Book review | Manoj Rupda explores depths of violence and identity in 'I Named My Sister Silence'

Manoj Rupda’s “I Named My Sister Silence,” beautifully translated from Hindi to English by Hansda Sowvendra Shekhar, digs into the complexities of familial bonds, the impact of violence, and the search for identity in the clamorous backdrop of Bastar. The novel opens with a haunting incident from the protagonist’s childhood, where he witnesses the brutal demise of an elephant, setting the tone for a narrative that weaves together a personal journey, socio-political turmoil, and the fragility of existence.

Author Manoj Rupda is based in Nagpur (Maharashtra) and writes in Hindi. He is the author of the novels Kaale Adhyaay published by Bhartiya Janapitha in 2015 (of which ‘I Named My Sister Silence’ is a translation), and Pratisansaar. His collections of stories includes Dafan tatha Anya Kahaniyan, Saaz Naasaaz, Aamaazgaah, Tower of Silence, Dahan and Dus Kahaniyan; and a book of essays, Kalaa ka Aaswaad. The book ‘I Named My Sister Silence’ was shortlisted for the JCB Book Award.

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The story follows an unnamed Adivasi boy whose life takes unexpected turns after the tragic encounter with the elephant in the dense forests of Bastar. The narrative unfolds in two parts, with the first focusing on the boy’s quest to find his half-sister, Irma Kako, who becomes entangled in the Maoist movement.

Author Manoj Rupda writes in the novel “Along with Ronhu, the faces of several of my relatives and schoolmates flashed in my memory. As I began entering the depths of the forest, I encountered several familiar faces. The men were all dressed in police uniforms and patrolling the area. Every hundred feet or so, I saw a policeman strolling with a gun in his hands. They all looked at me strangely as I passed them by, as if they were not watching a human but an alien from outer space. I spotted my cousins – sons of my father’s sisters and my mother’s brothers – and also my best friend from childhood, Punuram, among the policemen. I thought they recognised me, but they soon turned and walked ahead like strangers. I did not talk to them. I did not ask them about my sister. I just passed them by like they did not exist, on that path or in the forest.” The journey through the forests becomes a touching exploration of the interplay between Maoists, Adivasi villagers, and the police, challenging simplistic categorizations of perpetrators and victims.

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Rupda’s prose, stripped of literary enhancements, resonates with simplicity, making the emotional depth and harsh realities of the storytelling even more impactful. The exploration of violence, both natural and human-inflicted, is a central theme that reverberates throughout the novel. The protagonist’s mind, scarred by the traumatic elephant incident, undergoes a unique split, embodying both human and animal instincts, highlighting the lasting effects of violence on the psyche.

The novel’s strength lies in its second part, where the focus shifts to the ship named Jaldoot, which becomes a symbol of authority ferrying essential commodities. Jaldoot’s calamitous fate mirrors the global economic recession of 2008, drawing parallels to the earlier incident with the elephant. Rupda integrates historical references and emphasises the pervasive impact of economic disparity on social conflicts.

While the novel raises thought-provoking questions about violence and its consequences, it introduces intriguing characters like Captain Alok Dutt, whose narratives provide historical context but leave room for deeper exploration. The reader is confronted with the intricate web of deception, power dynamics, and economic disparities that shape the characters’ lives, prompting reflection on the true cost of progress and victory.

The bildungsroman aspect of the narrative adds another layer, tracing the protagonist’s journey from a village in Bastar to becoming an engineer on the ship and eventually returning to his roots. The search for his sister becomes a metaphorical journey to unravel the complexities of her choices and to connect with the past.

As the novel seamlessly transitions between personal and political realms, Rupda’s portrayal of Bastar challenges stereotypes, urging readers to reconsider preconceived notions about the Adivasi people and their struggles. The narrative does not shy away from depicting the destruction of villages, the plight of the marginalized, and the cyclical nature of violence perpetrated by both state and rebels.

The translator, Hansda Sowvendra Shekhar, deserves commendation for capturing the essence of Rupda’s narrative in a mesmeric English translation. The prose retains its raw intensity, allowing readers to engage with the emotional nuances of the characters and the socio-political landscape.

The novel “I Named My Sister Silence” is a gripping exploration of silence, violence, and the human quest for identity in the face of adversity. Rupda’s narrative ability, combined with Shekhar’s adept translation, makes this novella a thought-provoking and emotionally resonant read, urging readers to confront the harsh realities that persist in the shadows of society.

The author is a Bengaluru-based management professional, literary critic, and curator. He can be reached at ashutoshbthakur@gmail.com. Views expressed in the above piece are personal and solely that of the author. They do not necessarily reflect Firstpost_’s_ views.

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