Written by: Subhajit Bhadra
Assamese novelist Deepak Kumar Borkakoti’s latest novel belongs to the genre of life writing. It may also be termed a novelistic biography. Here, the author focuses on the life and experiences of his wife. Hence, it can be called a retrospective reconstruction of a life. His wife was not only his life companion but also the source of inspiration behind his lifelong creativity. In this novel, the writer employs simple language and a lucid style. The memories evoke numerous incidents from their conjugal life, highlighting their love and respect for each other. The work may also be described as a fictional obituary. The writer has had to rely heavily on memory, although the recollections appear spontaneous. The boundary between fact and fiction dissolves. The novel is rich in both information and interpretation. It is also an elegy of love. Its texture and structure are rich, and the present reviewer can find only one comparable example of such devotion: Dr. Nagen Saikia’s book on his deceased wife.
The novel is dedicated to the memory of Nirupa, the author’s late wife. It begins abruptly, but what immediately strikes the reader is the poetic resonance of its prose. The author starts by describing how he often does many things secretly, a habit that gives him pleasure. He recalls the use of duplicate locks and keys, which his wife considered essential.
The author effortlessly revisits their conjugal life, though there are moments of tension between memory and forgetting, as Paul de Man once observed: “Memory entails forgetting.” Even after his wife’s death, the author vividly remembers their vacation at Puri. They drove into the sea waters and enjoyed themselves immensely. As the author paints a beautiful picture of the setting sun, he seems capable of capturing the voice of the sea itself, declaring, “I am bigger, I am powerful, and I am stoical.” The author was once an atheist, but over time he became more pious. Although a teacher of physics, the author-narrator is equally interested in literature and philosophy. His wife was a positive-minded woman who believed in simple dreams, a simple lifestyle, and the company of simple people.
The author’s wife was born in Lakhimpur. Her father was an SDO, which required him to travel frequently to different places for work. During her childhood, she did not enjoy much freedom to play or roam around because her mother was quite strict. She was deeply fond of the river near her home and recalled how Mising, Ahom, and Nepali communities lived together in the area. We also encounter the interesting figure of teacher Moneshwar Sonowal, who often made his students work for him but nevertheless discharged his duties diligently. The author’s father-in-law had to purchase a gun out of fear of wild animals and bandits. All these stories were narrated to the author by his wife.
The incident in which her father appeared intent on shooting villagers who wanted to breach an embankment was merely a ploy to drive away the intruders. It reminds one of the short tales of Jim Corbett. The novel also contains many historical references. One such example is the untimely death of Kanaklata Baruah, a patriot associated with India’s freedom struggle. At a very young age, the author’s wife was exposed to tea gardens and the studio of Jyoti Prasad Agarwala. She also introduced the author to Karbi culture, traditions, and folk narratives, which ultimately helped him write this memoir-like narrative.
The wife’s mini-narratives challenge grand narratives. One character voices the concern that “Bihu” is generally regarded as the festival of the Assamese people, but here we learn how the Karbi community celebrates it in its own distinctive way. Original Karbi language is used in the novel in Assamese script. Adding to the beauty of the Karbi songs is the fact that the author, having learned them from his wife, also provides their Assamese meanings.
The protagonist spent much of her life in remote areas, and the author offers picturesque descriptions of valleys in poetic language. The protagonist’s mother was extremely sensitive and could not tolerate the killing of an innocent deer. She compelled her husband to remove the carcass from the vicinity of their home. Later, the protagonist tells the narrator, “Those whom we respect, we maintain a distance from.” Ronghang Sir emerges as a treasure house of Karbi folktales, cultural traditions, anthropological insights, and historical and mythical narratives. He often said, “Bihu is the ballad of life.” These words function as a refrain throughout the novel. Extending the idea further, the author’s wife tells him, “Human life itself is a ballad.” The sudden disappearance of Kancha and Kanchi deeply affects the protagonist and demonstrates her profound humanity.
The family’s move from Diphu to Nagaon marked a new phase of life, and the writer beautifully creates a collage of incidents and experiences from this period. Nirupa was closest to her father’s heart. She was also dearly loved by her grandmother, who catered to her wishes. She learned typing, a highly valued skill at that time, and also received training in tailoring. Academically inclined, she developed a friendship with her classmate Jesmin, through whom she discovered many treasures of English literature and gained an understanding of the Bible. However, when Jesmin suddenly disappeared without informing her, Nirupa felt hurt, and their friendship came to an end.
The novel also contains humorous observations about the differences between British and American English. By this time, the Assam Agitation had begun, seriously disrupting her education. The movement aimed to identify and expel illegal migrants from Assam, and the author obliquely addresses this turbulent period in the state’s history. She almost became a victim of corruption during a college interview, but eventually secured the position because the principal was honest. Her subject was English. She remained a simple, honest, and modest person throughout her life. The corruption prevalent in higher education is also discussed in the novel.
Bereaved of Nirupa, the author-narrator now feels bewildered and lost. He worked in Mizoram largely because of her support, but after her passing, his life became engulfed in emptiness. This void serves as the genesis of the novel. The author preserves Nirupa and her memories within his heart. It was in Mizoram that he first met her, and they enjoyed many pleasant conversations. Without her companionship, it might have been difficult for him to endure life in a strife-ridden region.
On the very first night of their marriage, Nirupa demonstrated her respect for him by washing his feet with water and drying them with a towel. Their first daughter, Indrani, was born in Aizawl, at a time when travel within Mizoram was extremely difficult because of inadequate transportation facilities. Nirupa was a reservoir of energy, but now that she is gone, the author’s heart bleeds with grief. He shares many loving anecdotes from their married life, and it is precisely here that the narrative becomes especially engaging and appealing. Few families enjoy such a contented life, and much of the credit goes to Nirupa. When their son Pragyan was born, their lives had to be reorganized accordingly.
After Nirupa’s retirement (the author had retired earlier), they settled permanently in Guwahati. It took nearly one and a half years to complete their home. Nirupa was always concerned about health matters and played a key role in ensuring that the author underwent cataract surgery. The author’s description of her final days and eventual death is so poignant that any sensitive reader may find it difficult to hold back tears.
The appropriateness of the novel’s title is revealed toward the end, when we learn that both Nirupa and the author-narrator cherished the classical Indian raga Meghamallar. This is a novel that deserves to be translated into English and other Indian languages.
Subhajit Bhadra teaches English at Bongaigaon University. He can be reached at: [email protected]