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அம்பை சிறுகதைகள் #3
In A Forest, A Deer: Stories by Ambai
Ambai, one of the finest modern Tamil short-story writers, is much read, discussed and written about, and loved for the wit, innovative story-telling, and lyrical grace of her writing.
Breaking traditional modes of expression in terms of language and content, In a Forest, a Deer recounts the saga of Tangam Athai, whose husband remarried because she could not bear him a child and Chinthiru's journey to the forest alongside the mythological tale of Sita's exile to underscore
Chinthiru's unique search for self-identity. Winner of the Hutch Crossword Book Award 2006, this collection is an enduring testimony of the ideology and belief that Ambai's writings affirm-the need to know and be in touch with a stable or 'grounded' self that allows fluidity and change in modern
times of travel, dislocation, and exile.
Breaking traditional modes of expression in terms of language and content, In a Forest, a Deer recounts the saga of Tangam Athai, whose husband remarried because she could not bear him a child and Chinthiru's journey to the forest alongside the mythological tale of Sita's exile to underscore
Chinthiru's unique search for self-identity. Winner of the Hutch Crossword Book Award 2006, this collection is an enduring testimony of the ideology and belief that Ambai's writings affirm-the need to know and be in touch with a stable or 'grounded' self that allows fluidity and change in modern
times of travel, dislocation, and exile.
218 pages, Hardcover
First published January 1, 2000
19 people are currently reading
479 people want to read
About the author
Ambai
38 books72 followersAmbai (nom de plume of C. S. Lakshmi), is a historian, an independent Women's Studies researcher, and a feminist writer in Tamil. She obtained her Bachelor of Arts from Madras Christian College and MA in Bangalore and her PhD from Jawaharlal Nehru University, New Delhi. Her dissertation was on American policy towards refugees fleeing Hungary due to the failed revolution of 1956. After completing her education, she worked as a school teacher and college lecturer in Tamil Nadu. She is married to Vishnu Mathur, a film maker, and lives in Mumbai.
In 1962, Ambai published her first work Nandimalai Charalilae (lit. At Nandi Hills) – written when she was still a teenager. Her first serious work of fiction was the Tamil novel Andhi Maalai (lit. Twilight) published in 1966. She received critical acclaim with the short story Siragukal muriyum (lit. Wings Will be Broken) (1967) published in the literary magazine Kanaiyazhi. This story was later published in book form as a part of short story collection under the same name in 1976. The same year she was awarded a two-year fellowship to study the work of Tamil women writers. The research work was published as The Face behind the mask (Advent Books) in 1984. In 1988, her second Tamil short story collection titled Veetin mulaiyil oru samaiyalarai (lit. A Kitchen in the Corner of the House) was published. This established her reputation as a major short story writer.
Her work is characterised by her feminism, an eye for detail, and a sense of irony. Some of her works – A Purple Sea (1992) and In A Forest, A Deer (2006) – have been translated to English by Lakshmi Holmström. For her contributions to Tamil literature, she received the 2008 Iyal Virudhu (Lifetime Achievement Award) awarded by the Canada-based Tamil Literary Garden. She is currently the Director of SPARROW (Sound & Picture Archives for Research on Women).
In 1962, Ambai published her first work Nandimalai Charalilae (lit. At Nandi Hills) – written when she was still a teenager. Her first serious work of fiction was the Tamil novel Andhi Maalai (lit. Twilight) published in 1966. She received critical acclaim with the short story Siragukal muriyum (lit. Wings Will be Broken) (1967) published in the literary magazine Kanaiyazhi. This story was later published in book form as a part of short story collection under the same name in 1976. The same year she was awarded a two-year fellowship to study the work of Tamil women writers. The research work was published as The Face behind the mask (Advent Books) in 1984. In 1988, her second Tamil short story collection titled Veetin mulaiyil oru samaiyalarai (lit. A Kitchen in the Corner of the House) was published. This established her reputation as a major short story writer.
Her work is characterised by her feminism, an eye for detail, and a sense of irony. Some of her works – A Purple Sea (1992) and In A Forest, A Deer (2006) – have been translated to English by Lakshmi Holmström. For her contributions to Tamil literature, she received the 2008 Iyal Virudhu (Lifetime Achievement Award) awarded by the Canada-based Tamil Literary Garden. She is currently the Director of SPARROW (Sound & Picture Archives for Research on Women).
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October 25, 2017
It's rare that I give a book of short stories five stars. This one is a cohesive whole. Beautifully translated from Tamil by Lakshmi Holmstrom, Ambai's stories are gentle but astute slices of Indian life. There is a fierce feminism & egalitarianism in her work, attentive to social injustice. Brimming with references to Tamil culture and Indian epics and myths. Lovingly rendered natural landscapes. Generous and compassionate in its depiction of humanity.
February 2, 2018
In a Forest, a Deer is a collection of short stories written by famed writer Ambai, translated from Tamil by Lakshmi Holmstrom. I had been intrigued by the writer with this beautiful nom de plume for a long time. And this book came to me as a Christmas gift from a dear friend.
The book is a collection of eighteen interesting stories. I dived into the stories headlong, deliberately without reading any of the introductory notes. With new authors, I usually like to do the ‘discoveries’ myself. And what a revelation it was! Free of all feminist tropes, these stories are fresh, contemporary and very relevant. These are not stories of wonder-women but regular, everyday women who sparkle in their quiet, mundane existences.
