INTRODUCTION:

Born in 1956, Arupa Kalita Patangia is a prominent Indian novelist and short story writer hailing from Assam. She is recognized for her significant contributions to Assamese literature, addressing a wide range of social issues and capturing the essence of Assamese culture and history. She completed her education in Assam and pursued her passion for literature, establishing herself as a renowned writer in the region. Her deep understanding of Assamese history, culture, and socio-political landscape is reflected in her works. Patangia's literary career began with her short stories, which gained critical acclaim for their realistic portrayal of the lives of ordinary people in Assam.

Her stories delve into the struggles, aspirations and challenges faced by individuals, particularly those from middle and lower income brackets. She sheds light on issues such as gender inequality, violence, social injustice, and the consequences of political unrest. Over the years, Patangia's works have garnered recognition and accolades. She has received prestigious literary awards, including the Bharatiya Bhasha Parishad award, the Katha Prize, the Prabina Saikia Award, and the Sahitya Akademi Award in (2014) for her collection of short stories titled, Mariam Austin Othoba Hira Barua.

Apart from being a celebrated writer in Assamese, Patangia's works have been translated into English, Hindi, and Bengali, making her writing accessible to a wider audience. Her books have resonated with readers for their compelling narratives, well-crafted characters and their exploration of the socio-cultural fabric of Assam. Arupa Kalita Patangia's literary contributions have made her a significant voice in Assamese literature, addressing important societal issues and promoting a deeper understanding of the Assamese culture and history. Her writing continues to inspire readers and contribute to the literary landscape of Assam and beyond.

DISCUSSION:

Arupa Patangia Kalita is a significant and influential female voice in Assam. Her contributions to Assamese literature, consisting of numerous books, have made a lasting impact. One of the prominent features of her writing is her focus on realism, where she conscientiously addresses the issue of gender inequality prevalent in society. Realism in literature is a narrative strategy that seeks to present life as it is, without romanticizing or sentimentalizing subjectivity. It emphasizes the everyday experiences of the middle and lower classes, focusing on the social forces and environmental factors that shape characters and drive the dramatic conflicts within the narrative.

Realism provides a faithful reflection of actual life, offering a nuanced and authentic portrayal of the world. Kalita consistently sheds light on the plight of women and their struggles against patriarchal values. By adopting a realist approach, Kalita brings to the forefront the lived experiences of women in Assam. She highlights the challenges they face, including discrimination, oppression, and limited opportunities, in various spheres of life. Through her narratives, she portrays the impact of these inequalities on the personal and social lives of women, providing a deeper understanding of their struggles. Kalita's writing explores the complex dynamics between men and women, drawing attention to the power imbalances and traditional gender roles that often restrict women's agency. She delves into the tensions and conflicts arising from these inequalities and offers a platform for women to voice their protest against patriarchal norms and expectations. Her writing stands out for its realism and its exploration of the inequalities faced by women in society. She gives a voice to marginalized perspectives and challenges societal norms. Through her storytelling, she raises awareness about gender disparities, encourages dialogue and promotes a more inclusive and egalitarian society. In her book, The Story of Felanee originally published as Felanee in (2003) Patangia Kalita delves into the life of her protagonist, Felanee, while documenting the socio-political and economic changes brought about by the political turmoil in the state. Through her exploration of female experiences, Kalita addresses larger societal issues and brings attention to the resilience, struggles and personal growth of women in the face of violence, political instability and oppressive traditions. The book serves as a medium for highlighting the voices and stories of those affected by the violence in Assam, presenting a social and historical map of events also offering a means to tell the region's story to the world set against the backdrop of violence and terror in Assam during the late 1970s and onwards.

A distinctive feature of the largely patriarchal societies of the third world is women’s association with home, with the inner space. The stories in the collection Written in Tears by Patangia show how the inner space is destroyed by the outside conflicts which leave women lonely and destitute. A number of stories in the collection deal with the destruction of the home.

