Indian English Short Story: Evolution and
the
Contribution of K. V. Dominic
Suresh Pande
The
origin of the genre called short story is as old as the beginning of
prehistoric creation. Our planet’s early phase: the initial evolutionary cycle
was fully devoid of life, excitement and pulsating spectacles. In later phases
the terrafirma evolved gradually giving nativity to various vertebrates and
mammals. Side by side, the growth of vegetation, verdure, hills and dales, rivers
and lagoons, islands and continents gave to the planet a specific physiognomy. The
growth and change of seasons, mysteries
and miracles of nature, the sum-total of evolutionary forces enhanced faith in supernatural envisaged
by the predecessors of today’s mankind. By
the time man evolved sufficiently to gain and ascertain communication, co-habitation
many indigenous languages came into practice/flourished. In the beginnings,
indigenous languages had no orbit to preserve their oeuvres except some visuals
and cave-drawings. So with the passage of time the words of mouth passed from
one generation to the next--to progenies. Thus short story as a genre passed
from generation to generation as an oral art/ tradition and as inseparable part
of indigenous cultural matrix. This generation-wise growth of story has a
unique tale to tell rather than the method/s of narration.
Practically, the most credible and
ancient form of short story is the anecdote. Anecdotes mainly function as kind
of parables which have a brief realistic narrative to embody a point. Yes, it
is the beginning of point-wise or step by step narrative. Early Greeks contributed
immensely to the scope, trope, art and knack of short-fiction. Aesop, who
happened to be a Greek slave, his fables alongside Panchatantra’s moralistic,
and didactic stories are earliest examples of ethically decent short fiction. As
short story is a prose narrative dealing with a few characters, aiming to unify
the effect, concentrating on the creation of mood rather than plot--it seems deeply
rooted in human psyche/civilization. Its propensity and desire is to listen
vigorously and attentively in order to elevate/edify the readers or the
spectators. In Srutis short stories are heard in congregation by the mode of a
brief lull as in/of a Katha. Raja Rao’s Kanthapura [1] is an early
instance of telling Harikathas to socio-religious assembly of native families
or community gatherings. In India short-stories owe their existence and
allegiance to historical legendary tales of epics and the Puranas. Contrastingly,
India’s middle eastern counterpart Scheherazade’s [2] one thousand and one
nights and accompanying one thousand stories set limits for the length and
breadth of short-fiction. It indeed is an individual narrative that can be told
at one sitting. There is no word count limit for a short story or flash fiction
[3]. Flash fictions are stories in 1000 words or less; however they are found from
maximum 20,000 to minimum 1000 or five to twenty pages. It can be perused
within half or an hour. A German Novelist and playwright Gustav Freytag [4]
estimates plot as a narrative structure that divides story/stories into five
parts like the five acts of the play. These parts are exposition, rising of the
action, climax, falling action and denouement. One can read, analyse and
evaluate a story within these given parameters.
K. V. Dominic’s short fiction like
a testament of the enduring aspect of post-modern era’s good, enjoyable and
sunny narratives is of immense interest. All these without qualms have qualities
essential for a successful piece of notable short fiction. The author for achieving
full potential narrates/translates stories as practical human application/implementation
of knowledge he has stocked from sources known and unknown. This he simply does
by having an authentic introspection into the complexities of human-life
inhaling both in India and abroad. In this way his stories are ‘the slices of
life’[5] to present the sweet, agonizing and bitter experiences or truths
pertaining to existence. Moreover, the fusion of intellect and emotion bestow
added charm on events occurring off and on in a world of human composition. Besides
poetry and translations Dominic so far has written/compiled three collections
of short stories. His first collection appeared in 2016 under the title Who
Is Responsible?.The second collection entitled Sanchita Karma and Other
Tales Of Ethics and Choice From India was
published in 2018 from USA. The third collection which is Prof./Poet’s 45th book Short Stories During Covid-19 appeared in 2022 from Authorspress, New Delhi. A
collection of 16 short-stories has an up-to-date translation in Hindi by
eminent scholar Dr. Sangeeta Maesh.
