aarachar book review in english

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Hangwoman [Book Review]

Hangwoman, by KR Meera is the intense and labyrinthine fictional story of a young woman who is appointed India's first female executioner.

Hangwoman, by KR Meera is the intense and labyrinthine fictional story of a young woman who is appointed India’s first female executioner.

Some books have to be read, others have to be experienced. This book falls under the latter category. KR Meera’s Hangwoman , originally “Aarachar” in Malayalam, and translated by J.Devika, is a complex and detailed saga of a woman who breaks free from the clutches of her controlling father, overcomes the manipulation of a man she both desires and detests, and comes into her own.

22-year-old Chetna is from the Grddha Mullick clan, a family of hangmen who trace their professional lineage back to 400 BCE, and have been witness to historical incidents over the centuries. The pride they harbour about their profession borders on arrogance. When the next rare opportunity of hanging comes along, her 88-year-old father, a veteran of 451 hangings is considered too old.

Since her brother, whose limbs have been chopped off, cannot take over the profession, the mantle of hangman is thrust upon Chetna’s shoulders.  Anyway Chetna has hanging in her blood – after all, she even came out of her mother’s womb tying a noose with her umbilical cord.

The narration is eccentric and complex. Rich with legends and myths about the Grddha Mullick ancestors, these stories alternate with current events in the novel, and form a wonderfully layered narrative, thick with symbolism. Imagination at its best. The novel also deals with poverty, gender, society, media manipulation, and is a study of the place of a woman in today’s society.

The characters are hauntingly well-etched, and present-day Kolkata is also a tangible character in the story. Death looms in every page, leaving a dark trail through the novel. But even something gruesome and depressing as hanging, and death, and details of the dead – is dealt with elegantly. It shocks, but doesn’t disgust.

A word about the translation. From experience, I know how difficult translation is, and how easy it is for the translated text to sound stilted. To translate a novel of this complexity and depth and to do justice to it is a remarkable achievement.  Except for a handful of unwieldy sentences in the beginning of the novel, the rest of the novel flows along like molten iron – all credit to J.Devika. This book brought home to me yet again how many gems we have in regional languages in India, and how invaluable translators are, without whom these treasures would be lost to the majority of us!

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The intensity of this book is sometimes overwhelming. But even when you feel you cannot bear to read another word, you just cannot set the book aside. Borrowing a metaphor from the novel, reading the book felt like I’d been subjected to the hangman’s noose myself.  At the end of the novel, I was breathless, and felt like the life was sucked out of me. Yet, it was deeply satisfying.

Publishers: Penguin Books

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About the Author

Shruthi Rao

Shruthi Rao is a writer and editor. read more...

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Translation, Culture and the Loss of Meaning in K R Meera's Aarachar

2019, IJRTE

Translation, as a practice, has existed ever since the birth of civilization even though, its inclusion in the domain of scientific research did not take placeuntil the second half of 20 th century. The ability of translation to transcend the linguistic barriers has always been used to its advantage to promote traditions, practices and even ideologies. However, it is widely accepted that translation is incapable of the complete transference of meaning when the source culture and target culture are significantly divergent. The aim of the paper, therefore, is to analyze this loss of meaning through the comparative reading of K R Meera's Aarachar and its translation Hangwoman by J Devika. The source text was chosen for its significant contributions to the modern Malayalam literary tradition and the strong presence of cultural elements. Through this article, the researcher intends to trace the difficulties translator had to face during the process of translation and the extent to which the translator has succeeded in achieving an equivalence of meaning bound in a cultural setting. The concept of equivalence in translation defined by Nida andNewmark's and Vermeer's understanding of culture in translation is employed for this comparative reading.

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Translation is as old as creative writing itself. However, there are certain issues that sprout with the discourse of translation. The query arises on the translator’s reliability, on the intentions of the translator, on the issue of finding the appropriate equivalents etc. In this paper an effort has been made to study the translated work of Indira Goswami’s novel Nilakanthi Braja which is translated by Gayatri Bhattacharyya and published under the title The Blue-necked God. The issues that the paper focus is on the degree of subject-specific knowledge, degree of SL and TL proficiency, unconscious personal intrusion on the part of the translator, and difficulty in finding the appropriate equivalents that needs to be considered in the process of translation. The diminution of TL text’s ornateness is the immediate ramification of its flouting. Key Words: translation; source language; target language; equivalence; alien matter; inappropriate and incorrect transference; literal translation; semantical translation; untranslability

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Lots in translation

After having waited in the wings for so long, translations are slowly moving centre-stage.

Published - November 14, 2014 07:46 pm IST - Kozhikode:

PENNING A NEW TURN Goat Days and Hangwoman are among the translation successes of Penguin, says Sivapriya. A scene from DC Books at Kozhikode. Photo: K. Ragesh

Aarachar drew much attention, both good and not-so-good. Yet, when K. R. Meera’s novel with a gender-neutral Aarachar for title became the Hangwoman in translator J. Devika’s hands, it took to the skies. The translation wriggled and made space for itself, particularly, in the national media. Publisher Hamish Hamilton, an imprint of Penguin India, planned Hangwoman’s publication and promotions meticulously. Meera’s book and Meera earned welcome reviews in mainstream, English publications. This mirrored signs of change. Translations are no more sitting at the fringes; instead, from what is a concerted effort from big-time publishers, naturally bi-lingual translators and solid original works, it is moving centrestage. Aggressive book promotions typically ear-marked for Indian writing in English, is now happening with translations too and they are the better for it.

A progression R. Sivapriya, executive editor at Penguin India, and who specialises in translations, says the new turn for the publishing firm began when they brought out Benyamin’s Goat Days . “Penguin has been publishing translations since its inception in India. But with Goat Days in late 2012, the way we published and promoted translations changed,” says Sivapriya. The publisher’s instinct about the book also had to do with the uniqueness of the tale it told. “ Goat Days was the right book at the right time. It could travel well with translation. It could speak to anyone anywhere,” says Sivapriya.

