Tag Archives: Novella

Ramapada Chowdhury’s Second Encounter

Ramapada Chowdhury, Second Encounter (Je Jekhane Danriye 1972, translation by Swapna Dutta,  Niyogi Books 2016)

9385285440.jpgIt’s easy for English-speaking readers to forget that a vast amount of writing exists in the world independent of the English language: neither written in English nor translated into it. In India, I’m told, there are a number of languages in which novels can find much greater audiences than the one we Anglophones arrogantly assume to be universal.

Bengali is one of those languages. It’s the language of the great filmmaker Satyajit Ray and Nobel laureate Rabindranath Tagore, and we Anglophones are fortunate enough to have had at lest some of their work translated for us. (Satyajit Ray was one of the names my oldest brother used to conjure up the great world of Culture when he came home from his first term at University – along with Tolstoy, Tchaikowsky and Kurosawa.)

jejakhanedanriye.jpgRamapada Chowdhury’s 1972 novella Je Jekhane Danriye is a gem that would have remained invisible to non-Bengali readers if Swapna Dutta’s love for it hadn’t led her to make it available to us. A film version was released in 1974, but there’s very little information about it on IMDB. The poster for the film seriously misrepresents the book.

It’s a story of young love revisited: two people, each married with a child, meet up again after a twenty-year separation. In their teenage years they had lived near each other and developed a mutual infatuation, which was never consummated in so much as a direct exchange of words. Each of them has cherished the thrilling memory and found solace in it in the midst of humdrum reality, and now it seems a spark has been reignited.

But this is not a Mills and Boon romance. The emotional weight of the book hangs on the question of what twenty years can mean in a person’s life. Not only do individuals mature and make choices, but social mores change: while twenty years previously young people could only gaze raptly at each other from their restricted lives, the current teenagers roam the countryside together day and night. Both main characters agonise over the meaning of their rekindled feelings, for themselves, for each other, for their spouses, and for their children (who are engaged in a teenage romance of their own).

By serendipity, I’ve been reading the poems of C P Cavafy at the same time as Second Encounter. I plan to write a little bit about Cavafy in a couple of days, but for now I just want to refer to the many poems in which a fifty year old man looks back yearningly to objects of desire from his 20s. Cavafy’s poems never test nostalgic desire against any kind of reality. He would probably have rejected Second Encounter‘s meditations as appallingly anti-romantic, but I can’t help feeling he might have been a happier human if he had read it and taken its wisdom on board.

In case you’re interested in learning more: I came across a documentary on Ramapada Chowdhury on YouTube, made, I think, by one of his grandchildren. Now in his 90s, he mentions this little book, which the English subtitles call Where One Stands, and says that it was influenced by ‘One Day after 20 Years’, a poem by Bengali poet Jibanananda Das (there’s a poem at that link called ‘After 25 Years’, which may be the one he means).

China Miéville’s This Census Taker

China Miéville, This Census Taker (Picador 2016)

1509812148.jpgA friend who know I’d enjoyed China Miéville’s The City and The City  lent me this very short book. When I asked him if he was recommending it he half shrugged, ‘It’s got a child narrator.’ coming from him, that meant ‘No, but you might.’

What can I say? It’s beautifully written, it’s hard to put down, and even though you realise part way through the book that you’re unlikely ever to know what’s really going on you’re compelled to read to the end.

It begins with the boy – sometimes ‘I’, sometimes ‘he’ – running down from his home on the hillside to tell people in the nearby village that he has seen his mother killing his father. Then he believes on reflection that he has seen his father killing his mother, and persuades everyone else that this is what happened, even though no one can find any proof. And indeed his mother has disappeared leaving a handwritten farewell note, though no one is sure of her handwriting, so as with almost everything in the boy’s experience we don’t know if the note is what it seems. He is made to go back to their ramshackle, isolated house to live with his father,  a maker of keys that may or may not have magical properties, who is loving to his son but every now and then seems to enter a weird state and beat an animal – and possibly the occasional person – to a pulp.

I’ve read a couple of reviews that seem to believe the boy is correct about his father, and that he is finally rescued by a heroic census-taker. I’m not so sure. All I’m sure of is that the boy understands very little of what is happening in the world, and we understand only a little more. There may be an underlying story that we can put together from what he tells us – like the hidden story in Joseph Furphy’s Such Is Life perhaps. Maybe it’s a puzzle that can be pieced together by someone cleverer than I am. There’s an acrostic towards the end, though what it signifies is completely ambiguous.

So this is a very readable, tantalising and grim story that doesn’t quite tell itself: something like The Trial meets What Maisie Knew. Did I mention it’s very short? If it had been much longer, this level of uncertainty would have been exasperating. As it is, I loved it.