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The Dark Room
"There are writers—Tolstoy and Henry James to name two—whom we hold in awe, writers—Turgenev and Chekhov—for whom we feel a personal affection, other writers whom we respect—Conrad for example—but who hold us at a long arm's length with their 'courtly foreign grace.' Narayan (whom I don't hesitate to name in such a context) more than any of them wakes in me a spring of gratitude, for he has offered me a second home. Without him I could never have known what it is like to be Indian."—Graham Greene
Offering rare insight into the complexities of Indian middle-class society, R. K. Narayan traces life in the fictional town of Malgudi. The Dark Room is a searching look at a difficult marriage and a woman who eventually rebels against the demands of being a good and obedient wife. In Mr. Sampath, a newspaper man tries to keep his paper afloat in the face of social and economic changes sweeping India. Narayan writes of youth and young adulthood in the semiautobiographical Swami and Friends and The Bachelor of Arts. Although the ordinary tensions of maturing are heightened by the particular circumstances of pre-partition India, Narayan provides a universal vision of childhood, early love and grief.
"The experience of reading one of his novels is . . . comparable to one's first reaction to the great Russian the fresh realization of the common humanity of all peoples, underlain by a simultaneous sense of strangeness—like one's own reflection seen in a green twilight."—Margaret Parton, New York Herald Tribune
Offering rare insight into the complexities of Indian middle-class society, R. K. Narayan traces life in the fictional town of Malgudi. The Dark Room is a searching look at a difficult marriage and a woman who eventually rebels against the demands of being a good and obedient wife. In Mr. Sampath, a newspaper man tries to keep his paper afloat in the face of social and economic changes sweeping India. Narayan writes of youth and young adulthood in the semiautobiographical Swami and Friends and The Bachelor of Arts. Although the ordinary tensions of maturing are heightened by the particular circumstances of pre-partition India, Narayan provides a universal vision of childhood, early love and grief.
"The experience of reading one of his novels is . . . comparable to one's first reaction to the great Russian the fresh realization of the common humanity of all peoples, underlain by a simultaneous sense of strangeness—like one's own reflection seen in a green twilight."—Margaret Parton, New York Herald Tribune
214 pages, Paperback
First published June 1, 1938
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1494 people want to read
About the author
R.K. Narayan
143 books1,930 followersR. K. Narayan is among the best known and most widely read Indian novelists who wrote in English.
R.K. Narayan was born in Madras, South India, in 1906, and educated there and at Maharaja's College in Mysore. His first novel, Swami and Friends and its successor, The Bachelor of Arts, are both set in the enchanting fictional territory of Malgudi and are only two out of the twelve novels he based there. In 1958 Narayan's work The Guide won him the National Prize of the Indian Literary Academy, his country's highest literary honor.
In addition to his novels, Narayan has authored five collections of short stories, including A Horse and Two Goats, Malguidi Days, and Under the Banyan Tree, two travel books, two volumes of essays, a volume of memoirs, and the re-told legends Gods, Demons and Others, The Ramayana, and the Mahabharata. In 1980 he was awarded the A.C. Benson Medal by the Royal Society of Literature and in 1982 he was made an Honorary Member of the American Academy and Institute of Arts and Letters.
Most of Narayan's work, starting with his first novel Swami and Friends (1935), captures many Indian traits while retaining a unique identity of its own. He was sometimes compared to the American writer William Faulkner, whose novels were also grounded in a compassionate humanism and celebrated the humour and energy of ordinary life.
Narayan who lived till age of ninety-four, died in 2001. He wrote for more than fifty years, and published until he was eighty seven. He wrote fourteen novels, five volumes of short stories, a number of travelogues and collections of non-fiction, condensed versions of Indian epics in English, and the memoir My Days.
-Wikipedia & Amazon.co.uk
R.K. Narayan was born in Madras, South India, in 1906, and educated there and at Maharaja's College in Mysore. His first novel, Swami and Friends and its successor, The Bachelor of Arts, are both set in the enchanting fictional territory of Malgudi and are only two out of the twelve novels he based there. In 1958 Narayan's work The Guide won him the National Prize of the Indian Literary Academy, his country's highest literary honor.
In addition to his novels, Narayan has authored five collections of short stories, including A Horse and Two Goats, Malguidi Days, and Under the Banyan Tree, two travel books, two volumes of essays, a volume of memoirs, and the re-told legends Gods, Demons and Others, The Ramayana, and the Mahabharata. In 1980 he was awarded the A.C. Benson Medal by the Royal Society of Literature and in 1982 he was made an Honorary Member of the American Academy and Institute of Arts and Letters.
Most of Narayan's work, starting with his first novel Swami and Friends (1935), captures many Indian traits while retaining a unique identity of its own. He was sometimes compared to the American writer William Faulkner, whose novels were also grounded in a compassionate humanism and celebrated the humour and energy of ordinary life.
Narayan who lived till age of ninety-four, died in 2001. He wrote for more than fifty years, and published until he was eighty seven. He wrote fourteen novels, five volumes of short stories, a number of travelogues and collections of non-fiction, condensed versions of Indian epics in English, and the memoir My Days.
-Wikipedia & Amazon.co.uk
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Displaying 1 - 30 of 121 reviews
February 21, 2017
This is a pretty simple story of a wife, Savitri, finally standing up for herself against her mildly bullying, unfaithful husband. She was so emotional and her actions quite extreme or at least they seemed so, but then I remembered the state I was in when I found out my husband was having an affair, and made allowances for the fact that she came from another culture, India, and therefore would act differently from me in some ways.
What I hadn't thought of was the way religion can, under guise of the correct path, actually be a malign influence on not just actions but ways of thinking too. This might seem obvious and of course it is, but it wasn't obvious, and deliberately so, in the book. A betrayed woman is a betrayed woman wherever and whenever, but a Brahmin Hindu woman is enormously different from one raised in the Judaeo-Christian tradition. I would have felt guilty at her last action, but she could use religion to justify her contempt. That was the real difference between her and me. I was absolutely knocked out.
What I hadn't thought of was the way religion can, under guise of the correct path, actually be a malign influence on not just actions but ways of thinking too. This might seem obvious and of course it is, but it wasn't obvious, and deliberately so, in the book. A betrayed woman is a betrayed woman wherever and whenever, but a Brahmin Hindu woman is enormously different from one raised in the Judaeo-Christian tradition. I would have felt guilty at her last action, but she could use religion to justify her contempt. That was the real difference between her and me. I was absolutely knocked out.
February 25, 2017
When Kaikaye, the step-mother of Rama, on being manipulated by the Manthara, her wet-mother, decided to claim her two wishes, she went to this room called kop-bhavam - literrally a sulking chamber, a room in which you go when you are angry. Imagine that! a room to be angry in. Now this room has always greatly interested me when I was a kid. I mean, who would have come with an idea like that? I can not get the logic of having a seperate room to dine in, when your bed is such a comfortable place. I mean what was this room like? The famous Ramanand Sagar tv series didn't showed it much different from others. In another version, the only difference was that they made Kaikaye wear a black saree, and if you ask me, she looked prettier in that. Now, if I was to make such a room, I should like the walls to be dark red and black, a punching bag with Sherlock Homes' picture on it etc.
Anyways, what really intrests me now is a person deciding to use the room. Mostly you would assume that a person who is angry would like to show his or her anger by reproaches, arguments, throwing things, fighting etc. Now, when Kaikaye gets angry, she decides she will change her room. Why? The reason is she can't show her anger in more direct ways without taking a fall in her social standing. Kings can and are expected to show their angry publically and using agressive methods, queens can't. And so they must use indirect methods. Kop-bhavan was probably one such method. Women in general tend to rely more on indirect methods of agression like gossips rather than direct methods like a duel - back then they didn't have much of an option. Women in Hindu societies were in fact expeected to see their husbands as gods. While most of prominent male characters in whole of Ramayana show anger at some point by something of direct agression - Lakshaman does so famously by cutting ears and nose of Sarupnakha, no woman except Kaikaye and Sarupnakha does. And both used indirect methods agression. Sarupnakhe manipulated Ravana to take her revenge on Rama. For Sita, too naive to rely on indirect methods, the only option is to isolate herself from people she is disappointed from and ask Earth to take her in.
