Holding a mirror to society
Title: The Lament of
the Dhobi Woman
Author: Karen Roberts
Reviewed by Chalani Ranwala
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 and which was
nominated for the Dublin IMPAC Award. 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 from 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.
Swiss brothers
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 the 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 the 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 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.
Social status
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 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.
Recurring theme
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, ends in a pregnancy and Uncle Rick disappears
back into his own perfect world while Seelawathie is shunned by 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 judgment 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.
Locations
All her storylines and locations are carefully picked to compliment
the subtle messages she wishes 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 to society, giving us beautiful tales of
things we missed out, things we have forgotten and things we will never
see. This book is available at leading bookshops and as an e-book.
Chalani Ranwala is studying International Communications with
Literature and Language at University of Nottingham in Malaysia. |