PSYCHOLOGY AND EDUCATION (2021) 58(4): 3300-3306 ISSN:00333077 DEBUNKING ORTHODOXY IN KAMALA DAS’ THE SANDAL TREES AND SARA JOSEPH’S THE SCENT OF THE OTHER SIDE Dr. S. Devika Associate Professor, English, HHMSPBNSS College for Women, Neeramankara, Thiruvananthapuram, Kerala, India ABSTRACT: The two Malayalam novels discussed in this paper tell tales of women’s transgressions. It is a transgression of a sexual nature that forms the theme of Kamala Das’ The Sandal Trees and Sara Joseph’s The Scent of the Other Side; in the case of the latter, the violation strikes at the very core of the Roman Catholic religion as it is practised in Kerala. In both the Malayalam novels, the transgressions that challenge and resist the power structures in society, be they of caste, religion, marriage or gender, provoke strong reactions from the dominant power groups who seek to oppress and subdue the violators and to reinforce the norms of orthodoxy. This study primarily attempts to put in perspective the mapping of Kerala in fiction, with reference to the gender question. Keywords: Malayalam fiction, transgression, orthodoxy, female psyche, resistance, stoicism Article Received: 18 October 2020, Revised: 3 November 2020, Accepted: 24 December 2020 The modern state of Kerala on the western coast its sobriquet “God’s Own Country,” but to the of the Indian Union, which lies to the west of Malayali it is an intrinsic part of his consciousness Tamil Nadu and southwest of Karnataka came and identity, defining his habits, customs, rituals into existence with the unification of the provinces and mode of life in ways that have cultural, social, of Travancore, Cochin and Malabar on November economic, even political ramifications. It has 1, 1956, “effected upon the recommendations of made the people what they are—fertile in the state reorganization committee, on a linguistic imaginative, artistic and creative aspirations as is basis” (Samel 308). Legend has it that Kerala is a demonstrated by Kerala’s long tradition of land raised from the ocean with a throw of the performing and ritual arts, and oral and written mazhu (battle-axe) by Lord Parasurama and gifted literature dating back a thousand years. to the Brahmins. Historically, it is the land where Literature—poetry, fiction and non-fiction, written six religions peacefully co-existed through the by Malayalis in Malayalam and English—has centuries, the land where basic Dravidian streams always sought to understand Kerala, to see beyond of culture were superimposed with Aryan the beautiful surface, and to uncover the essence influences, the land that figured in the world from of life lived on it. ancient times as a hub of spices, the land where Malayalam literature had its beginnings in oral the Chinese and the Arabs, the Portuguese and the literature, in the ballads of the low-caste landless Dutch, the French and the English left their stamp, agricultural labourers who sang “songs with and the land of Kathakali, Koodiyattam, rhythms that aligned with the rhythm of their Mohiniyattam, Theyyam and Ottamthullal. Its rich work and thereby relieved its tedium” (Chaitanya artistic and cultural heritage is a beautiful mosaic 19). Since the days of Aryan contact in the fifth fashioned by diverse people down the centuries century AD or earlier and during the (Paul 7). Manipravalam era from the ninth to the twelfth Kerala, the land of Kathakali and Mohiniyattam, centuries AD, Malayalam language and literature lush greenery and shimmering waters, and the underwent Sanskrit acculturation and witnessed a magic of Ayurveda, may seem a veritable paradise variety of renderings of the two great epics of to the outsider, a perception further reinforced by Ramayana and Mahabharata and other 3300 www.psychologyandeducation.net PSYCHOLOGY AND EDUCATION (2021) 58(4): 3300-3306 ISSN:00333077 masterpieces of Sanskrit poetry into Malayalam. Malayalam fiction in A History of Malayalam The evolution of Malayalam poetry down the Literature (259-348) is so thorough and rich in centuries, from the Niranam poets of the detail, and M. K. Tharakan’s study of the fourteenth century, the fifteenth-century Malayalam novel in The Growth of the Novel in Cherusseri, the sixteenth-century Ezhuthachan, the India, 1950-1980 (57-70) is so perceptive that hymnal and didactic poetry of the late sixteenth to together they provide a comprehensive critical nineteenth centuries, through the early modern perspective of the Malayalam fictional scenario. poetry of Asan, Ulloor and Vallathol, the pioneers Though Appu Nedungadi’s Kundalatha (1887) is of romanticism in Malayalam, to the moderns M. arguably the first novel in Malayalam, the P. Appan, Vailopilli, G. Sankara Kurup, Vayalar Malayali reader was introduced to the form as Rama Varma, Sugatha Kumari, O. N. V. Kurup early as 1845 by way of Archdeacon Koshy’s and a host of others, has been traced in astonishing translation of Bunyan’s Pilgrim’s Progress. Mrs. detail and analyzed with clarity, depth and Collin’s novel Slayer Slain (1862) whose astuteness by Chaitanya in his monumental work Malayalam translation appeared in 1878 is A History of Malayalam Literature (18-88, 212- perhaps the first novel set in the milieu of Kerala. 