Among the heart wrenching tales of war torn Sri Lanka, heroic memoirs of migration into foreign lands and recollections of a distant colonial past, emerges a new genre of Sri Lankan writing; the now, the present, the residue of what generations have left behind. This includes depictions of the modern Sri Lankan lifestyle complete with warped values and confused identities, the ever-present conflict of social class and the gradual evolvement of a lost generation. This is what Karen Roberts so intriguingly captures in her latest novel The Lament of the Dhobi Woman, published in 2010.
Set in modern day Colombo, the story becomes familiar to the reader in the way it captures the reality of the lifestyle and social morals which have evolved over the past decade. In Roberts narrative Catrina, a creative, passionate young girl recollects memories and incidents in her childhood and early adulthood and speaks of her strong bond with her maid and caretaker Seelawathie, a woman she begins to regard as her own mother. Among many other ideas, I find identity a strong theme that emerges throughout the novel. Identity can be approached here in many angles; Cat’s strong identity towards Seelawathie as opposed to her own mother opens our eyes into the reality of how children are alienated from the traditional family unit and in Cat’s case, her upbringing was handed over to somebody else merely days after her birth. Being subject to an unexpected and unwanted pregnancy, Cat’s mother Sarla does not feel the need to bond with her third daughter, placing more importance on improving her social life, hosting and attending parties and mingling among the crème of Colombo’s society.
Nonetheless, I feel that Sarla’s own misshapen identity is not merely a reflection of her luxurious lifestyle and social status which has been handed down to her through birth, but is also a result of her mixed ancestry, linked to Sri Lanka’s colonial past. Upon hearing that her two older daughters have met two Swiss brothers, she is thrilled, stating to her husband, “We can finally lighten the brown a bit, darling.” Her disregard for her Sri Lankan part of her lineage is addressed by her daughter’s own narrative;
“Unlike some people who were half white and wore their colour like a badge of shame because someone, somewhere, had succumbed to a white man, my mother wore her light green eyes and pale skin proudly. In fact, she would have been perfectly happy to forget the Ceylonese part of her heritage altogether…”
Here we see a woman’s refusal to accept her Sri Lankan identity but we are not told why. It is perhaps due to the unfamiliarity and alienation she feels towards Sri Lanka, as seen among a lot of the youth growing up in Colombo, with their worlds being cut off from wider spectrum of Sri Lankan traditions, ideas and morals. Such detachment undoubtedly could have been passed down to her daughter Cat, had it not been for Seelawathie’s strong influence in her life.
In Cat’s early memories of her childhood, we see that she naturally fits better and identifies with Seelawathie’s simple yet affectionate world than her mother’s glamorous world. She gives a beautiful recollection of her early memories of Seelawathie- which brings out the gentleness of Seelawathie’s care as well as the love and warmth they felt around each other:
“When I woke up, my nostrils sought the smell of coconut oil and my baby powder which she used when no one was looking. My face rested comfortably against the safety pins used to keep her blouse closed. Her cheeks, when she rubbed them against mine, never hurt my brand new, transparent skin.”
I find such recollections insightful not only in terms of understanding how young children return their love to the nannies and caretakers who themselves are young adults but also how a society has emerged in which raising their own children is not a priority to parents but rather promises to be a burden and hindrance to their careers and social lives.
Roberts addresses issues of class and social status very subtly in her novel. In Cat’s description of her mother’s friends living in Colombo 7, with elegant houses down streets that, “reeked of a colonial hangover”, I find a more than a hint of satire in the tone which is used to describe Colombo’s elite society. Although not willingly being a part of her mother’s extravagant lifestyle, Cat is nonetheless associated with the notion of high society and wealth, as we see when she accompanies Seelawathie to her village. Seelawathie who is usually uncared for by her relatives is treated with respect now that she had “brought the rich Colombo baby home”. Roberts’ careful description of people in different situations subtly hints at wider concerns such as Sri Lanka’s ever-present class consciousness.
When considering Roberts’ other novels, I find a recurring theme which adds both intrigue as well as scandal to her stories: the forbidden affair. In her first novel The Flower Boy set in pre-independence Ceylon, we see a shocking affair between a British planter and his maid. In July, a heart-rending revelation of the events that occurred during the July 1983 riots in Colombo, Roberts portrays a passionate yet forbidden affair between a Sinhalese girl and her Tamil neighbour.
In The Lament of the Dhobi Woman, Seelawathie is seduced by Cat’s uncle Rick, but the affair is short lived and ends in a pregnancy and Uncle Rick’s disappearance back into his own perfect world while Seelawathie is shunned from the household forever. This particular affair plays its own distinct role in the novel, bringing out the strong image of a distorted, hypocritical society. It is Cat’s bitter reaction to her family’s handle on the issue that truly brings out the insincerity and double standards present in the society she was brought up in;
“We didn’t blame ourselves for anything. We are blameless. Rich, therefore blameless….We didn’t usually impregnate the hired help but if we did, we blamed them for daring to get pregnant by rich people like us.”