Ambai uses a wide variety of themes and styles. One and Another explores unusual relationships. Vaaganam is a humorous take on the strong desire to own a vehicle, which in turn translates into freedom. Wrestling and Journey 3 have poignant thoughts wrapped in an organza of humour. A Rat, a Sparrow is a fantastic story about a ‘Madrasi’ trying to settle down in Bombay. Ambai walks us through communal tension in Direction and A Movement, a folder, some tears. A Movement… was a very difficult read, despite creative styles and techniques like flashback, an email and even an email attachment. My personal favourite is Parasakthi and Others in a Plastic Box, about the gossamer bonds that weave a mother and her two daughters together. It moved me to tears. Here again, she uses the medium of letters to tell us the story. Forest is perhaps the best example of the brilliant literary spark of this writer. It flits gracefully between mythology and contemporary. Though all stories have a broad theme, each story delicately spreads out bunches of different thoughts, ideas and sub-themes, just like beautifully set pleats that enhance the grace of a saree. Ambai’s storytelling has an almost lyrical quality to it, with generous use of images and metaphors.
Ambai’s women are quirky, strong, independent and free, in their own capacities—physically, mentally or at least spiritually. There’s a tiny little story within a story in Direction, called For Lakshmi too, an Adishesha. Read that and you will understand the strength of Ambai’s unbridled imagination. Goddess Lakshmi is tired of sitting at Vishnu’s feet all the time. She is miffed about all the unfairness around her and feels she deserves her own Adishesha too! I have never read anything quite like it. Another thing I will not forget about the characters is their very Tamil names, not of Goddesses but of nature and human virtues. There is Kumudha, Shenbagam, Thangam, Dhanam, Thirumagal, Chendhiru, Senthamarai and many more. The men have more regular names.
Every time I read a translation, I stop for a bit to think about the translator. I will say it now and will say it again, translation is one of the most difficult forms of all writing. Lakshmi Holmstorm has done a wonderful job of it in this collection. I don’t know if it was about the translation or if it was because I happen to know Tamil, but I found myself re-translating the lines back into Tamil in my head as I read the few couple of stories. It all settled down beautifully after the third/fourth story and they read like stories originally written in English. A pond filled with lotuses. Each lotus as wide as mother’s lap. Each lotus made up of a thousand, thousand petals is a gem of an expression. I am now curious to find out what it was in Tamil and if it was as beautiful. There’s another place where she says, “as white as white can be” which I am sure was “vella-veleyr” , an adjective peculiar to Tamilnadu. Having grown up listening to such local peculiarities, I never imagined it could be expressed in English so well. What I also like is a neat little glossary at the end of the book and sometimes at the end of a story. The editors have thankfully not messed up the pages with a mosaic of symbols and legends. I am curious to find out why the translator has chosen to use the Hindi word choli to describe a blouse that is worn with a saree. Also why did she choose to spell the musical instrument Veena or Veenai, as Vinai and Vina in some places. Doesn’t Vinai, with the short i sound connote an evil deed? The names of some actors are also incorrect like M T Rama Rao for N T Rama Rao (they got it right in the second instance) and K P Sundarambal for K B Sundarambal. I shouldn’t nit-pick.
I believe that those who’ve been fortunate enough to travel much (by circumstance or choice) stand to gain a wide knowledge of languages, customs, religious practices, quirks of different communities and also become open to appreciate different styles of cuisines and music. Then there are those who learn and develop all of these without stepping out of their zipcode. These are people who read extensively. And if a writer has one or both these opportunities, the writing becomes truly rich. Even while I was reading the stories, Ambai seemed to be doubly blessed thus. Only when I read her biography after completing the book did I learn that my guess was right. She has travelled much and is a voracious reader. Somehow, luckily for me, many books I have been reading these days have copious references to music. So does this book. The references range from Raavana’s Kambodhi, Tiruppavai, Andal Paasuram, Bhimsen Joshi to Gangubai Hangal. Oh and she loves talking in detail about food. Be it paruppu thogayal or a Maharashtrian millet roti. The kitchens are not the domains of only women. A character’s father could make a hundred varieties of chutneys. Ambai’s protagonists believe in God but are not god-fearing. They are highly spiritual but not very religious. The ring-side views and the first-person accounts do give a pleasurable intimacy but somewhere at the half-way mark, the mind craves to see a wider canvas. As if the writer/editor read your mind, things begin to get interesting soon.
In a Forest, a Deer is overall, a wonderful compilation of enjoyable and thought provoking stories. A must-read if you are looking at exploring a new ethos, a new voice that is strong and vibrant but not shrill. Will I be right in saying she is India’s (or at least Tamilnadu’s) answer to Chimamanda Ngozi Adichie? While I do my research, I will leave you with some quotes from the book.
Brahmacharya, samsara, vanaprastha and sanyasa—must these all happen at separate times and stages?... Why could they not all be mingled together?
Everything comes down to sruti, getting the pitch right, doesn’t it? We speak of sur, being in tune. Who then is an asur? Not someone with crooked teeth and ten heads, but one who is ignorant of sur. A-sur. Because such a thing as sur isn’t resonating within them, they run away with themselves without subjecting their impulses or their strength or their direction to any discipline. They are not reined in by their sur.