Savitri in our novel had a dark room in her house which she used as her Kop-bhavan. But since this method doesn't help, the dark room just becomes a place to bury her anguish. She enters it angry at her husband and leaves it after rebuilding her world of illusion - in which she is a respectable housewife, loved and needed. At some point, lying to herself becomes difficult, and she discovers herself in a hopeless situation. Uneducated, she doesn't know her rights. The only rights that she understands are that which are paid for with earned money, an assumption inherent in most cpitalist cultues. Since she didn't pay for birth and upbringing of her children, she thinks they aren't hers. Same for her house and other possessions. Anyway, she is averse to conflict to show her anger except by a Doll-House style walk-out.
The difference is this is India. The economic inequality is many times worse and an uneducated women do not have much opportunities. And this reality hits her hard. She comes to discover how as a poor woman starting her life afresh, she won't have many things she had come to consider neccesities in her middle-class life - electricity being one of them. She comes back beaten by this reality and finds that her absence has disciplined her husband to some extent. She herself though is far worse though. She can no longer lie to herself, knows that she can't claim anything for herself - and finds herself living life of a reluctant intruder in her own house.
This is such a powerful story written with a decpetively light prose - with frequent dosses of light humour that one finds in a Narayan book. The point where Savitre's husband decide that he will ban brinjals in the house had me laughing so hard. I guess he is the only Indian writter popular outside India who is not accused of India bashing within country. And rightly so. Indians, like people of Dostovesky's novels, love blaming their country for all problems .... corruption, Women rights, sanitary conditions etc. Often the blame lies with people, culture or religion but those are untouchable subjects. Rather, we think the coutry which is no more than a gerographical and administrative division ccauses those problems. It is a very Indian thing we do ... damn it, I'm doing it myself.
Anyways, what really intrests me now is a person deciding to use the room. Mostly you would assume that a person who is angry would like to show his or her anger by reproaches, arguments, throwing things, fighting etc. Now, when Kaikaye gets angry, she decides she will change her room. Why? The reason is she can't show her anger in more direct ways without taking a fall in her social standing. Kings can and are expected to show their angry publically and using agressive methods, queens can't. And so they must use indirect methods. Kop-bhavan was probably one such method. Women in general tend to rely more on indirect methods of agression like gossips rather than direct methods like a duel - back then they didn't have much of an option. Women in Hindu societies were in fact expeected to see their husbands as gods. While most of prominent male characters in whole of Ramayana show anger at some point by something of direct agression - Lakshaman does so famously by cutting ears and nose of Sarupnakha, no woman except Kaikaye and Sarupnakha does. And both used indirect methods agression. Sarupnakhe manipulated Ravana to take her revenge on Rama. For Sita, too naive to rely on indirect methods, the only option is to isolate herself from people she is disappointed from and ask Earth to take her in.
Savitri in our novel had a dark room in her house which she used as her Kop-bhavan. But since this method doesn't help, the dark room just becomes a place to bury her anguish. She enters it angry at her husband and leaves it after rebuilding her world of illusion - in which she is a respectable housewife, loved and needed. At some point, lying to herself becomes difficult, and she discovers herself in a hopeless situation. Uneducated, she doesn't know her rights. The only rights that she understands are that which are paid for with earned money, an assumption inherent in most cpitalist cultues. Since she didn't pay for birth and upbringing of her children, she thinks they aren't hers. Same for her house and other possessions. Anyway, she is averse to conflict to show her anger except by a Doll-House style walk-out.
The difference is this is India. The economic inequality is many times worse and an uneducated women do not have much opportunities. And this reality hits her hard. She comes to discover how as a poor woman starting her life afresh, she won't have many things she had come to consider neccesities in her middle-class life - electricity being one of them. She comes back beaten by this reality and finds that her absence has disciplined her husband to some extent. She herself though is far worse though. She can no longer lie to herself, knows that she can't claim anything for herself - and finds herself living life of a reluctant intruder in her own house.
This is such a powerful story written with a decpetively light prose - with frequent dosses of light humour that one finds in a Narayan book. The point where Savitre's husband decide that he will ban brinjals in the house had me laughing so hard. I guess he is the only Indian writter popular outside India who is not accused of India bashing within country. And rightly so. Indians, like people of Dostovesky's novels, love blaming their country for all problems .... corruption, Women rights, sanitary conditions etc. Often the blame lies with people, culture or religion but those are untouchable subjects. Rather, we think the coutry which is no more than a gerographical and administrative division ccauses those problems. It is a very Indian thing we do ... damn it, I'm doing it myself.
February 23, 2022
The blurb on the back of my paperback edition is a good outline of this novel:
I have read a number of Narayan's Malgudi novels and found them very enjoyable, to the point where they are almost light entertainment, but at the same time provides a window into Indian society of the time they were written.
This book was first published in 1938, and is one of Narayan's earlier novels (his third), which perhaps explains the limitations within it. But that sounds negative - it is a very good novel, but is perhaps more dark than the Malgudi I have experienced before.
The novels name The Dark Room is taken from a room is Savitri's house where she - for want of a better description - sulks. Here she lies, lamenting her life and the treatment of her husband.
Savitri puts up with a lot of 'traditional behaviour' from her husband Ramani, but reaches a decision to resist when he takes and unprofessional interest in a female employee, and appears to be setting her up as a concubine. Ramani is overbearing and overly critical, exerting his power over those who have no ability to resist - his cook and the like, but is not a violent or particularity evil man, more he is portrayed as an everyday husband and father.
I don't want to throw out spoilers, so I won't give away how the story rolls out. What I will say is that the resolution at the end, while tidy, remains slightly unsatisfactory.
Absolutely worth reading, and enjoyable as the work of Narayan inevitably is.
4 stars
It is still a man's world in Malgudi. And that is where docile and obedient Savitri has endured more than her fair share of humiliations in her long-standing marriage. But even she knows when her bullying husband has gone too far.For when Ramani insists on taking on an elegant new employee for the Engladia Insurance Company, Savitri recognises more than a professional interest in the woman. Her first resort is to try to ignore it. And her last resort is only just forestalled by a passing burglar...
I have read a number of Narayan's Malgudi novels and found them very enjoyable, to the point where they are almost light entertainment, but at the same time provides a window into Indian society of the time they were written.
This book was first published in 1938, and is one of Narayan's earlier novels (his third), which perhaps explains the limitations within it. But that sounds negative - it is a very good novel, but is perhaps more dark than the Malgudi I have experienced before.
The novels name The Dark Room is taken from a room is Savitri's house where she - for want of a better description - sulks. Here she lies, lamenting her life and the treatment of her husband.
Savitri puts up with a lot of 'traditional behaviour' from her husband Ramani, but reaches a decision to resist when he takes and unprofessional interest in a female employee, and appears to be setting her up as a concubine. Ramani is overbearing and overly critical, exerting his power over those who have no ability to resist - his cook and the like, but is not a violent or particularity evil man, more he is portrayed as an everyday husband and father.
I don't want to throw out spoilers, so I won't give away how the story rolls out. What I will say is that the resolution at the end, while tidy, remains slightly unsatisfactory.
Absolutely worth reading, and enjoyable as the work of Narayan inevitably is.
4 stars
April 17, 2019
Short and sweet unless you think that women should not be slaves to their husbands, in which case, short and bitter.
Full of weird oldfashioned 1938-style Indian English dialogue such as :
Husband to small daughter : Learn not to whimper before your mother.
Husband to wife : I have not come all the way to be told "some other day". I am not a vagabond to come in and go out without a purpose.
Husband to wife : It is no business of a wife's to butt in when the father is dealing with his son. It is a bad habit. Only a battered son will grow into a sound man.
The modern reader may be heartily wishing the pompous arse of a husband in this novel himself gets a good sound battering very soon, but (spoiler) R K Narayan is nothing if not true to life, so you you can whistle for your battering.
The title The Dark Room is a metaphor for women's experience of marriage. So that makes it sound awful gloomy, but R K Narayan is like a cork on the ocean, can't keep him down for long, always finding something cheery in the woof and weft of life.
