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Written originally in Oriya in 1945 and translated here for the first time, Paraja is a classic of modern Indian fiction. It tells on an epic scale the story of a tribal patriarch and his family in the mountainous jungles of Orissa. The slow decline in the fortunes of this family- from the quiet prosperity of a subsistence livelihood towards bondage to the local moneylender- is both poignantly individualized as well as symbolic of the erosion of a whole way of life within peasant communities.
344 pages, Hardcover
First published January 1, 1945
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462 people want to read
About the author
Gopinath Mohanty
25 books21 followersGopinath Mohanty, winner of the Jnanpith award, and the first winner of the National Sahitya Akademi Award in 1955 - for his novel, Amrutara Santana - was a prolific Odia writer of the mid-twentieth century.
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June 30, 2017
Paraja by Gopinath Mohanty is originally an Oriya novel, translated by Bikram K. Das, based in the tribal lands of Orissa. The story follows the trials and tribulations of the family of Sukru Jani, sons Mandia and Tikra and daughters Jili and Bili, of the Paraja tribe. As the family struggle to retain their family land, to which Sukru is deeply attached, the novel traces the path on which they embark, eventually adding more miseries in their kitty.
Sukru Jani is sitting in his simple hut, making plans for the bright future of his children, how he must marry off his girls to good suitors and how to find suitable brides for his sons, building them separate huts of their own to start their new life. Unknown to him, Mandia and Jili have already besotted their hearts out. While both his children enjoy their blooming love, Sukru is finding ways to increase his land holdings, so that he can give a part of it to Mandia for his future. After due permission from the forest guard, he began to clear out a fertile piece of land from a nearby hill along with Mandia in hopes of cultivating it before he gets married. But as fate would have had it, the guard's vulturine eyes for Jili enrages Sukru and he lashes out at him. The guard avenges his insult with a calculative plan, he comes back with more officials and incriminates Sukru of violating the forest laws and slapping a fine on him. With not a single penny at home, Sukru has no other option but to submit himself and Tikra to the sahukar as gotis, bonded labor, leaving the household in the hands of Mandia.
With their father gone and the future gloomy, Mandia and Jili loose their betrothed to other people. Mandia tries his hands at brewing illegal alcohol in the forest, only to be caught and slapped a hefty sum of fine. On finding no way out to pay the fine, Mandia enslaves himself with the sahukar as well. With this sudden turn of events, Jili and Bili are now left alone to fend for themselves. The grain storage runs out soon. It is not long before that a road contractor comes to the village to hire men and women for the work. Foreseeing the uncertainty of the return of the male members, Jili and Bili sign up for the work and leave for the camp on the highway. True, they earn money, but along comes the exploitation at the hands of the men at the camp. Before any further harm was done, Sukru meanwhile mortgages his pride, his only piece of highly fertile land to the sahukar and frees himself. Soon enough, the sahukar shows his true colors, deceit and lies entangle Sukru in a web when the sahukar refuses to give him his land back. Angered, he files a court case only to be defeated at the hands of the notorious and influential sahukar. While Sukru was busy fighting the sahukar, Jili submits herself to the sahukar and becomes his mistress.He becomes depressed, at his life, at the bondage of his sons and at the corrosion of his daughter Jili at the hands of the evil sahukar. Unable to take it anymore, Sukru and his sons, in a fit of rage pounce upon the sahukar and slay him with repeated blows.
The novel follows the slow decline of this tribal family, from the quite prosperity of the subsistence livelihood towards bondage to the local sahukar. The helplessness of a poor tribesman and his family, the exploitation at the hands of the sahukar and the ultimate tragedy of murder, are all heart wrenching. The novel gives the readers an insight into the lives of the Paraja tribes-people, their marriage customs, their notions about a women stepping out to earn, their animosity amongst themselves and the save-your-own-neck attitude. It is deplorable to see such turn of events, from the first line of the novel to the last. This novel is not just a sociological and demographical documentation of a family caught unaware of their fate, but an echo of the tribes and marginalized sections of the world
Sukru Jani is sitting in his simple hut, making plans for the bright future of his children, how he must marry off his girls to good suitors and how to find suitable brides for his sons, building them separate huts of their own to start their new life. Unknown to him, Mandia and Jili have already besotted their hearts out. While both his children enjoy their blooming love, Sukru is finding ways to increase his land holdings, so that he can give a part of it to Mandia for his future. After due permission from the forest guard, he began to clear out a fertile piece of land from a nearby hill along with Mandia in hopes of cultivating it before he gets married. But as fate would have had it, the guard's vulturine eyes for Jili enrages Sukru and he lashes out at him. The guard avenges his insult with a calculative plan, he comes back with more officials and incriminates Sukru of violating the forest laws and slapping a fine on him. With not a single penny at home, Sukru has no other option but to submit himself and Tikra to the sahukar as gotis, bonded labor, leaving the household in the hands of Mandia.
