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CHAPTER II
REFLECTION OF CULTURE IN NOVEL „NECTAR IN A SIEVE‟
MPJ 45
Culture has been defined as sum total of customs, traditions, behavior and art
crafts as well as habits of people. The relevance of understanding cultural life in a literary
fiction is highly significant because it reveals the objective picture of the contemporary
society observed by the writer. Kamala Markandaya‟s novels are not exception to this
phenomenon. The modern literary criticism has been evolved round men-women
relations, gender equality and fight against patriarchy but in this wind of progressive
thinking the cultural life has remained neglected. Here in these work aspects of cultural
life has been explained properly.
Kamala Markandaya is one of the prominent Indian
women writers who has very well examined and developed Indian reality though her
novels Nectar In A Sieve is one of the best novels carried out by Kamala Markandaya in
the annals of Indian fiction. Her grasp of Indian life cycle is unique and she has properly
and effectively narrated problems of Indian villages in the post industrial era. Nectar in A
Sieve is an illustrated story of Indian village life which is based on poverty and
exploitation of human resources. It has been pointed out that in one sense; Kamala
Markandaya‟s
novels
reflect
a
general preoccupation
with
class
consciousness
represented in almost all major modern Indian novels in English. (Misra 103) Further it
has been noted that Kamala Markandaya‟s fictional world is peopled by men and women
of all classes whose self is wounded in the seemingly interminable process of tension and
conflict between freedom and necessity, between individual and society. (Misra 103)
cultural aspects and class consciousness described here are part of this process.
The study of cultural life depicted in the novel Nectar In A Sieve has been conducted
in this chapter in the sociological perspective. To unfold various facets of cultural life, the
MPJ 46
discourse analysis of the writings has been made and some interesting parts of dialogue
have been analyzed in this work.
Her manifestation of the cultural problems has been reflected in this novel. Different
types and angles of cultural life have been reflected in this novel. The different
dimensions of cultural life have been described in this chapter.
“Nectar in a Sieve” is a story of faceless peasant, effect of Indian agrarian bankruptcy.
This novel deals with industrialization and its impact on rural life. Novel deals with
themes like hunger, Degradation, illiteracy, beggary, superstitions, lack of family
planning,
Unemployment,
prostitution,
industrialization,
Zamindari
system,
dowry
system, Poverty, evils of early marriage system are very neatly depicted by Kamala
Markandaya. Effect of such problems on rural life is very realistically sketched by
novelist. Number systems in rural India remain unchanged for years and years. As a
result of this a particular class enjoyed the power and remaining was crashed, consequent
upon which richer became rich and poor became poorer. She sketches rural life of barter
system and arrival of Industry Means here we can see conflict between tradition and
modernity is given. Novel depicts the impact of industrialization on the life of the people
of a village whose life depends upon rain, rice and land. It is a story of the simple
villagers whose source of income is the land, which they have been cultivating from
generations to generations. Another theme of the novel is hunger and degradation where
protagonist stand firm to protest her family.
About cultural aspects of life it has been rightly observed that Markandaya
presents sin her first two novels, a general scene of exodus and the effect of socio
economic changes on the emerging new generations of people. (Misra 9)
MPJ 47
The
study
of
cultural
aspects
can
be
well
examined
on
the
background.
While tackling all these problems, Kamala Markandaya has also unfolded cultural
aspects. Arora S.K. depicts that the wide spectrum of her novels is tingled with feminine
colour viz. Socio-economic, Socio-Political Socio-Psychological, Socio-Religious and
Socio-Ecological. Encompass heterogeneous theme of tragic waste and despair, of
unfulfilled love of East-West conflict, of Psychological Maladjustment and social
disintegration. (11)
However, cultural aspects have not been explained by earlier scholars. All these
aspects have been carefully tackled by author. The careful observation of the author about
changing rural life is realistic and objective. These micro aspects of socio cultural life are
immensely reflected in this novel. The entire theme is properly understood and reflected
here in this novel. The village depicted in this novel is a south Indian village. Kamala
Markandaya has not named the village but it is represented as sample of rural India.
Village of Kamala Markandaya remain unchanged that is traditional, before arrival of
towns people for construction of Industry. Novelist presents simple rural Indian village
where everyone is engaged in to fulfilling their basic needs. She portrays the class
conflict, village and city, tradition and modernity, social conflict, family relations and
socio-economic picture. Life of rural people depends upon nature. Uncertainties of nature
and exploitation by Zamindars and moneylenders are the major theme of the novel.
Problems of tenant their anxieties, hope, expectation joy and sorrows are sketched by
Kamala Markandaya.
Arora rightly observed that Kamala Markandaya's remarkable quality that sets her off
from other Indian - English novelists is her realistic approach to literature. She presents
MPJ 48
veritable replica of hunger before her readers and makes them feel of the afflictions of the
villagers as an independent observer. (12) This shows that she is insider outsider. Setting
and characters of novel takes reader to new world.
Urmila Sharma has rightly observed that Kamala Markandaya has been constantly
preoccupied with the imaginative portrayal of the intercultural relationship of which she
hereby is a living example. (126) These cultural aspects are significant enough to study
them in a microscopic manner. These can be very well examined here. These facts have a
cultural base which can be explained here.
The author as a silent observer has minutely noted socio-cultural changes in the
village life. All these aspects can be carefully studied and rightly noted here in this novel.
Protagonist, Rukmani born in the family of village headman marries a poor tenant farmer,
Nathan at the age of twelve. Her three sisters marry before her. Grand wedding of her
three sisters lasted for many days but as a matter of consequence her father did not
remain village headman at the time of her marriage and it affected on financial position.
Whenever her mother speaks to her about marriage she speaks of dowry that, “Four
dowries is too much for a man to bear.”(NIS 2) Dowry is considered as important in
Indian society. Now a day‟s also marriages without dowry are very less. Financial crises
created due to shift in administrative power of her father to newly appointed revenue
collector. She marries Nathan and accepts him as a matter of fate. Sharma L.K. has
opined that Rukmani exemplifies the large mass of under privileged women in India. (81)
In
India
financial
position
and
social
status
is
important
for
marriage.
On one side struggle of life has been depicted and the other side the cultural conflicts
have also been narrated.
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After completing religious ceremonies she leaves her parents and joins her husband.
They enjoyed typical South Indian food-rice, dhal, vegetables, curd, and coconut apiece
on the way to her new home. Rukmani enters in her new village after travelling long she
sees across the doorway a garland of mango leaves she expressed the same as a, “Symbol
of happiness and good fortune.”(NIS 4) Mango as a symbol of happiness in Indian
culture
has
immense
value.
Kamala
Markandaya
has
evolved
here
cultural
communication based on Indian symbols which are deeply rooted in the people‟s mind.
The way in which she has tackled thee values are highly meaningful. These ideas are
creative and they conduct a significant dialogue.
The garland is dry and rattling suggests nature of their future happiness and
prosperity. Rukmani adjusts herself in her new life where she was introduced with kali,
Janki and Kunthi as her companion. Rukmani proves efficient housewife, as there was
no other member in the family except Nathan. Janki and kali helps Rukmani to manage
her household in the beginning but later on she does it herself. Kunthi boarded a child
before few months of Rukmani. At the delivery Rukmani helped more to Kunthi but
Nathan aware her about pregnancy and then after she continued to take rest and care.
During her pregnancy she continued to read and write. Her capacity of reading and
writing surprised Nathan and neighbors too. Rukmani and Nathan were poor yet their
family life was with peace and Joy. She was very happy after her marriage as it was
without worries and problems.
Conceptualization of Indians is a unique aspect of Kamala Markandaya‟s creation of
Indian eco system. The author has become successful in describing the cultural
environment in a south Indian village.
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She develops a garden, where she planted number of vegetables so as to support her
husband. Ramesh K. Srivastava says Associated with the concept of home is the image
of garden full of vegetables symbolizing hope, happiness and prosperity. But snake in
the garden is a symbol of evil of unhappiness. (105) In India snake is worshiped and also
considered as a symbol of evil.
The cultural aspects are related to unfolding of symbols and motifs. Indianness is an
important character of Kamala Markandaya‟s style. It is true that Indianness of the
language found in Indo English novels is a controversial subject; there are critics who
argue that the use of the English language itself detracts from the Indianness of the
writing i.e. only literature produced in the vernacular or regional languages can be
considered truly Indian. (Almeida 221) This is one of the aspects of cultural identity.
In this research work explaining various cultural aspects is a challenging endeavor.
Hence different aspects depicted in the novel have been discussed in this research work.
The cultural aspects include values, symbols and ideas as well as various features of
Indian tradition and festivals, which have been reflected by Kamala Markandaya in the
Novel Nectar In A Sieve. The success of Kamala Markandaya is unique in describing
socio cultural facts. Her synthetic themes are meaningful and they carry facts with rich
content. The author has tackled different dimensions of village life by revealing these
symbols in a new angle.

