Too much blood for good literature ‘’Arundhati Roy ‘’

wilayattimes (Jammu and Kashmir)

“The desolated tale of Kashmir has been told through the prism of blood which became the deep plot for literature . The artists too portrayed the trauma of Kashmir, by using different creativeness in form of visual arts, these arts resulted in the formidable success of major exhibitions.’’

By Syed Amin Musvi-Kashmir

“The desolated tale of Kashmir has been told through the prism of blood which became the deep plot for literature . The artists too portrayed the trauma of Kashmir, by using different creativeness in form of visual arts, these arts resulted in the formidable success of major exhibitions.’’

Kashmir has became the Nucleus around which the dominated themes of literature like brutally, oppression, rape, curfews, and all other human disasters revolve. Women are raped, children are orphaned, the massacre of youths. To speak about this desolated Valley, through literature is a war itself against its oppression and to stand in solidarity with the oppressed. This is the noble mission to preserve the blood in form of words, jargons and ideas.

In his second accomplishment novel ‘’The Ministry of Utmost happiness ‘’ Arundhati Roy has said ‘’that too much blood for good literature ‘’ the blood of Kashmir has been used as an ink by the writers of different languages in different genres to lament over the tragedies of Kashmir. Arundhati Roy wanted to take up the issue she has personally believed in. She has always stood for Kashmiris and hence the setting. She depicts the real scenario of Kashmir and the plight of the natives. She wrote:

“Death was everywhere. Death was everything. Career. Desire. Dream. Poetry. Love. Youth itself.

Dying became just another way of living. Graveyards sprang up in parks and meadows, by streams and rivers, in fields and forest glades…near the Line of Control, the speed and regularity with which the bodies turned up, Some were delivered in sacks, some in small polythene bags, just pieces of flash, some hair and teeth”

“The Ministry of utmost happiness” The aftermath of Kashmir has been witnessed by the whole world particularly India, but nothing has been done to solve the issue so far till date. In the beautiful Kashmir graveyards are sprouted like the wailing cry of a widow, in Kashmir where flowers used to sprout, sprouts the blood, the business of Kashmir has declined but the excessive digging of graveyards is in the excellent service. Snuffing out of youths, orphaning children at larger scale as never seen before.

Roy juxtaposes Kashmir and Delhi, using the flashbacks of Tilo, about the opulenced malls swollen with panoramic make-up laundries, imported garments, and much more which otherwise was once occupied by Muslims. Back home in Kashmir we see the blood horizons of South Kashmir. The ledger opens again and again to records the death tolls In the prologue of The’’ Novel ‘’Where do the old birds go to die ” we are introduced to the melancholic place called graveyard.”

She lived in the graveyard like a tree. At dawn she saw the crows off and welcomed the bats home. At dusk she did the opposite. Between shifts she conferred with the ghosts of vultures that loomed in her high branches. She felt the gentle grip of their talons like an ache in an amputated limb. She gathered they weren’t altogether unhappy at having excused themselves and exited from the story.

Roy, has used the powerful metaphors, to reveal the truth about India that this country has turned now like graveyard.

Kashmir has became the Nucleus around which the dominated themes of literature like brutally, oppression, rape, curfews, and all other human disasters revolve. Women are raped, children are orphaned, the massacre of youths.

There are tumultuous experiences of social scourge India has wholly changed. The experiences of people in perspectives of untouchable, outcasts, from marginalized to misunderstood, from war-Torn Kashmir to rebelling Marxists, from one side we see women taking part in challenging areas and from other side we see women being raped, from one side we see domestic abuse while from the other side we see suicide.

Though, it seems Roy wanted to add the allurement of romances here while delivering the Justice with the word ‘’she “ refers Anjum.

But she is confronted with the next question ‘’How to tell a shattered story?

By slowly becoming everybody. No. By slowly becoming everything.

This is precisely the glaring reality that Roy wants to express the pain of desolated states of India, which includes including Kashmir, Gujarat and Telegana besides Roy wants to narrate the agony of the sectarian holocaust like Muslims, Sikhs and Dalit. Here Roy wants to make her novel to console oppressed.

It’s apparent that this is what Roy is doing with her latest novel, becoming everybody and everything, since describing the holocaust of India over minorities.

Since, Roy’s contribution in constructing the new India is just which will be like a rainbow catering colors of secularism is merely a pipeline dream. Though, she donated her booker prize money of God of small things in 1997, to Narmoda Bachao Andolan, a social and inclusive movement protesting the construction of several dams built across a river that flows through three states. The construction meant displacing millions of villagers. Not only did she help the movement financially, she also became an active voice against the government and brought the struggles of marginalized people to the forefront. This struggle of a displaced community shared in the book through a street dwelling security guard whose job is to make sure no one urinates on an advertising space by a public toilet.

Back home, Arundhati Roy, narrates a story which is far fetched of narrating, Roy adopts character of a three year old girl who wants her father to narrate a story in which no appearance of any witch and jungle is seen.

Akh daleela wann Yeth manz ne kahn balai aasi! Na aes soh kunni junglaz manz rozaan!

” Tell me a story, in which no witch is seen and didn’t live in the jungle “

The old fair- tales will not cut it anymore. As for real stories, the father can no longer tell what is real and what is a story.

Portraying, the desolation Kashmir in her novel Arundhati Roy makes Tollotama ‘’Tillo’’ instrumental by representing herself who during her college time had deep friendship. Tilo’s love affair with Musa draws her to Kashmir where the army tortures Kashmiris seeking freedom and labels them jihadis. Musa has become a freedom fighter after his wife and daughter, Miss Jabeen, are killed by the Indian army while watching a funeral parade of Kashmiri. Tilo is detained by the occupying Indian army and is being interrogated by the notorious torturer Amrik Singh when she is rescued by Dasgupta and Naga. Tilo marries Naga to avoid the Indian government forces but eventually separates from Naga and becomes the keeper of Musa’s secrets. Tilo’s path crosses that of Anjum and Saddam at a massive protest rally at Jantar Mantar where numerous groups from Kashmiri mothers of the  isappeared to Maoists fighters and Bhopal gas tragedy victims have gathered to protest corruption and seek redress for various injustices. At this rally, an abandoned baby girl becomes the object of both Anjum and Tilo’s interest and Tilo kidnaps the baby. Tilo’s desire to ensure the baby’s safety and Anjum’s desire to raise her.

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