I am taking for brief appraisal,
here the third albeit the latest collection [6] as it has a limited trajectory
of universal texture within which beauty and bathos appear to comingle
inextricably. In a collection overall of seven short pieces, the first story deals
with the life/struggle of a migrant worker who being protagonist is
surviving for supporting partially
callous, economically weaker family ties. As the story is written during Covid-19 period the protagonist Clement in UA E is shown in conversation with
Merlin-his wife at Kochi, India. The talk centres around formal family accords
such as children and old asthma suffering parents. Besides family, human
relations such as acquaintances and aides add up to the development of the plot
of the story in a language and phraseology imparting rare individuality to the
author. Faith in man and God enrich thematic objectives besides fulfilling long
drawn aspiration of perceptive readers. What shapes ideals, attitudes and
philosophy of characters is author’s firm conviction in inherent goodness of
man: the humanism. Almost all seven stories concentrate on guiding principles
such as the welfare, progress and happiness of mankind. Humanity appears
working curiously toward human beings, seeking solutions for major/minor human
problems/ailments by raison d’etre of good sense and gumption rather than
gullible religious beliefs. The second story likewise demarcates as the title
justifies-the fate of migrant labourers under the canopy swarming with
trepidations of Covid-19-“My wife is bedridden with high fever and headache. She
just phoned me. I am doubting if She is stricken with Covid. Many of our
neighbours are in hospital and a few have already died.” (2-14)Aminul, Emran, Shakib
and Tarique are room-mates living at the
aegis and mercy of Arjun Saab-an architect and builder. Aminul graciously
guided, financially and morally supported by Arjun Saab in highly difficult
lockdown times emerges as a leading character to fight against corona virus
that had infected and inflicted his wife Abidah. In a society wholly inhuman
and atrocious Arjun Saab’s acts of charity,
gratitude, compassion and kindness like a Savior put him at par with
God’s greatness-“You are my God, dear Saab. I will never forget this love and
kindness shown to me. I will be at your service till I die.”(2-17) .The meaning
and the moral of the story eagerly captivates, much more elevates by purifying/purgating
the passions, emotions almost of all his enthusiastic readers. The author finds
solution of worldly problems in a nutshell of ethical methodology as explained
in spiritual principles of world-religions. Accordingly the society profiles
the backbone of ethical principles composed of three protagonists--Individual,
Institution and Community.
“Nature Teaches”, the third story of
the third collection is admirable for its milieu is set against vividly exhibiting
progressive views of man grappling for material development, economic
efficiency and self-sufficiency. Nature needs to be sacrificed in order to
attain/implement contemporary machinery/tools for construction of an advanced
Shopping Complex as proposed by the Municipal Council. The Tree forms indispensable
part of nature besides being endemic it is part and parcel of life-men, birds, bees
and beasts all grow, get free shade, shelter and sustenance under its largesse.
The tree is a great hindrance to the construction site of new Complex so it
needs to be cut punctually. However, by and large fervent protest of nature-lovers
as-crows, wasps, mynahs, honeybees, squirrels also on behalf of passengers who
evenly wait for buses from under its huge canopy stir up the government. That’s
why, the Chairman of Municipal Council decides in favor of protesters. Instead
of placing orders for cutting of the tree, he votes in favour of afforestation
and plans for planting new saplings at road-side where the tree stands and
construction of a Shopping Complex is proposed. His proposal is warmly welcomed,
well received acknowledged and accepted in toto by Municipal Councillors. The
story thus provides innovative, informative and progressive ideas alongside
depicting the prerequisite aspects of nature crucial to human survival and
endurance. His words and lines are creative, articulate, reflective and
captivating. So also they are a storehouse of yummy thoughts.