The deep faith in God is an important aspect of Indian culture, which has been
rightly portrayed by Kamala Markandaya in the novel “Nectar in a Sieve.”
MPJ 51

Spiritual aspects are very well important in Kamala Markandaya‟s novels. She has
depicted spiritual and cultural values rightly. Arun Pattanaik has observed that
Kamala Markandaya is an ideal novelist and has a varied repertoire of women
characters of her fiction. She successfully presented almost all the important
aspects of life. (242) The spiritual line of Indian culture is rightly focused by the
author.

After arrival of industries the cultural changes are significant and they have
affected in various forms of changed relationship. All these aspects can be very
well observed here. Uma Parmeswaran has rightly observed that, “The phrase
„Nectar in a Sieve‟ says exactly what the author wants to say about the
Indian conditions, and her novels are about the drops of divine nectar that
are given to us not about the sieve that makes it impossible to hold the
nectar.”(73) It is true that realistic portrayal of cultural life is essence of Kamala
Markandaya‟s novels.

Kamala Markandaya has reflected social and cultural aspects of Indian village
towards the industrial revolution. These aspects are carefully noted by Kamala
Markandaya in this novel. As a writer she has very well painted the cross section
of the changing Indian village. These facts are realistic and objective enough.

Louis R. Barbato says Kamala Markandaya structured her novel Nectar in a Sieve
around the conflict of cultures. A commonplace criticism of this novelist
identifies these conflicting cultures in the largest terms, Such as between Indian
fatalism and British rationalism, or between encroachments of Industrialization.
MPJ 52
As represented by a hated tannery and the peaceful rural life of tenant farmers. (7)
Cultural clash and struggle for survival is largely discussed. Inter-cultural and
intra-cultural encounter is also discussed. About cultural experiences M.K.
Bhatnagar has noted that Markandaya‟s work seeks to balance these two
seemingly play facets of her life. Her fiction evinces a much broader range and
offers a greater variety of settings, characters and effect, despite the fact that
quintessentially her themes boil down to intercultural encounters and capturing of
women in diverse life roles. (2) Along with cultural conflicts Kamala Markandaya
has also reflected the socio economic problems of Indian village life in the post
industrial age. The villages have been facing many problems in this age of
transformation. These aspects have been carefully observed and noted here in this
work. These facts are very much realistic and objective. Tremendous increases in
prices become serious problem before villagers. Rukmani says, “No sugar or
dhal or ghee have we tasted since they came and should have had none, so
long as they remained.” (NIS 28) Rukmani dislikes industrialization as she
accepts traditional way of life. Nathan accepts the industrialization as it was
established in their village. He says to Rukmani “There is no going back. Bend
like the grass that you do not break.”(NIS 28)

The conflict between tradition and modernity is essence of her writings. Kunthi
was very happy, she asks Rukmani. “Are you not glad that our village is no
longer a clump of huts but a small town? Soon there will be shops and tea
stalls and even a bioscope, such as I have been to before I was married.”(NIS
29) Some of villagers accept it but few like Rukmani are not bending or adjusting
MPJ 53
themselves. Kamala Markandaya has very well depicted the different aspects of
village life which include both social and economic disparities in neat manner.
Here conflict between tradition and modernity starts. She believes in traditional
affairs only.