With their father gone and the future gloomy, Mandia and Jili loose their betrothed to other people. Mandia tries his hands at brewing illegal alcohol in the forest, only to be caught and slapped a hefty sum of fine. On finding no way out to pay the fine, Mandia enslaves himself with the sahukar as well. With this sudden turn of events, Jili and Bili are now left alone to fend for themselves. The grain storage runs out soon. It is not long before that a road contractor comes to the village to hire men and women for the work. Foreseeing the uncertainty of the return of the male members, Jili and Bili sign up for the work and leave for the camp on the highway. True, they earn money, but along comes the exploitation at the hands of the men at the camp. Before any further harm was done, Sukru meanwhile mortgages his pride, his only piece of highly fertile land to the sahukar and frees himself. Soon enough, the sahukar shows his true colors, deceit and lies entangle Sukru in a web when the sahukar refuses to give him his land back. Angered, he files a court case only to be defeated at the hands of the notorious and influential sahukar. While Sukru was busy fighting the sahukar, Jili submits herself to the sahukar and becomes his mistress.He becomes depressed, at his life, at the bondage of his sons and at the corrosion of his daughter Jili at the hands of the evil sahukar. Unable to take it anymore, Sukru and his sons, in a fit of rage pounce upon the sahukar and slay him with repeated blows.
The novel follows the slow decline of this tribal family, from the quite prosperity of the subsistence livelihood towards bondage to the local sahukar. The helplessness of a poor tribesman and his family, the exploitation at the hands of the sahukar and the ultimate tragedy of murder, are all heart wrenching. The novel gives the readers an insight into the lives of the Paraja tribes-people, their marriage customs, their notions about a women stepping out to earn, their animosity amongst themselves and the save-your-own-neck attitude. It is deplorable to see such turn of events, from the first line of the novel to the last. This novel is not just a sociological and demographical documentation of a family caught unaware of their fate, but an echo of the tribes and marginalized sections of the world
January 16, 2023
Gopinath Mohanty’s classic novel, Paraja, originally written in Oriya in 1945 and translated in English ably by Bikram Das in 1987, is a classic work of social realism that is deeply humanistic and surprisingly lyrical, given its themes of exploitation, human bondage, and lost innocence.
Set in the lush forests of the Eastern Ghats of southern Odisha not far from the Andhra Pradesh border, Paraja is about the life of Paraja tribesman, widower Sukru Jani, his two sons and daughters, and their fellow tribesmen as their dream of self-sufficiency and prosperity are eroded steadily by the exploitation of greedy government officials and an unscrupulous moneylender. Mohanty imbues his writing with great respect for the Paraja ( and Gond) peoples - indigenous forest peoples whose traditions of animism and spirit worship are fused with a liberal interpretation of Hindu traditions. Despite being looked down upon by “civilized” society, they are initially content to work their fields of rice and millet (Mandiya) and hunt the forests which teem with deer, boar, and game as well as lurking tigers and Asian bears.
Sukri Jani’s downfall is engineered by a lecherous forest officer who desires his beautiful daughters, Jilli and Billi. Caught in a net of receipt and forced to bond himself and his eldest son to an avaricious moneylender, he is forced to watch as his dream of self sufficiency dissolves slowly and inexorably. Yet Sukri Jan is far from a passive victim and his struggles for justice and freedom are deeply heroic.
Juxtaposed against the grim realities of the lives of the tribespeople is the incredible beauty of the forests where they live and hunt, filled with flowers, streams, waterfalls, and pools - as yet unspoiled by the encroachment of roads and industry. Mohanty also infuses his writing with the lyrical poetry of the Paraja people and with their customs which are not tainted with shame or self consciousness. Their dances are filled with eroticism and their ways of loving free and untrammeled. Mohanty, who has garnered India’s highest literary honors including the very first Sahitya Akademi award and the Jnanpith award, writes with the knowledge of an ethnographer but with the humanism and beauty of a poet. While Das’ translation at times suffers from more archaic English syntax than what is prevalent today, Paraja remains a classic of Indian literature, echoes of which can be seen in more contemporary works such as Sheela Tommi’s Malayalam
novel, Valli. Five stars !
Set in the lush forests of the Eastern Ghats of southern Odisha not far from the Andhra Pradesh border, Paraja is about the life of Paraja tribesman, widower Sukru Jani, his two sons and daughters, and their fellow tribesmen as their dream of self-sufficiency and prosperity are eroded steadily by the exploitation of greedy government officials and an unscrupulous moneylender. Mohanty imbues his writing with great respect for the Paraja ( and Gond) peoples - indigenous forest peoples whose traditions of animism and spirit worship are fused with a liberal interpretation of Hindu traditions. Despite being looked down upon by “civilized” society, they are initially content to work their fields of rice and millet (Mandiya) and hunt the forests which teem with deer, boar, and game as well as lurking tigers and Asian bears.
