Savia Viegas, the author of two previous
novels Tales from the Attic (2007,
Saxtti) and Let Me Tell You about Quinta
(2011, Penguin) has recently self published two graphic novels, Eddi & Diddi and Abha Nama. The latter, which deals with
the life of a Goan Catholic college lecturer in the big and mean city of
Bombay, is under review here.
For
those of us who have previously enjoyed, what I have called elsewhere, her
quaint portrayal of an eccentric Goan Catholic household, are in for a double
treat, as we now can more intimately familiarize with the painter that Savia
Viegas is along with her writing. This book is crafted on the lines of the namas that were produced, with much
ornate finesse in the Mughal kitabkhana
(royal atelier). Though its primary template is borrowed from the namas, Abha Nama goes in to reinvent the form and structure of the
modern-day graphic novel (though the author claims that her work is not a
graphic novel), much like Bhimayana: Experiences of Untouchability. With its thick and crude lines complementing
bold, solid colours, Abha Nama can be
considered to provide two different yet mutually dependent narratives.
Let
me focus first on the text. The story opens with the protagonist suffering from
a heart attack and trying to stay alive in her crumbling old house as “[t]hat
is all a cretin on the edge of life could do!” She is delusional and sees the
images of her younger self, at which point the story takes off. A young and
rebellious girl, wanting to escape from her overbearing parents, Abha Dias
decides to move to Bombay. To keep body and soul together as well as pay for
her education, she is forced to do part-time jobs as her mother could not
forever pawn her jewellery to meet her expenses.
Abha
then gets a teaching position at the Raisingani College – first as a temp and
later full-time. It is here that the young (and what appears to be an idealist)
Abha gets exposed to petty and parochial staff-room politics. Abha also has to
negotiate and tread carefully due to the larger political currents that were
being ushered in the Indian economy post-1990, a time in which this novel is
set. Savia Viegas briefly hints at the commodification of education and a large
part of the novel deals with how a red-carpet welcome was given to foreign
exchange programmes for some believed that the “new G and L buzzwords” would
“shake the portals of education.”
Abha
is reduced to a frustrated teacher, whose idealism is time and again defeated
by a lackadaisical administration and disinterested students. In fact the
system is so messed-up that Abha has to teach Ancient Indian History to
commerce students, who naturally don’t give a damn. Abha’s repeated attempts to
infuse fresh ideas into the courses she offers are being frustrated by one
entity or another. Thus, the irony of Abha’s personal and professional life is
beautifully brought out by Savia Viegas, “I had left home because my father was
overbearing, my mother rigid. I had believed in a kind of freedom but had wound
up in a work situation that was not offering much. I ended up making all sorts
of compromises.”
Despite the odds, she
perseveres and gets a modicum of institutional rewards and hence also has to
deal with the fact of her Catholic identity coming under discrimination (“I
don’t know where they come from all these Catholics – beef and pork eaters, who
snivel their way up through bedrooms and boardrooms.”).
When one thinks that
students are the only ones who suffer due to the ‘system’, Abha Nama provides an alternate view: that we are both in this
together. Abha has to always assess thousand-odd answer books in 10-15 days and
as a result some errors crop-up in her mark-lists. Abha is asked to explain
herself in writing. With the letter in her hand and burdened by loneliness in a
big, bad city, she climbs the flight of stairs and fifteen years of devoted
teaching comes to an abrupt end with a massive heart attack.
Savia
Viegas does not tell us why a Catholic lady lecturer from Goa, who is trained
in Indology decides to tell her story in a markedly Islamicate pictorial idiom.
I claim that this work needs to be viewed in a larger context of Savia Viegas’
interests where her work tries not to imagine Goa through a brahmanical
framework. Indeed, when I had read her first novel I realized for the first
time that Goa could have a ‘Muslim’ past (with her skilful use of those “green
eyes”). Hence, one can also argue that this work is a Goan Catholic claim on
their Islamicate past.
Abha
Nama, resplendent with illustrations, though engaging,
also provides the texture for the gloomy setting of the novel. The colours
change as per the emotional crests and troughs of Abha. Sometimes, the lines
become so chaotic and hackneyed that one is unable to make sense of the
illustrations – compelling the reader to build his/her own narrative, for there
surely is a method in this madness! This Abha
Nama was produced in a kitabkhana situated
in the lovely and sleepy village of Carmona, Goa – Savia’s residence. Hence the
narrative of the novel situated in a metropolitan setting is also, at the same
time, not a metropolitan one.
Abha
Nama brings many periods of history together – the
ancient, the medieval and even the modern. Perhaps, her illustrations with the
chaos and rough edges might hide a metaphor for thinking about our history.
Abha Nama by
Savia Viegas (Carmona, Goa: Saxtti Foundation), 2012; pp. 128, Rs. 250/- [ISBN:
9788190398540]
(A version of this article appeared on THE BOOK REVIEW, Vol. XXXVII, No. 6, June 2013)
Dale, could you perhaps tell us how your distinguish the ancient, medieval and modern periods of History?!
ReplyDeleteDr. Teotonio, I wish I could give you an answer that you and the whole community of historians would agree to! Having said so I am aware of the overlaps of these so called periodizations and I am quite convinced with the argument that there are no such rigid periods viz. the Ancient, Medieval and Modern. We use these for the sake of convenience while also being conscious of not giving these broad categories primacy over the nuances of history. Savia's text and illustrations, I think, provide a metaphor for thinking about such overlaps...
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