A renewed focus on translations, she points out, came from the firm belief that the “most exciting writing was happening in Indian languages.” “We knew we cannot ignore it and if we are doing translations, we rather do it well,” says Sivapriya.

Painstaking translated and edited, the works are given a new life with stunning covers and succinct blurbs. “We pitch in with a full-scale campaign. For Goat Days , along with the books sent to the press went a two-page note on the author,” says Sivapriya. Goat Days too invited considerable media attention and also made it to the Man Asian Long List. “Till date we have sold 7,000 copies of Goat Days . It is definitely not a patch on the Malayalam numbers. I cannot really say if the press attention means better sales. The numbers for translation are getting marginally better,” she adds.

Penguin followed up Goat Days with Shamsur Rahman Faruqi’s The Mirror of Beauty, translated from Urdu and Sachin Kundalkar’s Cobalt Blue from Marathi among others. “The buzz about Hangwoman was really good ,” says Sivapriya.

If translations are a growing presence, Anita Nair who has reviewed Hangwoman, translated Thakazhi’s Chemeen to English (published by HarperCollins) and is a popular Indian author writing in English, believes the quality of translations has been key. “Yes, publishing firms have opened out. The emergence of a new crop of translators who have equal felicity in both languages mean fluid translations. The media too recognises the need to woo in readers. So what I see is an organic synergy,” says Anita.

Anita understands a translator’s dilemma and hence finds the efforts of those such as J. Devika and Gita Krishnankutty praiseworthy. “Translators walk a very fine line between art and craft. A lot of translators who are working now have some kind of literary background. Translations then become seamless,” she says.

K. Satchidanandan, poet and writer, too believes the blossoming of a true bi-lingual generation is a blessing. “They are truly confident in English and have sufficient knowledge in their mother-tongue,” says the veteran author whose works have been translated into multiple languages including English. Satchidanandan, who lives in Delhi, says he has seen “very evident change” in the sphere of translations in the past five years or so. “Lack of very good works in English would have also forced the mainstream to turn to translations,” he says.

Documenting change Satchidanandan traces the change to the time Macmillan came out with a series of Indian novels in translation some years ago. “It was a great beginning which went on for three to four years. Since then, others like Oxford University Press, Orient Blackswan and Penguin have came in. A pioneering publisher in the field was Katha, entirely dedicated to translations,” says Satchidanandan.

With more prizes now introduced for translations, attention on it is naturally more, he says. “The DSC prize for South Asian literature could be for an original or translated work. The translation of U.R. Ananthamurthy’s Bharathipura was shortlisted for the Man Booker in 2013. All these have given the translation agenda a push,” says Satchidanandan.

Unlike mainstream Indian writing in English, translations are often about the most talked-about and popular regional works of a time. Sivapriya talks of the invisible filter in place while picking out works for translations. “In the last couple of years, we have brought out apart from Malayalam, works in Urdu, Hindi, Marathi and Tamil. With translations, one gets to choose the best. With Goat Days, wewere figuring out how to go about it. By the time we got to Hangwoman we have got better at it. Both these books are our biggest success,” she says.

The choice of books translated of late has been vital, agrees Satchidanandan. Be it Goat Days or Nalini Jameela’s The Autobiography of a Sex Worker or Hangwoman, the narratives focus on experiences that are new to the reader. “ Goat Days talked about the terrible misery of an ordinary job seeker in the Middle East and Hangwoman as an idea was something hardly written about. So more than the art of these novels, it is the fresh life experiences they talked of which made them click with Indian middle class readers,” says Satchidanandan. Whether these novels are classics are for the critics to decide, he says, but for the readers of the original and the translation, it smacks of life. “The scene is much better today when regional writers have a better opportunity to get noticed across the country,” says Satchidanandan. Attention may or may not mean sales. “With Meera’s novel it is too early to say,” says Sivapriya.

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Translation, Culture and the Loss of Meaning in K R Meera’s Aarachar

• September 2019
• International Journal of Recent Technology and Engineering (IJRTE) 8(3)
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Aarachar (Malayalam) Kindle Edition

• Print length 819 pages
• Language Malayalam
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• Publisher DC Books
• Publication date November 3, 2016
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• ASIN ‏ : ‎ B01MSHNBIQ
• Publisher ‏ : ‎ DC Books (November 3, 2016)
• Publication date ‏ : ‎ November 3, 2016
• Language ‏ : ‎ Malayalam
• File size ‏ : ‎ 7760 KB
• Text-to-Speech ‏ : ‎ Not enabled
• Screen Reader ‏ : ‎ Supported
• Enhanced typesetting ‏ : ‎ Enabled
• Word Wise ‏ : ‎ Not Enabled
• Sticky notes ‏ : ‎ On Kindle Scribe
• Print length ‏ : ‎ 819 pages
• #28 in Malayalam eBooks
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Chemmeen to Aarachar: Ten Legendary Malayalam Novels You Must Read!

While it is near impossible to round down to one for the vast diversity showcased by the authors in Kerala, here are some of the finest literary works ever produced in Malayalam.

W ith its unfathomable contribution to Indian literature, Kerala has carved itself a niche position in the literary circles with works that often reflect deep introspection through its unprecedented storylines and ingenious narrative styles.

From simplistic writings of legendary Vaikom Muhammad Basheer to microcosmic narratives of O.V. Vijayan and works of contemporary authors like K.R. Meera and Benyamin, the writers have never failed to captivate both readers and critics alike with their skill of crafting unforgettable tales.

While it is near impossible to round down to one for the vast diversity showcased by the authors in Kerala, we have tried our hand in sieving out some of the finest literary works ever produced in Malayalam.