Sukri Jani’s downfall is engineered by a lecherous forest officer who desires his beautiful daughters, Jilli and Billi. Caught in a net of receipt and forced to bond himself and his eldest son to an avaricious moneylender, he is forced to watch as his dream of self sufficiency dissolves slowly and inexorably. Yet Sukri Jan is far from a passive victim and his struggles for justice and freedom are deeply heroic.
Juxtaposed against the grim realities of the lives of the tribespeople is the incredible beauty of the forests where they live and hunt, filled with flowers, streams, waterfalls, and pools - as yet unspoiled by the encroachment of roads and industry. Mohanty also infuses his writing with the lyrical poetry of the Paraja people and with their customs which are not tainted with shame or self consciousness. Their dances are filled with eroticism and their ways of loving free and untrammeled. Mohanty, who has garnered India’s highest literary honors including the very first Sahitya Akademi award and the Jnanpith award, writes with the knowledge of an ethnographer but with the humanism and beauty of a poet. While Das’ translation at times suffers from more archaic English syntax than what is prevalent today, Paraja remains a classic of Indian literature, echoes of which can be seen in more contemporary works such as Sheela Tommi’s Malayalam
novel, Valli. Five stars !
September 11, 2011
one of the most unforgettable endings this has..with a sense of rage, despair and loss..
This entire review has been hidden because of spoilers.
February 15, 2015
Devastating and entirely plausible, given the history of indigenous communities in South Asia.
October 15, 2021
Don’t we all love a book that transports us to a different place? If you are looking for something like that, Paraja is the book for you!
Paraja is an Indian modern classical book that I was supposed to read for my class. And, boy, did I enjoy it! Which is a good thing because, this book is a ginormous monster of a book. I’m usually a slow reader but when I was reading this book, I ended up finishing this book in less than two days. So, you get the point right. Once you start this book, you won’t be able to put it down.
The plot revolves around a family from the Paraja tribal clan that inhabits the hills of Odisha. The novel begins with Sukru Jani remembering his now dead wife but still being content with life, thinking about his land and his children, two boys and two girls. Jani daydreams of the days when he’ll finally be rich, have many grandchildren to look after his land and wishes then to die a peaceful death. Everything is perfect. His eldest son and elder daughter are already bethrothed in good families. But as fate would have it, everything goes down hill from there. When his elder daughter, Jili refuses to pay heed to the rich forest guard, the latter starts fining Sukru Jani to cover up a mistake he didn’t even commit. To pay the large amount of money, Jani has no choice but to become a Goti (a bonded labourer). As the story moves forward, you’d notice how slowly one thing leads to another and tears apart everything Sukru Jani’s family holds dear- from their ancestor’s land to love and friendships, even honour.
I have so much to say but I’ll start with the writing style. Trust me when I say that, when I read this book, I forgot that there was a distance between the characters I’m reading about in a book and me, holding the said book in my hands. I was bewitched and it made me feel like I was in Odisha. The writing is so atmospheric. I usually don’t like books with a lot of description because that slows me down and also makes things boring but here, I just couldn’t resist myself. Every sentence was beautifully written and so full of meaning! It was perfect in that sense, like not too purple descriptive prose but also ‘I-might-use-this-quote-for-my-instagram-caption-because-its-deep-and-aesthetic’. There are also many traditional songs translated from Oriya to English to accompany the mood of the prose, which made things even more interesting as a reader.
The novel mostly talks a lot about class conflicts and privileges of a rich person against the backs of poor people’s exploitation, who get nothing in return. It also had an almost colonial aspect to it, having Sukru Jani give away his land to someone else and cultivate cash crops in them while working as a bonded labour under a moneylender that never lets him and his family let off for some free time.
I don’t have a favourite character, although I found many I could kill with my bare hands. Each character is flawed and highly unpredictable but in a good way. I kept forgetting that these were just characters and not real human beings. Having to express all those emotions and complex thought processes in writing is something that I do not see a lot in books. It’s a classic for a reason.
The main story that I could follow throughout the novel was how a weaker class’s desires and dreams are deliberately stomped over, and how the passion behind it drives him to his ultimate negative arc. It talks about the fact that more often than not, for a poor tribal person every dream is just a dream. It never comes true, no matter the effort or the passion.
However, the only thing that I did not like about this novel was the ending. It was definitely justified but still I wanted more from the ending. I wanted something definite or something less tragic. Like, normally I don’t mind sad endings as long as they make sense to me but the ending in this one made me feel like I was left midway and the story is pretty incomplete still so.
But overall, I loved everything about this book. I skipped no part of it, despite the largeness of this novel. I guess, I would give it a 4 out of 5 stars and I highly, highly recommend it! It’s one of those books that makes you think that you live inside the book. I don’t think you’d miss on that opportunity. So, go, grab it!
Thank you for reading!
