Research Journal of English Language and Literature (RJELAL)

A Peer Reviewed (Refereed) International Journal Vol.12.Issue 2. 2024

Impact Factor 6.8992 (ICI) http://www.rjelal.com; (April-June)
Email:[email protected]; ISSN:2395-2636 (P); 2321-3108(O)

RESEARCH ARTICLE

LIFE-NARRATIVES FROM THE MARGINS

Dr. Deepika Thalyari

Assistant Professor, Department of English, Government Degree College Subathu,
District Solan, Himachal Pradesh.
Email: [email protected]

DOI: 10.33329/rjelal.12.2.100

Abstract

Contesting canonical generic expectations of writing an autobiography as a

retrospective, chronological narration of a coherent subject having an
identical relationship of author, narrator and protagonist, present paper
explores the experimental forms employed in the Life-narratives from the
margins-Changiya Rukh: Against the Night by Balbir Madhopuri (2011), The
Outcaste: Aakarmaashi by Sharan Kumar Limbale (2007), Mother Forest: The
Article info Unfinished Story of C.K. Janu (2004) and Viramma: Life of an Untouchable by
Article Received: 05/04/2024 Viramma, Josiane and Jean Luc Racine (1997). Their formal and stylistic
Article Accepted: 06/05/2024
Published online:16/05/2024 innovations in marginal life-narratives signify a promising departure from
traditional literary representations of ‘Others’, provides a critique of existing
canonical narratives in the Indian context. They also provide an alternative
epistemology which challenges the views articulated by canonical literary
life-narratives. It draws the attention towards the lively re-evaluation, re-
introspection and re-definition of Autobiography as genre in 21 st century.
Keywords: Re-evaluation, Margins, Autobiography, Form, Others

The very famous notion of array of unique accomplishments and

‘autobiographical pact’ formulated by Philippe perspectives in life.
Lejeune, defines, “classical autobiography is
Contesting these traditionally imagined
retrospective, chronological narration of a
generic expectations of writing an
coherent subject at the end of life, where its
autobiography, present paper is an attempt to
coherence marked by the verifiable self-identical
locate politically, socially as well as culturally
relationship of author, narrator and
marginalized narratives of people from the
protagonist” (1). The traditional form of
margins. It highlights the significance of
portraying ‘I’ in autobiography is based on the
autobiography as genre which provides a space,
chronological story of a mature, self-aware
the locale to voice the unvoiced-unheard forms
person’s life from birth, early childhood to
of self-life narratives/writings within Indian
becoming a successful personality through
context.

100 Dr. Deepika Thalyari

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Smith in her essay “Self, Subject, and masterpieces….Autobiography is not possible
Resistance: Marginalities and Twentieth- in place where the consciousness of individual
Century Autobiographical Practice” brings to life has not yet evolved, that is, where the
light the limited discourse of traditional way of individual perceives himself only in terms of the
writing autobiographies which is unable to society or group to which he belongs and in
define life from the margins. She asserts, “The which he is embedded” ( 28-29).
splitting of “I’s”-into narrator, narratee, and the
Such claims of authoritative unitary
ideological “I”-guarantees the obfuscation of
atomic core which has well-defined boundaries
distinctions between factual and fictional
of inner and outer self and the authoritative elite
“lives”…. textualization of the signature
status of classical autobiographer are the focal
ultimately erases “life” outside the text. Since
point of the present paper. Twomey, Tish
there remains no self, no author/ity, no truth
Eshelle emphasizes on, the cultural specificity of
outside discourse, traditional autobiography
the Western understanding of autobiography in
loses any special status” (17).
context to Native American Autobiography. She
There is a significant difference between argues that:
forms of self-life-writings by marginalized
autobiography is a wholly foreign
people and the ideological norms of canonical
concept to the traditions of story-making
autobiographies. The mainstream canonical
characteristic of Native groups. The
autobiographies are generally Christianized
differences between Native
versions of sophistication and mannerism of
autobiographies and their Western
western culture. Such practices lack any space to
counterparts raise an array of problematic
marginalized non-Christianized forms of self to
questions, not only about the conventions
confess. Therefore, present paper explores the
of autobiography as a literary genre, but
experimental forms employed in the Life-
also about the notions of self-hood and
narratives from the margins-Changiya Rukh:
identity that characterize the people who
Against the Night by Balbir Madhopuri (2011),
write autobiographies …. In order to
The Outcaste: Aakarmaashi by Sharan Kumar
understand these early writings it is
Limbale (2007), Mother Forest: The Unfinished
necessary not only to separate them from
Story of C.K. Janu (2004) and Viramma: Life of an
the conventional expectations of the
Untouchable by Viramma, Josiane and Jean Luc
generic Western autobiography but also
Racine (1997). The forms of self-portrayal in
to distinguish between literary and
these life-narratives question the canonical
rhetorical notions of genre itself .(22-23)
status of the autobiographer as Metaphysical,
Cartesian rational entity who is from elite class This implies that the nature of
of mainstream culture. marginalization varies in different settings. The
religious, ideological system like patriarchy,
Pascal defines the status of
political economy of a country and the overall
autobiographer as, “I believe the best
socio-cultural system has its impact on the
autobiographies are by men and women of
marginalization of specific group or an
outstanding achievement in life” (10). Similarly,
individual. The concept of marginality focuses
in Gusdorf views, the tradition of
on the process of ‘Otherisation’ by hegemonic
autobiography appeared relatively late in the
forces so that to categorize people in the name of
field of literature and even then it was “peculiar
gender, class, ethnicity, nation, region, caste and
to western man” or to westernized men like
tribe.
Gandhi. According to him autobiography is a
marginalized literary genre, which can be Mittman emphasizes the lively re-
traceable through “a series of evaluation of the genre. The classical norms as