Here are ten best works in Malayalam literature – along with their translated English counterparts – ranging from the early 1940s to the present decade that you must not miss out for the pure love of reading:

1. Chemmeen (1956) by Thakazhi Sivasankara Pillai

One of the biggest cult classics to have been ever written in Malayalam, Chemmeen (Prawns) is a saga revolving around the myth among the fishermen communities in Kerala—that of a married woman’s chastity.

Penned with great emotional detail about the customs, taboos, moral boundaries and day-to-day instances of the community while trudging through toils of life and existence, the novel went on to win the Kendra Sahitya Akademi Award, India’s second highest literary prize, in 1957.

The book was adapted into a feature film by the same name in 1965, which is considered to be one amongst the greatest Indian films ever made.

2. Khasakkinte Ithihasam (1969) by O.V. Vijayan

One of the most unforgettable books ever written in Malayalam, Khasakkinte Ithihasam continues to mesmerise its readers with a surrealistic visualisation encapsulated within the settings of a sleepy little village that has a microcosm of its own.

The novel, which is considered to be O.V Vijayan’s masterpiece, has been reprinted more than fifty times, making it one of the most best-selling novels in South Asia. Inspired by a real village called Thasarak near Palakkad, the novel does not have a single straight narrative which makes it all the more gripping – as one walks through the spiritual journey of an under-graduate dropout, Ravi.

The plot begins with the man’s arrival to the village and how things are never the same again. The Legends of Khasak was translated by the author himself in 1994 and has often been lauded for its extensive depth in characters and unprecedented narrative style that would have otherwise been rendered as a mundane village romance.

You can buy the book  here .

3. Balyakalasakhi (1944) by Vaikom Muhammad Basheer

One of the finest writers in the history of Malayalam Literature, Vaikom Muhammad Basheer or simply Basheer is more popular for his works like Pathummayude Aadu , Mathilukal and Ntuppuppakkoranendarnnu .

But it is his Balyakalasakhi (Childhood Friend) that has managed to captivate its readers with its simple yet heart-wrenching story of two childhood friends who go on to become lovers till fate decides otherwise.

Believed to be an autobiographical work, the novel showcases love in its truest form—sometimes the one that remains unfulfilled. One of the noteworthy aspects of the story is the way the author disguises a trace of poignancy in the light narrative style and brings humour even during situations of abject tragedy.

You can buy the book here .

4. Aarachaar (2013) by K.R. Meera

Set in Chitpur, Kolkata, the narrative revolves around the ancient legacy of the Graddha Mullicks, a lineage believed to go back four hundred years before Christ. Having been the creators of fate with the noose in their hands, the twist in the plot comes when the last heir is grudgingly handed over the title—and its a woman!

The original, Aarachaar (An Executioner) went on to bag Kerala Sahitya Akademi Award for 2013, followed by Odakkuzhal Award in 2013, Vayalar Award in 2014 and Sahitya Akademi Award in 2015, making K.R. Meera one of the best literary writers in Malayalam. ‘Hangwoman: Everyone loves a Good Hanging’ is translated by J Devika.

You can buy both book  here .

5. Randamoozham (1984) by M.T. Vasudevan Nair

With a revisionist narrative of the epic Mahabharata, this book is one of the most widely read Malayalam classics ever produced. What makes the novel an engaging and pensive read is the protagonist—Bhima. Considered to be M.T Vasudevan Nair’s masterpiece, the work won the prestigious Vayalar Award , given for the best literary work in Malayalam, in 1985 and Muttathu Varkey Award in 1994.

Diverging from the timeworn narrative involving divine elements, Randamoozham (Second Turn), give its due share to the actual draftsman behind the victory of Pandavas. Translated by Gita Krishnankutty as Bhima: Lone Warrior in 2013, the book continues to enjoy a cult status in the state and will soon be adapted as a mega-budget feature film.

6. Verukal (1966) by Malayattoor Ramakrishnan

Believed to be semi-autobiographical, Verukal (Roots) is one of the best works of Malayattoor Ramakrishnan. Bagging the Kerala Sahitya Akademi Award in 1967, the narrative revolves around the life of a family of Tamil speaking Iyers who had settled in Kerala generations ago and sheds light on the drastic effect of modernism and how it has the ability of uprooting one’s heritage.

Originally settled elsewhere, the protagonist comes to his native village with the sole intention of selling his ancestral property. However, over the period of his stay, he ends up treading down memory lane and hits a realisation that forms the crux of the story. Resonating with those who left their native towns in search of employment and other pursuits, it is a story of homecoming that strikes a chord, right in the heart.

The English translation of the book which goes by the name Roots was published in 2002.

7. Aatujeevitham (2008) by Benyamin

First published in serial form in Mathrubhumi Illustrated Weekly, Aatujeevitham (Life of a Goat) illustrates the life of an abused migrant worker in Saudi Arabia written by Bahrain-based Indian author Benyamin.

It is the hard-hitting story of a gulf-aspirant who, upon finally reaching his dreamland, ends up leading a slave-like existence herding goats in the middle of the Saudi desert. Based on real-life incidents, the novel goes through a series of incidents that illustrate the journey of a man through extreme adversity and loneliness, pushing the man to hatch a life-threatening scheme to escape his desert prison.

The English translation of the novel, Goat Days, found its way into the long list of Man Asian Literary Prize 2012 and was shortlisted for the DSC Prize for South Asian Literature in 2013. Touted as one of top best-sellers of present-day Malayalam Literature, Aatujeevitham was also the recipient of Kerala Literary Academy Award for the year 2009. The book is also part of the syllabus in Kerala University, Calicut University, Bharathiar University, Pondicherry University and 10th standard for Kerala State syllabus.

You can buy both the books here .