Kamala Markandaya depicted the cultural changes in the village life. Kamala
Markandaya had very well presented the calm and peaceful Indian village life.
Kamala Markandaya closely observed the positive aspects of village life. The
careful and effective narrations of village life are the success of Kamala
Markandaya‟s portrayal of village life. Bhatnagar has further observed that
Kamala Markandaya clearly disapproves of superstitious practices of the rural
people. On the failure of rains, Rukmani throws herself on the ground, prays,
offers a pumpkin and a few grains of rice to the goddess, but no rains come. (12)
Superstitious practices are in India from long time but now a day‟s awareness in
society is increasing. This is a good sign of development. The critical analysis of
traditions is a significant aspect of Kamala Markandaya.

Rukmani and Nathan noticed that Ira is maturing as she completed thirteen.
Rukmani approached to old granny for marriage of Ira. Rukmani was very serious
about. Ira's marriage. After just one week's search they found a young man, who
can fulfill their requirements. Dowry of one hundred rupees was decided and all
the preliminaries completed in one month. Ira accepted as it is a tradition. The
study of tradition and ceremonies is an important positive side of Kamala
Markandaya‟s successful description of village life. She has described marriages
in Indian village effectively.
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
Kamala Markandaya has described Indian marriage festival as a part of sixteen
Sankaras. On wedding day men and women from the village come to assist. They
take Ira to river for bath. Rukmani put red sari on Ira which she worn at her
wedding. All relatives, villagers, priests and friends arrived for marriage. As a
matter of tradition in the presence of priests she was married. The drummers,
musicians-flutist, a harmonium player should be, but they couldn't afford these so
they hired only drummer. Everyone present for wedding of Ira commented that it
was a good match. Ira joins her new family.

This bitter reality is very well narrated by the author in an interesting manner. She
has drawn different aspects of village cultural life which are still prevailing.

The exploration of rural poor in Indian village is very well depicted in this part of
the novel. He was sure that he can earn move from tannery. When Rukmani and
Nathan returned to home, Dr. Kenny goes to see them. He noticed that Rukmani's
family also facing the problem of starvation. He become irritated and aware them
about their right. It is said that, “Times are better, times are better, Times will
not be better for many months, meanwhile you will suffer and die, you meek
suffering fools. Why do you keep this ghastly silence? Why do you not
demand cry out for help-do something? There is nothing in this country, oh
God, there is nothing.”(NIS 44). The paddy field was completely destroyed and
they have to wait till next harvesting. Meanwhile they managed to live on fish,
roots, leaves, and fruits. In the hope of new crop they start living. Here Rukmani's
struggle for survival can be seen where she is not pessimistic but very hopeful
about new harvest.
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
Respect to elders is a part of Indian traditional cultures. Kunthi was silent and
more reserved than any other woman. She was thin, slight and pretty. Kunthi
spent lot of time making unnecessary journeys in to town where with her good
look and body she attracted number of young men. One morning Rukmani was
busy in her household duties, she sees Ira and her husband approaching silently.
Rukmani left her work and traced out a colam a pattern in white rice flour to
welcome. As a matter a custom Ira touched Rukmani's feet. Ira entered in.
Rukmani's Son-in-law instead of getting in adds, “I intend no discourtesy, but
this is no ordinary visit. You gave me your daughter in marriage. I have
brought her back to you. She is a barren woman.”(NIS 49-50) Kamala
Markandaya has very well described realities of Indian village life.

The portrayal of cultural life in Indian village is success of Kamala Markandaya.
Uma Parmeswarn has observed that her novels are about the drops of divine
nectar that are given to us; not about the sieve that makes it impossible to holds
back the impurities and purifies that which passes through. (73) Tradition versus
modernity is fact discussed.

The East-West encounter is an important aspect of Kamala Markandaya‟s novels
and these aspects are very much significantly depicted by the author through her
narrative theme and characters ideas. She has represented Indian way of life
effectively. Nathan and Rukmani tries more but in vain. Rukmani and Nathan
accept it as a matter of fate. “We are all in God's hands and he is
merciful.”(NIS 50). In this way Nathan expresses helplessness before nature.
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
Kamala Markandaya described Deepawali the festival of light in a colorful
manner. After few days Deepawali, the festival of lights approached. To
celebrate the festival as per the custom, Rukmani twisted cotton in to winks,
soaked them in oil and placed them in mud saucers ready to be lit. They
purchased fireworks and crackers. Rukmani wanted to enjoy this festival each
year but not able to afford. They enjoyed good food and firework.

The moral issues were very well tackled by Kamala Markandaya. The struggle
of values between east and west is very well reflected by the author. Indian life
is based on moral values and western life is materialistic values. This struggle is
very well depicted by Kamala Markandaya. Kamala Markandaya has very well
portrayed these realities in a very objective manner. She has focused on Indian
values and morality effectively.
Dr. Kenny represents those people who
dedicate their lives for the cause of humanity. His love and sympathy for the
villagers is an open secret. If necessary, he also gave them money for food and
medicine.