According to India’s National
Crime Records Bureau data there were more than 1000 acid attack cases reported
in the country between 2017 and 2021.Chhapaak
translated Splash is a 2020, Indian Hindi language biographical film based on
the life of acid attack survivor Laxmi Agarwal and his acid attacker Naeem
Khan. It stars Deepika Padukone as Malti. The acid attacker is Bashir Khan. The
Malayalam film Uyare also centres around acid attack and the tragedy faced by
Pallavi the protagonist. These and many such tragic incidents seem to have
inspired K. V. Dominic for penning the story “Seetha’s Resolve”(4).The story of
Seetha besides highlighting the crime of
chilling inhuman love succinctly focuses on the tradition and
institution of marriage: “Seetha, how
long are you going to remain alone? So many marriage proposals have come and
you don’t agree to any. You are already 27…” (4-24). Accordingly, after mutual
consent a perfect match was sought and the marriage date was fixed. Alas! unfortunatelySeetha’s
neighbour, school class-mate, son of labourers working in cardamom estate, as
auto-rickshaw driver used to drive Seetha to her school due to paucity of regular
buses in the locality. His name was Venu. He loved Seetha secretly and had a
passion for her although he was ugly looking and had inferiority complex.
Naturally, an imperfect match for Seetha due to class and status symbol that
Venu once revealed while going with her to the town in his auto rickshaw. She
snubbed his proposal then and there sans
any qualm of conscience. However, being Seetha’s close neighbour and
having formal friendly relations with her for past several years Venu knew all developments
in Seetha’s house pertaining to her marriage. He aired /sensed the fear of
loosing her: “He looked very moody not even caring to look at her face”
(4-26).Therefore, she willingly/knowingly avoided Venu’s approach. The next
morning thirty minutes before allotted time Seetha got ready to catch the bus
that goes to the town. It was rather early in the morning and when she reached
the road there came Venu too close to her in his auto rickshaw and to her utter
surprise and contrary to human belief: “he threw some liquid on her face and
sped away.”(4-27). Seetha wept and cried bitterly. Meanwhile, She was taken by
her parents to the Medical College where doctors immediately started treatment
for her burns. The case was reported to the Police Station and Venu was
arrested within a couple of hours. It took one month’s treatment for Seetha’s burns.
Her face looked horrific, sheer approach to mirror made her cry aloud. Three
months had passed, gradually she was recovering to win amazing love, affection
and support of the people in and around her locality and the town. She
continued her teaching profession. Her college itself arranged for her a
taxi-car for journeying to and fro. Her colleagues and students almost everyday
assembled at the front yard to give her a warm welcome. Seetha’s loneliness
and sorrow now was replaced by happiness and cooperation of
his college mates. Besides stories of her miraculous come back to life were
amply hyped by the media. In college she outshined in academic conduct so was
given extra charge for co-curricular activities. Taken as a whole she performed
competently and excelled in discharging her duties in all sincerity. The
college also got recognition from the government: “The State government decided
to promote Seetha’s unaided college to a government aided one taking into
consideration the best results and the social service activities.”(4-30)Very soon,
including Seetha all started getting higher salaries for their benefit and
pleasure. The State unit of NSS promoted Seetha’s activities/contributions and
she was given the best teacher award by the president of India. On her behalf
Seetha donated this award to rehabilitation centres for the welfare of thousands
of acid victims. Actually, this is the solo story to justify Kerala as a
beautiful land inhabited by hardworking, talented and intellectual people
committed to the glorified principle of “Vasudhaiva Kutumbakam” in spite of
petty jealousies and envies seen in human attitudes and modes of behaviour. This
story unfolds author’s remarkable prudence and sound sense of social harmony, equitable
growth and people-centric progressive values for which he strenuously exerts to instuct and educate.