8.  Mayyazhippuzhayude Theerangalil (1974) by M. Mukundan

Set in the erstwhile French enclave of Mayyazhi or Mahe, the plot is a mélange of shimmering French elegance and rustic native myths and legends and captures a period of transition of people still stuck in the entrapments of the colonial era.

A masterpiece by one of the celebrated authors in Kerala, M. Mukundan’s Mayyazhippuzhayude Theerangalil is a tale of love, frustration and decay that the author has woven amidst the idyllic backdrop of the Arabian Sea and the Mayyazhi river.

Journeying through trials and tribulations of two families bonded by friendship but complete juxtapose to one another, one goes back in time as the narrative seeps through the spectre of the territory’s independence movement.

On the Banks of the Mayyazhi which is the English translation by Gita Krishnankutty, manages to retain the soul of Mukundan’s narrative and engages the reader as much as the original.

9. Oru Desathinte Katha   (1971) by S.K. Pottekkatt

Recipient of both Kendra Sahitya Academy in 1973 and Jnanpith Award in 1980, Oru Desathinte Katha (The Story of a Locale) is one of the best works of writer S. K. Pottekkatt. Set in the village of Athiranippādam, the plot takes the readers on a journey that begins from the village of Athiranippādam to North India and as far as Africa and Switzerland, stretching over a period of 55 years.

Believed to be a fictionalised autobiography, the protagonist’s character sketch seeks inspiration from the author himself, who beautifully yarns a story that incorporates an interesting concoction of street gossip, fairy tale and recorded history.

Igniting a sense of nostalgia and longing, the novel comprises various characters and instances end up rendering a feeling of déjà vu amidst  readers—of people they have met, conversations they have had, places they have seen and people they may know. The English version was translated by Sreedevi K. Nair and Radhika P. Menon and was published as Tales of Athiranippādam in 2013.

10. Agnisakshi (1976) by Lalithambika Antharjanam

A social reformer best known for her literary works in Malayalam, much of Lalithambika Antharjanam’s writing dealt with the role of women in society, and how societal norms often ended up being an obstacle for a woman to explore her individuality.

More famous for her short stories and poems, Agnisakshi was the only novel written by Lalithambika, who penned it down during the twilight years of her life. Having received both Kendra Sahitya Akademi Award and Kerala Sahitya Akademi Award, the novel enjoys the status of a classic in Malayalam fiction.

With an insight into the Namboodiri community of Kerala, the narrative is structured around three characters—Thethikutty, Thankam Nair and Unni Namboodiri and strings together themes like choice, detachment, renunciation, love and devotion as they trudge through different phases in life. The English version was translated by art critic Vasanthi Sankaranarayanan in 1980.

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Why does it matter? Because self-esteem affects everything—from your mental health to your relationships. People with healthy self-esteem are generally happier, handle stress better, and build stronger, more positive relationships. In short, self-esteem is the foundation for a positive, fulfilling life.

All snakes/lizards on earth (both male and female) have pairs of reproductive organs.

Snakes do not have arms/legs/backbone, so unlike humans and other animals, it is not possible for them to mate with the same male organ and the same female organ as they cannot mate face-to-face or front-to-back. The two pairs of copulatory organs are contained in the cloaca located at the bottom of the male and female body in the left and right jaws in the lower front cave but the organs of each are independent of each other. When the left organ of the female is active for mating, the right organ of the male becomes useful and when the right organ of the female is active for mating, the left organ of the male becomes useful. After all, the choice always lies with the female. Both male/female genitals are never used at the same time or alternatively.

Male snakes can use both their sexual organs at different times. In case of females, the activity is a little different. In March or April, or whenever the breeding season begins, the first female snake becomes active and secretes fluids from a unilateral vagina to lure the male snake for mating. A nearby male can chase and capture a female with the help of his tongue and Jacobson’s organ. Sometimes more than one male fights together and the winner gets the female. For copulation, both male and female have to wrap themselves around each other so that the left or right side is internally stimulated by touch or light friction, and the genitals of both – her right genital if the female’s body is on the left, and the right genital if the male’s body is on the right – get stimulated, elongate and emerge from the cave, in which case about 25 to 30 percent of the tail of both bodies is raised above the lower surface and rotated 180 degrees in the sky. The sexual organs of both characters, which were previously dormant inside in a “V” shape, become more excited as they emerge and bend to face each other, becoming suitable for mating. The male’s penis, which is hook-shaped and barbed, maintains a strong grip after entering the female organ. During this mating, no one has to make unnecessary movements, and after ejaculation, both separate and easily make their way. They do not even look at each other. After some time, when the female is ready for another mating, her right genital will be used to mate with the new or old male, and the male’s left genital will be used. In short, the choice is made by the female from the very beginning, and the female decides from the very beginning which side of the male snake’s body – left or right – the female snake will wrap around. All snakes/lizards on earth (both male and female) have pairs of reproductive organs.

Male snakes can use both their sexual organs at different times. In case of females, the activity is a little different. In March or April, or whenever the breeding season begins, the first female snake becomes active and secretes fluids from a unilateral vagina to lure the male snake for mating. A nearby male can chase and capture a female with the help of his tongue and Jacobson’s organ. Sometimes more than one male fights together and the winner gets the female. For copulation, both male and female have to wrap themselves around each other so that the left or right side is internally stimulated by touch or light friction, and the genitals of both – her right genital if the female’s body is on the left, and the right genital if the male’s body is on the right – get stimulated, elongate and emerge from the cave, in which case about 25 to 30 percent of the tail of both bodies is raised above the lower surface and rotated 180 degrees in the sky. The sexual organs of both characters, which were previously dormant inside in a “V” shape, become more excited as they emerge and bend to face each other, becoming suitable for mating. The male’s penis, which is hook-shaped and barbed, maintains a strong grip after entering the female organ. During this mating, no one has to make unnecessary movements, and after ejaculation, both separate and easily make their way. They do not even look at each other. After some time, when the female is ready for another mating, her right genital will be used to mate with the new or old male, and the male’s left genital will be used. In short, the choice is made by the female from the very beginning, and the female decides from the very beginning which side of the male snake’s body – left or right – the female snake will wrap around.