I look forward to my next RKN novel with lipsmacking relish.
Full of weird oldfashioned 1938-style Indian English dialogue such as :
Husband to small daughter : Learn not to whimper before your mother.
Husband to wife : I have not come all the way to be told "some other day". I am not a vagabond to come in and go out without a purpose.
Husband to wife : It is no business of a wife's to butt in when the father is dealing with his son. It is a bad habit. Only a battered son will grow into a sound man.
The modern reader may be heartily wishing the pompous arse of a husband in this novel himself gets a good sound battering very soon, but (spoiler) R K Narayan is nothing if not true to life, so you you can whistle for your battering.
The title The Dark Room is a metaphor for women's experience of marriage. So that makes it sound awful gloomy, but R K Narayan is like a cork on the ocean, can't keep him down for long, always finding something cheery in the woof and weft of life.
I look forward to my next RKN novel with lipsmacking relish.
July 5, 2022
"One definite thing in life is fear. Fear, from the cradle to the funeral pyre, and even beyond that, fear of torture in the other world."
Set in the fictional town of Malgudi during the 1930s, a middle class family struggled more so of the overbearing man.
The writing quite depicted how the patriarchal nature of men do more harm than good for their families and the upbringing of children. Moreover, the story accurately presented how women and girls specifically have so much less to say or do without the permission of these egoistic men who are in the form of their fathers, husbands or guardians.
Savitri's mornings, days and nights end up with trying to please her husband and taking care of the household. She tries to speak up or act accordingly to the flimsy, temperamental moods of her husband. Neither her words or actions are taken into account. Her life and her children's lives are being dictated by the husband/farther.
Content warnings for domestic violence and abuse.
This isn't fiction. This scenario is still prevalent in our society. Parents think that they have the right to abuse or assault their children, say or do anything they want to their spouses and decide everything for them without their consent.
"Women must be taught their place."
Sad to say this notion still exists.
The way the male characters look upon women just made me lose my calm. But then enters this female character, Shanta Bai, who applied for a job where Savitri's husband, Ramani, worked.
To think that R. K. Narayan wrote about this character during those days made me feel so great I was wondering how he could have written a story such as this trying to showcase the differences of two women under different circumstances have been tortured by their respective abusive husbands yet one of them was able to give in without even trying much while the other left the toxic, abusive spouse and trying to do her best to preserve her self-respect.
She got educated, got enough qualifications yet she's struggling the same as to how the society look upon women.
"It is all nonsense to say that women's salvation lies in education. It doesn't improve their lot a bit; it leaves them as badly uneducated as the men."
The story takes a sharp turn towards the second half alongwith a change coming over Savitri along with the introduction of a few new characters.
Lessons get learnt towards the end. However, I wish there was a proper closure and a more satisfactory ending.
Set in the fictional town of Malgudi during the 1930s, a middle class family struggled more so of the overbearing man.
The writing quite depicted how the patriarchal nature of men do more harm than good for their families and the upbringing of children. Moreover, the story accurately presented how women and girls specifically have so much less to say or do without the permission of these egoistic men who are in the form of their fathers, husbands or guardians.
Savitri's mornings, days and nights end up with trying to please her husband and taking care of the household. She tries to speak up or act accordingly to the flimsy, temperamental moods of her husband. Neither her words or actions are taken into account. Her life and her children's lives are being dictated by the husband/farther.
Content warnings for domestic violence and abuse.
This isn't fiction. This scenario is still prevalent in our society. Parents think that they have the right to abuse or assault their children, say or do anything they want to their spouses and decide everything for them without their consent.
"Women must be taught their place."
Sad to say this notion still exists.
The way the male characters look upon women just made me lose my calm. But then enters this female character, Shanta Bai, who applied for a job where Savitri's husband, Ramani, worked.
To think that R. K. Narayan wrote about this character during those days made me feel so great I was wondering how he could have written a story such as this trying to showcase the differences of two women under different circumstances have been tortured by their respective abusive husbands yet one of them was able to give in without even trying much while the other left the toxic, abusive spouse and trying to do her best to preserve her self-respect.
She got educated, got enough qualifications yet she's struggling the same as to how the society look upon women.
"It is all nonsense to say that women's salvation lies in education. It doesn't improve their lot a bit; it leaves them as badly uneducated as the men."
The story takes a sharp turn towards the second half alongwith a change coming over Savitri along with the introduction of a few new characters.
Lessons get learnt towards the end. However, I wish there was a proper closure and a more satisfactory ending.
August 5, 2019
This is a very dark story in the sense that Narayan portrays women as weaklings and wives as meek companion to their husbands. Through out the story, the husband is portrayed as a tyrant and his week as meek and submissive who accepts it all as her karma. She even rebels once only to accept defeat and submit back to life of slavery because she has no other option.
June 7, 2010
The third Narayan novel I have read in the Everyman's Library edition of four stories set in the fictional town of Malgudi, India and I am looking forward to the fourth ('The English Teacher'), as Narayan's wonderful unassuming and gentle style improved with each of the books I have read so far.
In 'The Dark Room,' Narayan writes about a female protagonist for the first time. Savitri, sensitive and intelligent, is burdened with a boorish and overbearing husband as well as three insensitive and obtuse children, whom she nevertheless loves unconditionally. No wonder that she slinks off to a dark room of the house for bouts with major depression.
As with the first two Malgudi novels, the tale is a sort of bittersweet parable. The main characters try for a grand gesture to break with the injustices of their own lives and life in India in the 1930s, but fail because of their own lack of boldness and courage. Each also fails to really understand their privileged positions as compared to those of lesser station who stoically accept poverty and powerlessness.
If all that sounds depressing, it isn't, as Narayan tempers his stories with laconic and considerate humor. He manages to poke fun at human weakness while maintaining sympathy and understanding. In the flawed personalities of Malgudi, despite differences in culture and time, the reader is able to see his own foibles, and laugh at them.
Highly recommended.
In 'The Dark Room,' Narayan writes about a female protagonist for the first time. Savitri, sensitive and intelligent, is burdened with a boorish and overbearing husband as well as three insensitive and obtuse children, whom she nevertheless loves unconditionally. No wonder that she slinks off to a dark room of the house for bouts with major depression.
As with the first two Malgudi novels, the tale is a sort of bittersweet parable. The main characters try for a grand gesture to break with the injustices of their own lives and life in India in the 1930s, but fail because of their own lack of boldness and courage. Each also fails to really understand their privileged positions as compared to those of lesser station who stoically accept poverty and powerlessness.
If all that sounds depressing, it isn't, as Narayan tempers his stories with laconic and considerate humor. He manages to poke fun at human weakness while maintaining sympathy and understanding. In the flawed personalities of Malgudi, despite differences in culture and time, the reader is able to see his own foibles, and laugh at them.
Highly recommended.
July 1, 2015
Savitri, a jewel among all the housewives of old Indian times. Savitri - an enchanted one, a conundrum. The one who takes care of her three little kids and husband with almost religious commitment. Malgudi, the perfect imaginary hometown for me. I can almost breathe the various different smells in the streets which are blended by the movement of innocent people of Malgudi if not for this reality trying to disrupt my fantasy of perfect Indian not so populated little town in the south of India. It's been long since I last visited Malgudi; it was with Talkative Man, I guess.
I fancy if there exists still housewives like Savitri, who is hellbent to achieve salvation by doing her duties as a resourseful wife and mother at home. The Dark Room is not just a family drama from pre-independent Indian household. It is a tale of a woman who strives to give all she can to please the people around her and would still be silenced with the weapon of traditions and customary codes dictated by conservatives, which is passed on to later generations fervently. However much serious a topic is in Narayan's novel, humor always a place. It is not just any other type but of predominant form, produced only by naivety of a candid mind.
I still do not discern the hidden meaning behind Ramani wanting to be Shanta Bai's brother so ardently. They could be friends as there was no infidelity on part of Ramani, she would have agreed to that. Anyway, it is a fine story where husband loses his acumen about his actions and dampens his relationship with his wife.
