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Trilogy Archna Sahni: Machu Lobsang
Translations
Amiya Sen: 'Aranyalipi'
Jatin Bala: Life in Refugee Camps
Smritikana Howlader: The Song of
the Refugees
Critical Articles
Subashish Bhattacharjee: Narayan
Sanyal’s Partition Trilogy
Deblina Hazra: Prafulla Roy’s novels
Aatreyee Ghosh: Passive Bangalee
Bhadralok
Conversation
Manoranjan Byapari: In
Conversation with Jaydeep Sarangi
Book Reviews
Narayan Sanyal
Anand Mahanand: ‘The Wheel will
Turn’
Rob Harle: ‘The Wheel will Turn’
The third novel, chronologically the first, Bakultala P.L.
Camp, is not as much a scenic description of the
refugee rehabilitation experience as the other two in
the trilogy. It is more autobiographical and deals with
the minutiae of the domestic and social reconfiguration
which the migrant populace has to undergo as
refugees. The most important criteria raised in this
novel is the question of linguistic dialects, and how
one particular way of speaking the same language
could have implicit resonances with one's status in the
new homeland. Even the language of fiction and
authorial capabilities are questioned by Sanyal
himself: "The silvery flow of language that spoiled
litterateurs might possess is not my own – clerical,
insipid" (Sanyal 1955a: 30). The felicity of language in
an adapted condition is a desire that the refugee
possesses as well, perhaps not as acutely as the
author but an attempt to displace the lacuna in the
search for an identity other than that of a refugee. The
desire for felicity is primarily an outcome of the
seemingly linguistic displacement that accompanies
the physical – the refugee has to decide upon a
definite mode of expression that delineates her/him on
the basis of migrant or host. The dialect therefore
comes to the forefront of the confrontation between
locating a new identity and an act of resistance, and
the refugee is stuck in dialectic of dialects or
languages.
The reader of Sanyal's trilogy is affected by the lack of
tragic determinants that the novels possess, but are at
times repelled by the scenes of violence as well. The
woman's body becomes a site of partition as well, and
her life ebbs before she can attain the status of a
refugee. The extension of this violence is a just and
suitable cause for the migration of a population
constantly under threat of elimination by their own
former acquaintances. Sanyal does not offer a
conciliation or mediation of the historicity and the
event of refugeseeking, but diverts the reader from a
sensational reading towards a more humane and less
journalistic experience of the historic cataclysm. The
trilogy subsumes a tragic history, making it a
perceivable human disaster and not a sublime event
that could be attributed only to the populace that
sought refuge. The repercussions were mutual for the
host and the migrant, and unlike other authors who
glorified the migration itself as a crusade, Sanyal was
one of the few who anticipated the refugee subject to
be an assemblage whose identity is not fixed, but is
constantly in a positive flux, orienting and reorienting
its being through continuous becoming. The refugees
in the three novels are often suspect of not fitting the
stature of refugees – consolidated in their selves, they
are not refugees in the first place. And yet the trilogy
throws in the question of plausibility of such a
denominator as a refugee or a migrant, forced or
otherwise, for the subject seeking refuge is entitled to
and assured of further movement against static
resistance in search of a nomadic entity that
appropriates each of the spaces it has to traverse.
Notes
1. All translations have been done by the author of this
paper.
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