101 Dr. Deepika Thalyari

Research Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.12.Issue 2. 2024
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per ‘autobiographical pact’ of autobiography in Smith draws attention to various phenomena
a retrospective, chronological narration of a marking subjectivities related to the relation of
coherent subject and at the end self- identical centers and margins. She cautions against
relationship of author, narrator and protagonist, miming the conventional style of portraying self
as Mittman declares, “has been replaced by in autobiographical writings, a totalizing
fragmentary explorations of interstices, edges, practice to romanticize marginality. She
incoherences… overarching concern with emphasizes that:
critical processes of generic re- vision, … with its
…. my margin of visibility is not
allusion to referentiality itself as rhetorical
necessarily your margin, even if we are
topos” (208).
both women, or black, or lesbian. Each of
Recognizing the paradigm shift in the us, in our manifold positions in discursive
understanding of autobiography as genre in 21 st fields, inhabits margins and centers
century, the selected life-narratives are replete simultaneously. These competing
with social and cultural flavor peculiar to India. marginalities and centerings .... even
All are translated versions of their life-narratives change position on us as we move
like Changiya Rukh (first Punjabi Dalit through different experiences: a
autobiography, Viramma: The Life of an marginality in one locale becomes a
Untouchable (Pariah-Tamil), Aakarmashi:The centering in another. Let us, then, not
Outcaste (Marathi), Mother Forest: The Unfinished insist on stable centers and stable margins
Story of C.K.Janu (Malyalam) are few examples but recognize constant instabilities,
of regional texts which highlight the problem of constant rumblings at the edges,
caste, class, culture, tribal and ethnicity in the boundaries, borders, horizons-to
Indian context. It highlights autobiography as multiply metaphors. (16)
genre being a widely divergent subject in its
Thus form of the selected life-narratives
focus, forms and thus reveals ‘shifting,’ ‘limits,’
for the present paper seeks attention towards
‘fragments’ in its boundaries.
their lives to be re-interpreted, re-visited, and re-
The titles like Changiya Rukh, Aakarmashi, evaluated by the literary world. The persistent
Mother Forest, Viramma of life-narratives are question about their authorship, forms, varying
unified metaphorically to each-other. Their degrees, recorded documents, edited,
voice is double-edged, symbolizes an accent on rearranged, collaborated sometimes co-
collective suffering, experiences of humiliation authored forms, need an elucidated discussion
on day-to-day basis and community formation on the topic of representation of self in life-
provides a critique of existing canonical narratives from the margins.
narratives in the Indian context. They also
The life-narrative of Balbir Madhopuri,
provide an alternative epistemology and social
Changiya Rukh ( Against the Night) guided by the
world that can critique the views articulated by
principles of Dalit literature, sets one of the
canonical literary life-narratives.These
finest examples to highlight Dalits’ plight in
narratives have carved a separate locale/space
collectivity. For Dalit writers like Madhopuri, it
to highlight different forms of marginality and
is their social responsibility to express their
challenge various discursive fields with
consciousness (emotion) and commitment of an
universalizing, hegemonic tendencies to
activist. Therefore, dalit writers do not follow
essentialist categories.
the guidelines of the dominant grammar as well
The practices like caste system, as aesthetics of mainstream writings. According
patriarchy, race has made everyone subject to to Kaushalya, “Dalit language goes against the
and subject of defined qualifications/categories. established codes of standard language, pure,