Gajendra
Kumar
has
observed
that
Rukmani‟s
concern,
commitment,
immediacy, urgency and veracity that design the novel a credible chronicle of
the peasant‟s struggle and life at the time when social change was taking place
and give the novel an epic dimension.(58) Rukmani, central character fights
throughout her life for her own identity by denying modernity.
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
There are different dimensions of Kamala Markandaya‟s writings. It is true that
in her writings Kamala Markandaya shows signs of profound influence of a
feminist school of writing. In her attitude to women, she is a conservative
feminist, to a certain extent and feminism is implicit in her novels are a
presentation of the basic fact of awakening feminine consciousness. (Rakhi 67)
The mobility of village people in favor of employment solves some problems,
but it also creates new problems in an interesting manner which Kamala
Markandaya has depicted on cultural background. The problems of migration
and unemployment have also been tackled by the author in this novel. This
shows the Indian traditional mindset. The monsoon rains are uncertain, which
create problems.

Kamala Markandaya‟s approach is positive. It is true that the novels of Kamala
Markandaya do not end in a note of despair. A ray of light shines through human
sufferings. (C.Anna 75) This positive approach is part of cultural vision. The
crisis and benefits have also been described by the author in an effectively
manner.
Rukmani and Nathan waited long for rain but in vain. Each day the
level of the water dropped and heads of paddy hung lower. River turns dry.
There was nothing to reap. Problem of survival created before them. The
measurable agrarian life of Nathan is carefully and objectively described by the
writer. It has been observed that she has presented a large variety of her themes
with a rare realistic touch. She does not idealize or glorify but paints a realistic
picture of life. (Sharma A. K. 193) After rain, Nathan and Rukmani take seed,
Places before Goddess and receive blessing and then starts sowing. In India
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People believes that if seeds are placed before God then harvest is good.
Rukmani is not able to understand the mentality of new generation and their
planning for future. Tragic picture of hunger continues. Starvation leads to
human degradation. Ira, seeing her family starving turns to prostitution. Ira sees
miserable condition of Kunti and her family. Hunger forces Ira to turn to
prostitute. It is hunger which leads Raja's death. Poverty and unemployment lead
many other social evils like prostitution, beggary and crime. The vicious circle
of problems in Indian village like poverty has been described by the writer. How
to cut this poverty cycle is also a serious problem. In the struggle against
poverty, displacement becomes inevitable and it leads to devastation of cultural
base. All these problems are well narrated by author. .

Prostitution is a major social problem today in both the urban and rural areas.
Beggary is another problem, which is recognized to be forced upon people due
to Poverty. It becomes inevitable for Ira to earn some Money to keep the family
going. The only way was open before her to take to prostitution. Nathan scolds
his daughter Ira and asks her not to parade at night but Ira replies, “To night
and tomorrow and every night, so long as there is need I will not hunger
anymore.”(NIS 137) She is not ashamed of it as she thinks it quite moral on the
ground of saving her brother. Bhatnagar Anilkumar has rightly observed that
Markandaya brings out the fact that it is hunger and starvation which leads
ultimately to degradation. It is irony of fate that people condemn a person for his
bad acts without analyzing the circumstances responsible for doing so.
Markandaya poses a question to readers, It immorality is due to poverty and
MPJ 59
hunger, what shall we call it?' It is hunger drives kunthi to prostitution and Later
on. She even blackmails Rukmani and Nathan, Ira is forced to adopt
prostitution. (22) Kunthi and Ira adopt prostitution so as to survive because there
was no alternative before them. Hunger forces them to prostitution.

The problem of hunger and its tragic end is narrated by writer here. Harmony is
essence of cultural writings of Kamala Markandaya and she has tackled basic
values effectively through her writings. Kenny returns to village once again and
declares that he would construct a hospital for villagers. Selvam last son of
Rukmani decides to join hospital instead of working in farm. Selvam's reaction
of leaving traditional occupation is as same as his brothers. Before him Arjun.
Thambi and Murugan Migrated and Raja die in Tannery. All accepts new way of
life. Here is shifting of traditional Indian village to modern village where
struggle is the only way before them.

This kind of helplessness is very well presented by the writer through her
narrative
theme
effectively.
All these aspects are effectively presented.
Everything goes worse Nathan and Rukmani plans to survive but they are not
able to fulfill their basic needs. After the birth of their grandson 'sacrabani',
Murugan, son of Rukmani, settled in town arranges marriage but they are not
able to go for it. They were in financial clutches. They cannot go by rail and also
cannot hire bullock-cart. In those days they struggle for food so they avoided
Marugan's marriage. The poverty thus affects their village life cycle and they
had to avoid such marriage ceremonies. These examples in the narration very
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well explain social and cultural reflections in an effective manner.
Steady
encroachment of tannery continues. Tannery starts acquiring more and more
land. Its rapid expansion affected rural life. Poor tenants are not paying regularly
so zamindar decides to sell the land to tannery. The author has depicted this
problem of survival in a touching language.

Nathan do not blame the tannery but he thinks that it is matter of our fate that by
God‟s mercy we tilled land for years and years. He knows it was not there's so
should not think about it. Nathan knows that land do not belongs to them but
natural calamities on land was of them. Nathan thinks about all the life he
spends to till the land. The social and cultural problems in the village agro based
life have been very well narrated by the writer. The life in the hut and problems
around are described by author. Though landless but use to remain on land and
all of sudden everything changes. When they tilled the land they were not happy
all the time. Problem of hunger was the major problem before them. They were
struggling to remain alive only. Here Nathan and Rukmani leave home to city in
search of their son Murugan where they can get food and shelter. Arundhari
Chattarjee truly stated that the embodiment of such a mother figure is found in
Rukmani. The single force that unites the whole structure of the novel is the
character of the narrator, Rukmani. She is a village girl, a loving and devoted
wife and sacrificing Mother. (85)
Thus Kamala Markandaya is successful in
depicting village life and its culture in a sharp manner and effective language.
MPJ 61

