo English Fictions ,

Bahri Publications, New Delhi, 1992, art. by Dr. S.C.Sharma, p.1.

13) Sharma S.C. and Bakshi Sweta Studies in Indian women writers

in English A.K. Publishers, New Delhi, 2009, p.88.

14) Johnson Frank (Ed.) Alienation: Concept, Terms and Meaning

New York, 1973, p.84.

15) Sharma S.C. and Bakshi Sweta, op cit., p.88.

16) Dhawan R.K., op cit., article by Pathak, p.1.

17) Sharma S.C. and Bakshi Sweta op cit., p.88.

18) Ibid., p.88.

19) Ibid., pp.88-89.

20) Ibid., p.89.

21) Journal of Commonwealth Literature, June 1971, article by

Harrex S.C. A Sense of Identity the Novels of Kamala

Markandaya , p.65.

22) Sharma S.C. and Bakshi Sweta, op cit., p.90.

23) Shobhana M.N. Landow Anthropology Princeton University,

1991, p.302.

24) Sharma S.C. and Bakshi Sweta , op cit., p.90.

98

25) Shirwadkar Meena Images of Women in the Indo Anglian

Novels refer chapter on women images

26) Sharma and Bakshi, op cit., p.90.

27) Ibid., pp.90-91.

28) Ibid., p.91.

29) Dhawan R.K. op cit., p.5.

30) Sharma and Bakshi, op cit., p.93.

31) Michel Foucault (French Scholar).

32) Joseph M.

33) Ibid.

34) Dhawan R.K., op cit., article by Longfellow H.W. , p.4.

35) Vishweswara Rao C.R. Indian Writing To-day , Indian

Association for English Studies, New Delhi, 1996, p.122.

36) Ibid., p.122.

37) Sri Aurobindo Birth Centenary , Vol. 9, p.5.

38) Vishweswara Rao, op cit., article by Jyotsna Sahu, p.122.

39) Ibid., p.124.

99

40) Reddy Venkata K. Major Indian Novelists , Prestige Book,

New Delhi, 1990, p.78.

41) Bhatnagar M.K. (Ed) Kamala Markandaya A Critical

Spectrum , Atlantic Publishers, New Delhi, 2002, p.187.

42) Ibid., p.1.

43) Vishweswara Rao, op cit., p.165.

44) Ibid., refer article by Ramesh K.Srivastava, p.125.

45) Ibid., p126.

46) Ibid., p.131.

47) Margaret P. Joseph Kamala Markandaya Arnold Heinemann

Publishers, New Delhi, 1980, p.211.