Women in Pre- and Post-Victorian India: the Use of Historical Research in the Writing of Fiction
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Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD Vol 2 Women in pre- and post-Victorian India: The use of historical research in the writing of fiction by Radhika Praveen This practice-based thesis is submitted in partial fulfillment of the requirements of London Metropolitan University for a Doctorate of Philosophy degree in Creative Writing. September 2018 1 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD This work is dedicated to both my grandmothers, Devaki Amma, and Saroja Iyengar. A deep regret that I could not spend much time with my paternal grandmother, Devaki Amma (Achchamma), is probably reflected in my novel. Memories with her are few, but they will last forever. For my dear Ammamma, Saroja, who has always lamented the lack of formal education in her life: this doctorate is for you. 2 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD Abstract This practice-based creative writing doctorate supports the creation of a novel that is in part, historical fiction, based on research focusing on the discrepancies in the perceived status of women between the pre-Victorian and the postmillennial periods in India. The accompanying component of the doctorate, the analytical thesis, traces the course of this research in connection to the novel's structural development, its narrative complexity and its characters. The novel traces the journey of two women protagonists – each placed in the 18th- and the 21st-centuries, respectively – as they reconcile to the realities of their individual circumstances. The introduction to the critical thesis gives a brief synopsis of the novel. It also explains the rationale behind the approaches used in the novel, and in adopting a post- postcolonial and progressive voice throughout the fictional work. The first chapter in the critical thesis demonstrates how findings from the primary and secondary research have been applied to inform the writing of the novel. It also explains the influence of the Indian oral narrative tradition and its related approaches on the creative process with regards to the novel. The second chapter briefly surveys traditional assumptions about the liberal attitudes to female sexuality in ancient and pre-Victorian India through literary examples. It 3 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD identifies possible reasons for the changing status of women in contemporary Indian society, specifically in Kerala, which forms part of the settings in the novel. The third chapter in the thesis examines Ambilli's process of self-acceptance or making peace with her past trauma. It draws on the Indian notion of karma, the folktales and storytelling tradition of south India, which believes in the philosophy that stories are one of the means by which women can reconcile to reality. The fourth chapter elaborates upon the narrative devices used in the novel; its metafictional element and the inspiration for it. The thesis concludes by analysing the process of the writing practice and places it within the context of the aims of the research subject: the changing status of women in India over the past three centuries with regards to their sexuality. Finally, the study contributes to contemporary literature by bringing to light some fascinating aspects of the public role of women in ancient and pre-Victorian India as well as some lesser- known historical incidents, and re-interpreting these in the novel in an engaging and informative narrative. 4 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD Acknowledgements In the Indian culture, real acknowledgement is conveyed by the act of bowing down to touch an elder's feet. This would be the teacher's, in this context. The teacher then reacts by gently touching the student's head, thereby, completing the 'circuit'. Bowing down symbolises a shedding of the student's ego; by 'blessing' or acceptance of the gesture, the teacher becomes a selfless giver of positive energy. Thus, the receptor becomes the giver, the giver becomes the receptor. One lamp lights another. For me, this kind of acknowledgement has always felt much more deeper and significant than to simply utter an English: 'Thank you'. With this in mind, I proceed to acknowledge the three main teachers I've had the privilege of studying with: supervisor, mentor, and confidante, Anne Karpf, without whom this project would have remained but 'an idea'. Anne's calm reassurances and patience in re-reading my novel along with the many thesis drafts have been a firm anchor throughout the eight years of this part-time study, during which I also delivered my second child, and relocated four times (between fifteen houses) across the two home countries of India and the UK. Thank you, Anne, for not giving up on me when I almost did. Peter Wilson's invaluable and prompt feedback helped bring focus to the various elements of my novel before his retirement in 2011. Martin Murray's 5 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD guidance on the academic front has been supportive and extremely resourceful. I also