Paraja is an Indian modern classical book that I was supposed to read for my class. And, boy, did I enjoy it! Which is a good thing because, this book is a ginormous monster of a book. I’m usually a slow reader but when I was reading this book, I ended up finishing this book in less than two days. So, you get the point right. Once you start this book, you won’t be able to put it down.
The plot revolves around a family from the Paraja tribal clan that inhabits the hills of Odisha. The novel begins with Sukru Jani remembering his now dead wife but still being content with life, thinking about his land and his children, two boys and two girls. Jani daydreams of the days when he’ll finally be rich, have many grandchildren to look after his land and wishes then to die a peaceful death. Everything is perfect. His eldest son and elder daughter are already bethrothed in good families. But as fate would have it, everything goes down hill from there. When his elder daughter, Jili refuses to pay heed to the rich forest guard, the latter starts fining Sukru Jani to cover up a mistake he didn’t even commit. To pay the large amount of money, Jani has no choice but to become a Goti (a bonded labourer). As the story moves forward, you’d notice how slowly one thing leads to another and tears apart everything Sukru Jani’s family holds dear- from their ancestor’s land to love and friendships, even honour.
I have so much to say but I’ll start with the writing style. Trust me when I say that, when I read this book, I forgot that there was a distance between the characters I’m reading about in a book and me, holding the said book in my hands. I was bewitched and it made me feel like I was in Odisha. The writing is so atmospheric. I usually don’t like books with a lot of description because that slows me down and also makes things boring but here, I just couldn’t resist myself. Every sentence was beautifully written and so full of meaning! It was perfect in that sense, like not too purple descriptive prose but also ‘I-might-use-this-quote-for-my-instagram-caption-because-its-deep-and-aesthetic’. There are also many traditional songs translated from Oriya to English to accompany the mood of the prose, which made things even more interesting as a reader.
The novel mostly talks a lot about class conflicts and privileges of a rich person against the backs of poor people’s exploitation, who get nothing in return. It also had an almost colonial aspect to it, having Sukru Jani give away his land to someone else and cultivate cash crops in them while working as a bonded labour under a moneylender that never lets him and his family let off for some free time.
I don’t have a favourite character, although I found many I could kill with my bare hands. Each character is flawed and highly unpredictable but in a good way. I kept forgetting that these were just characters and not real human beings. Having to express all those emotions and complex thought processes in writing is something that I do not see a lot in books. It’s a classic for a reason.
The main story that I could follow throughout the novel was how a weaker class’s desires and dreams are deliberately stomped over, and how the passion behind it drives him to his ultimate negative arc. It talks about the fact that more often than not, for a poor tribal person every dream is just a dream. It never comes true, no matter the effort or the passion.
However, the only thing that I did not like about this novel was the ending. It was definitely justified but still I wanted more from the ending. I wanted something definite or something less tragic. Like, normally I don’t mind sad endings as long as they make sense to me but the ending in this one made me feel like I was left midway and the story is pretty incomplete still so.
But overall, I loved everything about this book. I skipped no part of it, despite the largeness of this novel. I guess, I would give it a 4 out of 5 stars and I highly, highly recommend it! It’s one of those books that makes you think that you live inside the book. I don’t think you’d miss on that opportunity. So, go, grab it!
Thank you for reading!
July 4, 2023
‘Paraja’ depicts the culture and heritage in addition to the struggle for survival of the Paraja tribe. The Paraja are the representatives of the dominated and browbeaten milieu. They stand for the millions of tortured indigenous tribes.
The novel documents the life, customs, the culture, the festivals and the songs and dances of the Paraja tribe. It also presents their squalor, paucity, scuffles, dispossession and mistreatment by the non-tribals.
The word ‘Paraja’ means the tenant (farmer) or Rayat. In Koraput, the Paraja reside with other tribal groups like the Rana, Paika, Mali, Domb, Gadaba and Kondh.
In this novel, Sukru Jani and his family can be taken as the representatives of the Paraja tribe. It is the tale of Sukru Jani and his family in a village inhabited by the Paraja who live in thatched huts on Paraja street, while in the next street live the Dombs.
Life is simple for them -- a bowl of mandia gruel, a piece of land to cultivate, and a few pieces of cloth to cover their body. Sukru Jani's wife Sombari is killed by a tiger and since then he lives with his sons Mandia and Tikra, and his daughters Jili and Bili.
He plans to build separate houses for his sons when they get married as it is the Paraja custom that married sons cannot live with their parents.
In customary Paraja society, the single boys and girls spend the night in their particular dormitories. They relish the independence of knowing one another closely. They converse their ideas and feelings through passionate love songs.
Jili and her friend Kajodi are courted by Bagala and Mandia through songs with a musical instrument called ‘dungudunga’.
Mohanty renders the tribesman in the court seeking justice for relocating them from their land. When Sukru Jani and his sons try to free their land from the Sahukar by paying for it, he swindles them by referring to the oral agreement, according to which the land had been mortgaged to the Sahukar for 30 years.