Theme of displacement is very neatly sketched by novelist. When they reached
town they are not able to find out Murugan so decides to take rest in temple for a
night. Everything they belonged was stolen. „Temples have become the rackets
of mischief, lie and theft.‟ They had to work for their returning journey. Nathan
works hard in hope he may return back. They accepted stone-breaking. He and
Rukmani accepted the way of working which they never but for survival they
accepts it. Thus the problem of survival is systematically described by the author
in this part of novel. The struggle for life in Indian village is very well depicted
by the writer by using value symbols. Lakshmi Kumari Sharma has observed
that this is Rukmani's concern, commitment, immediacy, urgency and veracity
that design the novel credible chronicle of the peasants struggle and life at the
time when social change was taking place and give the novel and epic
dimension. (124) The problems of poor are unending and they require solution.
Author has pointed out all these problems effectively. The common village man
and his problems is the epicenter in this novel and Kamala Markandaya has very
well narrated these aspects. Joan F. Adkins writes that Markandaya reveals a
great degree of sympathy and admiration for the weak and oppressed Indian
peasants, as well as the British physician who identifies with them. But the
author strikes hard at the British industrialists who exploit the villagers and
disrupt the traditional ways of life. (91) Markandaya expresses her sympathy
towards
villagers.
She knows socio-economic condition so
exploitation which peasant faces.
focuses on
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
Kamala Markandaya has tried to explore British industrialists through her
systematic ideas. She is successful in depicting the traditional life of Indian
villagers who are suffering from poverty. In very speaking words, Markandaya
depicted various themes together. Though novel looks simple but its plot and
story takes the reader. Neerja Garg rightly stated that though nectar in a sieve is
not a political novel, yet some situations in the novel show political life of the
people, and these situations weave the fabric of Kamala Markandaya's vision of
political life. (58) Unemployment, illiteracy, hunger. Degradation, displacement,
industrialization,
beggary,
superstitions, class conflict, depicted by kamala
Markandaya. The vicious circle of problems faced by Indian villagers is
described by the author. She has also noted as to how their cultural life is
destroyed by the new industrial system.
Thus the East-West cultural encounter is tackled by Kamala Markandaya on the
background of Indian village life which has suffered after arrival of industrial revolution.
Nectar In A Sieve is a novel based on social theme. About social realism in this novel
Balan Banumathe has observed that Kamala Markandaya reflects her own experience
through the awareness of her fictional characters. There is no doubt about the fact that
Kamala Markandaya is on the side of the human life and she is against exploitation of the
weak against war and violence. (433)
Among these characters Rukmani is the main character which is symbol of Indian
sufferings caused due to social and cultural system. Throughout the novel, Rukmani is
faced with struggle after struggle with no indication that her circumstances will improve.
MPJ 63
Each time her situation worsens, Rukmani endures quietly, holding on to the hope that
things will soon be better. She believes that a person‟s spirit is the most important factor
in overcoming the harsh realities of life.
Rukmani, an old woman, reflects on her life. The educated daughter of a village headman
fallen on hard times, she is married at the age of twelve to Nathan, a tenant farmer.
Nathan treats her with kindness and respect as she learns the chores her new life requires.
Within a year they have a beautiful daughter,
Kamala Markandaya had deep understanding of Indian as well as western social
and cultural life. It has been observed that Markandaya shows deep intimacy with the
British as can be seen from her numerous detailed and vivid portraits. (Banumathe 433)
She has developed a character of Dr. Kenny a village doctor, who is an Englishman. Dr.
Kennington, or „Kenny‟, an English doctor, is an important presence in the novel.
Although Rukmani's fatalistic attitude toward hardship exasperates him, he feels
compassion for her and helps her when he can. At the end, Rukmani goes to live with her
youngest son, now a doctor at the hospital Kenny has built.
Rukmani and Nathan love each other and their marriage begins in relative peace and
plenty. When a large tannery is built in the neighboring village, it begins insidiously
destroying their lives. As the tannery grows larger and more prosperous, Rukmani and
Nathan struggle to feed their children and to pay the rent on the land that gives them life.
Although matters continue to worsen, they quietly resign themselves to ever-increasing
hardships-flood, famine, even death and cling to their hopes for a better future.
The year they arrange a good marriage for Ira, monsoon rains destroy their crops.
Rukmani sacrifices her savings to buy food for the family. Ira‟s husband returns Ira to her
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parents‟ home because she is barren. Again Rukmani turns to Kenny without her
husband‟s knowledge, this time to help Ira conceive.
Kenny returns from one of his long absences with money to build a hospital in the
village. He offers to train Rukmani‟s remaining son, Selvam, as his assistant. Some
villagers speculate that Kenny is kind to Rukmani because they have an illicit
relationship. Kunthi, a neighborhood wife who became a prostitute, spreads this rumor
out of spite. When they were both young, Nathan fathered Kunthi‟s two sons. Kunthi
uses this as leverage over them until Rukmani learns the truth and forgives Nathan. Now,
as Nathan nears fifty, he has no sons left to work the land. He suffers from rheumatism
and debilitating fevers. Rukmani and Ira try to help, but they are not strong enough. Ira
has a baby to care for, an albino boy conceived in prostitution but loved nonetheless. The
family experiences its greatest loss when the land agent tells Nathan and Rukmani their
land has been sold to the despised tannery. No one else will lease land to a man as old
and ill as Nathan, and Rukmani and Nathan must leave their home of thirty years to live
with to their son Murugan in the city. They leave Ira and their grandchild under Selvam‟s
care. Though she has totally adopted western ways of life, outlook, but a perusal of her
novels throws the hint that the two diametrically opposite cultures, namely the oriental
and the occidental will never travel in the same direction. (Banumathe 433) Thus
characters in Nectar In A Sieve represent different problems based on social reality.
Hunger theme is the classic example of this novel. K Venkata Reddy has observed that