238, 436-512). He maps the course of Malayalam The social novels of Chandu Menon and the prose that had more or less followed the path of historical romances of C. V. Raman Pillai that poetry until it was revolutionized by the came out in the last decade of the nineteenth emergence of newspapers and periodicals which century moored the form firmly in the social and “had a higher frequency and range of impact, political milieu of Kerala and set the stage for the created a ferment of ideas, coined new words tremendous growth of the Malayalam novel in the everyday” (175). century that followed. Chaitanya attributes the late beginning of drama The period from 1942 to 1962, the period of as a literary form in Kerala to the early “Progressive Literature” as Chaitanya terms it stabilization and abiding popularity of dance- (279), saw the renaissance of the Malayalam novel drama forms like Kathakali and Thullal. The early in the hands of iconoclasts like P. Kesava Dev, stage productions, in the late nineteenth century, Thakazhi Sivasankara Pillai, Vaikkom Mohamed were all translations of Sanskrit plays, liberally Basheer, S. K. Pottekat and P. C. Kuttikrishnan interspersed with prose dialogues. In the twentieth popularly known as Uroob, all of whom stood for century, “it was C. V. Raman Pillai who social revolution. Kovilan, Parappuram, M. T. established the transition to social realism in Vasudevan Nair, Kakkanadan, M. Mukundan and theme and to the farce as form” (353). Since then, O. V. Vijayan and a host of others including Malayalam drama has passed through the able Mundasseri, Vilasini (M. K. Menon), Malayatoor hands of E. V. Krishna Pillai, N. P. Chellapapan Ramakrishnan, E. M. Kovoor, Vivekanandan, Nair who continued the tradition of the farce, Anand, Punathil Kunjabdulla, to mention a few, Bhattatirippad, K. T. Muhammad, G. Sankara continued the great tradition and gave a new Pillai, N. N. Pillai, Ponkunnam Varkey, Edasseri, direction to the Malayalam novel with their social, Thoppil Bhasi, N. Krishna Pillai, Omchery, K. autobiographical, psychological, stream of Surendran and others, and produced modern plays consciousness, and satirical novels, many of them of fine calibre. However, “progress here has influenced by the development of Western thought lagged behind the headway made by the novel and and techniques of fiction. poetry,” adds Chaitanya (397). Women writers in Malayalam, whose writings Malayalam fiction, like fiction written in other appeared in the late 1890s and the early decades regional languages as well as English in India, of the twentieth century in women’s and other made its appearance in the second half of the magazines and public forums, espoused their nineteenth century. Chaitanya’s in-depth study of concerns about “the status of women, their 3301 www.psychologyandeducation.net PSYCHOLOGY AND EDUCATION (2021) 58(4): 3300-3306 ISSN:00333077 education, aspirations for freedom, work and so Madhavikutty, the renowned Indian English poet on” (Geetha x). Fiction writers like Lalithambika Kamala Das Suraiyya, as the one who dared to Antharjanam, K. Saraswathi Amma and Annie take the road not taken, to venture into the Thayyil, and poets like Balamani Amma, Mary untrodden territory of the woman’s quintessential John Thottam (Sister Benigna), Mary John self and to explore the intimate realities of her life, Koothattukulam and Muthukulam Parvathi, who thereby established a new idiom in Indian poetry wrote in the first half of the twentieth century, had in English and Malayalam fiction for the to brave the rampant male-domination in the delineation of the woman. The inimitable Kamala literary world and face discrimination as they Das who wrote short fiction largely in Malayalam indulged in literary pursuits. Among them, under the nom de plume Madhavikutty, wrote her Lalithambika Antharjanam (1909–1987) whose poetry mostly in English. She is “the oeuvre includes nine volumes of short stories and incomparable author of hundreds of exciting short six collections of poems, is the most prominent. stories that have helped redefine the genre to a Women writers in Malayalam, whose writings considerable extent in Malayalam” (Harris and appeared in the late 1890s and the early decades Ummer vii). Born into an aristocratic South of the twentieth century in women’s and other Malabar Nair family known for its rich literary magazines and public forums, espoused their tradition, as the daughter of V. M. Nair, a former concerns about “the status of women, their managing editor of the widely-circulated education, aspirations for freedom, work and so Malayalam daily Mathrubhumi, and Nalappat on” (Geetha x). In the second half of the twentieth Balamani Amma, the renowned Malayalam poet, century, there appeared the fiction of Rajalekshmi she took to writing like a fish to water and rose to and later, other eminent writers like Kamala Das a pre-eminent position among Indian poets writing (Madhavikutty), Sara Joseph, P.