When Sukru Jani and his sons decide to appeal to the court of law, they are faced with the world of 'Clerks, peons, policemen and lawyers carrying thick books... The tribesmen lived in terror of the court."
The Sahukar wins the case by bribing and intimidating the Paraja tribesmen.
Sukru Jani is deceived again.
It is sad that while the tribe sing and dance together and unite at festivals, hunts and bazaars, they do not stand by Sukru in his hour of need.
The fear of the Sahukar, dearth, scarcity and materialistic concerns has eroded their cohesion and strength.
As a last resort Sukru, Mandia, Tikra and Nandibali try to talk to the Sahukar but the Sahukar kicks them out.
In a state of anger Mandia axes the Sahukar and the three surrender before the police.
The violence at the conclusion of the novel detonates out of a hushed suffering and anger, which is like "A fire that feeds on itself and waits' till it cannot be contained any more.”
The novel interconnects the agony of the tribals with that of the relegated and the downgraded folks all over the world.
By the end the narrative much more than a paltry sociological and anthropological document --- it achieves an universal form; the characters are not simply primitive tribesmen ensnared by a predatory moneylender, but all those who have been dispossessed of their fair due in life.
The novel documents the life, customs, the culture, the festivals and the songs and dances of the Paraja tribe. It also presents their squalor, paucity, scuffles, dispossession and mistreatment by the non-tribals.
The word ‘Paraja’ means the tenant (farmer) or Rayat. In Koraput, the Paraja reside with other tribal groups like the Rana, Paika, Mali, Domb, Gadaba and Kondh.
In this novel, Sukru Jani and his family can be taken as the representatives of the Paraja tribe. It is the tale of Sukru Jani and his family in a village inhabited by the Paraja who live in thatched huts on Paraja street, while in the next street live the Dombs.
Life is simple for them -- a bowl of mandia gruel, a piece of land to cultivate, and a few pieces of cloth to cover their body. Sukru Jani's wife Sombari is killed by a tiger and since then he lives with his sons Mandia and Tikra, and his daughters Jili and Bili.
He plans to build separate houses for his sons when they get married as it is the Paraja custom that married sons cannot live with their parents.
In customary Paraja society, the single boys and girls spend the night in their particular dormitories. They relish the independence of knowing one another closely. They converse their ideas and feelings through passionate love songs.
Jili and her friend Kajodi are courted by Bagala and Mandia through songs with a musical instrument called ‘dungudunga’.
Mohanty renders the tribesman in the court seeking justice for relocating them from their land. When Sukru Jani and his sons try to free their land from the Sahukar by paying for it, he swindles them by referring to the oral agreement, according to which the land had been mortgaged to the Sahukar for 30 years.
When Sukru Jani and his sons decide to appeal to the court of law, they are faced with the world of 'Clerks, peons, policemen and lawyers carrying thick books... The tribesmen lived in terror of the court."
The Sahukar wins the case by bribing and intimidating the Paraja tribesmen.
Sukru Jani is deceived again.
It is sad that while the tribe sing and dance together and unite at festivals, hunts and bazaars, they do not stand by Sukru in his hour of need.
The fear of the Sahukar, dearth, scarcity and materialistic concerns has eroded their cohesion and strength.
As a last resort Sukru, Mandia, Tikra and Nandibali try to talk to the Sahukar but the Sahukar kicks them out.
In a state of anger Mandia axes the Sahukar and the three surrender before the police.
The violence at the conclusion of the novel detonates out of a hushed suffering and anger, which is like "A fire that feeds on itself and waits' till it cannot be contained any more.”
The novel interconnects the agony of the tribals with that of the relegated and the downgraded folks all over the world.
By the end the narrative much more than a paltry sociological and anthropological document --- it achieves an universal form; the characters are not simply primitive tribesmen ensnared by a predatory moneylender, but all those who have been dispossessed of their fair due in life.
April 2, 2019
Paraja
By Gopinath Mohanty (Translated by Bikram K. Das)
A mountain tribe called Paraja, having their main occupation as agriculture lives in peaceful harmony with nature staying pure and contended with what they owned.
Sukru Jani, a Paraja man, a widower, lives happily with his four children (couple of sons and daughters) by ploughing, harvesting and feeding his family. Life for Sukru Jani was a happy cycle until he is forced to borrow money from Sahukar - a merciless and fraudulent money lender, for a reason which he or his family is not guilt to.
The cunning money-lender makes Sukru Jani and both his sons as slaves to him showing their indebtedness as the reason. Sukru Jani ends up in losing his land, daughter, wealth and dignity to Sahukar and things grow worse with an end which fascinates the reader towards truth.