There was another friend who insisted on telling jokes after having downed three pegs of rum. ‘I’m going to act like a Madrasi’, he proclaimed loudly….He laughed at his own performance. Nobody else laughed with him. Vijay went up to him and whispered something. He looked at her and said, grinning away, ‘It was only in fun. I like the temples in Tamil Nadu very much. Then dosa, vada, idli,’ he drawled stressing the ‘d’. “Saniyane,’ she said…Only Amulyo understood what she said.
The book is a collection of eighteen interesting stories. I dived into the stories headlong, deliberately without reading any of the introductory notes. With new authors, I usually like to do the ‘discoveries’ myself. And what a revelation it was! Free of all feminist tropes, these stories are fresh, contemporary and very relevant. These are not stories of wonder-women but regular, everyday women who sparkle in their quiet, mundane existences.
Ambai uses a wide variety of themes and styles. One and Another explores unusual relationships. Vaaganam is a humorous take on the strong desire to own a vehicle, which in turn translates into freedom. Wrestling and Journey 3 have poignant thoughts wrapped in an organza of humour. A Rat, a Sparrow is a fantastic story about a ‘Madrasi’ trying to settle down in Bombay. Ambai walks us through communal tension in Direction and A Movement, a folder, some tears. A Movement… was a very difficult read, despite creative styles and techniques like flashback, an email and even an email attachment. My personal favourite is Parasakthi and Others in a Plastic Box, about the gossamer bonds that weave a mother and her two daughters together. It moved me to tears. Here again, she uses the medium of letters to tell us the story. Forest is perhaps the best example of the brilliant literary spark of this writer. It flits gracefully between mythology and contemporary. Though all stories have a broad theme, each story delicately spreads out bunches of different thoughts, ideas and sub-themes, just like beautifully set pleats that enhance the grace of a saree. Ambai’s storytelling has an almost lyrical quality to it, with generous use of images and metaphors.
Ambai’s women are quirky, strong, independent and free, in their own capacities—physically, mentally or at least spiritually. There’s a tiny little story within a story in Direction, called For Lakshmi too, an Adishesha. Read that and you will understand the strength of Ambai’s unbridled imagination. Goddess Lakshmi is tired of sitting at Vishnu’s feet all the time. She is miffed about all the unfairness around her and feels she deserves her own Adishesha too! I have never read anything quite like it. Another thing I will not forget about the characters is their very Tamil names, not of Goddesses but of nature and human virtues. There is Kumudha, Shenbagam, Thangam, Dhanam, Thirumagal, Chendhiru, Senthamarai and many more. The men have more regular names.
Every time I read a translation, I stop for a bit to think about the translator. I will say it now and will say it again, translation is one of the most difficult forms of all writing. Lakshmi Holmstorm has done a wonderful job of it in this collection. I don’t know if it was about the translation or if it was because I happen to know Tamil, but I found myself re-translating the lines back into Tamil in my head as I read the few couple of stories. It all settled down beautifully after the third/fourth story and they read like stories originally written in English. A pond filled with lotuses. Each lotus as wide as mother’s lap. Each lotus made up of a thousand, thousand petals is a gem of an expression. I am now curious to find out what it was in Tamil and if it was as beautiful. There’s another place where she says, “as white as white can be” which I am sure was “vella-veleyr” , an adjective peculiar to Tamilnadu. Having grown up listening to such local peculiarities, I never imagined it could be expressed in English so well. What I also like is a neat little glossary at the end of the book and sometimes at the end of a story. The editors have thankfully not messed up the pages with a mosaic of symbols and legends. I am curious to find out why the translator has chosen to use the Hindi word choli to describe a blouse that is worn with a saree. Also why did she choose to spell the musical instrument Veena or Veenai, as Vinai and Vina in some places. Doesn’t Vinai, with the short i sound connote an evil deed? The names of some actors are also incorrect like M T Rama Rao for N T Rama Rao (they got it right in the second instance) and K P Sundarambal for K B Sundarambal. I shouldn’t nit-pick.
I believe that those who’ve been fortunate enough to travel much (by circumstance or choice) stand to gain a wide knowledge of languages, customs, religious practices, quirks of different communities and also become open to appreciate different styles of cuisines and music. Then there are those who learn and develop all of these without stepping out of their zipcode. These are people who read extensively. And if a writer has one or both these opportunities, the writing becomes truly rich. Even while I was reading the stories, Ambai seemed to be doubly blessed thus. Only when I read her biography after completing the book did I learn that my guess was right. She has travelled much and is a voracious reader. Somehow, luckily for me, many books I have been reading these days have copious references to music. So does this book. The references range from Raavana’s Kambodhi, Tiruppavai, Andal Paasuram, Bhimsen Joshi to Gangubai Hangal. Oh and she loves talking in detail about food. Be it paruppu thogayal or a Maharashtrian millet roti. The kitchens are not the domains of only women. A character’s father could make a hundred varieties of chutneys. Ambai’s protagonists believe in God but are not god-fearing. They are highly spiritual but not very religious. The ring-side views and the first-person accounts do give a pleasurable intimacy but somewhere at the half-way mark, the mind craves to see a wider canvas. As if the writer/editor read your mind, things begin to get interesting soon.
