Chotti Munda and His Arrow

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“All’s a story in Chotti Munda’s life,” we’re told near the beginning of Mahasweta Devi’s Chotti Munda and His Arrow, a novel that tells of the eponymous Chotti and his Munda village across seven decades in colonial and postcolonial West Bengal. “Munda language has no script. So they turn significant events into story, and hold them as saying, as song. That’s their history as well” (18). But this is a history that has often gone untold. The Munda people are among the so-called Tribals or Adivasi, the indigenous groups that make up almost 10% of India’s population but remain at the margins (at best) of the country’s national imaginary. Devi’s novel thus rescues an alternative history that troubles and even subverts the official narrative, revealing its blindspots and silences.

Not the least of this book’s subversions is the fact that it forcefully refuses any gesture towards national allegory. Whereas, say, Saleem Sinai, protagonist of Salman Rushdie’s Midnight’s Children, is born symbolically at the precise moment of India’s independence, Chotti Munda is born much more prosaically sometime at the beginning of the twentieth century. Which means that he is almost fifty when the Indian state comes into being on August 15, 1947. But the event hardly enters into his story; independence is a matter for the “Dikus,” the Hindu majority who impinge on the Mundas’ world as landowners, merchants, and shopkeepers. “The August movement did not even touch the life of Chotti’s community. It was as if that was the Dikus’ struggle for liberation. Dikus never thought of the adivasis as Indian. They did not draw them into the liberation struggle.” Yet on the other hand this makes the Tribal perspective a rather good one for assessing the achievements (or otherwise) of the nation-state, given that the adivasis “stand at a distance and watch it all” (96). Among the stories told here, then, is the story of India; what the novel refuses is the way in which allegory enforces an identification between character (and reader) and nation. However much it imitates the myth-making tendencies of folklore, and despite (or even because of) its keen interest in the workings of culture and power, the history told in Chotti Munda and His Arrow is posthegemonic.

Chotti himself has an ambivalent relationship to the story-telling and myth-making that surround him. As a teenager, against family warnings, he is drawn to Dhani Munda, his sister’s grandfather-in-law, who has fame as a rebel (he passes on the history of Birsa Munda’s late nineteenth-century revolt against the British) and as an archer. No one else wants to hear the old man’s stories, so Chotti becomes their guardian when he asks Dhani to teach him to shoot arrows; and by doing so he also “becomes a part of the epic” (7). When Dhani dies, killed by the colonial police for breaking an order expelling him from the region, Chotti takes on his legacy and earns a reputation as an archer with a magic arrow who wins tournaments at every local fair. He finds he now has the “responsibility of keeping alive the legend that is growing up around him as he wins stake after stake. But he hadn’t wanted to be the hero of legend” (32-3), and he resists the notion that there is anything supernatural or magic about his prowess. The secret, he tells anyone who asks, is simply repetition, practice: “That practisin’ is t’spell” (25). And this is the lesson that he later passes on to a younger generation in turn, that they can reshape their bodies through practice, habitual adaptation to the bow: “Spell, spell, all see me spell. Look at me hand man, hard wit’ pullin’ t’ bowstring. I practice all t’ time. Will ye?” (50).

(Devi’s translator, Gayatri Spivak, renders Munda speech in English with an odd patois that seems to be half African American, half Yorkshire. This works in so far as it is a constant reminder of linguistic and cultural difference; the reader–this reader, at least–is always set slightly on edge. But much fluency is also lost, especially given how much the novel relies on dialogue. It is as though the Mundas are perpetually either slightly taciturn or strangely stuttering, even when talking among themselves.)

Chotti thus becomes an agent of continuity and tradition over a seventy-five year period (three generations) in which everything changes and yet nothing changes. Everything changes in that, beyond the departure of the British and the transition to independence, modernity and economic development also transform even this relatively remote landscape of rivers and forests. The railway comes, and even if the train doesn’t always stop, it means “modernity, power, machine” (49). The station is enlarged and Chotti notes that “everything seemed to be changing with the Mundas” (107). Eventually, the arrival of motorcars and movies confirm that the village enters “the modern age” (222). Meanwhile, “the Mundas and lowcastes of Chotti village enter the national economic pattern of independent India” (140) and capitalist relations of commodification and wage labour replace traditional communal ties: “The day is coming. Mundas will not be able to live with their identity. [. . .] Then there’ll be a shirt on his body, perhaps shoes on his feet. Then the ‘Munda’ identity will live only in festivals–in social exchange” (110). Not that the Tribals are simply unwilling victims of these transformations: when feudal, bonded labour is banished it is the landowner who finds himself stuck in the past as his workforce demand that the new law is enforced, and refuse to collect the harvest otherwise, much against his wishes.

If Chotti is not particularly sentimental about the transformations he witnesses (and in fact encourages) over the course of his long lifetime, it is perhaps because in other ways so little changes. In the final, violent showdown over the shift from bonded to wage labour, two agents of the Youth Congress who have been instrumental in repressing the Naxalite insurgency under Indira Ghandi’s State of Exception, the “Emergency,” are killed in the forest. One, named Romeo, had been especially brutal. But when he is killed, and as Chotti Munda considers the inevitable police reaction to come, “terror like we’ve never seen” (285), the narrator muses that “There are adivasis, there are subcastes, the Romeos kill them, it happens like this. But if one or a few adivasis kill the Romeos it is an unexpected event. The Romeos kill, they are not killed. This is the rule. Under all regimes” (283). And though this is in some ways a disheartening observation, in that there seems no end to the villagers’ subaltern status, it is also a source of some comfort: the adivasis will endure this injustice, as they have endured so many before. Or as the outcaste (“untouchable”), Chhagan puts it to Chotti when they go down to the riverbank to discuss the latest crisis, “All’s changed. [. . .] But t’ river’s t’ same.” To which Chotti, who himself is named after the river and is almost as unperturbable, responds: “Nothing’s changed. Just t’ pressure’s on t’ rise” (276).

At the novel’s conclusion, this identification between Chotti and the river becomes explicit, as does the notion that the subaltern is outside of history, not because history has left them behind but more because they see things from the perspective of eternity. At a village festival, in the tense aftermath of the killing of the Youth Congress members, Chotti revives memories of the past as he steps forward to compete in the archery contest. But first he takes a megaphone and, in front of the local administrator as well as the whole community, shoulders the blame for the murders so as to forestall further violence. Then he invokes his former teacher, who six decades earlier had taught him both the art of the bow and arrow and the language of rebellion, as he

says fast in the language of the Mundas, Dhani Munda! I’m raisin’ yer name an’ shootin’ yer arrer today. To stay true, meself to meself.

Chotti comes before the target with light and fast footsteps. And tells everyone, No fear y’all. Then he shoots, into the target.

Then he waits, unarmed. As he waits he mingles with all time and becomes river, folklore, eternal. What only the human can be. Brings all adivasi struggle into the present, today into the united struggle of the adivasi and the outcaste.

The novel’s final lines see Chotti still waiting to see the administrator’s reaction, as “a thousand adivasis raise their bows,” a multitude pronouncing “a warning announced in many upraised hands” (288), a declaration from outside of history that this time, perhaps, history itself may change for good, and a new story be told.

One thought on “Chotti Munda and His Arrow

  1. A very interesting reading! I liked the relationship between Chotti and the river – their role as witness in every age and time. Sometime, they actively participated in expressing their opinion and some other time they have been simply silent observer, witnessing the struggle. This relation also reminds me of Paul Robeson’s song “Old Man River” which was adapted into various Indian languages and dedicated to the river Ganges. The words are like: O Ganges why are you still silently flowing when there are so much of injustice around.

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