The next story “What’s Wrong With
Us?” narrates to highlight woes, wails
and that which is amiss in Indian society. The author in protagonist/s infers
right answer for the malady and unfairness of caste-structure that divides man
from man. The hierarchy of being high or low, big or small, affluent or indigent,
educated and illiterate and many other economic, political, social and religious
incongruities create an unequal society wherein crime and immorality thrive. That
is why, the author in order to depict contemporary reality/sensibility designs
events, invents characters
simultaneously presents their struggle, intransigent efforts to acquire equal
status by bridging unasked hiatus. Their efforts to establish an egalitarian
society, to approach government machinery by all possible/viable means and to boost
up democratic ideals indeed succeed and
do well to boom and bloom. No nation, in truth, can thrive on racial hatred, discrimination
and exploitation. One has to develop an attitude of tolerance, co-existence,
convergence and interdependence. In the progressive society of a nation the
unbridled evil of caste-system is so deeply entrenched that it appears almost
difficult to root it out presently. The struggle continues and the narrative
style in the form of dialogue, dabate or catechism argue precisely the origin,
development, nomenclature and the foundation of the caste-system. This is the
greatest wrong amply argued in the story first by Vijayan and Gopalan, a father-son duo, then
by Mathai and Joseph who are Christians by birth and Ramesh, a low caste person
who enters into the profession through reservation. All the characters in the
story appear abuzz with the zeal and weal, with courage to grab the opportunity
in order to excel in whatever profession they enter or may enter. They have high
ideals and visions for brighter future prospects. How confidently Gopalan tells
to his son: “Haven’t you heard of K. R. Narayanan…He was born in our own State
Kerala in a low caste poor family like ours…He had to walk 15 kilometres to
reach his school everyday. By hard work he could get degrees after degrees from
India and abroad and even served as Vice-Chancellor and Indian ambassador
before he became the Vice President of India and then President” (5-32). Like
the son of a beloved father the story makes greater appeal, a lasting impact on
reader’s sensibility marked by psychological undertones and logical progression
from specific to the universal. His wits often sparkle while carrying out
intended hits. There are moods apparent in the story/stories and the narration
vary from grief, agony, anxiety, anger, helplessness to high seriousness almost
nostalgic but full of fun and joy with a purpose not only to delight but to
instruct. As far as literary realism is concerned this story through compassion
and social justice transport policies to empower marginalised communities
by fostering equal opportunities. It is
the discovery of a real Kerala story paving way for brighter future where
dreams will thrive and humanity flourish.
Cosmopolitan in outlook and stance the author’s
6thstory is an attempt to narrate successfully the pangs, sufferings,
agony and misery of sex-workers struggling for survival in a brothel at Mumbai’s Kamathipura and
well-timed arrival of Rajesh, the owner and managing director of Govind Mills, the
textile factory of Kochi with a proposal to restructure/ameliorate the lot of
working inmates. Besides being didactic and instructive the story intends to
prevent, amend and improve prevalent evils of brothel systems. Stella, daughter
of a rich Bank Manager and a School teacher is ill-fated leading woman
character who cooperates/liaises with Rajesh in his endeavor of changing/modifying
the mired life of her 20 brothel inmates. In a non-dramatic way all leave
Kamathipura for Kochi to join Govind Mills and with much fan-fare and
jubilation the welcome ceremony is hosted for new employees. It is more than a
humanitarian endeavour endorsed by democratically elected government
establishments and judicial adjudicators as well and alike. There is no filth
and grime now, no cheating in mutual human relations of the neglected and depraved,
outcast sections of the society. The unique efforts of the company, the humanitarian
activities of the billionaires jointly teach readers a lesson of industriousness,
sincerity, admiration and reciprocal respect towards sex-workers who after all
are analogous to our sisters. When a new life full of happiness and hope dawns,
the sex-workers feel calm, contented and elated as though heaven has opened
unto them. The beast in men by and by
gets transformed into
philanthropic sage and is seen engaged in charitable activities and civilized
ventures for the good of one and all: the
human race. Moreover, the author as self-reliant
person independently creates ideas/ideals and then translates them into
effective solvents for the future. This
story has ample merit, has something that obstructs and side by side supports
excellences. Diverse things co-exist and evenly balanced recognition conclusively
leads to clarity. Here and elsewhere Post-Modern representation of reality