102 Dr. Deepika Thalyari

Research Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.12.Issue 2. 2024
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Email:[email protected]; ISSN:2395-2636 (P); 2321-3108(O)
classical, divine and cultures’- the academic search for identity. In his own motherland,
languages. The so-called decency is the most Maharwada Limbale felt humiliated,
suffocating term for the Dalits and it does stifle embarrassed and rejected as he was considered
the Dalit voice . . . They should deliberately bastard; “they called me
overstep what they are permitted to write, by akkarmashi”(Akkarmashi 62). Therefore, title
the rules of the dominant grammar” (100). Akkarmashi:The Outcaste is used as a weapon
against his fractured identity and social slavery,
Originally written in Doabi Punjabi dialect,
poverty, religion and caste system in Indian
the form of Changia Rukh as a life-narrative portrays
society.
a saga, testimony of a Punjabi Dalit man, with the
overview of the local colours of Punjabi life. He Since present paper explores the forms
prefers to use the typical and unusual rural words of autobiography as genre, Limbale’s life-
that represent the culture and traditions of his narrative highlights the significance of
Doabi (spoken in Dawaba region of Punjab) autobiographical forms to locate the lives from
regional dialect. Madhopuri’s natrrative also the margins. The events, incidents and
reflects Punjabi culture through folk songs and experience of Limbale’s life of twenty seven
idioms like “Lak hile mijazan jaundi de” (the years portrayed as an expression of his
beauty’s hips sway, as she passed by) (CR 43). In a mother’s agony and an autobiography of a
way this typical rural Punjabi dialect makes the community. This autobiography has been
narration fresh, enriched with cultural aroma of written at the age of twenty seven an
Punjabi flavour in Indian context. unconventional endeavour which challenges
the traditional /canonical norms of writing an
The language, content, slangs and abuses
autobiography.
in the dialogue of the characters become vocal in
the text. Changiya Rukh locates a life from the According to Roy Pascal,
margins, through a set of different narrative autobiographies written by young men, “are
strategies. This autobiography voices tale of not very satisfactory” (10). Similarly, Philip
individual life but also make attempt at history- Dodd cites Virginia Woolf’s example, endorses
writing by providing accounts of his Dalit the idea that the writers, “who choose this
community through lenses of individual and mode of writing , should be of middle age.
collective experiences of the author. With this ...Virginia Woolf confessed in her diary that she
Changiya Rukh as a native literature adds the was forty when she found that she had a voice
attention towards significance of regional of her own’ (21).
literature. It opens space for articulating Dalit
Could it mean that the form of
voices at the regional level in vernacular
autobiography is most apt at ripe age of its
languages.
writer or to be of a particular age? But there is
The use of ordinary language in literature no other literary form which has criteria of an
is opposite to the aesthetic rules of the age limit for its writer to achieve recognition or
mainstream literature. As Devendra Kumar even to indulge in creativity. This implies that
Gora says, “The mainstream literature’s artistic only an aging person is eligible to retrace the life
norms are elite in nature and controlled by moments, which one has re-lived through the
elites”(163). The local/regional form of autobiography as a literary genre. But
autobiography, adds new dimensions to western/canonical/conventional style of an
regional literature of India by making the lowest individualistic and assertive personality seems
of the low, vocal in it. out of place in Indian context especially in life-
narratives from the margins like Akkarmaashi.
Similarly, Akkarmashi symbolizes the
most significant part of Limbale’s life that is