In this light, I find Roberts’ novel to be a strong satire on Colombo’s rich elite society; what is different here is the fact that the cynicism and judgement comes from Cat herself who lives among such people, but has managed to resist their influence. Roberts’ story telling is natural and gripping in its own simple way. All her storylines and locations are carefully picked to compliment the subtle messages she wished to convey to her readers. Similar to Ru Freeman’s The Disobedient Girl, The Lament of the Dhobi Woman picks up on issues which are most often swept under the rug: the hushed-about, hidden tales of the domestic help- their treatment, difficulties and their inevitable fate. It is a novel of satire, reality and most importantly, reflection. Throughout all her novels, Karen Roberts succeeds in holding a mirror towards society, giving us beautiful tales of things we missed out, things we have forgotten and things we will never see.
Chalani Ranwala is studying International Communications with Literature and Language at University of Nottingham in Malaysia.
By Indu Bandara
Author of “Flower Boy”, “July” and now “The Lament of the Dhobi Woman”, Karen Roberts gives us insight into her third book, as well as the stories that she feels must be told, especially about Sri Lankan society and its inner workings. A participant at the 2011 Galle Literary Festival, she tells us about her favourite writers and what Literature and the Arts mean to her country and its future
Tell us about your latest book/work
The title “The Lament of the Dhobi Woman” is a metaphor for dirty laundry. The book is about the relationship between a wealthy Colombo family and a young, village girl who comes to work for them as an ayah. She forges a strong, almost maternal bond with the young girl she cares for, but ultimately falls victim to the sophistication and guile of the upper class Fonsekas. It is ultimately a story about growing up.
What inspires you to write? What/who have been your influences?
I am inspired by social and cultural issues, but also by Sri Lanka in general. My first book was begun almost as a hobby. Its success motivated me to write more and that too becomes inspiring – the fact that my readers look forward to what I put out next. My family has always been encouraging of my writing and that helps too – knowing one has that kind of unstinting support. My influences have been Garcia Marquez, Harper Lee, and Dickens – they are some of the great storytellers and that, ultimately, is what we do. Tell stories.
Why do you write? Is there a particular message that you aim to convey?
I write because it is as intrinsic to me as reading. I began my first book and found I loved writing. I have ideas in my mind and stories that demand telling. I don’t have a particular message except the one that takes hold of me at the time – I find I write mainly about social issues, class divides, relationships and their challenges. This isn’t deliberate – it seems to be what comes most easily.
You are taking part in the Galle Literary Festival 2011. Why do you think this festival is important and how does it contribute to Sri Lankan society and the Arts?
I think the GLF is a huge step forward in promoting literature and the arts in Sri Lanka, and also in putting Sri Lanka firmly on the world’s literary map. The organizers have done an incredible job in attracting real international talent to Galle, and also helping encourage and launch some serious local talent. The festival, combined with the efforts of local publishers like Perera-Hussein Publishing has done wonders for local writers and Asian literature.
What particular stories about Sri Lanka and its society do you think need to be written, which have not been done yet?
There are so many – we have a rich, colourful history, we have a checkered political past, we have wonderful ethnicity, all contained within a small country. There is much fodder for fertile minds! I also think we have many interesting individuals who have shaped our past and present in many ways – their stories need to be told too.
Who are your favourite authors (Sri Lankan in particular), and why?
I love Shyam Selvadurai for his courage – writing about being gay in a relatively conservative society isn’t easy but he did it with grace and humour. I love Yasmine Gooneratne – her work has an elegance and eloquence I admire and shamelessly emulate. I also love Carl Muller for his railway saga. He writes with historical and cultural accuracy, spins wonderful yarns of a group of people who were such a vital part of the Sri Lankan story, and does it with a marvelous combination of humour and pathos.
Do you think the fields of Arts and Humanities have proper exposure in Sri Lanka? What needs to changed or improved, in your opinion?
I think we are on the right road. Sri Lanka has always encouraged the arts. We put on some of the best productions and have produced some incredible talent. We need more of this in schools – events like the Shakespeare Drama Competition help expose our kids to literature early on and we need to keep fostering this on an on-going basis.
What can up and coming Sri Lankan writers do to get their work recognized on a national/international level?
Compete on an international level – think local and act global. Make sure your work is fresh, that your writing is good, get opinions, accept constructive criticism – in other words, make sure you have the goods. Then don’t be afraid to approach international literary agents and publishers. They are constantly looking for talent from smaller, more exotic countries and we have a definite advantage. Some of the recent winners of the Pulitzer and the Man Booker have been Asian writers.
What advice would you give to young people pursuing a career similar to yours?
Keep writing, be relevant, be concise, be topical, and don’t let rejection demotivate you. Some of the world’s greatest writers were rejected over and over again before being published. Keep at it.
Anything else you would like to add.
One can write a great book, find a great agent and publisher, but eventually for a writer to be successful, he or she needs a following, an audience. I’d like to thank my readers for staying with my work; for the great feedback and reviews. Please keep it coming – we need to know what we’re doing right. Or not.
This interview first appeared in The Colombo Spirit http://spirit.lk/cathome.php?nid=20101109121031&cid=7&aid=2&scid=20
Seelawathie, a young village girl is brought to the city to care for Cat, the daughter of a prominent Colombo family. With her parents involved with each other and their active social life, Cat soon comes to regard Seelawathi as her parent and best friend. They build their own happy microcosmic life within the large household and are relatively content until Seelawathi falls in love. Her forbidden relationship challenges the rigid boundaries of society and leads to a cataclysmic end of innocence. The Lament of the Dhobi Woman explores the issue of class in Colombo society and the fragile intricacies of love and forgiveness.