Savitri is a strong woman who blames her own self for trifle annoyances of her husband even though it's not her mistake. She will be under impression that her husband is always right and she, always wrong. But after coming under the light that the ground under her feet is about to shatter, she resigns all the duties assigned to her for being a woman and almost from life. She understand the importance of being independent and earning a living on her own, but how can she? when she has no knowledge of her children's wellbeing.
Narayan's characters in his books are so benign and guileless. Mari here is a locksmith, blacksmith who repairs umbrellas too is so modest. He may be a thief but he feels unlocking a house before breaking into it and locking afterwards instead of breaking the lock open as it shows some courtesy to the owners of the house. He believes in his own principles however ugly his actions are. The whole conversation between Savitri and Mari after he saves her from drowning is inane to us readers, but it still is humor how he answers her even when he knows that she is not in her senses while talking to him.
Gone are those days, when people helped each other. Where can we find Ponni, who does not want to let Savitri alone until she is satisfied with her hospitality to others. Saving her life alone is a great deed. To top that they are determined to resolve the issues of a stranger at the cost of their earnings. It is something quite common and inimitable which can be observed in Narayan's writings. He may be merely depicting the people he had seen, but the fact that they existed and may still exist somewhere makes me happy. Narayan is a beautiful narrator.
This book is poignant, certainly. And uncertainty of Savitri's conscience at the end of the book about whether it is right to call Mari to her house when she herself feel strange about her position in the house and her right over the things she no longer can claim ownership over, even if it comes to her own kids. The last paragraph is what I call signature of Narayan. Everything seems pleasant and fine at the end, but there dangles dubiety and melancholy. I can see from the eyes of this book, the temple, the river, all of Malgudi and its people. There is something of supreme nature in Narayan's literature. It is simple yet can not be emulated.
July 21, 2019
I know this story not because I have read this before but because quite similar incident happened to my grandmother's sister. Ironically she lived in the town on which Malgudi is based on.
Stories like Savitri was common few decades ago and even today such stories exist. The name Savitri itself represents epitome of wifely obedience - of the wife whose devotion to her husband even moved the God of death. In 'the dark room', the namesake as well exhibits her domestic wifely duties as she has seen learned from her mother and other elderly women. The discontentment she feels becomes a part of her life as her husband belittles her, disrespects her and physically abuses her as his mood changes. Her two daughters grow up in this home seeing their mother unhappy and when they are old enough, they accept it as a part of their lives. Her son sees his father behavior and is already undergoing the transformation like most boys do during prepubescent by inducing masculine definitions to their actions. The son sees his father belittling him and his mother, and thinks to himself to listen to his father more. This is a viscous cycle that pulls people into its whirlpool and enslaves them. In one intense moment, Savitri stands up to her husband. The incident doesn't necessarily change the people overnight but it sure puts a dent in relationship with her husband. The reconciliation that happens has a religious connotation to it with words exchanged between Savitri and a pious man about dharama and karma. Ironically it's another man that convinces her of her duties set in religious doctrines that keeps the family unit together.
Stories like Savitri was common few decades ago and even today such stories exist. The name Savitri itself represents epitome of wifely obedience - of the wife whose devotion to her husband even moved the God of death. In 'the dark room', the namesake as well exhibits her domestic wifely duties as she has seen learned from her mother and other elderly women. The discontentment she feels becomes a part of her life as her husband belittles her, disrespects her and physically abuses her as his mood changes. Her two daughters grow up in this home seeing their mother unhappy and when they are old enough, they accept it as a part of their lives. Her son sees his father behavior and is already undergoing the transformation like most boys do during prepubescent by inducing masculine definitions to their actions. The son sees his father belittling him and his mother, and thinks to himself to listen to his father more. This is a viscous cycle that pulls people into its whirlpool and enslaves them. In one intense moment, Savitri stands up to her husband. The incident doesn't necessarily change the people overnight but it sure puts a dent in relationship with her husband. The reconciliation that happens has a religious connotation to it with words exchanged between Savitri and a pious man about dharama and karma. Ironically it's another man that convinces her of her duties set in religious doctrines that keeps the family unit together.
September 12, 2018
Moments of brilliance, portraying how fallible we are
June 9, 2013
A simple story which depicts the picture of our conservative society where a man can get away with anything but a woman cannot even do things which definitely looks quite normal to me. The great man comes up with another story which leaves a huge impact on the readers. A story as relevant today as it was way back when it was first published in 1956, it certainly makes for a thought-provoking read. It reflects the unfair conservatism of a society which has been set up in a way where it is always easy to lead life as a male rather than a female.
All creadit to showcase the "rebel" side of Savitri, the main protagonist,in an era where it is very difficult to imagine the defiant attitude that she depicts here. I must also say that the other character "Ponni" is even more remarkable and immediately gets our attention and admiration even though she has a small part in the book.
Read it just to get an idea how our society can stay quite stagnant/static after almost 75 years;this book was written in 1938!
All creadit to showcase the "rebel" side of Savitri, the main protagonist,in an era where it is very difficult to imagine the defiant attitude that she depicts here. I must also say that the other character "Ponni" is even more remarkable and immediately gets our attention and admiration even though she has a small part in the book.
Read it just to get an idea how our society can stay quite stagnant/static after almost 75 years;this book was written in 1938!
November 6, 2021
The Dark Room is a moving tale of a beleaguered Indian woman.
Ramani, the office secretary of Engladia Insurance Company is very domineering and cynical in his ways and hence governs his house consistent with his own sweet will.
As he is always tetchy and petulant, the atmosphere in his house is usually depressing. His wife, children and servants always remain in a state of terror. His wife Savitri is an exact representation of traditional Indian womanhod. She is very beautiful and deeply devoted to her husband. Ramani, however, does not respond to her sentiments even with ordinary warmth.
Though they have been married for fifteen years, his wife has received nothing from her husband except rebukes and abuses. Even his children get more of his rebukes than of his fatherly love.
All goes well, till there arrives at the scene a gorgeous lady, Shanta Bai, who has deserted her husband and joined Engladia Insurance Company. Ramani succumbs to her exquisiteness and coquettish ways. This disturbs the harmony of his domestic life still more.
Seeing no way of correcting her conceited and blundering husband, Savitri revolts against him. In a fit of despondency Savitri moves out of her abode with an intention of committing suicide.
She goes to the river and throws herself into it. The timely arrival of the burglar-blacksmith, who, while crossing the river on his way to his village, sees her body floating on the river, at once rescues her, thereby saving her life. Persuaded by Ponni, she goes to their village and embarks upon an independent living of her own by working in a temple.
The feelings of home sickness and a tormenting anxiety for her children, however, soon make her restless. She realizes the futility of her attempt to escape from her bonds with the temporal world and returns home.
The simple plot thus deals with the sorry fate of Indian womanhood. Though it suggests no solutions to the problem, it clearly brings out Narayan’s concern for the Savitris of our country. The plot is more consistent and well-knit than that of the earlier novels. The characterisation is excellent. Moreover, there is a skilful blending of humour and pathos.
Narayan has not preached any sermons but has brilliantly and pragmatically presented a segment of life as he saw it.
Regardless of the view of critics, one feels on reading it that it is quite a booming plot and deserves much greater attention than has been more often than not awarded to it.
Ramani, the office secretary of Engladia Insurance Company is very domineering and cynical in his ways and hence governs his house consistent with his own sweet will.
As he is always tetchy and petulant, the atmosphere in his house is usually depressing. His wife, children and servants always remain in a state of terror. His wife Savitri is an exact representation of traditional Indian womanhod. She is very beautiful and deeply devoted to her husband. Ramani, however, does not respond to her sentiments even with ordinary warmth.
Though they have been married for fifteen years, his wife has received nothing from her husband except rebukes and abuses. Even his children get more of his rebukes than of his fatherly love.
All goes well, till there arrives at the scene a gorgeous lady, Shanta Bai, who has deserted her husband and joined Engladia Insurance Company. Ramani succumbs to her exquisiteness and coquettish ways. This disturbs the harmony of his domestic life still more.
Seeing no way of correcting her conceited and blundering husband, Savitri revolts against him. In a fit of despondency Savitri moves out of her abode with an intention of committing suicide.
