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The Taming of Women
As Anandhayi gives birth to her fifth child downstairs, with only her ancient mother-in-law for help, upstairs her husband Periyannan sleeps with a woman he has summoned to spend the night with him. Women of many generations live in that house at the end of the road, with the tyrannical and charismatic Periyannan always trying to bring them under his control. Voracious in his appetites, for both power and sex, Periyannan is a domineering antagonist to the tender but tenacious Anandhayi.
In her most celebrated novel, Sivakami vividly evokes a world where women and men are in constant conflict, scrambling for the little power to which they can hold on. It is her superb satiric eye—capturing in comic vignettes of exquisite detail the life of women in a village transforming into a small town—that brings relief to this bleak, blistering vision of humanity, leaving the reader simultaneously amused and devastated.
In her most celebrated novel, Sivakami vividly evokes a world where women and men are in constant conflict, scrambling for the little power to which they can hold on. It is her superb satiric eye—capturing in comic vignettes of exquisite detail the life of women in a village transforming into a small town—that brings relief to this bleak, blistering vision of humanity, leaving the reader simultaneously amused and devastated.
264 pages, Paperback
First published August 1, 2012
5 people are currently reading
237 people want to read
About the author
P. Sivakami
8 books7 followersP.Sivakami (ப. சிவகாமி - தமிழ்விக்கி பக்கம்) is an Indian Dalit-Feminist writer, former IAS officer and activist predominantly writing in Tamil. Her notable works include Pazhayana Kazhidalum, Kurruku Vettu, Nalum Thodarum and Kadaisi Mandhar. Apart from being one of the most prominent Dalit novelists in India, she has also constantly voiced her opinions on contemporary social and political issues. An author of six novels and more than 60 short stories. P. Sivakami has regularly kept in touch with editing and has actively contributed to the monthly magazine Puthiya Kodangi since 1995.
Since 1995, she has been centrally involved in the publication of the literary journal Puthiya Kodangi and has a lively investment in issues that touch Dalit and other backward castes and women in Tamil Nadu. She is the first Tamil Dalit Woman to write a novel Pazhiyana Kazhidalum in 1989. A literary and commercial success, the novel created a stir by taking on patriarchy in the Dalit movement. The novel is translated by the author herself and published in English as The Grip of Change (2006). Her second novel Anandhayi is about the violent treatment of women and was translated into English by Pritham K Chakravarthy as The Taming of Women in 2011. Her first poetry collection, Kadhavadaippu, was published in October 2011. Sivakami has written four critically acclaimed novels, all of them centred on Dalit and Feminist themes. She has written numerous short stories and poems focusing on similar issues. Sivakami's novels portray the rustic story of women who suffer at the hands of men who strongly believe in and stand for patriarchy. The conflicts and struggles are between tenacious women and tyrannical men in the contemporary society.
Sivakami made a short film Ooodaha (Through) based on a story written by one of her friends. Set in 1995, it was selected by the National Panorama and won the President Award the same year.
Since 1995, she has been centrally involved in the publication of the literary journal Puthiya Kodangi and has a lively investment in issues that touch Dalit and other backward castes and women in Tamil Nadu. She is the first Tamil Dalit Woman to write a novel Pazhiyana Kazhidalum in 1989. A literary and commercial success, the novel created a stir by taking on patriarchy in the Dalit movement. The novel is translated by the author herself and published in English as The Grip of Change (2006). Her second novel Anandhayi is about the violent treatment of women and was translated into English by Pritham K Chakravarthy as The Taming of Women in 2011. Her first poetry collection, Kadhavadaippu, was published in October 2011. Sivakami has written four critically acclaimed novels, all of them centred on Dalit and Feminist themes. She has written numerous short stories and poems focusing on similar issues. Sivakami's novels portray the rustic story of women who suffer at the hands of men who strongly believe in and stand for patriarchy. The conflicts and struggles are between tenacious women and tyrannical men in the contemporary society.
Sivakami made a short film Ooodaha (Through) based on a story written by one of her friends. Set in 1995, it was selected by the National Panorama and won the President Award the same year.
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Displaying 1 - 7 of 7 reviews
April 21, 2017
There's nothing redeeming in the rural life. This book was a wonderful landscape into the myriad existence of women, especially Anandhayi and Lakshmi and how patriarchy trampled them in all possible manner. The juxtaposition of creeping industrialization and Christianity into their rural midst also provides a wonderful insight into their lives. The book's mention of religion and caste never feels underplayed or forced either. It rather states things as is.
One of those books that tells you that there's no tying up of loose ends every time. It's always just a chapter into a larger existence. A beautiful Bildungsroman if it can be called that.
One of those books that tells you that there's no tying up of loose ends every time. It's always just a chapter into a larger existence. A beautiful Bildungsroman if it can be called that.
May 26, 2021
There is no overt statement in P Sivakami’s book. It depicts rural Tamil Nadu without the veneer that Hindi and Tamil cinema often apply to rural settings. The first female Tamil Dalit novelist, P Sivakami is a former IAS officer. Her observations of the life and rhythms of rural Tamil Nadu are real and stark.
The book features three generations of women, Anandhayi, her mother-in-law, and her daughters. There is also an almost overwhelming cast of other characters whose lives intermingle with that of Anandhayi and her family. The commonality in their lives seems to be unceasing violence, physical and emotional, inflicted by men. The men and their behaviour also pits the women against each other.
And this is a cycle that keeps repeating itself. One of the most poignant images of this is that at the beginning of the book, we see Anandhayi’s mother-in-law occupying the thinnai and by the end of the book, her largely immobile and physically degenerating space on the thinnai is taken by Anandhayi.