personify characters probing their roots and identity into a society structured by multiple
economic, political, personal, emotional, religious and spiritual disparities, inequalities
and differences. This is what forms the film of the plot in miniature. There are
varying temper tantrums to boot from grief, agony, anxiety, anger, helplessness
to high pitched seriousness almost appropriate/adequate to present day
situations, circumstances, contests and challenges. At many places human
interactions allow for humorous incongruities in behaviours, cultural
conundrums and modes. Yes, the culture—as a driving force is not only limited
to art, literature and music but also covers a wide variety almost everything,
the entire range of development, mutual respect and understanding of human life and activities those provide to the author a
fulfilling intellectual exercise--an innovative, perspicuous and intuitive
debate/dialogue beseeching hermeneutics.[7]
Unlike the first the last story narrates to translate prevailing
tribulations those sustain/carry on life
using lottery and liquor as means to
economize like lakhs of people in naturally beautiful and educationally
literate State of Kerala. The protagonist Bhagyalakshmi has neither favorable
fate/good luck nor wealth or prosperity to lead materially fulfilled and spiritually
enlightened life: “Aged 35, she is a widow with two kids and old parents.”(7-47).The
narrator protrudes her character against the horrendous milieu: “. . . handicapped
persons on crutches, persons with no palms at all, blind, deaf and dumb with
deformities found in all towns and cities throughout the State”. (7-48). Moreover,
the cruelties of nature and the severity /onslaughts of weather adds to the
destitution of the people. All is well because God is there always above the canopies
they dwell. At the crossing or intersection where Bhagyalakshmi usually sits to
sell lottery tickets opportunely arrives Prof. Krishnaraj: “He has no interest
in trying luck through lottery and he rarely buys tickets”. (7-47). However, his
selfless philanthropic outlook and
humanitarian stance at once impresses/delights Bhagyalakshmi and the readers of
this titillating tale. He becomes an instrument to ameliorate what is low and
miserable in Bhagyalakshmi primarily by alleviating her pangs and paroxysms. He
often sees, occasionally meets to have
intimate knowledge of her family–life/household-chores
besides sale of lottery tickets for which she sits at the same crossing bearing onslaughts of weather. The covid
phenomenon as a breaking point, as brief interval in their relations serves as
the backdrop. Once or twice Prof. Krishnaraj gives her some money then buys all
her lottery tickets to recuperate her economic
anxiety/anguish. This is what that also gives support to Prof. Krishnaraj’s philanthropic
outlook. The action rises to hug the climax and we see Bhagyalaksmi in telephonical conversation with Prof.
Krishnaraj clearing all doubts of emotion straight away telling about the lottery
ticket that has won for him sixty lakh rupees. The calm, cool, amiable
temperament of Krishnaraj surprises one and all chiefly then when Bhagyalaksmi is taken from the crossing to the nearby branch of SBI where all money
earned in lottery is directly deposited in her name and account. The
denouement successfully leads to a happy cessation, elates immensely by testifying
truth, mystery and reality of Bhagyalakshmi’s name. Additionally, as creative
writer the author offers special insight into human experience sharpened by the
perception of social reality. Representation of
Bhagyalakshmi as an epitome of moral goodness and economic stability
despite regional limits in the twenty first century India is a gracious mark of
benevolence, meekness, docility and delicacy sans hostility. As in life so also
in literature such a woman is rare to be found for her challenges put aside
injustice, prejudice and marginalization, uphold her self-exalted cultural, religious
and social persona despite being part of
economically weaker sections of
society.
Notes
[1]
Raja Rao, Kanthapura, New Delhi, Orient Paperbacks,1971.
[2]
E. M. Forster, Aspects of the Novel,
1927, New York, Harcourt,Inc,1985.
[3]
https//www.masterclass.com>articles.
[4]
https//en.m.wikipedia.org>Gustav
Freytag.
[5]
Richa Gupta, Slices Of Life: A Collection of Short Stories, eBook-https//www.amazon.in
[6]
K. V. Dominic, Short Stories during Covid-19, Authorspress, New Delhi, 2022.
All subsequent references cited within parenthesis are to this edition.
[7] The Times of India, New Delhi, Saturday, May 20,2023, Vol.74,No.199.
Dr. Suresh
Chandra Pande, born in Nainital, Uttarakhand, India on 2nd October 1955,
gained an M.A. in English Literature in 1976 and a PhD in Indo-Anglian
Literature in 1983 from Kumaon University, NAINITAL. Dr. Pande’s first Biography appeared in
‘International Who’s Who of Intellectuals -13th Edition from I. B. C.
Cambridge: England in1998-99. He is a poet and critic well-known in
contemporary literary and academic scene.
He is an erstwhile University Teacher. Email: drsureshpande@rediffmail.com
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