She goes to the river and throws herself into it. The timely arrival of the burglar-blacksmith, who, while crossing the river on his way to his village, sees her body floating on the river, at once rescues her, thereby saving her life. Persuaded by Ponni, she goes to their village and embarks upon an independent living of her own by working in a temple.
The feelings of home sickness and a tormenting anxiety for her children, however, soon make her restless. She realizes the futility of her attempt to escape from her bonds with the temporal world and returns home.
The simple plot thus deals with the sorry fate of Indian womanhood. Though it suggests no solutions to the problem, it clearly brings out Narayan’s concern for the Savitris of our country. The plot is more consistent and well-knit than that of the earlier novels. The characterisation is excellent. Moreover, there is a skilful blending of humour and pathos.
Narayan has not preached any sermons but has brilliantly and pragmatically presented a segment of life as he saw it.
Regardless of the view of critics, one feels on reading it that it is quite a booming plot and deserves much greater attention than has been more often than not awarded to it.
June 28, 2021
It MAY get boring some some of you but I don't think this book is supposed to be a masala, time pass read. Hear my out, it was really boring for me also when I first read it some 8 years ago. Also at the time the title "The Dark Room" didn't fit with it but I was immature looking for a fun book to read and enjoy. The title is apt as in South India there really is a "Dark Room" in every house. Sort of like the store room which is scarcely visited and filled with things you don't want. This in itself is a synonym for the woman on whose life this work is based on. It is a serious book dealing with the story of one woman and through it telling of the situation of so many women in India at that time. It gives you a wholesome perspective both in terms of the facts of life as well as the emotions and experiences of the women back then. The sheer helplessness, the little joys, the trials, the tribulations. This story goes into all of it, no holds barred style. It does not try to make it entertaining or fun, quiet simply because you don't put masala in coconut water, it doesn't belong in it. It is a masterstroke in itself, if you get your reasons for reading it right.
October 31, 2012
Unconventional
December 30, 2018
One of the best books I have read!
January 9, 2020
Its an amazing book and relates.soo much to the current society❤️❤️
October 19, 2021
This is my first novel in my life and still has an imprint on my heart which can never be erased.
November 24, 2017
A familiar story of marriage, conflict, an affair, reconciliation, but all this with Narayan’s trademark touches. While what happens is not without drama, including an attempted suicide, the story unfolds as if this is just one more small episode in the human comedy—a kind of tableau miniature. And, again, the reader is transported into a world of karmic inevitability. We know that Ramani, the gruff, unfaithful husband and his longsuffering but inevitably fed-up wife will get back together without much really changing . . . all of this is played out against a backdrop of bit characters, each playing a role with surprising generosity of spirit. This is a small novel that occupies one or two hours profitably.
May 11, 2021
"Men are impetuous. One moment they will be all temper and the next all kindness. Men have to bear many worries and burdens, and you must overlook it if they are sometimes unreasonable." (46)
""As for me life is..." something or other, some simple affair like Living Today and Letting Tomorrow Take Care of Itself or Honour being the One Important Possession, and so forth." (63)
"When men have work they forget food, sleep, and home." (84)
"No one who couldn't live by herself had a right to exist." (94)
Edition Read - Indian Thought Publications, India, 2016.
""As for me life is..." something or other, some simple affair like Living Today and Letting Tomorrow Take Care of Itself or Honour being the One Important Possession, and so forth." (63)
"When men have work they forget food, sleep, and home." (84)
"No one who couldn't live by herself had a right to exist." (94)
Edition Read - Indian Thought Publications, India, 2016.
November 25, 2012
Very few readers will dispute the talent that R K Narayan was. He was the first Indian writer in English to acquire such a name for himself both among native as well as foreigner readers.
V. S Naipaul has written how his image of India was entirely shaped by reading R K Narayan's books and all that happens in Malgudi, the fictional small-town in South India that the author set his stories in. His tales came with a parochial delight, yet encompassed a world of human emotions and characters. This was enchanting as much as it was universal in appeal.
Still, every now and then one hears of a not-so-flattering comment about Narayan's prose. At times it cannot be completely dismissed as it comes from say a Shashi Tharoor who in his wonderful book on his literary passions, Bookless In Baghdad writes candidly about Narayan's weaknesses calling his style 'flat and monotonous'
Tharoor writes, "Some of my friends felt I was wrong to focus on language – a writerly concern - and lose sight of the stories, which in many ways had an appeal that transcended language. But my point was that such pedestrian writing diminished Narayan's stories, undermined the characters, trivialised their concerns."
Narayan's writing had its flaws, and within his own ouevre some were more successfully executed than the others . The Dark Room (1938) and The World Of Nagaraj (1990) are an example of that. Both have plots that draw you in, but each vastly differ in the manner in which they are written. The Dark Room has a poignant theme, but Narayan struggles with the writing and is unable to etch out the deeper nunances inherent in the story. Tharoor's criticism is quite right here.
Nagaraj...on the other hand is the work of an accomplished genius. It's not the plot, but the character that drives the story and here Narayan shows tremendous writerly gifts.
The Dark Room is about a dominant, excessively critical and self-centered husband, Ramani living with his wife Savitri and three children. The first scene sees him criticising everything that his wife serves him on the table. He curses the cook and freely taunts his wife. At work, he takes more than a little fancy to a junior called Shanta Bai. She is pretty and recently separated from her husband. Ramani is taken in by her charms and goes out of his way to help her out, including vacating a spare room in the office and even making his wife give away some of their furniture to make Shanta comfortable. On the way from his golf club, he regularly starts spending time at her room, and sits entranced listening to her.
When Savitri hears of it she is unable to bear the humiliation . She confronts her husband who dismisses her objections. Desolate at being taken so entirely for granted she raises her voice and then is determined to leave the house. She wants to take the kids along, but Ramani stops her harshly. “Don't touch them or talk to them. Go yourself, if you want. They are my children," he shouts.
The blatant disregard shown by her callous husband causes such depression in her heart that she wanders alone in the street and even plunges herself in the river. But overcome by fear, she shouts out for help. A blacksmith by day and burglar by night saves her. He brings along his wife, Ponni who tries to befriend Savitri. She offers her shelter and food. But such a madness seizes Savitri that she refuses to eat anything not earned by herself. She is disgusted at being at the mercy of the men in her life – father, brother, husband. She gets so obstinate about not taking any more charity from anyone that she starts working at a temple as a cleaner for a cantankerous priest. But in a day she realises the impracticality of her choice and returns home, though a part of her is dead now. Ramani is relieved to find her back, less for her sake, and more to keep up social pretenses.
Narayan's sympathies are with Savitri though he resists from make a grand feminist statement. She leaves the house for valid reasons, but reconciles and comes back. Narayan, above all, much in the vein of say a Jane Austen was a realist and understood the limitations of people in their context and worlds. Narayan's characters rebel against a traditional and regressive society. Earlier in Bachelor Of Arts, the young protagonist is sickened at his inability to get the girl he wants and turns a monk for a while. But quickly realising the narrowness of his world, comes back into the mainstream.
In The Dark Room, Narayan quite clearly feels a deep anguish at the wife being treated shabbily and leaves no opportunity to portray the ugliness and selfishness of the husband's character.
The book is less of a novel and more of a novella. Narayan is effective in his portrayal of Ramani, a vain, sarcastic, self-serving man. Also, the part where Savitri leaves and encounters a different world is poignant, but the book as a whole has a few weaknesses. It is not as lush in its narrative, the story runs rather quickly, and doesn't delve too much into the complexities. Ramani's fling with his junior is awkwardly handled, perhaps because Narayan was writing about an episode he may not have experienced or seen first hand. The 'other' woman's character also remains shadowy.
more...http://sandyi.blogspot.in/2011/10/r-k...
V. S Naipaul has written how his image of India was entirely shaped by reading R K Narayan's books and all that happens in Malgudi, the fictional small-town in South India that the author set his stories in. His tales came with a parochial delight, yet encompassed a world of human emotions and characters. This was enchanting as much as it was universal in appeal.