The reader is grabbed inside the plot at the very beginning with a steadily moving story. The ambience of a village which is in the mid of the mountainous forest comes alive from the author's personifications, portrayals and depictions which were too brilliant and mesmerising which I enjoyed to the core reading it.
By Gopinath Mohanty (Translated by Bikram K. Das)
A mountain tribe called Paraja, having their main occupation as agriculture lives in peaceful harmony with nature staying pure and contended with what they owned.
Sukru Jani, a Paraja man, a widower, lives happily with his four children (couple of sons and daughters) by ploughing, harvesting and feeding his family. Life for Sukru Jani was a happy cycle until he is forced to borrow money from Sahukar - a merciless and fraudulent money lender, for a reason which he or his family is not guilt to.
The cunning money-lender makes Sukru Jani and both his sons as slaves to him showing their indebtedness as the reason. Sukru Jani ends up in losing his land, daughter, wealth and dignity to Sahukar and things grow worse with an end which fascinates the reader towards truth.
The reader is grabbed inside the plot at the very beginning with a steadily moving story. The ambience of a village which is in the mid of the mountainous forest comes alive from the author's personifications, portrayals and depictions which were too brilliant and mesmerising which I enjoyed to the core reading it.
February 25, 2019
After living near hamlets of Orissa for an year, this book was a dive in experience of the poetic landscapes & grim situation of farmers.
For anyone looking to understand the grassroots of India through the perspective of the tribals, it's a must read.
This book has marked an epoch in my life. This was the time when writers used to live with tribals or villagers before assuming their perspectives or writing their ballads.
For anyone looking to understand the grassroots of India through the perspective of the tribals, it's a must read.
This book has marked an epoch in my life. This was the time when writers used to live with tribals or villagers before assuming their perspectives or writing their ballads.
June 1, 2025
Superb, moving account of the transformations in the lives of tribals in Orissa brought about by the colonisation of their lands, minds and hearts, the destruction of their forests and farming, the undermining of their social cohesion. The technique of locating the whole story in one family, as a microcosm of what is happening to an entire way of life, is beautifully used. I can only imagine how eloquent must be the original in Oriya. The translation by Bikram K. Das appears to be v. good.
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May 29, 2020The character study and description of the society and customs of the Paraja Adivasis was excellent. I did think it got bogged down a bit in the descriptions of nature, but other than that this was a riveting and heartbreaking portrayal of the way capitalist and colonialist systems damage indigenous ways of life and keep the downtrodden impoverished.
August 11, 2021