thank the external reader, Klaus Fischer, whose precise suggestions changed the face of this thesis. Cathy Larne at LondonMet University's Research office, and Gulten Tufekci at the library, your timely help and prompt email responses especially when I was away from the country will not be forgotten. For funding my primary research trip to south India, I thank the London Metropolitan University. In Mysore and Kerala, I thank all the interviewees who selflessly gave me their time while their families entertained my then three-year-old. I am also deeply indebted to my friends, Rashmi and Zubin, and Girish and Jayu, whose many long weekends were taken over by the additional company of my boys. My childhood soulmate, Jayashree, for her positivity, for being who she is, for her voice in my head. Dr Sunita Pillai, for her miracle homeopathy pills that made my fibromyalgia bearable. I thank my husband's namesake, 'also-Praveen', for the early thesis-brainstorms and helpful links. Many thanks also, by extension, to that friendly resourceful giant, Google. My father's words, kannu pedi kaatum, kayi viruthu kaatum, (don't fear the task your eyes see; trust your hands that will reveal your skill) helped me every time I was daunted by the work that lay ahead. Deepest acknowledgements thus go to my parents, P K Janardhan and Padma Janardhan, and my sister, Deepika Davey, for being inspirations by themselves, for their unfailing faith in me; my in-laws and lovely extended 6 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD family, for respecting my wish to study. My sons - Athri, for being so patient, even though the PhD took over eight of his nine years, and four-year-old Aurva, for doing exactly everything to keep me away from it. For this opportunity, for seeing me through this course and my (often, fiery) lows, for the air-miles, and for everything else, my loving husband, Praveen: I bow to touch your feet. 7 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD Contents Abstract 3 Contents 8 Part I: The Novel Acknowledgements 5 Part II: Critical Thesis Introduction 11 Approaches used in the novel: 13 i) The use of historical research ii) Postcolonialism, post-postcolonialism iii) Feminism, definitions and approaches Chapter 1: The historical context 102 1.1 Defining historical fiction 1.2 How history has informed the writing of the novel 1.2.1 History research findings pose a fictional challenge 1.2.2 Discovery of 'off-stage history' overcomes the challenge 1.3 Novelists vs historians 1.4 The Indian historical tradition, and the sense of timelessness associated with it 1.4.1 Physical memory of history 1.4.2 Oral tradition of narrative preserving historical memory 8 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD 1.5 Documenting history through literature: An alternative view 1.5.1 A quick look at reasons for the 'selective' lapse in public memory Chapter 2: Theme of sexuality in the novel 126 2.1 A language of Pleasure: Traditional assumptions from history and ancient literature 2.2 Other factors contributing to sexual awareness: Education and habitat 2.2 a) Pre- and post-colonial schooling of girls and boys 2.2 b) Early Hindu attire and custom 2.3 Sexuality in ancient India: Idealisation vs representation 2.4 Contemporary attitudes (of sexual repression) as reflected in the novel 2.5 Possible reasons for the changing status of women, with regards to sexuality 2.5.1 Change from the matriarchal to patriarchal system in Kerala 2.5.2 End of the devadasi practice 2.5.3 Post-colonial education and doubly-colonised Indian women 2.5.4 The connection between migrant population and sexual ignorance 2.5.5 Kerala's migration towards patriliny 2.6 Characterisation in the novel regarding sexuality i) The need to create an HF element, and 18th-century Paarvani ii) Incidents of abuse in the novel iii) The making of Shashi 2.7 Chapter additions in the novel: i) Ambilli's relationship with Manu: ii) Shashi's role in the novel 9 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD Chapter 3: The process of Ambilli's redemption in the novel 181 3.1 Reconciliation in the context of the Indian narrative 3.1.1 The idea that 'stories that are not told take revenge' 3.2 A brief interpretation of reconciliation for other characters in the novel 3.3 Redemption in other, similar novels by Indian authors Chapter 4: Narrative 194 4.1 A brief background to the novel 4.2 Narrative in the context of the novel 4.2.1 Structure, and narrative devices in the novel i) Episodic structure ii) Use of an Interval chapter iii) Use of the painting as a narrative-connecting device 4.3 Influence of the Indian oral narrative tradition Conclusion 213 a) The novel and its critical analysis b) Research challenges and limitations c) Original contribution to knowledge Bibliography 232 Appendix: Notes from the primary research trip 262 10 Radhika Praveen/05039123 Vol 1 of 2 Creative Writing PhD Introduction When a second-generation female migrant in multicultural Mumbai is brought up by loving but over-anxious parents who don't permit her to mingle with boys of her age, and consider the word 'sex' as taboo, the girl is unable to act in accordance with her own moral values.