Still, every now and then one hears of a not-so-flattering comment about Narayan's prose. At times it cannot be completely dismissed as it comes from say a Shashi Tharoor who in his wonderful book on his literary passions, Bookless In Baghdad writes candidly about Narayan's weaknesses calling his style 'flat and monotonous'
Tharoor writes, "Some of my friends felt I was wrong to focus on language – a writerly concern - and lose sight of the stories, which in many ways had an appeal that transcended language. But my point was that such pedestrian writing diminished Narayan's stories, undermined the characters, trivialised their concerns."
Narayan's writing had its flaws, and within his own ouevre some were more successfully executed than the others . The Dark Room (1938) and The World Of Nagaraj (1990) are an example of that. Both have plots that draw you in, but each vastly differ in the manner in which they are written. The Dark Room has a poignant theme, but Narayan struggles with the writing and is unable to etch out the deeper nunances inherent in the story. Tharoor's criticism is quite right here.
Nagaraj...on the other hand is the work of an accomplished genius. It's not the plot, but the character that drives the story and here Narayan shows tremendous writerly gifts.
The Dark Room is about a dominant, excessively critical and self-centered husband, Ramani living with his wife Savitri and three children. The first scene sees him criticising everything that his wife serves him on the table. He curses the cook and freely taunts his wife. At work, he takes more than a little fancy to a junior called Shanta Bai. She is pretty and recently separated from her husband. Ramani is taken in by her charms and goes out of his way to help her out, including vacating a spare room in the office and even making his wife give away some of their furniture to make Shanta comfortable. On the way from his golf club, he regularly starts spending time at her room, and sits entranced listening to her.
When Savitri hears of it she is unable to bear the humiliation . She confronts her husband who dismisses her objections. Desolate at being taken so entirely for granted she raises her voice and then is determined to leave the house. She wants to take the kids along, but Ramani stops her harshly. “Don't touch them or talk to them. Go yourself, if you want. They are my children," he shouts.
The blatant disregard shown by her callous husband causes such depression in her heart that she wanders alone in the street and even plunges herself in the river. But overcome by fear, she shouts out for help. A blacksmith by day and burglar by night saves her. He brings along his wife, Ponni who tries to befriend Savitri. She offers her shelter and food. But such a madness seizes Savitri that she refuses to eat anything not earned by herself. She is disgusted at being at the mercy of the men in her life – father, brother, husband. She gets so obstinate about not taking any more charity from anyone that she starts working at a temple as a cleaner for a cantankerous priest. But in a day she realises the impracticality of her choice and returns home, though a part of her is dead now. Ramani is relieved to find her back, less for her sake, and more to keep up social pretenses.
Narayan's sympathies are with Savitri though he resists from make a grand feminist statement. She leaves the house for valid reasons, but reconciles and comes back. Narayan, above all, much in the vein of say a Jane Austen was a realist and understood the limitations of people in their context and worlds. Narayan's characters rebel against a traditional and regressive society. Earlier in Bachelor Of Arts, the young protagonist is sickened at his inability to get the girl he wants and turns a monk for a while. But quickly realising the narrowness of his world, comes back into the mainstream.
In The Dark Room, Narayan quite clearly feels a deep anguish at the wife being treated shabbily and leaves no opportunity to portray the ugliness and selfishness of the husband's character.
The book is less of a novel and more of a novella. Narayan is effective in his portrayal of Ramani, a vain, sarcastic, self-serving man. Also, the part where Savitri leaves and encounters a different world is poignant, but the book as a whole has a few weaknesses. It is not as lush in its narrative, the story runs rather quickly, and doesn't delve too much into the complexities. Ramani's fling with his junior is awkwardly handled, perhaps because Narayan was writing about an episode he may not have experienced or seen first hand. The 'other' woman's character also remains shadowy.
more...http://sandyi.blogspot.in/2011/10/r-k...
September 20, 2020
Not the best, but still showcases the perspective of a orthodox family woman in those times and the struggles she faced.
March 7, 2017
A story back in time when the fairer sex was treated unfair. they were married off soon and expected to be under the thumb of the husband. the protagonist Savitiri is one such character.
The story is more about the domestic relation between a husband and wife and what happens to the equation of the wife dares.
Also deals with themes of casteism, male chauvinistic world etc. A literature which can be grazed on surface and also provides a deep theme.
The story is more about the domestic relation between a husband and wife and what happens to the equation of the wife dares.
Also deals with themes of casteism, male chauvinistic world etc. A literature which can be grazed on surface and also provides a deep theme.
November 7, 2011
http://iandbooks.wordpress.com/
When I picked up this book, I was hoping for something similar to “The World Of Nagaraj”, by R. K. Narayan that I had read sometime back. Even though this book “The Dark Room” is also set in the town of Malgudi, it is quite different from the previous one. In this book, the author has actually tried to highlight the nature of family that lived during those times. Maybe in some ways that nature of families still continues.
This story is about Savitri who is a submissive housewife living with her husband and three children. Her husband neglects her and bosses over her on everything and most of the times she silently suffers. Sometimes when she is unable to bear it, she goes to “The Dark Room” in the house to sulk. When her husband starts an affair with colleague in office, she fights back and leaves house and tries to kill herself. She is rescued and after some twists and turns she finally returns back to the same house.
The idea of “The Dark Room” is present in Indian mythology as well where woman of the house will retire to this room when they are sulking or they want to demand something specific from their husband. In this case, though it does not work well for Savitri. The book is written in very simple style which is typical of Narayan and with lot of details. I found the description of Savitri and her children’s understanding of their father’s mood and behavior really interesting. They start to guess what is going to happen from the way he honks as he returns from his office. It is a good book to read but in the end it leaves you sad for Savitri.
When I picked up this book, I was hoping for something similar to “The World Of Nagaraj”, by R. K. Narayan that I had read sometime back. Even though this book “The Dark Room” is also set in the town of Malgudi, it is quite different from the previous one. In this book, the author has actually tried to highlight the nature of family that lived during those times. Maybe in some ways that nature of families still continues.
This story is about Savitri who is a submissive housewife living with her husband and three children. Her husband neglects her and bosses over her on everything and most of the times she silently suffers. Sometimes when she is unable to bear it, she goes to “The Dark Room” in the house to sulk. When her husband starts an affair with colleague in office, she fights back and leaves house and tries to kill herself. She is rescued and after some twists and turns she finally returns back to the same house.
The idea of “The Dark Room” is present in Indian mythology as well where woman of the house will retire to this room when they are sulking or they want to demand something specific from their husband. In this case, though it does not work well for Savitri. The book is written in very simple style which is typical of Narayan and with lot of details. I found the description of Savitri and her children’s understanding of their father’s mood and behavior really interesting. They start to guess what is going to happen from the way he honks as he returns from his office. It is a good book to read but in the end it leaves you sad for Savitri.
November 5, 2017
It felt different from other stories by Narayan. I found it curious how there are many parallels between this story and Charlotte Bronte's "Jane Eyre". In my view it's Jane Eyre living in Malgudi, with her three children, without an education and a husband, who has found another woman.
In this story Savitri is the strong female character, who is being in some ways oppressed by her husband. She leaves abruptly with similar points and ideas in her speech as Jane Eyre had. Only the situation is wildly different.
It's really thought-provoking. Savitri returns home after a few days, and there's not much hope that the reasons for her leaving would have changed. But I think that she returned in order to make sure that her daughters have a way to escape a similar fate to her own - get an education and be able to earn a salary and not be dependent on someone for their whole life.
In this story Savitri is the strong female character, who is being in some ways oppressed by her husband. She leaves abruptly with similar points and ideas in her speech as Jane Eyre had. Only the situation is wildly different.
It's really thought-provoking. Savitri returns home after a few days, and there's not much hope that the reasons for her leaving would have changed. But I think that she returned in order to make sure that her daughters have a way to escape a similar fate to her own - get an education and be able to earn a salary and not be dependent on someone for their whole life.
May 26, 2012
Reading RK Narayan makes me miss my childhood. The picture he paints of people and places are like that of your neighbours or those whom you have seen and known all the time. The rustic Indian sub-town/village feel to his writings is unbeatable.
The dark room is a really light read yet the rich characters and the poignant story lingers on. I feel like his characters are so real-life that they could just come put of the books for you to see and feel them right in front of you. The irony and the sarcastic humour he uses is just classic. He makes you laugh and cry, both at the same time. His simple yet classic writing is a benchmark writers in India need to follow, now!