for a peasant, especially a lease holder like Nathan, problems do not stop with floods and
drought. As a tenant farmer he has to pay his dues for the use of land to his landlord
irrespective of the success or failure of crops. (81) Nathan faces natural calamities and
MPJ 65
also pays for the land. Thus the characters in the novel like Nathan and Rukmani have to
suffer a great deal due to vicious circle of poverty. Anita Desai has remarked about
character of Dr. Kennington in an interesting manner. According to her this is the forte of
Kamala Markandaya‟s character portrayal of non-Indians. It is a tribute to her portrayal
of Kennington, for almost the first time in Indo English fiction we have the sublime love
on a veritably spiritual plane the love of Rukmani and Kennington. (93) Thus the
character of Kennington represent western cultural outlook. Attachment between
Rukmani and Kenny keeps them in touch. She tried to unfold the internal value of love
treated by Kamala Markandaya through her characters.
The sociology of literature is a new angle to study the socio cultural interactions
reflected in fictional world. The study of Kamala Markandaya‟s The Nectar In A Sieve
can be conducted on these lines. In the book titled „Spirit of Sociology‟ Ron Matson has
observed that society, in all of its complexity, has multiple layers. Much like an onion,
what we see on the surface tells us little about what lies beneath. (4) Cultural experiences
are just like layers which are rapped after one another. These can be unfolded rightly.
About Kamala Markandaya‟s cultural reflections and interactions in Nectar In A Sieve
O.P Saxena has observed that in presenting this never to end conflict between east and
west Kamala Markandaya has reechoed Kipling. Her technique is her own. She makes
Indian women love Englishmen. With fear and faith, these women go on mixing with the
foreigners. Rukmani in the Nectar In a Sieve has great faith in Kenny the missionary who
cures her as well as her daughter‟s barrenness. (225). These aspects revealed cultural
encounters and interactions between East and West. She points out that interaction
between two cultures may be fruitful. According to Malini Bhattacharya the study of the
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concrete specificity of culture has been of special interest to us because of our need to
assess the applicability of Marxism as a scientific method to the Indian situation. (214)
there is a need to understand struggle between two cultures, thesis and antithesis leading
to synthesis. Kamala Markandaya has tried to develop this synthesis through Rukmani
and Dr. Kenny.
According to Ramesh K. Srivastava, in Nectar in a sieve there are
several words and phrases the recurrence of which not only points to their symbolic
potentialities but also establishes the dominant mood in the novel which is Nathan‟s quest
for home and happiness. (103-04) by unfolding these symbols one can understand
cultural interactions in this novel.
Further it has been observed that the two dominant concepts of home and not
home act as magnets and draw minor objects, images and symbols in their respective
folds strengthening themselves. (Srivastava 106)
The cultural interactions are reflected by Kamala Markandaya in a symbolic
manner. Surendran has rightly observed that all the other characters including Nathan, her
husband are satellites revolving round her. In fact, the whole novel can rightly be called
the tale of the hapless and the desperate. But undoubtedly Rukmani the narrator heroine
of the novel is the most desperate and hapless of all. (19) Thus Nectar In A Sieve is a
unique example of sociology of culture reflected through literary fictional form evolved
by Kamala Markandaya. Discourse analysis is a method of understanding literary
evidences based on dialogues and narrations in the novel. Nectar In A Sieve is a fiction
developed by Kamala Markandaya and the character Rukmani is narrating her story.
The study of any fiction in the post modernist period can be conducted shared by
making a careful reexamination on the basis of discourse analysis. The unique characters
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of this novel is that it has recorded some interesting social messages can be studied by
making a careful examination of the concept reflected in this novel. The true and real
reflections can be observed here. Discourse analysis is a technique of understanding
novels in a new line.
While making discourse analysis Kamala Markandaya‟s novel,
three aspects are going to be focused here, language and style, content, essence of the
message reflected through conversation.
The language and the style of the narrative represent experimental and factorial skills, the
subtle and every day way that is depicted by the writer.
Her diction is pointed and the
textures communicated exquisite. In terms of techniques her writing is masterful. Kamala
Markandaya‟s novel is based on progressive ideas. She is a champion for depicting the
struggle of Indian woman in relation to society and man for the sake of preserving own
identity. The content of her writing is based on humanism.
The third pattern of discourse analysis is based on the study of conversation and
dialogue. There are ample examples depicting cultural ideas throughout the novel. Thus
this work is a very ideal illustration of Kamala Markandaya‟s progressive social values.
In this novel few of the following quotations have been selected as a cross section of the
novel:
(A). “While the sun shines on you and the fields are green and beautiful to the eye,
and your husband sees beauty in you who no has seen before, and you have a good
store of grain laid away for hard times, a roof over you and a sweet stirring in your
body, what more can a woman ask for?”(NIS 7)
This shows that Rukmani is one with the agrarian life and her loyalty to farm culture has
MPJ 68
been reflected by Kamala Markandaya in a dedicated manner. Reflecting in Chapter 1
upon the happy first year of her marriage, Rukmani succinctly touches on themes and
motifs of significance throughout the novel. Nature and its beauty appear in the sun and
the green fields as the first source of her well-being. Rukmani expresses her appreciation
for Nathan, who has discovered a beauty in her that she did not know she possessed. At
the same time, Rukmani conveys Nathan‟s appreciation for her and for a beauty that is
more than skin-deep. The all-important grain represents life itself. A good store of grain
means more than sustenance-it means freedom from fear and doubt about survival. Her
mention of the shelter of a roof foreshadows a time when the roof is threatened by
monsoon floods, but it also acknowledges that the hut Nathan built for her with his own
hands is sufficient for her needs. Initially, she felt diminished by the mud hut with its
thatched roof, but she has grown in understanding since her first days as a bride.
Since fertility is such an important concern for Rukmani, the sweet stirring of
pregnancy to which she refers completes her catalog of happiness. Procreation is the