I’m impressed by the warmth of the community keep yr name up.

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ആരാച്ചാർ (Aarachaar)

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Aarachaar ( Ārāccāṟ lit.   ' Executioner '; transl.   Hangwoman: Everyone Loves a Good Hanging ) is a Malayalam novel written by K. R. Meera . [1] Originally serialised in Madhyamam Weekly in continuous 53 volumes, the novel was published as a book by DC Books in 2012. It was translated by J. Devika into English under the title Hangwoman: Everyone Loves a Good Hanging ( Hamish Hamilton , 2014).

Set in Bengal , it tells the story of a family of executioners with a long lineage, beginning in the fourth century BC. The protagonist of the novel, Chetna, is a strong and tenacious woman who struggles to inherit this profession.

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ആരാച്ചാര്‍ | Aarachar by K.R. Meera

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ആരാച്ചാര്‍ | Aarachar Review

മലയാള സാഹിത്യത്തിലെ ഏറ്റവും മികച്ച നോവലുകളിൽ ഒന്നായാണ് എനിക്ക് കെ.ആർ. മീരയുടെ ‘ആരാച്ചാർ’ വായിച്ചപ്പോൾ അനുഭവപ്പെട്ടത്. നീതി നിർവ്വഹണത്തിന്റെ ഒരറ്റത്തെ കണ്ണിയാണ് ആരാച്ചാർ. പക്ഷേ ആ ജോലി ചെയ്യാൻ വേണ്ടത് അചഞ്ചലമായ മനസ്സാന്നിധ്യമാണ്. കോടതി ഉത്തരവ് പ്രകാരമാണെങ്കിലും ഒരു പ്രതിയെ തൂക്കികൊല്ലുക എന്ന കൃത്യമാണ് ഒരു ആരാച്ചാർക്ക് നിർവ്വഹിക്കാനുള്ളത്‌. നീതി ന്യായ വ്യവസ്ഥക്ക് വേണ്ടിയാണെങ്കിൽ പോലും ഒരു മനുഷ്യന്റെ ജീവൻ ആരാച്ചാരുടെ കൈകളിലൂടെയാണ് ഇല്ലാതാകുന്നത്. പൊതുവേ ഇതിനുള്ള മനക്കട്ടിയും ആരോഗ്യവും പുരുഷനു മാത്രമേ ഉള്ളൂവെന്നു വിശ്വസിച്ചു കഴിയുന്ന ഒരു ലോകത്തിനു പ്രഹരമേല്പിച്ചു കൊണ്ടാണ് ചേതന ഗൃദ്ധാമല്ലിക് എന്ന യുവതി ഈ ധൗത്യത്തിനു തയ്യാറാക്കുന്നത് – ലോകത്തിലെ ആദ്യത്തെ പെണ്ണാരാച്ചാർ!

ജനനം, പ്രണയം, വിധേയത്വം, അധീശത്വം, ഫെമിനിസം(തുല്യത), മരണം… അങ്ങനെ ജനനത്തിനും മരണത്തിനും ഇടയിൽ ഒരു മനുഷ്യജീവൻ അനുഭവിക്കുന്ന ഒരുപാട് കാര്യങ്ങൾ ഈ നോവലിൽ കടന്നു വരുന്നുണ്ട്.

പ്രണയത്തിന്റെ പല മുഖങ്ങൾ നമുക്കീ നോവലിൽ ദർശിക്കാനാകും.. ആരാച്ചാരുടെ മകളായി ഒരു പരമ്പരാഗത ആരാച്ചാർ കുടുംബത്തിൽ ജനിച്ചതിനാൽ മരണം എന്നത് ചേതനയുടെ ഭവനത്തിലെ ഒരു സ്ഥിരം വർത്തമാനവിഷയമായിരുന്നു. എന്നാൽ പ്രണയത്തെ അറിഞ്ഞപ്പോൾ അവൾ സ്വയം മനസ്സിലാക്കുന്നത്, ‘ഭൂമിയിൽ മരണത്തേക്കാൾ അനിശ്ചിതത്വം പ്രണയത്തിനു മാത്രമേയുള്ളൂ..’ എന്നാണ്. അതു പോലെതന്നെ മറ്റൊരു കഥാപാത്രം ആയ ചേതനായുടെ ഥാക്കുമാ സ്നേഹത്തെ കുറിച്ച് പറയുന്നതും ശ്രദ്ധേയമാണ്.. ‘പുരുഷന്റെ സ്നേഹവും സ്ത്രീയുടെ സ്നേഹവും രണ്ടാണ്. ആഹ്ലാദിപ്പിക്കുന്നവളെ മാത്രമേ പുരുഷനു സ്നേഹിക്കാൻ കഴിയൂ. സ്ത്രീക്ക് അവളെ വേദനിപ്പിക്കുന്നവനെയും സ്നേഹിക്കാൻ സാധിക്കും..’ മരണത്തിന്റെ പല മുഖങ്ങൾ പോലെ സ്നേഹത്തിന്റെ പല മുഖങ്ങൾ നമുക്ക് ആരാച്ചാരിൽ കാണാം.

മുഖ്യ ആരാച്ചാർ ആയിരുന്ന ചേതനായുടെ അച്ഛൻ ഫണി ഭൂഷൺ ഗൃദ്ധാമല്ലിക് പറയുന്ന വാക്കും ശ്രദ്ധേയമാണ്, ‘മരിച്ചു കഴിഞ്ഞെന്നുറപ്പായാൽ പിന്നീട് അവരെ സ്നേഹിക്കരുത്. മരിച്ചവരെ സ്നേഹിക്കുന്നത് ജീവനുള്ളവരുടെ ചൈതന്യം നശിപ്പിക്കും..’