I am not a fan of the translation. Some bits were too literal in my opinion and the resulting awkwardness did make certain passages a little tedious. However, overall, I think, the mood of the book has been captured.
I now want to read Sivakami’s first book, which she herself translated. It would make for an interesting comparison, I think.
The book features three generations of women, Anandhayi, her mother-in-law, and her daughters. There is also an almost overwhelming cast of other characters whose lives intermingle with that of Anandhayi and her family. The commonality in their lives seems to be unceasing violence, physical and emotional, inflicted by men. The men and their behaviour also pits the women against each other.
And this is a cycle that keeps repeating itself. One of the most poignant images of this is that at the beginning of the book, we see Anandhayi’s mother-in-law occupying the thinnai and by the end of the book, her largely immobile and physically degenerating space on the thinnai is taken by Anandhayi.
I am not a fan of the translation. Some bits were too literal in my opinion and the resulting awkwardness did make certain passages a little tedious. However, overall, I think, the mood of the book has been captured.
I now want to read Sivakami’s first book, which she herself translated. It would make for an interesting comparison, I think.
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May 8, 2015Through this fiction, the author gives a panoramic view of the life in rural Tamil Nadu during the latter decades of 20th century. The story-line focuses on the central character Anandhayi who witnesses with indignation as the exercise of absolute control by the patriarch of the household reduces the other members into mere puppets. Parallel events like industrialization, spread of other faiths, change of landscape and its climactic impact, etc are woven into the narrative and evoke a feeling of reliving the era. This book reminds us of the long way the Indian society has come in diminishing the aristocratic power held by patriarchs in families and subsequent improvement in the treatment of other members especially women in the household. Certainly not a must-read book, but enjoyable on lazy afternoon.
September 6, 2022
A lot of things to complain about. While also a lot of things to marvel about.
The story was in no way captivating to keep us on our toes or to want us to turn the next page. But, I think half of the narration would have been lost to translation, as I could clearly see wide gaps between the intended phrase in Tamil, which lost its lustre when translated to English. The translation could have been way better, and that sure lost some golden points to the book. I think the way the story was taken forward, could have been better. A lot of characters are introduced haywire, all of a sudden, without the reader's expectation and most importantly, amidst a serious ongoing drama. I had to pull myself back from skipping all such parallel storylines at times. The worst part is, that those parallel storylines, rarely add any flesh or point to the main story.
Now to the good things. The characters. The main characters, Lakshmi and Anandhayi. The two women protagonists and the male antagonist. I fell in love with both women, though they are almost opposite in their individual personalities. I liked how every character had a history that added depth to their actions and thoughts. Most importantly, the books helped paint a picture of what it means to be a woman in a stratum of society that differs in class and privilege. It also helped me realise how the feminism that we talk about and preach is far removed from the daily happenings of the lives of such women. Simultaneously also, how such feministic ideals also arise in the minds of women but it is only with privilege that, those have the opportunity to see the light.
The story was in no way captivating to keep us on our toes or to want us to turn the next page. But, I think half of the narration would have been lost to translation, as I could clearly see wide gaps between the intended phrase in Tamil, which lost its lustre when translated to English. The translation could have been way better, and that sure lost some golden points to the book. I think the way the story was taken forward, could have been better. A lot of characters are introduced haywire, all of a sudden, without the reader's expectation and most importantly, amidst a serious ongoing drama. I had to pull myself back from skipping all such parallel storylines at times. The worst part is, that those parallel storylines, rarely add any flesh or point to the main story.
Now to the good things. The characters. The main characters, Lakshmi and Anandhayi. The two women protagonists and the male antagonist. I fell in love with both women, though they are almost opposite in their individual personalities. I liked how every character had a history that added depth to their actions and thoughts. Most importantly, the books helped paint a picture of what it means to be a woman in a stratum of society that differs in class and privilege. It also helped me realise how the feminism that we talk about and preach is far removed from the daily happenings of the lives of such women. Simultaneously also, how such feministic ideals also arise in the minds of women but it is only with privilege that, those have the opportunity to see the light.
August 11, 2025
I read "Aanandhaayi" in Tamil and it was well worth it. I haven't read this translation, and I can see how some dialects/words may be lost in translation. But, I'm sure the context would not be lost even in translation - the story and characters have been depicted in blatant realism.
This is not a story about hope/justice/retribution. It is simply the lived reality of Aanandhayi, and her world of husband, mother-in-law, children, relations and both house and farm work. It is not necessarily about poverty or bonded labor, and there are moments of joy, humor, and slightly functional household.
However, Aanandhayi lives in a world where violence against women is the default strategy, and lives are managed in constant fear. "Learned helplessness" is what comes to mind when reading this novel.
Some connections between a family and the larger community are also explored : inter-faith relations, property dispute, rivalry among clans, elections. And the climax was also open-ended suggesting a cycle that will continue in a similar household elsewhere.
This is not a story about hope/justice/retribution. It is simply the lived reality of Aanandhayi, and her world of husband, mother-in-law, children, relations and both house and farm work. It is not necessarily about poverty or bonded labor, and there are moments of joy, humor, and slightly functional household.
However, Aanandhayi lives in a world where violence against women is the default strategy, and lives are managed in constant fear. "Learned helplessness" is what comes to mind when reading this novel.
Some connections between a family and the larger community are also explored : inter-faith relations, property dispute, rivalry among clans, elections. And the climax was also open-ended suggesting a cycle that will continue in a similar household elsewhere.
March 9, 2022
Did not finish. Got to page 15 & gave up. This book was boring & confusing & gave me no reason to care. Sadly I really wanted to like it. But I didn’t.
September 7, 2012
Read this, read this, read this.
Displaying 1 - 7 of 7 reviews