The story Arunima’s Motherland is a narrative of how a family pays the price of having a son as a member of an outlawed organization. Not only is a wedding engagement of a daughter of the family cancelled because of this, but the entire family is annihilated by a bomb hurled at their house with the daughter-in-law and her infant son having a providential escape because they happened to be elsewhere at the time of the blast. In the span of a few moments, a wife loses her husband and the protection he provides to the family, an infant loses his father and the love of the doting paternal grandparents, uncles, and aunts. What is very poignant here is the picture of cozy domesticity in the early part of the story —the endearing relationship of the members of the family, their everyday life as they go about cooking, tending to the flowers and vegetable gardens, and preparing the bride’s trousseau in anticipation of a wedding —all of which give way to a gruesome picture of a burnt house with the mangled remains of bodies strewn all over as the daughter-in-law comes back with her newly born son to be welcomed by her husband’s household. Preceding this catastrophe is a phase of acute fear and anxiety as the younger brother of the sought-after militant, who is pursuing his studies in a college, is picked up for questioning and the house seems to be haunted by strange people who have their faces covered with black clothes even as a series of secret killings, bomb blasts, derailments of trains, demands for food and money by the outlaws, and constant army surveillance induce a fear psychosis among the people. The family becomes the butt of caustic remarks by the neighbours who blame them for the army’s presence in the locality. Arunima is pitied by a neighbour for marrying into a family of criminals—“What bad luck that you have to live with this family of criminals!” (Kalita 28). They are not invited to social functions and no doctor agrees to come to their house to examine Arunima’s aged father-in-law. What is seen in the end is the uncertain future before the daughter-in-law with an infant in her arms. She had ceased to be welcome in her mother’s house as quite some time had passed after the birth of her son and she sensed that her sisters-in-law would be happy to see her gone. What she faces when she returns to her in-law’s house is something she could not have imagined in her wildest nightmares. The author deftly uses contrasts — pitting the warmth of family relationships against the chilling devastation of militancy. Metaphors are also used -of bees building their comb when Arunima enters the house as a daughter-in-law and then of them flying away from the honeycomb before the destruction of the home that Arunima cherished. Women are the givers of life as is put forth by the image of Arunima and her newly born child; it is the cult of violence mostly perpetrated by men that destroys life and relationships.

The stories in Kalita's collection paint a vivid and harrowing picture of the realities faced by women during periods of unrest and conflict. The loss of resources, acts of violence, the fear psychosis, and the psychological and emotional toll on expectant mothers all serve to illustrate the profound impact of these turbulent times on the lives of women and their communities. They could not breathe, they could not eat, they could not sleep” (Kalita 29). It is as though they were suffering a death-in-life existence, an aspect discussed by Amit Baishya in his Contemporary Literature from Northeast India (2019) where he considers the representations of the effects of political terror in the contemporary necropolitical literature from the North-Eastern region. The excerpt highlights the gendered consequences of militancy and agitation, where women often bear the brunt of strict instructions and diktats imposed by the agitators. Women are associated not with the outer world but with the inner space — the home — which is destroyed by the violence of militancy: “They had helped Mainao set up home. Those evil men had destroyed it within one year. Only a woman understood how much effort it took to set up a home, and now in front of their eyes the beautiful house had disappeared” (Kalita 116).

In the story The Girl with Long Hair, the protagonist Mainao, experiences the consequences of defying these instructions in pursuit of fun with her friends.The story SurabhiBarua and the Rhythm of Hooves explores the harassment faced by individuals who opposed the Assam andolan (movement). The protagonist, SurabhiBarua, is portrayed as a college employee with leftist leanings who writes articles opposing the movement.As a result of her dissenting views, Surabhi and her colleague, Professor Bordoloi, face the ire of students who support the andolan. The students walk out of their classes, hoot, and Professor Bordoloi even becomes the target of physical attack, resulting in injuries. This depiction highlights the hostility and aggression faced by those who hold opposing views, as they become targets of intimidation and violence.

The next story Kunu's Mother highlights the vulnerability of women, especially those who lack the support of men. After the death of her husband, Kunu's mother becomes solely responsible for her daughter's well-being and upbringing, making Kunu the center of her world.