In a Forest, a Deer is overall, a wonderful compilation of enjoyable and thought provoking stories. A must-read if you are looking at exploring a new ethos, a new voice that is strong and vibrant but not shrill. Will I be right in saying she is India’s (or at least Tamilnadu’s) answer to Chimamanda Ngozi Adichie? While I do my research, I will leave you with some quotes from the book.
Brahmacharya, samsara, vanaprastha and sanyasa—must these all happen at separate times and stages?... Why could they not all be mingled together?
Everything comes down to sruti, getting the pitch right, doesn’t it? We speak of sur, being in tune. Who then is an asur? Not someone with crooked teeth and ten heads, but one who is ignorant of sur. A-sur. Because such a thing as sur isn’t resonating within them, they run away with themselves without subjecting their impulses or their strength or their direction to any discipline. They are not reined in by their sur.
There was another friend who insisted on telling jokes after having downed three pegs of rum. ‘I’m going to act like a Madrasi’, he proclaimed loudly….He laughed at his own performance. Nobody else laughed with him. Vijay went up to him and whispered something. He looked at her and said, grinning away, ‘It was only in fun. I like the temples in Tamil Nadu very much. Then dosa, vada, idli,’ he drawled stressing the ‘d’. “Saniyane,’ she said…Only Amulyo understood what she said.
Read
October 7, 2018In a Forest, a Deer - a collection of short stories published by Ambai over ten years in different magazines - are slices from ordinary lives. Some go deep while some are a little spread out in time. The protagonist of the stories are women and most of the stories have some aspects of cognition towards injustice baked into them. Some truth that we see every day but not necessarily reflect on, the way some of the characters have done in these stories.
Lakshmi Holmstrom has been a fantastic translator and may have enriched this literary work of Ambai even more.
There's a glossary of non-English words used in the text, at the end of the book.
Lakshmi Holmstrom has been a fantastic translator and may have enriched this literary work of Ambai even more.
There's a glossary of non-English words used in the text, at the end of the book.
September 13, 2017
CS Lakshmi, who writes under the pen name of Ambai is one of the best Tamil short story writers. And this collection is no different.Special mention ought to be made of the stories 'wrestling' and 'in a forest a deer'. To convey the exact thoughts of the original work during translation is tough; one needs a sensitive translator like Lakshmi Holmstrom ( who died recently) to do due justice. Read this as a tribute to Holmstrom whose death is a big loss to the world of Tamil literature.
May 23, 2020
A collection of short stories, and my first read of the author. I have heard about her, more so her sharp words, and read this without much of an expectation, in fact zero.
But the stories, her language, the ease with which she uses her words, literally like swords, sharp ones at that, the cuts are so swiftly made like a master craftsman, cuts deep, and moves on to the next target without much fanfare. Also she presents a honest view instead of the general one, and keeps it all crisp.
Simply amazed. One of my best reads in recent days.
But the stories, her language, the ease with which she uses her words, literally like swords, sharp ones at that, the cuts are so swiftly made like a master craftsman, cuts deep, and moves on to the next target without much fanfare. Also she presents a honest view instead of the general one, and keeps it all crisp.
Simply amazed. One of my best reads in recent days.
April 29, 2022
I have been reading this collection of short stories written by Ambai - translated from Tamil - along with Geetanjali Shree’s Booker shortlisted novel, रेत समाधि (Tomb of Sand), translated from Hindi. I will post a separate review of Shree’s novel after I finish it however I am struck by the harmonization of both these books despite differences in writing style, format, and length. Both books are deeply erudite and layered works by feminists and humanists whose voices are important facets of modern writing in India. And both books examine the artificial nature of boundaries, whether if gender, class, religion, or nationhood.
Ambai’s collection of stories are deeply sensuous- filled with rich allusions to art, music, literature, and food ( be warned - you may find yourself craving the spices, herbs, and curries from across India as you read this collection). She is unfailingly lyrical without compromising her ability to take conservative viewpoints or texts (an epic such as the Ramayana, for example) and subvert them into feminist/humanist narratives. She writes with equal beauty and lyricism against the scourges of caste, religious sectarianism, homophobia, and capitalism. I only wish that my Tamizh were up to the task of reading this in the original. Suffice it to say that this will not be the last of Ambais work I will read. Five stars plus plus plus!
Ambai’s collection of stories are deeply sensuous- filled with rich allusions to art, music, literature, and food ( be warned - you may find yourself craving the spices, herbs, and curries from across India as you read this collection). She is unfailingly lyrical without compromising her ability to take conservative viewpoints or texts (an epic such as the Ramayana, for example) and subvert them into feminist/humanist narratives. She writes with equal beauty and lyricism against the scourges of caste, religious sectarianism, homophobia, and capitalism. I only wish that my Tamizh were up to the task of reading this in the original. Suffice it to say that this will not be the last of Ambais work I will read. Five stars plus plus plus!
August 24, 2021
In a Forest, A Deer is a book that I enjoyed a lot recently. With me reading heavy reads right and left, it brought the much needed lightness. I have always liked Ambai's writing for it's crisp prose and feminist thoughts. And this one didn't disappoint me on that front.