The dark room is a really light read yet the rich characters and the poignant story lingers on. I feel like his characters are so real-life that they could just come put of the books for you to see and feel them right in front of you. The irony and the sarcastic humour he uses is just classic. He makes you laugh and cry, both at the same time. His simple yet classic writing is a benchmark writers in India need to follow, now!
March 7, 2016
3.5 stars.
Read this in a single sitting. Everytime I start reading RKN, it feels like this is the best book by him so far! Unfortunately this feeling ended after 50% when suddenly the story took a wild turn. This is a simple story of Savitri, mother of three children with a very dominating husband. Even the minutest emotions are depicted very well and yet so simplistic.
First half - 5 stars for it is just brilliant! More than any other book I've read by him.
Overall - 3 stars.
An extra half star only because it is based in Mysore, a city I'm so much in love with :)
Read this in a single sitting. Everytime I start reading RKN, it feels like this is the best book by him so far! Unfortunately this feeling ended after 50% when suddenly the story took a wild turn. This is a simple story of Savitri, mother of three children with a very dominating husband. Even the minutest emotions are depicted very well and yet so simplistic.
First half - 5 stars for it is just brilliant! More than any other book I've read by him.
Overall - 3 stars.
An extra half star only because it is based in Mysore, a city I'm so much in love with :)
April 25, 2012
As always i am delighted with Narayan's writing.
Climax of this book....no words to write about it.
Awesome.
Climax of this book....no words to write about it.
Awesome.
September 6, 2021
The Dark Room
His novel, The Dark Room, first published in Great Britain in 1938, London, and in India in 1956, is a simple story veiling a profound message of the naked dichotomy of gender-biased society where women are buried inside the gloom of the darkroom.
Plot:
Savitri, the faithful wife from Indian mythology won back her husband's life from the ‘Yama’, the king of death with her love and affection. Here Savitri is a dutiful housewife of Ramani, a whimsical, arrogant and selfish person. For him, a wife is just a property to be used or toyed with. Savitri is beautiful as per her husband's satisfaction, submissive as per his demand. She silently tolerates all the inflictions, abuses, insults and criticisms of her husband.
But her tolerance and silence break one day when she discovers her husband's relationship with his female employee, Shanta bai, and their night rendezvous.
‘I’m a human being,’ she said, through her heavy breathing. ‘You men will never grant that. For you, we are playthings when you feel like hugging, and slaves at other times. Don’t think that you can fondle us when you like and kick us when you choose’
Collapsed Cardhouse:
When the flimsy coat of fifteen years' relationship between husband and wife washes away by the turbulent waves of Ramani's passion for Shanta bai, Savitri cannot bear the humiliation. She protests. But for her husband, it is audacity on her part to say a word against her husband's wish. He thinks of her as ungrateful and her pain, anguish, anger is meaningless treachery. When she decides to leave the house if he doesn't terminate his relationship with that woman, Ramani does not hesitate to get her out of the house in the darkness of night.
The Dark Room:
The ‘darkroom’ is a recurrent symbol in this novel. Savitri's only solace and refuge was her self-confinement in the darkroom. At every abuse, torture, humiliation she escapes there. Facing the dark wall she fights her defeat.
• “Mother had refused food and was still lying in the darkroom.”
• “If you do that, I will not go out and Mother will remain in the darkroom forever.”
• “Mother is coming out of the darkroom.”
The Truth:
R.K.Naratan excels in his practicality by making Savitri returned. Savitri attempts suicide as well as independence. But she fails. She has to return for her children, for her livelihood in her eternal darkroom, under the tutelage of her husband. She has no escape. But she realises the importance of education, she realises woman's position in society, she realises,
"I don’t possess anything in this world. What possession can a woman call her own except her body? Everything else that she has is her father’s, her husband’s, or her son’s."
The ending:
The ending is simultaneously heartbreaking and artistic. Mari who saves Savitri from the water and gives her shelter in her helpless time is by profession a lock mechanic in day time and thief at night. Savitri finds him wandering on the road. She wishes to offer him food. But then she checks herself.
"Why should I call him here? What have I?”
“She sat by the window, haunted by his shining hungry face long after he was gone, and by his ‘Locks repaired!’ long after his cry had faded out in the distance.”
Language, narrative, character:
The plot is woven in simple and lucid language. We can assume the clear picture of a South Indian society from the detailed ...of everyday family life. Like a skilful painter, he draws the minuet emotions and behaviours of human beings in perfect pastel colours.
Being a part of that society as well as being a detached observer he shows a withstanding grip over his plot and characters. Apart from the main characters the children and the office workers the milkman and the cook, or the factotum Ranga, the thief Mari, his wife Ponni all are portrayed excellently as well as with every human attribution.
Feminist views:
The book offers us a perfect theme that we can decipher and discuss from a feministic point of view. Here the male has no regret or shame for his behaviour rather, he is blaming his wife in the charge of ingratitude.
Savitri exclaims, “What is the difference between a prostitute and a married woman? - the prostitute changes her men, but a married woman does not; that’s all, but both earn their food and shelter in the same manner.”
Alvina's Verdict: Delicately woven by everyday life thread interspersed with tinges of satire, The Dark Room accurately portrays the time-worn dichotomy of male-dominated society where women are the sacrificial figures in the altar of patriarchy.
His novel, The Dark Room, first published in Great Britain in 1938, London, and in India in 1956, is a simple story veiling a profound message of the naked dichotomy of gender-biased society where women are buried inside the gloom of the darkroom.
Plot:
Savitri, the faithful wife from Indian mythology won back her husband's life from the ‘Yama’, the king of death with her love and affection. Here Savitri is a dutiful housewife of Ramani, a whimsical, arrogant and selfish person. For him, a wife is just a property to be used or toyed with. Savitri is beautiful as per her husband's satisfaction, submissive as per his demand. She silently tolerates all the inflictions, abuses, insults and criticisms of her husband.
But her tolerance and silence break one day when she discovers her husband's relationship with his female employee, Shanta bai, and their night rendezvous.
‘I’m a human being,’ she said, through her heavy breathing. ‘You men will never grant that. For you, we are playthings when you feel like hugging, and slaves at other times. Don’t think that you can fondle us when you like and kick us when you choose’
Collapsed Cardhouse:
When the flimsy coat of fifteen years' relationship between husband and wife washes away by the turbulent waves of Ramani's passion for Shanta bai, Savitri cannot bear the humiliation. She protests. But for her husband, it is audacity on her part to say a word against her husband's wish. He thinks of her as ungrateful and her pain, anguish, anger is meaningless treachery. When she decides to leave the house if he doesn't terminate his relationship with that woman, Ramani does not hesitate to get her out of the house in the darkness of night.
The Dark Room:
The ‘darkroom’ is a recurrent symbol in this novel. Savitri's only solace and refuge was her self-confinement in the darkroom. At every abuse, torture, humiliation she escapes there. Facing the dark wall she fights her defeat.
• “Mother had refused food and was still lying in the darkroom.”
• “If you do that, I will not go out and Mother will remain in the darkroom forever.”
• “Mother is coming out of the darkroom.”
The Truth:
R.K.Naratan excels in his practicality by making Savitri returned. Savitri attempts suicide as well as independence. But she fails. She has to return for her children, for her livelihood in her eternal darkroom, under the tutelage of her husband. She has no escape. But she realises the importance of education, she realises woman's position in society, she realises,
"I don’t possess anything in this world. What possession can a woman call her own except her body? Everything else that she has is her father’s, her husband’s, or her son’s."
The ending:
The ending is simultaneously heartbreaking and artistic. Mari who saves Savitri from the water and gives her shelter in her helpless time is by profession a lock mechanic in day time and thief at night. Savitri finds him wandering on the road. She wishes to offer him food. But then she checks herself.
"Why should I call him here? What have I?”
“She sat by the window, haunted by his shining hungry face long after he was gone, and by his ‘Locks repaired!’ long after his cry had faded out in the distance.”
