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Women's Subjectivity, Modernity and Conjugality: Historicising Popular Women's Writing in Kannada, 1950S-1980S

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Women's Subjectivity, Modernity and Conjugality: Historicising Popular Women's Writing in Kannada, 1950S-1980S WOMEN’S SUBJECTIVITY, MODERNITY AND CONJUGALITY: HISTORICISING POPULAR WOMEN’S WRITING IN KANNADA, 1950s-1980s Ph D. Thesis submitted to MANIPAL UNIVERSITY P. RADHIKA CENTRE FOR THE STUDY OF CULTURE & SOCIETY (Affiliated to Manipal University) BANGALORE- 560011 AUGUST 2007 Bangalore 18 August 2007 Declaration I, P. Radhika, do hereby declare that this thesis entitled Women’s Subjectivity, Modernity and Conjugality: Historicising Popular Women’s Writing in Kannada, 1950s-1980s contains original research work done by me in fulfillment of the requirements for my PhD Degree in Cultural Studies from the Centre for the Study of Culture and Society and that this report has not previously formed the basis for the award of any degree or diploma in this or any other institution. This work has not been sent anywhere for publication or presentation purpose. P. Radhika Bangalore 18 August 2007 Centre for the Study of Culture & Society (Affiliated to Manipal University) 466, 9th Cross, Madhavan Park Bangalore 560011. Certificate Certified that this thesis entitled Women’s Subjectivity, Modernity and Conjugality: Historicising Popular Women’s Writing in Kannada, 1950s- 1980s is a record of bonafide study and research carried out by Ms. P.Radhika under my supervision and guidance. The report has not been submitted by her for any award of degree or diploma in this or in any other university. Dr. Tejaswini Niranjana (Supervisor) Dr. S. V. Srinivas (Member, PhD Committee) Dr. Sitharamam Kakarala (Director) For Amma and Appa to whom I owe my deepest gratitude Contents Acknowledgements vi CHAPTER 1 Introduction: Journeying Concepts, Journeying through Concepts 1 CHAPTER 2 Between the Aesthetic and the Political: Women’s Novels and the Question of the Popular 51 CHAPTER 3 Narratives of Fractured Conjugality: Women’s Romance Novels, 1950s-1960s 95 CHAPTER 4 Fashioning the Scientific ‘Self’: Women Giving Advice, 1950s-1980s 138 CHAPTER 5 Return to Marriage and Feminist Departures: Splitting of the Romance Narrative in the 1970s 181 CHAPTER 6 Conclusion 219 Appendices 236 Bibliography 247 Acknowledgements Writing this thesis has been for me a journey of which many have been part and to whom I am extremely grateful. To mention just some of them: My supervisor Tejaswini Niranjana, for her critical comments and her support throughout; most important, I’d like to thank her for all that I have learnt working with her on this and other projects through the past years, S.V.Srinivas, member of the PhD Committee, Madhava Prasad and Mary John, members of the PhD Proposal Defence Committee for their incisive comments, The Jawaharlal Nehru Memorial Fund and CSCS for the scholarships they provided, The faculty at CSCS, especially Mrinalini and Rochelle for the conversations; and everyone who gave feedback during the gruelling but very useful CSCS work-in- progress sessions, Sharmila, Ramesh, Tharakeshwar, Shivarama Padikkal, Bageshree, Shivaram, Vijay and Nikhila for the discussions and timely assistance at different stages of the project, My batch mates Vinaya, Sujith, Subhajit and Ratheesh, and the students at the centre, especially Sushmita, Sushumna, Dunkin and Sahana for their help and the good times, D. V. K. Murthy, G. Y. Hublikar, M. B. Singh, Ramachandriah, Sridharamurthy, Srinivasaraju for being so forthcoming in talking about the publishing scene of the 1950s-60s. All my respondents, who shared their stories and pleasures of reading with me, The staff at the Deccan Herald-Prajavani archive, the Kannada Sahitya Parishath library and the CSCS library, especially Kumaraswamy, Manjula, Maheshwari, Pushpa and Padma for being helpful and generous, Nagaraj for always finding time amidst his load of work, Asha, Joe…and not the least my music, my companions through this journey, specially the more difficult parts, Prashanth for his love and support… and his idiosyncrasies that add colour to the routine of everyday living. Chapter 1 Introduction: Journeying Concepts, Journeying through Concepts She does not have the time to read the daily newspaper to know what is going on around the world; she doesn’t have the patience in the first place. Consequently her knowledge about the world is very limited. Rarely, if she finds some leisure, her habit is to pick up a stupid story or novel. Anupama Niranjana, in Manini (Self-Respecting Woman), 1986, 123.1 The above quote is not a criticism of women reading popular women’s fiction made by a mainstream literary critic. It would not be surprising if that were the case. It is a comment made by one of the women writers, both a novelist and advice writer, whom I discuss in the thesis. The comment appears in one of the writer’s later works. The reference to the ‘stupid story or novel’ could well have been to one of her own novels that she had produced in her earlier phase of writing. When the writer wrote the above lines, she had claimed a feminist identification. Despite being aware of the shift in her stance, I was shaken when I first came upon the remark. Clearly, Anupama Niranjana perceived her earlier novels as ‘regressive’ and ‘reinforcing patriarchy’. These novels, which are 1 All translations in the thesis are mine. While translating I have tried to retain the sense of Kannada. In transliterating rather than following any rule, I have drawn on conventional usage when available. Otherwise I have spelled according to the pronunciation of the Kannada words. 