critical role for a woman in Rukmani‟s society, and a woman who fails to conceive early
in her marriage may be renounced by her husband, as Ira is. After Ira‟s birth, Rukmani‟s
failure to produce a son for Nathan nearly destroys her happiness. When she first meets
Kenny, the signs of grief in her face reveal her desperation to conceive. Fertility and
procreation celebrate the precious quality of life for Rukmani. Her “sweet stirring” is
linked to her awakening sexuality and the bond of desire and love she and Nathan share.
In one sentence, Rukmani captures the elements of her happiness. By wondering what
more any woman could ask, Rukmani is mindful that true joy comes from essentials
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rather than from luxuries. Thus the symbolic reflection of happiness is essence of her
voice in the novel.
(B). “Privately I thought, well, and what if we gave in to our troubles at every step!
We would be pitiable creatures indeed to be so weak, for is not a man‟s spirit given
to him to rise above his misfortunes?”(NIS 113)
After Kenny offers Selvam a position as his assistant, Rukmani counters Kenny‟s
philosophy on want and endurance in Chapter 19. Once again Kenny exhorts Rukmani to
cry out when she needs help rather than suffer in silence. Yet even her argument against
his position is silent, expressed only in her thoughts. In this passage, she highlights the
contrast between Western and Indian traditions. Kenny stands for action, particularly to
alleviate physical suffering, and as a doctor, he dedicates his life to this goal. In the
chapter just preceding the quote, Kenny admits to Rukmani that he has lost his wife and
children because of his work in India, another concept quite foreign to Rukmani, for
whom family is critical. As a westerner, Kenny fights the appalling poverty of India with
his will and his skills. He works among the people until he droops with fatigue. Kenny
lives what he preaches, taking direct action against suffering by treating the villagers‟
illnesses and crying out for help through his fund-raising. The missionary zeal of Kenny
has been reflected by Kamala Markandaya in this part. He is dedicating himself to
remove poverty among the rural people.
Rukmani, on the other hand, puts more emphasis on the spirit than on the flesh.
She considers it a weakness to give in to trouble. As her losses mount, her endurance
increases. When Raja dies at the hands of the tannery guards, Rukmani does not cry out
for compensation, for she believes there is no compensation equal to a human life. When
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the monsoon flood ruins their crops and damages their shelter, Rukmani turns to her
resources and savings rather than expecting help from outside. With her strong spirit, she
refuses the role of „pitiable creature‟ even though she is poor. In Hindu belief, suffering is
a form of purification, and Rukmani is willing to bear her suffering and rise above
misfortunes. However, there is one exception: when she realizes she is barren, she cries
out to Kenny for help. By consulting Western medicine, Rukmani reaches across the
philosophical divide. Two events lead Rukmani to continue her reflection on crying out
for help: the death of Old Granny and setbacks in the hospital construction. Rukmani is
devastated when Old Granny dies on the path to the well, starved and alone. She feels
culpable, partly because she stopped selling her vegetables to Old Granny to earn her
livelihood and partly because she accepted a rupee from her at Sacrabani‟s birth. Bitterly,
she observes that the villagers provide the last decencies for Old Granny once she is
beyond asking for further assistance from them. Rukmani feels that the villagers, herself
included, closed their eyes and ears to Old Granny‟s plight though she lived within sight
and sound of them. She speculates that Old Granny might have been saved by the
hospital had it been finished, but Nathan points out that a hospital is not a soup kitchen,
and even the tireless Kenny understands that the hospital will not be able to serve all
those who need help. Although Rukmani is amazed that stranger does often give to the
needy in her village and in soup kitchens elsewhere, in this passage she laments the
extent of the need and the ease with which it can be ignored. She realizes that help
requires two-way communication, dependent in part on the needy asking for help, but
equally dependent upon a receptive humanity to answer those needs. Thus Kamala
Markandaya has given the message in favor of humanity and happiness.
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Rukmani has lost everything, even the hope of turning to her son Murugan, who
has abandoned the city and his family. She and Nathan return to the temple and unhappily
subsist on the single daily meal the temple provides. Rukmani and Nathan consider the
skills with which they might earn a living and find none of them suited to the city. Nathan
can farm but has no land. Rukmani can spin and weave but has no money for materials.
Despite all of the people and the commerce surrounding them in the city, they have no
opportunities. This passage is Rukmani‟s lament. Her vivid image of the tethered goat
describes both her constraint and her powerlessness. It evokes the gentleness of the goats
at the temple whose grateful eyes thanked Rukmani for a mouthful of leaves. In the
country, Rukmani and Nathan manage to survive without much money by living simply
on the products of their own labor. In the city, with no work available, Rukmani rues the
fact that only money counts. The city‟s insistence upon cash reduces a person to an
animal state and deprives Rukmani of the free will that characterizes her as human. Just
as city thieves rob Nathan and Rukmani of their last coins, the city‟s unjust structure robs
them of liberty and choice, their birthrights as humans. Kamala Markandaya has focused
social realities which are based on economic resources. Kamala Markandaya has pointed
out that poverty is a vicious circle. Without economic resources one cannot fight social
problems personal problems, without sound personal economy.
(c). “Would you hold me when my time is come? I am at peace. Do not grieve.”
“If I grieve,” I said, “it is not for you, but for myself, beloved, for how shall I
endure to live without you, who are my love and my life?”
“You are not alone,” he said. “I live in my children. . . .”(NIS 188)
This dialogue between Nathan and Rukmani show that they have completed the circle of
MPJ 72
their life together. Reminiscent of a groom with his bride, Nathan asks Rukmani to hold
him. On several occasions in the novel, Rukmani remembers the physicality of their love,
reaffirmed in this request. In the first chapter, Rukmani recalls the sweetness of nights
she went to her husband, not as a pained and awkward child bride, but as a woman. In
Chapter 10, the Festival of Deepawali provides the setting for a night of joy and passion