উড়িষ্যার কোরাপুট পেরিয়ে লক্ষ্মীপুর যাওয়ার পথে ধর্মদুয়ার এক পাহাড়ি অঞ্চল। অজস্র পাহাড়ের ঠেলাঠেলি, সবুজ ঘন জঙ্গল, বন্য পশুর হুংকার এসবের মধ্যেই জ্যোৎস্নার চাঁদের মতো মাথা উচু করে দাঁড়িয়েছে সর্ষূপদর গ্রাম। সেখানেই ঘর বেধেছে আদিবাসী পরজা সম্প্রদায়। পরিসংখ্যান অনুযায়ী পরজা আদিবাসীরা উড়িষ্যার সংখ্যাগরিষ্ঠ আদিবাসী সম্প্রদায়ের মধ্যে একটা, সংখ্যা প্রায় সাড়ে তিন লাখের ঊর্ধ্বে । সেখানে তথাকথিত শহুরে সভ্যতার আলো এখনো না পৌছালেও মাটির ঘর, ঝাটির বেড়া, সবুজ মকাই, তামাক পাতার ক্ষেত, দুবেলা মান্ডিয়া জাউ (শস্যবীজ) আর মহূয়ার মিষ্টি গন্ধে তাদের দিন চলে যায়।
এরকমই এক আদিবাসী শুক্রুজানির পরিবারের সরল ও সংগ্রামী জীবনের আলেখ্য গোপীনাথ মোহান্তির 'পরজা' উপন্যাস। কাহিনীর মুখ্য চরিত্র শুক্রুজানি বিপত্নীক। বছর তিনেক আগে ভালুগাড় ঝরনার ধারে শাক তুলতে গেছিল তার স্ত্রী সবারী, কিন্তু মানুষখেকো বাঘ তাকে তুলে নিয়ে যায়। আর রয়েছে তার দুই ছেলে- মান্ডিয়া ও টিক্রা, দুই মেয়ে- জিলি ও বিলি। অভাবের সংসারে দুবেলা দুমুঠো জোগাতে মহাজনের কাছে জমি বন্ধক রাখে শুক্রুজানি। জিলি বিলি দুর দুরান্তে পাড়ি দেয় দু পয়সা রোজগারের আশায়। মহাজনের প্রতারণা,মিথ্যাচার ও শুক্রুজানির বিশ্বাসের দ্বন্দের চরম পরিণতিই উপন্যাসে অন্যতম মাত্রা এনে দেয়।
নির্দয় মহাজনের জমি আত্মস্যাৎ এর গল্প হয়তো আমাদের কাছে নতুন নয়। মনে পড়ে রবীন্দ্রনাথ ঠাকুরের 'দুই বিঘা জমি' কবিতার কথা? বা মহাশ্বেতা দেবীর 'অরণ্যের অধিকার'? কিন্তু তা সত্ত্বেও 'পরজা' পড়ার অভিজ্ঞতাকে কখনোই 'একঘেয়ে' বলা যায় না বিশেষ কিছু কারণে-
1. যেহেতু পরজা একটি আঞ্চলিক উপন্যাস, সম্পূর্ণ কাহিনি তে প্রচুর স্থানীয় শব্দের প্রয়োগ আছে যা উপন্যাসকে ভাষাগত ভাবে আরো জীবন্ত, আরো সমৃদ্ধ করেছে।
2. পরজা সম্প্রদায়ের আঞ্চলিক ভাষায় গান, পৌষপার্বণ উৎসবে তাদের নাচ,আনন্দ, উচ্ছ্বাস, সব মিলিয়ে লেখকের সৃষ্টি অপরূপ ছন্দময়।
3. উপন্যাসে পরজাদের সামাজিক রীতি, সংস্কার খুব দক্ষভাবে তুলে ধরা হয়েছে। বিশেষ করে 'পণপ্রথা' র এক নতুন প্রকারভেদ দেখা যায় যা আমায় বেশ আশ্চর্য করেছে।পরজা পরিবারে পাত্র পাত্রীর পরিবারকে পণ দেন, যারা দিতে অক্ষম তারা পাত্রীর পরিবারের 'গোতি' বা সেবক হিসেবে বাস করেন। (প্রসঙ্গত বলে রাখি, পণপ্রথা, যেকোনো রূপেই হোক না কেন তা সমর্থন করছি না।)
4. পরজা মেয়েদের চরিত্রে দৃঢ়তা ও কোমনীয়তার এক অদ্ভূত মেলবন্ধন দেখা যায়। তারা অবলা নয়। জ্যোৎস্না রাতে নতুন কাপড়, চুলে গন্ধতেল,খোঁপায় ফুল ও মহুয়ার গন্ধে তারা যেমন উন্মত্ত হয়, তেমনি পরিবারের প্রয়োজনে প্রাণপাত করতেও পিছপা হয় না।
5. সর্বোপরি, 'পরজা' অত্যাচারীর আঘাতে দুর্বলের নি:শেষ হয়ে যাওয়ার গল্প নয়। বরং আঘাতের চোখে চোখ রেখে রুখে দাঁড়ানোর গল্প। আর ঠিক সেই কারণেই উপন্যাসের পরিণতি পাঠককে পরম তৃপ্তি দিতে বাধ্য।
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ওড়িয়া ভাষায় রচিত এই উপন্যাসটি 1945 সালে প্রকাশিত হয় এবং লেখক গোপীনাথ মোহান্তির জন্মশতবার্ষিকী উপলক্ষ্যে বাংলা অনুবাদ প্রকাশিত হয় 2014 তে। অনুবাদক হিসেবে ভারতী নন্দীর প্রচেষ্টা যথেষ্টই প্রশংসনীয়। প্রত্যেকটি স্থানীয় শব্দের এত নিখুঁত বিশ্লেষণ যে পড়াকালীন কখনোই অনুবাদ পড়ছি বলে মনে হয়নি।
এরকমই এক আদিবাসী শুক্রুজানির পরিবারের সরল ও সংগ্রামী জীবনের আলেখ্য গোপীনাথ মোহান্তির 'পরজা' উপন্যাস। কাহিনীর মুখ্য চরিত্র শুক্রুজানি বিপত্নীক। বছর তিনেক আগে ভালুগাড় ঝরনার ধারে শাক তুলতে গেছিল তার স্ত্রী সবারী, কিন্তু মানুষখেকো বাঘ তাকে তুলে নিয়ে যায়। আর রয়েছে তার দুই ছেলে- মান্ডিয়া ও টিক্রা, দুই মেয়ে- জিলি ও বিলি। অভাবের সংসারে দুবেলা দুমুঠো জোগাতে মহাজনের কাছে জমি বন্ধক রাখে শুক্রুজানি। জিলি বিলি দুর দুরান্তে পাড়ি দেয় দু পয়সা রোজগারের আশায়। মহাজনের প্রতারণা,মিথ্যাচার ও শুক্রুজানির বিশ্বাসের দ্বন্দের চরম পরিণতিই উপন্যাসে অন্যতম মাত্রা এনে দেয়।
নির্দয় মহাজনের জমি আত্মস্যাৎ এর গল্প হয়তো আমাদের কাছে নতুন নয়। মনে পড়ে রবীন্দ্রনাথ ঠাকুরের 'দুই বিঘা জমি' কবিতার কথা? বা মহাশ্বেতা দেবীর 'অরণ্যের অধিকার'? কিন্তু তা সত্ত্বেও 'পরজা' পড়ার অভিজ্ঞতাকে কখনোই 'একঘেয়ে' বলা যায় না বিশেষ কিছু কারণে-