പല വികാരങ്ങളുടെ പല ഭാവങ്ങളാൽ സമ്പുഷ്ടമായ ഈ നോവൽ വളരെ വ്യക്തതയോടെയും ഒഴുക്കോടെയുമാണ് നിർമ്മിച്ചെടുത്തിരിക്കുന്നത്. അതിനാൽ വായാനയിൽ ഒരിടത്തും മടുപ്പ് അനുഭവപ്പെട്ട സാഹചര്യം ഉണ്ടായില്ല.

കഥാപാശ്ചാത്തലം കൊൽക്കത്തയാണെന്നതിനാൽ നോവലിൽ ഉടനീളം ചെറിയ ചെറിയ ബംഗാളി ഭാഷാപ്രയോഗം നമുക്ക് കാണുവാനാകും. ചില വാക്കുകൾ, അവ തനതു ഭാഷയിൽ പ്രയോഗിച്ചാലേ പൂർണത വരൂ എന്നുള്ളതിനാലാകാം കെ.ആർ.മീര ഇപ്രകാരം ചെയ്തിരിക്കുന്നത്. നോവൽ എഴുതുവാൻ എഴുത്തുകാരി നടത്തിയ അന്വേഷണങ്ങളെ അഭിനന്ദിച്ചേ മതിയാകൂ.. ഒപ്പം നോവൽ മുൻപോട്ടു വയ്ക്കുന്ന ചില പ്രസക്തമായ ചോദ്യങ്ങളും ചർച്ച ചെയ്യപ്പെടേണ്ടതാണ്..

• വധശിക്ഷ എന്നത് ഒഴിവാക്കേണ്ടതാണോ അല്ലയോ?
• സ്ത്രീപുരുഷ തുല്യത പുരുഷൻ അംഗീകരിക്കുന്ന അളവുകോൽ വച്ചല്ലേ ഇപ്പോളും തിട്ടപ്പെടുത്തിയിരിക്കുന്നത്?
• നിയമത്താൽ തുല്യത ലഭിച്ചാൽ തന്നെയും ചിന്താഗതിയിൽ തുല്യത സാധ്യമാണോ??

നോവൽ വായിച്ചു കഴിയുമ്പോൾ നാം നമ്മിലും സമൂഹത്തിലും ചൂഴ്ന്നു നോക്കി ഉത്തരം കണ്ടെത്താൻ ശ്രമിക്കേണ്ടുന്ന മേല്പറഞ്ഞതല്ലാത്ത ചോദ്യങ്ങളും ആരാച്ചാരിലുണ്ട്. ചോദ്യങ്ങളുടെയും ചിന്തകളുടെയും ഒരു കുടുക്ക് എഴുത്തുകാരിക്കു നമ്മെയണിയിക്കുവാൻ കഴിയുന്നു എന്നതിനാൽ തന്നെയും ആരാച്ചാർ വളരെ പ്രസക്തമായ ഒരു നോവലാകുന്നു.

ആരാച്ചാര്‍ | Aarachar Summary

ആരാച്ചാർ – ഒരുപാട് അവാർഡുകൾ കിട്ടിയ ഈ എഴുതിയത് കെ ആർ. മീരയാണ്. കൊൽക്കത്ത നഗരത്തിന്റെ പശ്ചാത്തലത്തിൽ ആരാചാർ കുടുംബത്തിലെ അംഗങ്ങളായ ഫണീഭൂഷൺ ഗൃദ്ധാ മല്ലിക്കിന്റെയും മകൾ ചേതന മല്ലിക്കിന്റെയും കഥയാണ് ഈ പുസ്തകത്തിലൂടെ പറയുന്നത് .

വധ ശിക്ഷക്ക് വിധിക്കപെട്ട യതീന്ദ്രനാഥ് ബാനർജിയുടെ ദയാഹർജി ഗവർണർ തള്ളിയെന്ന വാർത്തയോട് കൂടിയാണ് ഈ കഥ ആരംഭിക്കുന്നത് . നൂറ്റാണ്ടുകളുടെ പഴക്കവും ചരിത്രവും ഉള്ള ആരാച്ചാർ കുടുംബത്തിലെ അവസാനത്തെ കണ്ണികളാണ് ചേതന മല്ലിക്കും അവരുടെ പിതാവ് ഗൃദ്ധാ മല്ലിക്കും .