103 Dr. Deepika Thalyari

Research Journal of English Language and Literature (RJELAL)
A Peer Reviewed (Refereed) International Journal Vol.12.Issue 2. 2024
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The form of life-narratives from the caste groups as well as to disclose patriarchy
margins shows its distinctness through the rampant in dalit communities.
portrayal of their autobiographer/
Dalit women face marginalization in society,
narrator/protagonist or heroes. They claim that
but even in literature they are pushed to the
in mainstream literature the hero has always
periphery. Dalit male writers have put forth an
been an ideal person represents aristocratic
exaggerated and romanticized impulse of Dalit
class, upper castes that are being idealized as
women: “The romanticizing impulse towards dalit
civilized, warriors, with some extraordinary
women, creating a false aura around them, is a
characteristics. On the other hand the
result of search for dalit distinctiveness in male dalit
marginalized/untouchables have been
writers” (Singh 58). Thus, Dalit women become
portrayed as savage, thieves, slaves, servants or
Dalits in relation to Dalit men within their own
people involved in menial work. But in
Dalit community. This highlights, marginality as a
Akkarmaashi as a dalit narrative all marginalized
process of making excluded one voiceless,
dalit women, love-children, common man dalits
powerless who is dispossessed of history, heritage,
are the heroes. In the beginning of his
culture and identity. This exclusion gives the
autobiography, Limbale confirms that his
excluded one a minimal space that too on its
autobiography is not only the story of his
periphery. There is no access to power, centre, Law
personal difficulties, struggles and trauma but
of the Land, Law of the Father in terms of
of his family and community as well.
patriarchy.
Dalit Autobiographical Studies has been
This is how Viramma’s Life-narrative
established as a distinct field of study yet in this
Viramma: Life of an Untouchable and C.K Janu’s life-
field the significance of the forms of Dalit
narrative Mother Forest: The Unfinished Story become
autobiography in Indian context is least
exceptional voice, a proclamation to protest, to
explored. Akkarmashi: The Outcaste analysed
resist and to condemn marginalization in the name
from this perspective provides an insightful
of sex, caste and economic dependence. Their life-
analysis of form of Dalit autobiography and
narratives become political, legal and socio-cultural
aesthetics employed in it. Limbale’s life-
critique where women attain meaningful
narrative highlights this gap as it has addressed
proportions in phallocentric society. These life-
the key concept of identity through its distinct
narratives question not only the hegemonic,
form of representing - dalit history, theme,
heterosexual, patriarchal, normative regimes but
aesthetics and culture in collective discussion.
also put forth an alternative form, a confident sense
In Indian context the term ‘Dalit of the self with their unique identity, worldview
Literature’ includes only the writings of the and perspective into existence.
untouchables and does not include the writings
Viramma, narrates the story of her life
of non-Dalits about the Dalit issue. The main
over a period of ten years to Josiane Racine. This
focus of Dalit literature is to highlight the
text is a result of an oral conversation thus, a
process of ‘identity claims’ of those who were
new form of life-narration i.e. oral life-narrative.
kept outside the four-fold Hindu social order. In
Viramma’s life-narrative is more than an
this whole process dalit women and issues
autobiography, a living testimony of the painful
related to their identity which is oppressed in
journey presented with exclusive uniqueness.
the name of caste, class and gender are pushed
Viramma’s narrative offers the readers a first-
to the margins. Therefore it is very important to
hand glimpse of the lived realities of woman
locate Dalit women writings in Indian context.
from the margins therefore having a striking
The life-narratives from the margins especially
difference from the autobiographies weather
of women aim at establishing their identity by
written by dalits or non-dalits. As a collective
questioning the assumptions of the dominant

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experience this narrative shares the situation Dalit women sing songs which are
and struggle for identity of Dalit women, their satirical and full of resistance towards their
alienated social status, their gendered oppressive executioners.
victimization, inability to express their raw
An analysis of songs especially those
narratives.
specific particular to women will “provide the
Anderson emphasizes the role of best grass roots perception of women within a
Autobiography in Identity formation: patriarchal system” (qtd in Nisha 187). For
Viramma identity is all about her mother
The idea that autobiography can become
tongue, culture and her woman-being, a dalit.
the text of the oppressed articulating
Thus, language plays a powerful medium with
through one’s personal experience,
all the ingredients to make any voice, unique in
experiences which may be representative
flavour.
of a particular marginalized group is an
important one: autobiography becomes Its narration, language and experimental
both a way of testifying to oppression and form are altogether different from academic
empowering the subject through their versions of conventional autobiographies.
cultural inscription and recognition. (104) Viramma’s colloquial form of language violates
the notions of Tamil standard, language which
Viramma’s identity is doubly marked as
are defined or expected form of any language.
Pariah, a Dalit and a woman in patriarchal
Thus language, to borrow Seamus Heaney’s
society. In her life Mannikhama her husband
description of Joyce’s language is a “native
and Arbon, her son played a vital role to justify
weapon” (qtd in Tymoczko 35) rather than a
their caste and patriarchy. Issues like education
source of humiliation. This adds to the
for Dalit women, taking side of her daughter to
exclusiveness of the genre of autobiography.
get married to boy of her choice, young girls of
her community who has started taking care of Similarly, discovering new ways of self-
themselves to look beautiful every single aspect portrayal and exploring marginal location,
of women emancipation is a welcoming sign for Mother Forest: The Unfinished Story of C.K. Janu
Viramma. involves in the thinking about the world of
tribals the ‘Others’ in Indian context. Mother
The primary objective of including this
Forest is based on Adiya tribal community in
text in the present paper is to understand the
Kerala. Adiya tribes’ culture, customs, rituals,
very act of ghost writing. Oral narration stands
tradition and taboos made their identities
in direct opposition to canonical/conventional
different from the main stream society. Their
texts in many aspects like purpose, focus,
identity is deeply rooted in the culture and
motivation, ideology, aesthetics and their
tradition associated with land. For them land or
experiences. In its oral narration an exceptional
landscape is not an object for survival but it is
potential has been showcased to describe
the matter of their identity. They are a part of it.
hardship with humour by the protagonist.
Forest for CK Janu is like her mother, without
Viramma clearly envisioned a locale/space for
which she has no existence herself. “No one
victim like her to consciously use their lower
knows the Forest life we do. She is mother to us.
caste identity to advantage.
More than a mother, because she never
Depiction of Viramma’s tone, slang, abandons us” (MF 5).
language and abuses with pictorial description
In the name of development Government
of social taboos through sexually charged words
exploited the limitless resources of their
mocks patriarchal expectations of femininity.
‘mother’ forest. Similarly, the manipulative
jenmis (the landlord’s), through crooked means,