1. যেহেতু পরজা একটি আঞ্চলিক উপন্যাস, সম্পূর্ণ কাহিনি তে প্রচুর স্থানীয় শব্দের প্রয়োগ আছে যা উপন্যাসকে ভাষাগত ভাবে আরো জীবন্ত, আরো সমৃদ্ধ করেছে।
2. পরজা সম্প্রদায়ের আঞ্চলিক ভাষায় গান, পৌষপার্বণ উৎসবে তাদের নাচ,আনন্দ, উচ্ছ্বাস, সব মিলিয়ে লেখকের সৃষ্টি অপরূপ ছন্দময়।
3. উপন্যাসে পরজাদের সামাজিক রীতি, সংস্কার খুব দক্ষভাবে তুলে ধরা হয়েছে। বিশেষ করে 'পণপ্রথা' র এক নতুন প্রকারভেদ দেখা যায় যা আমায় বেশ আশ্চর্য করেছে।পরজা পরিবারে পাত্র পাত্রীর পরিবারকে পণ দেন, যারা দিতে অক্ষম তারা পাত্রীর পরিবারের 'গোতি' বা সেবক হিসেবে বাস করেন। (প্রসঙ্গত বলে রাখি, পণপ্রথা, যেকোনো রূপেই হোক না কেন তা সমর্থন করছি না।)
4. পরজা মেয়েদের চরিত্রে দৃঢ়তা ও কোমনীয়তার এক অদ্ভূত মেলবন্ধন দেখা যায়। তারা অবলা নয়। জ্যোৎস্না রাতে নতুন কাপড়, চুলে গন্ধতেল,খোঁপায় ফুল ও মহুয়ার গন্ধে তারা যেমন উন্মত্ত হয়, তেমনি পরিবারের প্রয়োজনে প্রাণপাত করতেও পিছপা হয় না।
5. সর্বোপরি, 'পরজা' অত্যাচারীর আঘাতে দুর্বলের নি:শেষ হয়ে যাওয়ার গল্প নয়। বরং আঘাতের চোখে চোখ রেখে রুখে দাঁড়ানোর গল্প। আর ঠিক সেই কারণেই উপন্যাসের পরিণতি পাঠককে পরম তৃপ্তি দিতে বাধ্য।
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ওড়িয়া ভাষায় রচিত এই উপন্যাসটি 1945 সালে প্রকাশিত হয় এবং লেখক গোপীনাথ মোহান্তির জন্মশতবার্ষিকী উপলক্ষ্যে বাংলা অনুবাদ প্রকাশিত হয় 2014 তে। অনুবাদক হিসেবে ভারতী নন্দীর প্রচেষ্টা যথেষ্টই প্রশংসনীয়। প্রত্যেকটি স্থানীয় শব্দের এত নিখুঁত বিশ্লেষণ যে পড়াকালীন কখনোই অনুবাদ পড়ছি বলে মনে হয়নি।
January 2, 2025
One of those books that starts off with a sad life, and then things get worse.
Nice to read a book translated from a language I didn't know existed till I picked up the book.
Nice to read a book translated from a language I didn't know existed till I picked up the book.
January 15, 2025
One of the saddest books I have read.
The Chronicle of sukru Jani and his family is well told with the background of rural Odisha ( the Koraput region more specifically).
The Paraja tribes were very open minded on a lot of aspects such as marriage. The flora.and fauna is beautifully described. There is mention of local shrubs , flowers like Simli and fruits. Tigers , buffaloes , deer, crocodiles , pigeons are mentioned frequently. There is mention of tribal gods ( a lot of tribal religions were assimilated into Hinduism ) and religious customs such as sacrificing pigeons and offering alcohol to propitiate the gods.
The book is perpetually sorrow, only a few happy stories here and there. You will hate the antagonist Sahukar with all your heart at the end of the book.
The Chronicle of sukru Jani and his family is well told with the background of rural Odisha ( the Koraput region more specifically).
The Paraja tribes were very open minded on a lot of aspects such as marriage. The flora.and fauna is beautifully described. There is mention of local shrubs , flowers like Simli and fruits. Tigers , buffaloes , deer, crocodiles , pigeons are mentioned frequently. There is mention of tribal gods ( a lot of tribal religions were assimilated into Hinduism ) and religious customs such as sacrificing pigeons and offering alcohol to propitiate the gods.
The book is perpetually sorrow, only a few happy stories here and there. You will hate the antagonist Sahukar with all your heart at the end of the book.
September 10, 2012
Interesting play of characters, some times you just amazed how different the priorities of a tribal are.
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