യതീന്ദ്രനാഥ് ബാനർജിയുടെ വധ ശിക്ഷ തള്ളിയതറിഞ്ഞ് ഗൃദ്ധാ മല്ലിക്ക്‌ വളരെ സന്തോഷവാനാണ്. ഏറെ കാലത്തിനു ശേഷം താൻ എപ്പോഴും അഭിമാനത്തോടെ മറ്റുള്ളവരോട് പറയാറുള്ള “നീതി നടപ്പാക്കുക ” എന്ന തന്റെ കുല തൊഴിൽ നടപ്പിലാക്കാൻ സാധിക്കാനിടയുള്ളതിനാലായിരുന്നു അതിനു കാരണം . ജനാധിപത്യത്തിൽ വധ ശിക്ഷ കുറവായിരുന്നതിനാൽ ഗൃദ്ധാ മല്ലിക്കിനെ സംബന്ധിച്ചു ഇത് ഒരു സുവർണാവസരമായിരുന്നു. പ്രായാധിക്യം മൂലം ഉള്ള തന്റെ അവശതയെക്കുറിച്ച് അദ്ദേഹം ബോധവാനായിരുന്നു . ആരാച്ചാർ ജോലി നിർവഹിക്കണമെങ്കിൽ തന്റെ മകൾ ചേതനക്ക്‌ സർക്കാർ ജോലി കൊടുക്കാൻ വ്യവസ്ഥ വെച്ചു . തന്റെ മകളെ സർക്കാരിന്റെ ഔദ്യോഗിക ആരാച്ചാരായി നിയമിക്കണമെന്നതായിരുന്നു ഗൃദ്ധാ മല്ലികിന്റെ ആവശ്യം . ഗൃദ്ധാ മല്ലിക്കിനെ ഇത്തരത്തിലൊരു ആവശ്യത്തിലേക്ക് എത്തിച്ചത് സഞ്ജീവ് കുമാർ മിത്ര എന്ന മാധ്യമ പ്രവർത്തകനായിരുന്നു . 22 വയസുള്ള ഒരു സ്ത്രീ ആരാച്ചാർ ആവുമ്പോൾ ഉണ്ടാകുന്ന വാർത്ത പ്രാധാന്യത്തിന്റെയും മാധ്യമ ടെലിവിഷൻ റേറ്റിംഗ് ആണ് സഞ്ജീവ് കുമാറിന്റെ ഈ താല്പര്യത്തിനു കാരണം. ആദ്യം സർക്കാർ ഈ ആവശ്യത്തോട് മുഖം തിരിച്ചെങ്കിലും പിന്നീടുള്ള പല സംഭവ വികാസങ്ങളും (സ്ത്രീ പുരുഷ സമത്വം പോലുള്ളത് ) കണക്കിലെടുത്ത്‌ ചേതനയെ സർക്കാർ ആരാച്ചാരായി അംഗീകരിക്കുകയായിരുന്നു . ഇതോടു കൂടി ചേതന ലോകത്തിലെ ആദ്യത്തെ വനിതാ ആരാച്ചാരാവുകയും തന്റെ ജോലി നിർവഹിക്കുകയും ചെയ്യുന്നിടത് ഈ പുസ്തകം അവസാനിക്കുന്നു .

വർത്തമാന കാലത്തിലെ രാഷ്ട്രീയ, സാമൂഹിക, സാമുദായിക അവസ്ഥകളും പൊള്ളത്തരങ്ങളും ഈ പുസ്തകത്തിലൂടെ എഴുത്തുകാരി നമ്മെ ഓർമപ്പെടുത്തുന്നു. സമകാലീന വർഷങ്ങളിലെ മാധ്യമ പ്രവർത്തനത്തിന്റെ അഴുകിയ പിന്നാമ്പുറങ്ങളും മനുഷ്യത്വ രഹിതവും നീതീകരിക്കാനാവാത്തതുമായ പ്രവർത്തനങ്ങളും സഞ്ജീവ് കുമാർ മിത്ര എന്ന മാധ്യമ പ്രവത്തകനിലൂടെ നമുക്ക്‌ കാണിച്ചു തരുന്നു . തീർച്ചയായും ഏതൊരു മലയാളിയും വായിച്ചിരിക്കേണ്ട പുസ്തകം.

ആരാച്ചാർ I Aarachar I Book Review

About the k.r. meera.

മലയാള സാഹിത്യത്തിലെ ഒരു എഴുത്തുകാരിയാണ്‌ കെ.ആർ . മീര . ആവേ മരിയ എന്ന ചെറുകഥക്ക് 2009-ലെ കേരള സാഹിത്യ അക്കാദമി പുരസ്കാരം, ആരാച്ചാർ എന്ന നോവലിനു 2013-ലെ ഓടക്കുഴൽ പുരസ്കാരം , 2014-ലെ വയലാർ പുരസ്കാരം, 2013-ലെ കേരള സാഹിത്യ അക്കാദമി പുരസ്കാരം, 2015 ലെ കേന്ദ്ര സാഹിത്യ അക്കാദമി പുരസ്കാരം എന്നിവ ലഭിച്ചിട്ടുണ്ട്.

1970 ഫെബ്രുവരി 19 ന്‌ കൊല്ലം ജില്ലയിലെ ശാസ്താംകോട്ടയിൽ ജനിച്ചു. കമ്മ്യൂണിക്കേറ്റീവ് ഇംഗ്ലീഷിൽ ഒന്നാം റാങ്കോടെ ബിരുദാനന്തര ബിരുദം. 1993 മുതൽ ‍ മലയാള മനോരമയിൽ പത്രപ്രവർത്തകയായി ജോലിയിൽ പ്രവേശിച്ചു .പിന്നീട് മനോരമയിൽ നിന്നും രാജിവച്ചു ഇപ്പോൾ സ്വതന്ത്ര പത്രപ്രവർത്തകയും മുഴുവൻ സമയ എഴുത്തുകാരിയും. ആരാച്ചാർ എന്ന ഇവരുടെ നോവൽ മാധ്യമം വാരികയിൽ പ്രസിദ്ധീകരിച്ചിരുന്നു.

