Amit Chaudhuri

Towards the beginning of Event, Metaphor, Memory, Shahid Amin observes: ‘Indian schoolboys know of Chauri Chaura as that alliterative place name which flits through their history books.’ This is true: Chauri Chaura, we were taught, was where, on 4 February 1922, peasant volunteers who had enlisted for Gandhi’s newly launched non-co-operation movement turned violent and burned down a police station with 23 policeman trapped inside it; and Gandhi called a temporary halt to his nationwide movement. It was an early moment of disgrace in a still unfolding nationalist history; and Gandhi had to condemn it quickly in order to prove the moral superiority of the movement he had initiated. Ironically, it was a moment that would have positive repercussions in the long term because, in condemning what had happened as an aberration, Gandhi demonstrated to his opponents and supporters that his movement was essentially political, not militant.

Among the welter of images and mythologies that constitute the middle-class Bengali’s consciousness – P3 and Ganesh underwear, the Communist hammer and sickle, Lenin’s face, fish and vegetable chops outside the Academy, wedding and funeral invitation cards, the films of Satyajit Ray, the loud horns of speeding state transport buses, Murshidabadi and Tangail sarees, the daily Ananda Bazar Patrika, the songs of Tagore, the destitute outside Grand Hotel, Boroline Antiseptic cream, Madhyamik school examinations (to name just a few of the constituents) – Mother Teresa, too, is present. Not only is she undeniably a part of the contemporary history of Calcutta, but she is, to the ordinary middle-class Bengali, only a segment in a reality that is complex and constantly changing, and is composed impartially of the trivial and the profound. In contrast, to the average middle-class European or American Mother Teresa is Calcutta, or certainly its most life-affirming face. The rest of Calcutta is impossibly ‘other’, romantically destitute and silent; the ‘black hole’, unsayable. It is interesting that the poor whom Mother Teresa attends never speak. They have no social backgrounds or histories, although it is precisely history and social background, and the shifts within them, that create the poor. Instead of speaking, the poor in the photographs look up at her silently, touch her hand, are fed by a spoon. The ‘black hole’ of Calcutta, figuring as it does an open, silent mouth, no longer refers to the historical event that took place in the 18th century in which English men, women and children were trapped by Indian soldiers in a small, suffocating cell in the city. It refers to the unsayable that lay, and still often lies, at the heart of the colonial encounter, the breakdown in the Western observer’s language when he or she attempts to describe a different culture, the mouth open but the words unable to take form. In Western literature, the unsayable is represented by ‘The horror! the horror!’ in Conrad’s Heart of Darkness, and ‘ou-boom’, the meaningless echo in the Marabar Caves in Forster’s A Passage to India, the complexity of both Africa and India reduced to hushed, disyllabic sounds. In history and the popular imagination, another two syllables, ‘black hole’, have come to express the idea that, for the Westerner, Calcutta is still beyond perception and language.’

Bishu had lived in Calcutta for eight years, but still couldn’t speak proper Bengali. ‘I does my work,’ or ‘I am tell him not to do that,’ he would say. Even so, he courted his wife in precisely this language and then married her. With his child he either spoke in Oriya or his version of Bengali, and the child, now a year and a half old, did not seem to mind.

The shame of being on the wrong side of history: this is what Kazuo Ishiguro’s first three novels have been about. It is not a condition that has been written about a great deal in English, because the English language, ever since ‘literature’ was created and taught, has been on the winning side; and the once-colonised, who have been writing in English for about the past forty years, have always had the moral rightness of their exploitedness, and the riches of their indigenous cultures, to fall back on. But for the story of the personal implications of national shame or guilt in English, one has to turn to a Japanese writer, Ishiguro, and to his mentors, the Japanese filmmakers; not the flamboyant Kurosawa, but the equally gifted Ozu.

It was after school hours. Almost an hour ago, either Krishna or Jimmy had rung the bell, a continual pealing that seemed to release a spring in the backs of the boys and girls, who jumped out of their chairs and proceeded to throw, without ceremony or compassion, their books into their satchels. It was then useless for a teacher to try to be heard, or to beat the table despairingly with the back of a duster, raising dramatic puffs of chalk-dust, for the boys hard-heartedly assumed deafness; one or two ‘good girls’ who raised their arms even now, a full twenty seconds after the bell, to ask a relevant question, further irritated the teacher, who, her hands powdered with sediments of green and white chalk, wanted to be upstairs in the teachers’ common room, pouring tea from her cup into her saucer and very slowly sipping it. Preparing, like Atlas, to lift a tottering load of brown-paper-covered exercise books full of long, ingenious bluffers’ answers, she, in a moment of mischief and vindictiveness, said to a ‘good girl’: ‘Lata, will you please carry these for me upstairs?’ So impenitently angelic was the girl that she agreed without a murmur of resentment, with an air of perpetual readiness, even.