Ambai's women are the blueprint of the new age women envisioned by Bharathi. The beauty of her writing lies in the way she doesn't overdoes it. There is no hypocrisy here as women breaking the rules where men are held in a spotlight. Men and women are equally feminists, equally nurturing and equally oppressing as well. And one can't ignore the role food and music plays in this book to break the oppression.
Food is used here as a tool to nurture a person and also to break the norms. Food is used here to build and destroy a relationship as well. By sharing Food, Ambai's women are breaking away from the shackles of patriarchal norms. And one can't ignore how music and poems enhance these thoughts.
Out of all the stories, I loved the last one A Movement, A Folder, A Tears a lot. This is the last the story in the collection that packs a punch. Set in the backdrops of Babar Masjid demolition, we follow 3 women who are finding different fates by closing their NGO. It's a poignant tale of betrayal, love, pain and empowerment.
While in current times, these stories may sound lame, one can't ignore the fact that they are published as early as 1990's. It is radical and liberating for those times. I urge you to keep that in mind while reading this book.
It also brought back a lot of nostalgic moments with my paatti (grandma) and the fun I had as a child. Overall, this is a book you can read just for the sheer joy of nostalgia and of course, to learn about Tamil culture. I didn't write many things about it as the introduction of this book has a detailed explanation of sorts. Reading this book left me yearning for a normal happy families with healthy relationships and
Ambai's women are the blueprint of the new age women envisioned by Bharathi. The beauty of her writing lies in the way she doesn't overdoes it. There is no hypocrisy here as women breaking the rules where men are held in a spotlight. Men and women are equally feminists, equally nurturing and equally oppressing as well. And one can't ignore the role food and music plays in this book to break the oppression.
Food is used here as a tool to nurture a person and also to break the norms. Food is used here to build and destroy a relationship as well. By sharing Food, Ambai's women are breaking away from the shackles of patriarchal norms. And one can't ignore how music and poems enhance these thoughts.
Out of all the stories, I loved the last one A Movement, A Folder, A Tears a lot. This is the last the story in the collection that packs a punch. Set in the backdrops of Babar Masjid demolition, we follow 3 women who are finding different fates by closing their NGO. It's a poignant tale of betrayal, love, pain and empowerment.
While in current times, these stories may sound lame, one can't ignore the fact that they are published as early as 1990's. It is radical and liberating for those times. I urge you to keep that in mind while reading this book.
It also brought back a lot of nostalgic moments with my paatti (grandma) and the fun I had as a child. Overall, this is a book you can read just for the sheer joy of nostalgia and of course, to learn about Tamil culture. I didn't write many things about it as the introduction of this book has a detailed explanation of sorts. Reading this book left me yearning for a normal happy families with healthy relationships and
September 28, 2012
A cllection of short stories...This is turning out to be a very interesting read.. especially because of the fact that several stories refer to songs in Carnatic music. This and the fact that woman are protagnists in most stories, makes me relate to it immensely. I liked the cosmopolitan approach of the writer, dealing with the heroine of the story living in different locales of India. This brings in the blending of the different cultures of the country, although in thought and mind they all have a common Indianess..
The last of the stories payanam-3 was an interesting parellel of the life of Sita of Ramayana with a woman's life in current times.. an interseting twist to the epic story is given by Ambai, in this piece.. that Sita goes to the forest after being tested for fidelity by Rama for the second time and finally meets Ravana who now teaches her to play the Veena.
The last of the stories payanam-3 was an interesting parellel of the life of Sita of Ramayana with a woman's life in current times.. an interseting twist to the epic story is given by Ambai, in this piece.. that Sita goes to the forest after being tested for fidelity by Rama for the second time and finally meets Ravana who now teaches her to play the Veena.
December 19, 2011
Wonderful collection of stories by Ambai translated from the Tamizh originals by Lakshmi Holmstrom.
I heard about a story called Forest that's part of this collection and is based on the Ramayana. I simply had to read it. Looked for friends with a copy, but finally succumbed when I saw it at the bookstore.
Ambai's stories in this collection are so intrinsically Tamizh in their references, yet there are influences from Karnataka, Andhra Pradesh and Maharashtra. Now I intend reading my favourites among these in the Tamizh original.
I didn't realise how immense a storehouse of language literature we have in India - and to think it's all accessible in well-translated editions.
I heard about a story called Forest that's part of this collection and is based on the Ramayana. I simply had to read it. Looked for friends with a copy, but finally succumbed when I saw it at the bookstore.
Ambai's stories in this collection are so intrinsically Tamizh in their references, yet there are influences from Karnataka, Andhra Pradesh and Maharashtra. Now I intend reading my favourites among these in the Tamizh original.
I didn't realise how immense a storehouse of language literature we have in India - and to think it's all accessible in well-translated editions.
October 13, 2008
Great one! Cant explain more on this one.
Read
February 22, 2016A great book, several short stories that I loved, others that I just liked, but none that I did not enjoy. I loved that there were women protagonists, and a gay couple in here.
November 30, 2021
In this short story collection by Ambai, the various feminine thoughts and lives are depicted in seemingly simpler ways.