ആരാച്ചാര്‍ | Aarachar

മലയാള സാഹിത്യത്തിലെ ഏറ്റവും മികച്ച നോവലുകളിൽ ഒന്നായാണ് എനിക്ക് കെ.ആർ. മീരയുടെ 'ആരാച്ചാർ' വായിച്ചപ്പോൾ അനുഭവപ്പെട്ടത്. നീതി നിർവ്വഹണത്തിന്റെ ഒരറ്റത്തെ കണ്ണിയാണ് ആരാച്ചാർ. പക്ഷേ ആ ജോലി ചെയ്യാൻ വേണ്ടത് അചഞ്ചലമായ മനസ്സാന്നിധ്യമാണ്. കോടതി ഉത്തരവ് പ്രകാരമാണെങ്കിലും ഒരു പ്രതിയെ തൂക്കികൊല്ലുക എന്ന കൃത്യമാണ് ഒരു ആരാച്ചാർക്ക് നിർവ്വഹിക്കാനുള്ളത്‌. നീതി ന്യായ വ്യവസ്ഥക്ക് വേണ്ടിയാണെങ്കിൽ പോലും ഒരു മനുഷ്യന്റെ ജീവൻ ആരാച്ചാരുടെ കൈകളിലൂടെയാണ് ഇല്ലാതാകുന്നത്. പൊതുവേ ഇതിനുള്ള മനക്കട്ടിയും ആരോഗ്യവും പുരുഷനു മാത്രമേ ഉള്ളൂവെന്നു വിശ്വസിച്ചു കഴിയുന്ന ഒരു ലോകത്തിനു പ്രഹരമേല്പിച്ചു കൊണ്ടാണ് ചേതന ഗൃദ്ധാമല്ലിക് എന്ന യുവതി ഈ ധൗത്യത്തിനു തയ്യാറാക്കുന്നത് - ലോകത്തിലെ ആദ്യത്തെ പെണ്ണാരാച്ചാർ!

Author: K.R. Meera

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2 reviews for ആരാച്ചാര്‍ | Aarachar by K.R. Meera

Aby Chacs – March 6, 2021

Publishing date is given as 1970 Pls correct

Aksharathalukal – March 7, 2021

Thanks for the correction.

RAZAL NOUSHAD – December 24, 2023

ഒരുപാട് പ്രതീക്ഷകളോടെയാണ് ഞാനീ പുസ്തകം വായിക്കാനെടുക്കുന്നത്. അതിനാല്‍ തന്നെ ഉള്ളിലൊരു തോന്നലും ഉണ്ടായിരുന്നു ഇതെന്റെ പ്രതീക്ഷകള്‍ക്കൊത്ത അനുഭവം തരാതിരുക്കുമോ എന്ന്. വായിച്ച് കഴിഞ്ഞ് കുറച്ച് സമയത്തേക്കും ഈ പുസ്തകം ഞാന്‍ ആസ്വദിച്ചോ എന്ന് എനിക്കു സംശയമുണ്ടായിരുന്നു. സ്ത്രീകളോടുള്ള ഇന്ത്യന്‍ സാമുധായിക വ്യവസ്ഥകളെ നിശിതമായ സംഭവങ്ങളിലൂടെ എടുത്ത് കാട്ടിരിരിക്കുന്നു. ഒരു സ്ത്രീ എന്ന നിലക്ക്, ഈ പുസ്തകം എന്നെ ഒരുപാട് വ്യസനിപ്പിച്ചു എന്നും കൂടി കൂട്ടിചേര്‍ക്കേണ്ടിവരും. ശതകോടി വര്‍ഷങ്ങള്‍ മുന്പ് തൊട്ട് തുടങ്ങിയ അടിച്ചമര്‍ത്തലും അവഹേളനവും മൂലം സ്വാഭിമാനം പോലും നഷ്ടപ്പെട്ട ഒരു സ്ത്രീ സമൂഹത്തിന്റെ ബലഹീനതകള്‍ പലതും ചേതനയുടെ സമര്‍ത്ഥമായ പതിമൂന്ന് കെട്ടുള്ള തൂക്കുകയറിനെ പോലെ എന്നെ ശ്വാസം മുട്ടിച്ചു. ചരിത്രവും വര്‍ത്തമാന കാലവും ഇടകലര്‍ത്തി ഉള്ള എഴുത്ത് ശൈലി പരാമര്‍ശിക്കാതെ വയ്യ. നമ്മുടെ സ്വഭാവം നാം ജീവിതത്തിലൂടെ കടന്ന് പോയിട്ടുള്ള പല സംഭവ വികാസങ്ങളാല്‍ സ്വാധീനപ്പെട്ടതാണ് എന്ന് പലപ്പോഴും കേട്ടിട്ടുണ്ട്. എന്നാല്‍ നാമോരോരുത്തരും ജീവിക്കുന്ന ജീവിതവും ചെയ്യുന്ന ഒരോ പ്രവര്‍ത്തിയും നമുക്കുമുന്നെ മണ്ണടിഞ്ഞ് പോയ അനേകായിരം തലമുറകളടങ്ങുന്ന നമ്മുടെ പിതാമഹന്‍മാരുടെ കര്‍മങ്ങളാല്‍(നല്ലതും ചീത്തയും) സ്വാധീനപ്പെട്ടിരിക്കുന്നു എന്ന് എഴുത്തുകാരി പറയാന്‍ ശ്രമിക്കുന്നത് പോലെ തോന്നി. പാഴ് ചരിത്രം എന്നൊന്നില്ല. ചരിത്രം മറന്നുകൊണ്ട് മാനവരാശിക്കൊരു നിലനില്പുമില്ലതാനും. ചിലയിടങ്ങളില്‍ ചരിത്രം പറച്ചില്‍ ഒരല്പം കൂടിയോ എന്നും ഓര്‍ക്കുകയിണ്ടായി. എങ്കിലും ലളിതമായ അവതരണ ശൈലിയിലോടെ എഴുത്തുകാരി എന്റെ മനം കവര്‍ന്നു. ഇനി എനിക്കു പറയാം. ഞാനീ പുസ്തകം വളരെയധികം ആസ്വദിച്ചു.

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Aarachar (Special Edition) Hardcover – 1 December 1969

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• Print length 570 pages
• Language Malayalam
• Publisher DC Books
• Publication date 1 December 1969
• ISBN-10 8126452609
• ISBN-13 978-8126452606
• See all details

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Product details

• Publisher ‏ : ‎ DC Books; 10th edition (1 December 1969)
• Language ‏ : ‎ Malayalam
• Hardcover ‏ : ‎ 570 pages
• ISBN-10 ‏ : ‎ 8126452609
• ISBN-13 ‏ : ‎ 978-8126452606
• Item Weight ‏ : ‎ 458 g

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