1 among the central objects of my study, are a set of popular novels by women writers in Kannada that were written in the 1950s-60s. The key question for me was: is there a way of reading popular women’s novels differently without adopting either a mainstream critical stance or a simplistic feminist stance that prejudges them as ‘stupid’ or ‘trivial’? This is important because these novels, along with the women’s advice books in Kannada, had a huge readership, a significant part of which was female. While speaking to one of my respondents who used to extensively read the women’s novels, her husband constantly intervened to say that she used to be ‘crazy’ about these novels. He recollected that, finding her, with a book every evening when he came home from work, especially during their early years of marriage, he used to get so angry that he wanted her to stop the habit of reading itself (Hublikar 2004). Apart from their popularity, these novels were very influential in fashioning a notion of a ‘self’ for young women of the 1960s. Some of my respondents stated that the novels shaped their perceptions of how to dress and behave and taught them the need to better oneself (Veena 2003; Papanna 2004). I needed to understand what constituted not merely the popularity of these novels but also the manner in which they shaped a woman’s subjectivity. This is the question that I also ask of the advice books written by women, which started coming out in the 1950s and became a popular genre of books in the 1970s. A significant body of Kannada novels and advice books that were published between the 1950s and 1970s shaped women’s subjectivity within the 2 context of conjugality. That is, the texts represented the woman as a grihini or ‘married woman’. Here we need to understand the notion of grihini not only as ‘wife’ but also as ‘mother’ and ‘daughter-in-law’. The questions raised were about how ideas of education, employment and sexual desire of the woman would affect her dharma (ethics/morals/duties) as a married woman, largely the ideals of pativratya (loyalty to the husband) and sheela (sexual purity). Though the questions raised about dampatya or conjugality in relation to claims of education and employment might not be entirely new, the manner in which these claims reformulate dharma departs from earlier invocations. As I will argue in the chapters later, the reformulation does not posit a new normative dharma but destabilises the dharma-adharma binary that is manifest in the early 20th century writings of women such as Kalyanamma and Thirumlamba. Among the novels, I focus on the specific genre of the romance novel where the narrative’s primary movement is towards couple formation or marriage and its main focus is the delineation of romance. What is striking about the mid-century women’s romances is the deviation from the romance narrative and their focus on conjugality. That is, in these novels couple formation occurs at the beginning or middle of the novel and the novel focusses on the relationship between the couple. The advice books, which were addressed to women, ranged from topics of child- care, post-natal care to sex-education for young girls. However, there was a focus on conjugality and the woman as ‘wife’. The books constructed the conjugal space within a scientific frame and shaped the ‘self’ of the housewife in relation to questions of education, employment and sexual pleasure. 3 I study the novels and advice books in relation to the production of a modernity in the context of Karnataka, what I refer to in the thesis as a Kannada modernity. I see a Kannada modernity as being inaugurated in relation to notions of conjugality in the colonial period with new conceptions of conjugality emerging in Kannada popular print of the time (Galaganatha 1912; Mahilasakhi 1917a; 1918). These include notions of conjugality as comprised by love and companionship and emphasise the importance of the consent of the man and the woman in choosing his or her partner. Within the genre of the romance novel (ramya kathana), these perceptions get narrativised through the romance narrative that primarily moves towards couple formation after the passage through romance or courtship (Padikkal 2001, 47-48 and 62-64).
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