The story emphasizes the powerlessness and vulnerability of women, particularly when faced with societal expectations and pressure. Kunu's mother finds herself alone and without support, unable to protect her daughter or make decisions that go against the wishes of the community. Her struggle reflects the limited agency and autonomy afforded to women in such situations.

Through this narrative, the author sheds light on the challenges faced by women who lack the support and resources to navigate difficult circumstances. The story serves as a testament to the societal structures and expectations that constrain women's choices and leave them feeling helpless and trapped.

The last story, Ayengla of the Blue Hills, bears testimony to the trauma induced by army atrocities on women. Cathy Caruth (1995) defines trauma as “The pathology consists, rather, solely in the structure of its experience or reception: the event is not assimilated or experienced fully at the time, but only belatedly, in its repeated possession of the one who experiences it. To be traumatised is precisely to be possessed by an image or event” (Caruth 4-5). The narrative you describe is a tragic one that highlights the devastating consequences of violence and trauma on a young woman named Ayengla. She starts off as a content individual, living a happy life with her family and remaining unaware of the happenings in the outside world. However, Ayengla's life takes a drastic turn when she becomes a victim of rape by the army. This traumatic incident leaves her physically and emotionally scarred, resulting in her being permanently crippled. The trauma she experiences freezes her in time, preventing her from processing the incident and moving forward with her life. Despite the efforts of her husband and family members to support and help Ayengla, she is unable to recover from the psychological damage inflicted upon her. Her husband eventually decides to marry another woman and start a new life, leaving Ayengla to suffer in gloom, loneliness, and ultimately leading to her death. The Face in the Mirror, explores the profound impact of a rape incident on a young girl named Zungmila from Nagaland. The traumatic experience leaves her deeply disturbed, resulting in long-lasting psychological and emotional effects. It emphasizes the need for support, understanding, and healing for survivors of sexual violence, while also highlighting the broader socio-political context that shapes and compounds their experiences, “mumbling about her aunt and her distended breast” (Kalita 131).

However, there are instances where Patangia Kalita ventures into narrative innovation and experiments with different modes of storytelling. In stories like Scream and A Precarious Link, she explores the anecdotal, fragmentary, and snapshot modes of narration. This departure from her usual style adds variety to her collection and showcases her ability to adapt her storytelling techniques to suit the specific needs and themes of each story. By incorporating narrative innovation, Patangia Kalita enhances the impact of these stories, bringing forth different perspectives and offering a fresh and engaging reading experience for her readers.

CONCLUSION:

Arupa Patangia Kalita's writing is often praised for its lucidity and occasional poetic qualities. She skillfully employs vivid images, metaphors, and symbols to enhance her storytelling. One example of symbolic significance is the image of the hill in the story "Scream," which carries deeper meaning beyond its literal representation. While Patangia Kalita primarily adheres to a social realist style, employing an omniscient narrator, she also demonstrates descriptive felicity and a keen eye for detail. Her focus on depicting the social realities and the lives of ordinary people is a hallmark of her writing. This approach allows her to capture the nuances and complexities of the characters' experiences and their interactions with the world around them.

REFERENCE:

1. Caruth, Cathy. (1996) Unclaimed Experience: Trauma, Narrative and History. Baltimore and London: The John Hopkins University Press.

2. Caruth, Cathy. (1995) Ed. Trauma: Explorations in Memory. The John Hopkins University Press.

3. Kalita, Patangia Arupa. Felanee. Fourth Edition Guwahati: Jyoti Prakashan, 2010. Print.

4. Kalita, Arupa Patangia. (2015) Written in Tears. Translated by Ranjita Biswas. Harper Perennial.

5. Kalita, Arupa Patangia. (2020) The loneliness of hirabarua. Translated by Ranjita Biswas. Macmillan, 2020.

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Received on 15.07.2023 Modified on 17.08.2023

Res. J. Humanities and Social Sciences. 2023;14(3):159-162.

DOI: 10.52711/2321-5828.2023.00033