Language, narrative, character:
The plot is woven in simple and lucid language. We can assume the clear picture of a South Indian society from the detailed ...of everyday family life. Like a skilful painter, he draws the minuet emotions and behaviours of human beings in perfect pastel colours.
Being a part of that society as well as being a detached observer he shows a withstanding grip over his plot and characters. Apart from the main characters the children and the office workers the milkman and the cook, or the factotum Ranga, the thief Mari, his wife Ponni all are portrayed excellently as well as with every human attribution.
Feminist views:
The book offers us a perfect theme that we can decipher and discuss from a feministic point of view. Here the male has no regret or shame for his behaviour rather, he is blaming his wife in the charge of ingratitude.
Savitri exclaims, “What is the difference between a prostitute and a married woman? - the prostitute changes her men, but a married woman does not; that’s all, but both earn their food and shelter in the same manner.”
Alvina's Verdict: Delicately woven by everyday life thread interspersed with tinges of satire, The Dark Room accurately portrays the time-worn dichotomy of male-dominated society where women are the sacrificial figures in the altar of patriarchy.
August 22, 2020
I hope everybody knows about the fictitious town "Malgudi" was created none other than by the Legend R.K.Narayan himself, the story of The Dark Room is also stitched between two prominent character of Savitri & Ramani, who stays at Malgudi.
Everybody know why R K Narayan is famous for?
The way of writing about juxtapose fiction with Reality blends, Conservatism, mostly contrasted with irony and subtle humor but mostly embedding deep lesson in the mind of Reader.
Blurb - The story involves day to day activities of Savitri & Ramani, there 3 children(Babu,Kamala & Sumati) , the cook Ranga and in between the important side character Shanta Bai.
While going through the story, I felt lively with all the characters. Basically, Savitri is a complete staunch of her husband Ramani and her world involve with him and her 3 children along with the cook Ranga and her two neighbors -Gangu and Janamma whom she consisdered them as real friends. On the other hand her husband Ramani, a self developed manly egoist person who considered himself absolute because he controlled his life in his own way. Everything was going in smooth until the Character of Mrs Shanta Bai enters. Ramini's office's new recruit taken his interest and everything changes. What is the use of The Dark Room here?, whenever Savitri have quarrelsome with her husband, in order to pacify her anger and retreat herself, she uses The Dark Room where she keep herself deprived of communication and as well as from food also.
Event reached to the climax when she discovered her husband's relation with other women, she was completely destroyed from inside and nearly killed herself, but she was rescued.
For the short time period she kept herself away from the earthly connections and devoted herself to
God, when she self struggled throughout and realizing she must return for the betterment of her children. By experiencing all these some part of her died throughout the whole incident.
Everything was perfect but why did i gave 4 star to such beautiful story. You will get know by reading it, there the moral & humanity at the end did not return which was expected to. That's everything off and I was thinking why? That's the Magic of R K Narayan's sir writing.
Hope you find this Review useful and do give a read to this amazing story.
Have a great day..
Everybody know why R K Narayan is famous for?
The way of writing about juxtapose fiction with Reality blends, Conservatism, mostly contrasted with irony and subtle humor but mostly embedding deep lesson in the mind of Reader.
Blurb - The story involves day to day activities of Savitri & Ramani, there 3 children(Babu,Kamala & Sumati) , the cook Ranga and in between the important side character Shanta Bai.
While going through the story, I felt lively with all the characters. Basically, Savitri is a complete staunch of her husband Ramani and her world involve with him and her 3 children along with the cook Ranga and her two neighbors -Gangu and Janamma whom she consisdered them as real friends. On the other hand her husband Ramani, a self developed manly egoist person who considered himself absolute because he controlled his life in his own way. Everything was going in smooth until the Character of Mrs Shanta Bai enters. Ramini's office's new recruit taken his interest and everything changes. What is the use of The Dark Room here?, whenever Savitri have quarrelsome with her husband, in order to pacify her anger and retreat herself, she uses The Dark Room where she keep herself deprived of communication and as well as from food also.
Event reached to the climax when she discovered her husband's relation with other women, she was completely destroyed from inside and nearly killed herself, but she was rescued.
For the short time period she kept herself away from the earthly connections and devoted herself to
God, when she self struggled throughout and realizing she must return for the betterment of her children. By experiencing all these some part of her died throughout the whole incident.
Everything was perfect but why did i gave 4 star to such beautiful story. You will get know by reading it, there the moral & humanity at the end did not return which was expected to. That's everything off and I was thinking why? That's the Magic of R K Narayan's sir writing.
Hope you find this Review useful and do give a read to this amazing story.
Have a great day..
February 27, 2023
The Dark Room by R.K. Narayan (1938)
The 1920s and 1930s in India’s blotched history were ensconced in non-violent resistance movements, with many women across the country joining in mass boycotts and defying colonial laws. Many strata yonder, were the upper middle-class families, who enjoyed the monthly stipend, and the florid lifestyle that came with an acceptance of the imperialistic presence. R.K. Narayan’s “The Dark Room”, set in the fictitious town of Malgudi, is about two women who have one thing in common; their dependency on a man for survival.
Savitri and Ramani have three children together, and lead their marriage in the manner that was inscribed by the propagators of a patriarchal society. The household holds its breath everyday till Ramani returns from office. Savitri is caught in her daily routine with her duties as a wife and a mother, skirmishes, insults, and Ramani’s insolence. When things escalate, she takes to a dark room where she sulks – an aspect that is reminiscent of Kaikeyi’s 𝘒𝘰𝘱𝘣𝘩𝘢𝘷𝘢𝘯 in Ramayana. Their lives continue this way till Ramani hires a female employee, a young and alluring woman by the name Shantabai. Very soon, he begins spending his evenings with her, and with time, only returns home at the crack of dawn. Upon realisation, Savitri pleads, inveigles, and eventually, issues an ultimatum to Ramani that he cannot have both women. When he refuses, she leaves home without possessions, property or her own children.
There is greatness associated with writers in the same echelon as R.K. Narayan, for their understanding of the societal frameworks and gender divisions back in the day. In “The Dark Room”, he writes about women who are placed in pedestrian households with everyday histrionics. In these homes, there is no danger of evils that persisted at a national level, like poverty or the propensity of communal violence, but inner turmoil that push these characters to behave the way they do. Savitri’s story is in this box that towers over her and seethes in its monstrosity. It tells her that she can escape if she desires, but must return because of all the things she lacks, choice is the greatest.
The 1920s and 1930s in India’s blotched history were ensconced in non-violent resistance movements, with many women across the country joining in mass boycotts and defying colonial laws. Many strata yonder, were the upper middle-class families, who enjoyed the monthly stipend, and the florid lifestyle that came with an acceptance of the imperialistic presence. R.K. Narayan’s “The Dark Room”, set in the fictitious town of Malgudi, is about two women who have one thing in common; their dependency on a man for survival.
Savitri and Ramani have three children together, and lead their marriage in the manner that was inscribed by the propagators of a patriarchal society. The household holds its breath everyday till Ramani returns from office. Savitri is caught in her daily routine with her duties as a wife and a mother, skirmishes, insults, and Ramani’s insolence. When things escalate, she takes to a dark room where she sulks – an aspect that is reminiscent of Kaikeyi’s 𝘒𝘰𝘱𝘣𝘩𝘢𝘷𝘢𝘯 in Ramayana. Their lives continue this way till Ramani hires a female employee, a young and alluring woman by the name Shantabai. Very soon, he begins spending his evenings with her, and with time, only returns home at the crack of dawn. Upon realisation, Savitri pleads, inveigles, and eventually, issues an ultimatum to Ramani that he cannot have both women. When he refuses, she leaves home without possessions, property or her own children.
There is greatness associated with writers in the same echelon as R.K. Narayan, for their understanding of the societal frameworks and gender divisions back in the day. In “The Dark Room”, he writes about women who are placed in pedestrian households with everyday histrionics. In these homes, there is no danger of evils that persisted at a national level, like poverty or the propensity of communal violence, but inner turmoil that push these characters to behave the way they do. Savitri’s story is in this box that towers over her and seethes in its monstrosity. It tells her that she can escape if she desires, but must return because of all the things she lacks, choice is the greatest.
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