between them. In her reflection on married love in Chapter 20, Rukmani draws upon her
life with Nathan to describe both the fire and the tenderness they shared. Now that
Nathan prepares to leave his body, he seeks Rukmani‟s encircling arms one last time. For
Nathan and Rukmani, their physical love provides one of the sweetest aspects of their
human existence and underscores the precious quality of life itself.
As Rukmani begins to grieve for her impending loss, Nathan reminds her of their
important contribution to the continuation of life. She will not be alone, he says, because
he lives on in his children. Throughout Rukmani‟s story, she has celebrated life and its
abundant fertility. The years of her barrenness were harder for her to bear than the years
of privation and loss. While she endured hardship with quiet dignity, she cried out for
help to conceive her sons. When Nathan assures Rukmani that he lives on in their
children, he promises his continued care. She need not be alone or unloved because of the
lives they created together from their separate selves. Nathan also assures his wife that he
is at peace. His physical journey is over, but his enduring spirit has achieved the
liberation and transcendence that are the great goals of a Hindu life. The final journey of
Nathan is described by Kamala Markandaya with spiritual base. In addition to above
dialogues, some other relevant dialogues are also narrated below in nutshell:
(D) Rukmani takes Ira to Dr. Kenny to check her barrenness Rukmani and Ira leaves
MPJ 73
Kenny's hospital for home in the moonlight, on the way she Comes across kunthi and the
incident narrated by Rukmani is as below-
You startled me -, I said, “I did not expect-”
That I can see", She said coolly, coming towards me. “You keep late hours.
Rukmani.”
No later than yours," I replied, not liking her tone. "I have my reasons'.
“Of course,” She said softly, derision in her voice. “We all have
reasons.”(NIS 59-60)
Thus Kamala Markandaya has indirectly suggested certain facts in a decent language.
(E) “Mine are not the same as your,” I said with contempt surveying her. She came
very close, so close that I smelt the rose petals in her hair; saw the paint on her
mouth.
“Meaning?”
“That we live differently. It is charitable to say no more. Let me pass.”
She stood squarely in my path. “I would not have thought it.”
She said slowly, “Had I not seen for myself.”
“Thought what?" I said, "Seen what?”
“That you have so much passion in your body.”
She said insolently, “that you seek assuagement thus. Your husband would give
much to know where you have been tonight” (NIS 60)
MPJ 74
Kunthi's number of questions to Rukmani wants to show Rukmani may have relations
with Kenny. The language of the novelist is suggestive and meaningful. Thus Kamala
Markandaya has pointed out how Indian village community follows reasoning and
rational values. These ideas are very well presented by the writer. These dialogues reveal
the social reality that Indian village life had been facing in the post industrialized period
effectively.
(F) Rukmani says, "I saw her go out in the dusk, sari tightly wrapped about her, saw
her walk to the town, along the narrow lane which ran past the tannery, following it
to where it broadened with beedi shops one side and tawdry stall on the other,
where men with bold eyes lounged smoking or drinking for frothing toddy pots"
(NIS 98)
With her earnings lrawaddy was able to buy rice and salt and milk for the child. Rukmani
accepts Ira's earning but Nathan do not. Nathan says, “I will not touch it” (NIS 100) Ira
starts feeding her younger brother, kuti. But due to constant starvation, body of kuti was
not responding. He was sinking. His eyes grew larger and finally kuti dies. This pathetic
scene touches readers‟ heart and ground realities are presented effectively.
(G) A remarkable quality that distinguishes Kamala Markandaya from other Indian
English novelists is that she makes her readers realize that true meaning of Hunger and
starvation. Rukmani, narrator says, "For hunger is a curious thing: at first it is with
you all the time, waking and sleeping and in your dreams, and your belly cries out
insistently, and there is a gnawing and pain as if your very vitals were being
devoured, and you must stop it at any cost, and you buy a moment's respite even
MPJ 75
while you know, fear the sequel. Then the pain is no longer sharp but dull, and this
too is with you always, so that you think of food many times a day and each time a
terrible sickness assails you, and because you know this you try to avoid the
thought, but you cannot it is with you" (NIS 91)
Thus poverty in Indian village is truly manifested by Kamala Markandaya through this
novel.
(H) When Nathan and Rukmani forcefully dispossessed of their land as a result of rapid
industrialization. The speech reveals her grief,
“
this home my husband had built for me with his own hands in the time he was
waiting for me, brought me to it with a pride which used to better living, had so
very nearly crushed in it we had laid together, and our children had been born.
This but with all its memories was to be taken from us, for it stood on land that
belonged to another, and the land itself by which we lived. It is cruel thing, I
thought. They do not know what they do to us.” (NIS 137)
This question touches reader and shocks him about the worst conditions of rural poor.
Thus in this chapter reflections of culture in the novel Nectar In A Sieve were explored
properly. In the beginning the concept of culture was explained in the context of
literature. The theme of the novel which is based on rural poverty was explained
properly. Further important cultural aspects in the novel were narrated in this part
especially traditions, superstitions, faith, and social milieu as well as cultural ethos were
properly described. Different shades of cultural diversity were also explained. In this part
the study being focused on cultural aspects east west cultural encounter were narrated
MPJ 76
effectively. Further major important characters in the novel were described and their
interrelationship was also unfolded.
The different shades of cultural life depicted by Kamala Markandaya interestingly
revealed various aspects of social and cultural life in the Indian village. The different
dimensions of Kamala Markandaya‟s novel Nectar in a Sieve revealed that she has
described all these aspects in a new angle. The East-West encounter in the post
independence life is also very well planned and described by the author. Her success lies
in her able efforts to describe the positive and negative aspects of Indian village life in an
effective manner. Kamala Markandaya must be credited for her all round serious efforts
to depict east west encounter effectively. The subject being studied in the sociology of
literature perspective here sociology of culture was mainly focused. On the basis of five
basic quotations having forceful meaning they were unfolded by making discourse
analysis.
MPJ 77
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