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snatched the tribal land, indebted them for The communal self is narrativised and
bottle of arrack, toddy or some good tobacco or rejuvenated rather than the individual
sari. Tribals became the bonded labours (the self. (Dhanya 105-6)
vallipani) either for Jenmis, civil society or
This text creates a new definition, new
political party workers. Janu has narrated the
form of colonization that is internal colonialism
commodification of their lives, their Mother
in the name of development. There is a
‘forest’.
significant role of collaborative texts as
Since present paper is focussed on the intermedial exchanges to highlight the gap
form of autobiography, it is significant to between politically, socially and culturally
explore methodology employed in the present marginalized subjects with mainstream
text which is orally narrated. Oral narratives of narrative forms of autobiography. In this way
the people from the margins like Janu women the collaboration of narrator, writer, translator
are important to be given space in literature. To form the platform to Mother Forest to raise voice
reject entirely the discourse of oral life- against the marginalization , a weapon against
narratives propagates marginalization of encroachment of their language, culture,
subaltern illiterate strata of society who are tradition and land. Thus this text is unique in its
politically and culturally excluded from the form, the way its translators represented adivasi
mainstream society. Mother Forest as an oral- people from the margins, and the combination
narrative offers a way to open up to critical of both form and content to create a
scrutiny the process of transformation of the contemporary, politically important picture of
narrated life to inscribed text. adivasis.

Janu during her oral narration of her life Conclusion

used the first person plural ‘We’ instead of ‘I’ the
Life-narratives from the margins-
first person singular. For her community
Changiya Rukh: Against the Night, The Outcaste:
‘protest’, by raising ‘Voice’ or celebrating her
Akkarmashi, Mother Forest: The Unfinished Story of
community’s unique identity is the only
C.K. Janu and Viramma: Life of an Untouchable
survival. For tribals, literature as a cultural
challenge the homogenizing generic
context is not for pleasure or joy but to express
expectations regarding the form and content of
their identity in the literature. The construction
autobiography. Mere adherence to conventional
of the self in Janu’s life-narrative differs from
western practices like ‘autobiographical pact’, in
usual subaltern autobiography in this sense.
elite man style, is inadequate and thus
According to Janu they never reject or challenged. In these life-narratives emphases
disclaim their identity but bravely, loudly have been shifted to evolving subjectivities, new
proclaim it. It is the difference from the strategies; newer forms of confessional genre are
mainstream society is the root of their identity being employed by life-narrators from the
and self and they celebrate it. margins. As per traditional norms they are not
full- fledged autobiographies but their
“Celebrating the self....Articulation,
experimental strategies claim a different
narration becomes the only tool to
platform, a potentially diverse horizon by being
survive. That is why the autobiographical
non-linear, ruptured, fragmented, oral,
attempts of the subaltern women become
collaborated, mediated and collectively
survival literature. They fight against all
disappropriated narratives of the self. Life-
odds, ... to celebrate their “self.” ...This
narratives from the margins represent a
celebration, is however, part of their
promising departure from traditional literary
strategy to survival, survival not only of
representations of marginalized people. It locate
themselves but also of their communities.

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these marginalized people to express and Cultural Memory.” Project Muse. Web.30
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heterogeneous practice to portray self in 21 st techniques in regional Indian writings.”
century. Web. 03 Feb 2023
<http://hdl.handle.net/10603/145196>.
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