In Payanam Ondru , a women protagonist travelling alone in a bus gets disturbed by a variety of factors, including a toddler who urinates on her dress, which then leads to the strangers inadvertently commenting on her absence of the supposed feminine traits, motherhood and marriage. In Payanam irandu , she along with her peculiar travel companion Dinakaran meets a friend Lisi, who might be her friend's lover. Oruvar Mattrovur depicts a gay relationship between Arulan and the painter Matthew Nadan, who does a wonderful painting of a boy Veeru. Ottaka Savari is situated in Mumbai and draws parallels between an Ali (a transgender) and a camel.
In Dicku , which for me is the best work in this collection, the changes that have occurred since the Babri Masjid is the focus. Jai Ramjhi ki has become Jai Shri Ram . A magazine story about Lakshmi, who would like to have privileges that Vishnu enjoys, including desires such as Fathimavudan palaivanathai suttrivara aasai, Mary kayyil irunthu kuzhanthai vaangi iduppil vaithu Bethlehem suthi vara aasai , gets rejected. Minungu is a rumination of love and rain, as the protagonsit witnesses a squirrel & a couple in a Madrid garden. Aaramba kaala kavithai is about finding the real God, as the teen protagonist witnesses the dog Mickey saving her house-help Kempamma from her abusive husband. In Plastic Dabbavil Parashakthi Muthaliyor , Amma goes to America and starts befriending others and initiates business relationships that the daughters realize her needs and qualities. Vaahanam is the whimsical tale of Baakiyam, who never gets to own a vehicle and her repeated attempts to ride one, results in failure.
In Kaatil oru maan , Thangam athai who does not have a kid ( pookavillai is the term used), tells the story of a deer which is sort of depicts Thangam Athai's life. Prasarikka padatha kayprathi , for me the second best story, is a tale of violent marriage between Appa and Amma, which leads to Amma being admitted in a mental institution. In Kadarkarayil oru kaavi pillayar the author write about a trip to Mumbai beach, where pullayar statues can be seen strewn everywhere. Annankalum patchikalum nernthu vitta roja vanna pudavai is the tale of few US-living women who have adopted Indian kids. Mallukattu is the age-old tale of masculine jealousy, as Shenbakam, a talented singer becomes a homemaker after marriage. Or eli oru kuruvi is the tale of a rat that eats pages and a bird that excretes on books. Payanam 3 is the tale of teenagers who get to eat street food, watch cinema in the guise of visiting the Maariamman temple. Adavi shifts between Sita's (of Ramayana) and Chandhiru's life, as Chandhiru's achievements are not recognized and she gets estranged from her husband.
Interesting concepts, written in simple language.
In Payanam Ondru , a women protagonist travelling alone in a bus gets disturbed by a variety of factors, including a toddler who urinates on her dress, which then leads to the strangers inadvertently commenting on her absence of the supposed feminine traits, motherhood and marriage. In Payanam irandu , she along with her peculiar travel companion Dinakaran meets a friend Lisi, who might be her friend's lover. Oruvar Mattrovur depicts a gay relationship between Arulan and the painter Matthew Nadan, who does a wonderful painting of a boy Veeru. Ottaka Savari is situated in Mumbai and draws parallels between an Ali (a transgender) and a camel.
In Dicku , which for me is the best work in this collection, the changes that have occurred since the Babri Masjid is the focus. Jai Ramjhi ki has become Jai Shri Ram . A magazine story about Lakshmi, who would like to have privileges that Vishnu enjoys, including desires such as Fathimavudan palaivanathai suttrivara aasai, Mary kayyil irunthu kuzhanthai vaangi iduppil vaithu Bethlehem suthi vara aasai , gets rejected. Minungu is a rumination of love and rain, as the protagonsit witnesses a squirrel & a couple in a Madrid garden. Aaramba kaala kavithai is about finding the real God, as the teen protagonist witnesses the dog Mickey saving her house-help Kempamma from her abusive husband. In Plastic Dabbavil Parashakthi Muthaliyor , Amma goes to America and starts befriending others and initiates business relationships that the daughters realize her needs and qualities. Vaahanam is the whimsical tale of Baakiyam, who never gets to own a vehicle and her repeated attempts to ride one, results in failure.
In Kaatil oru maan , Thangam athai who does not have a kid ( pookavillai is the term used), tells the story of a deer which is sort of depicts Thangam Athai's life. Prasarikka padatha kayprathi , for me the second best story, is a tale of violent marriage between Appa and Amma, which leads to Amma being admitted in a mental institution. In Kadarkarayil oru kaavi pillayar the author write about a trip to Mumbai beach, where pullayar statues can be seen strewn everywhere. Annankalum patchikalum nernthu vitta roja vanna pudavai is the tale of few US-living women who have adopted Indian kids. Mallukattu is the age-old tale of masculine jealousy, as Shenbakam, a talented singer becomes a homemaker after marriage. Or eli oru kuruvi is the tale of a rat that eats pages and a bird that excretes on books. Payanam 3 is the tale of teenagers who get to eat street food, watch cinema in the guise of visiting the Maariamman temple. Adavi shifts between Sita's (of Ramayana) and Chandhiru's life, as Chandhiru's achievements are not recognized and she gets estranged from her husband.
Interesting concepts, written in simple language.
November 26, 2017
I am a person who is not a fan of short stories yes (yes i do like short stories by Oscar Wild, O.Henry, and few indian authors like Premchand) and rarely a person to give 5 starts to any book of short story collections. But this book is extremely well written reaching extraordinary heights. Beautifully translated from Tamil, without losing the essence of the original language. All the stories in the book has a touch and essence of Indian life and culture. There is feminism with almost every story with a female protagonist. Ambai voices egalitarianism and compassion in her stories. I loved reading every single story in the book, few are my favorite as well. Journey 1, Paraskti and Others in a Plastic Box, Vaaganam, In a Forest, a Deer, Unpublished Manuscript, A Saffron - coloured Ganesha on the Seashore, A Movement, a Folder, some Tears.
In Journey 1, Ambai narrates a story of a lady, who gets peed on by a child, while traveling in a bus. This narration is funny and hilariously it showed, how people scan a women by her mangalsutra or toe ring to check if she is married or not. Even she is chided by passengers for asking the mother of the child to take care of him. In Journey 2, Dinakaran prefers to identify himself as a person from Tirunelveli, instead of a Madrasi, who can start his day only after taking bath in river Tambaraparni. He is not comfortable in Delhi, and find solace only after he finds a South India lodge and eats Tamil food. One and Another describes the gay love of Methew and Arulan in a very simple and pure form. Parasakti and Others in a Plastic Box is a story, where Amma says her needs are merger and she needs only a place to keep her plastic box containing her idols of Gods and Goddess, but she's an institution in herself. And her daughters short out how to provide Amma her own house, so that she can live happily in her house. In a Forest, a Deer is about Thangamma Athai, who fails to bear any children, but she finds a second wife for her husband, and also treats every child in the village as her own child. Though everyone has so much respect for her, but her body is considered as a hollow body which never blossomed. In Unpublished Manuscript, Tirumagal, brought up with love and care by her father, Ramasami, is a professor at Banaras University, heading the department of English. She is fond of Tamil poetry, and falls in love with a famous Tamil poet, Muthukumaram and marries her. But her married life turns into a nightmare. This story narrates how with all difficulties she takes great care of her daughter Senthaamarai, without giving up her career. In A Saffron-coloured Ganesha on the Seashore, a Christian fisher man, finds parts of Ganesh idol in the shore, that has washed and reached here after last night's Ganesh procession. With the help for few other fisher folks, he take those pieces of the idol in his motor boat to sunk them in the sea, because after all, it's someone's deity. A Movement, a Folder, Some Tears is story of three women activists, their great work, but one end up committing suicide. The story shows some brutal picture of the Gujarat riots. The book also contains a story narrating about the modern day Sita.
So, you see, in a single book, Ambai has picked up so diverse plots touching every sensitive social issue delicately in Indian community bringing in the revolution. Lakshmi Holmström has done a amazing work in translating this book by keeping the traditional touch and disturbing the revolutionary facet in the book. I again repeat, it's a five star read for me, and i recommend this to everyone. This is a gem in Indian Literature, and i am sure you will not be disappointed.
In Journey 1, Ambai narrates a story of a lady, who gets peed on by a child, while traveling in a bus. This narration is funny and hilariously it showed, how people scan a women by her mangalsutra or toe ring to check if she is married or not. Even she is chided by passengers for asking the mother of the child to take care of him. In Journey 2, Dinakaran prefers to identify himself as a person from Tirunelveli, instead of a Madrasi, who can start his day only after taking bath in river Tambaraparni. He is not comfortable in Delhi, and find solace only after he finds a South India lodge and eats Tamil food. One and Another describes the gay love of Methew and Arulan in a very simple and pure form. Parasakti and Others in a Plastic Box is a story, where Amma says her needs are merger and she needs only a place to keep her plastic box containing her idols of Gods and Goddess, but she's an institution in herself. And her daughters short out how to provide Amma her own house, so that she can live happily in her house. In a Forest, a Deer is about Thangamma Athai, who fails to bear any children, but she finds a second wife for her husband, and also treats every child in the village as her own child. Though everyone has so much respect for her, but her body is considered as a hollow body which never blossomed. In Unpublished Manuscript, Tirumagal, brought up with love and care by her father, Ramasami, is a professor at Banaras University, heading the department of English. She is fond of Tamil poetry, and falls in love with a famous Tamil poet, Muthukumaram and marries her. But her married life turns into a nightmare. This story narrates how with all difficulties she takes great care of her daughter Senthaamarai, without giving up her career. In A Saffron-coloured Ganesha on the Seashore, a Christian fisher man, finds parts of Ganesh idol in the shore, that has washed and reached here after last night's Ganesh procession. With the help for few other fisher folks, he take those pieces of the idol in his motor boat to sunk them in the sea, because after all, it's someone's deity. A Movement, a Folder, Some Tears is story of three women activists, their great work, but one end up committing suicide. The story shows some brutal picture of the Gujarat riots. The book also contains a story narrating about the modern day Sita.
So, you see, in a single book, Ambai has picked up so diverse plots touching every sensitive social issue delicately in Indian community bringing in the revolution. Lakshmi Holmström has done a amazing work in translating this book by keeping the traditional touch and disturbing the revolutionary facet in the book. I again repeat, it's a five star read for me, and i recommend this to everyone. This is a gem in Indian Literature, and i am sure you will not be disappointed.
June 1, 2024
Man there was a time when I related so much to Ambai's non-conforming, emotionally rich characters that refuse to be blotted out by society's repressive forces. The intensity of emotion and thought that these characters feel is always so tense, only managing to express itself in fits and starts, in the little crevices, the elsewheres they create for themselves.
But now I feel they also yearn to find grounding, life beyond themselves. They yearn for community. Like Matthew and Arulan in One and Another, they are in the search for their roots.
Maybe it was a time when finding yourself could only happen by escaping the confines of a patriarchal Tamil culture.
But now I feel there is a lacunae, a blindspot in these stories. These elsewheres are spaces of privilege and isolation and prevent our protagonists from finding community and opening their hearts to others who they are quick to distance themselves from. Facing oppression from society, they distance themselves from all parts of it in order to protect themselves. However, reading Ambai now, I question if this actually protects them or further alienates them and condemns then to a life of loneliness.
This isolation prevents our protagonists from engaging with the nuances, the rich diversity of life within 'society' and from making it their own. Ambai draws a clear line between progressive and regressive people, and thus her characters often draw up walls, live alone often and shut out others by presuming that they cannot get on their level. However it would have been far more interesting to see how experiences of non conforming individuals are lived out *within* society, centering the everyday, the possibility of solidarity and community and a vocabulary that is more of common parlance.
I'm excited to read more of Ambai's work to see if she does this. Particularly I'm excited to see if she bridges the experiences of diverse people and creates more complex interpersonal bonds, and if she can approach 'tamil culture' as something she also has a stake in, as something that is not irreconcilably anti-thetical to her vision.
But now I feel they also yearn to find grounding, life beyond themselves. They yearn for community. Like Matthew and Arulan in One and Another, they are in the search for their roots.
Maybe it was a time when finding yourself could only happen by escaping the confines of a patriarchal Tamil culture.
But now I feel there is a lacunae, a blindspot in these stories. These elsewheres are spaces of privilege and isolation and prevent our protagonists from finding community and opening their hearts to others who they are quick to distance themselves from. Facing oppression from society, they distance themselves from all parts of it in order to protect themselves. However, reading Ambai now, I question if this actually protects them or further alienates them and condemns then to a life of loneliness.
This isolation prevents our protagonists from engaging with the nuances, the rich diversity of life within 'society' and from making it their own. Ambai draws a clear line between progressive and regressive people, and thus her characters often draw up walls, live alone often and shut out others by presuming that they cannot get on their level. However it would have been far more interesting to see how experiences of non conforming individuals are lived out *within* society, centering the everyday, the possibility of solidarity and community and a vocabulary that is more of common parlance.
I'm excited to read more of Ambai's work to see if she does this. Particularly I'm excited to see if she bridges the experiences of diverse people and creates more complex interpersonal bonds, and if she can approach 'tamil culture' as something she also has a stake in, as something that is not irreconcilably anti-thetical to her vision.
April 10, 2019
#2019 #YearInBooks Book 37
A collection of short stories by Ambai originally written in Tamil and translated into English by Lakshmi Holmstrom., "In a Forest, a Deer" was enjoyable because it is writing a story almost like observing a scene from life.
Because it was written so, it was easy to imagine that scene as well. The stories can be enjoyed few at a time and this is because they offer the readers food for thought. The characters are different, quirky, at times in your face. That the author doesn't tone them down is very nice to see. They offer insight into culture, society and family. They show perspectives many might not touch.
I have read two of the author's collections now and have one left. Looking forward to reading her book, "Fish in a Dwindling Lake" next.
A collection of short stories by Ambai originally written in Tamil and translated into English by Lakshmi Holmstrom., "In a Forest, a Deer" was enjoyable because it is writing a story almost like observing a scene from life.
Because it was written so, it was easy to imagine that scene as well. The stories can be enjoyed few at a time and this is because they offer the readers food for thought. The characters are different, quirky, at times in your face. That the author doesn't tone them down is very nice to see. They offer insight into culture, society and family. They show perspectives many might not touch.
I have read two of the author's collections now and have one left. Looking forward to reading her book, "Fish in a Dwindling Lake" next.
November 23, 2017
Took to reading this book on strong recommendation from a Tamil prolific reader. So glad I reached out for it.
Beautiful and earthy. Sensitive and yet assertive. Traditional yet revolutionary. That's how the ideas are conveyed across stories.
Specially loved 'wrestling' and 'in a forest, a deer'
Beautiful and earthy. Sensitive and yet assertive. Traditional yet revolutionary. That's how the ideas are conveyed across stories.
Specially loved 'wrestling' and 'in a forest, a deer'
February 2, 2022
Beautiful collection of stories with varied characters.
March 6, 2016
My first Tamizh book in translation. And it turned out to be such an energizing set of stories. Ambai writes lightly and easily about gender and identity - making the point with little preaching. Some of them hit hard - Forest is a great one, about Sita. And the last one, A movement, a folder, some tears, tackling the Gujarat riots, was my favourite. Ambai has been a great find for me.
July 16, 2015
Quite liked the translation, too.
August 25, 2015
Lovely little gem of a book. Her style is gentle and deeply compassionate. I was very moved by the title story. Journey 1 was also delicious.
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