Kerala Experience of Migration and Gender: A
Subaltern Reading of Yama’s Novel Pipeelika
Gayathri Krishna S
Independent Researcher
Abstract:
Yama is an emerging voice in Malayalam
literature. Her debut novel Pipeelika explores the experiences of impoverished
migrants residing in Kerala. In her work, Yama effectively addresses the
challenges faced by disadvantaged women, encompassing both migrant and
non-migrant populations. She unites these subaltern groups, illustrating the
commonalities in their experiences despite variations in language and culture.
Yama examines critical issues such as the marginalization of migrants, the
digital divide, and sexual violence. The narrative highlights the experiences
of migrants through the character of Mahadev Karmakar, the principal
protagonist of the novel. His life story, along with the experiences of those
in his vicinity, forms the core theme of the work. The struggles faced by
subaltern women are illuminated through Mahadev's perspective. He ultimately
emerges as a quiet supporter of these marginalized women. By the conclusion of
the novel, the author creates a sense of unity among the subalterns through a
fantastical scenario.
Keywords: Feminist, Migration, Sexual
violence, Subaltern
Introduction:
Migration has played a crucial role in shaping the economy of Kerala.
Historically, Kerala has been recognized as a state that primarily sends out
migrants, both within India and abroad. While there has been internal
migration, it predominantly involved individuals relocating from neighbouring
states such as Tamil Nadu and Karnataka (Peter and Narendran). Since the 1990s,
Kerala has experienced a significant influx of immigrants from the eastern and
northeastern regions of India. The state has become a major destination for
labourers hailing from distant eastern states, including Chhattisgarh,
Jharkhand, Bihar, West Bengal, Odisha, Assam, and the Northeast. This trend has
led to notable demographic changes in Kerala, characterized by sustained
outmigration that has created labour shortages and increased the demand for
migrant workers. (Srivastava 4)
According to the Government of Kerala Economic Review, 41 percent of
interstate migrant workers originate from West Bengal, followed by Assam at 14
percent and Odisha at 11 percent (Kerala Planning Board). These immigrant
labourers are engaged in various sectors, such as construction, hospitality,
furniture manufacturing, iron and steel production, marine fishing, plywood
manufacturing, textiles, clothing, and fish processing. In certain industries,
particularly hotels, textiles, and seafood processing, there is a preference
for female workers, although family migration patterns are common in other
sectors and regions. (Srivastava 4)
The social acceptability and competitive wages in comparison to other
states render Kerala an attractive destination for migrants. The Kerala
government has implemented various initiatives aimed at supporting migrant
populations. Notably, Kerala was the first state in India to launch a dedicated
social welfare program for migrant workers, known as the Migrant Workers'
Welfare Scheme (2010). In addition, the state has introduced several other
programs, such as the Awas Health Insurance Scheme and the Small Planter
Workers Welfare Fund. Furthermore, the Kerala government has collaborated with
Bhavanam, a non-profit public sector organization, to construct dormitories for
migrant workers equipped with kitchens and dining facilities. The government
has also rolled out numerous health and education initiatives. (Srivastava 6)
However, it is crucial to recognize that not all initiatives have
adequately addressed the needs of migrants. They often encounter obstacles in
accessing social security, welfare, and healthcare services. Moreover, migrants
frequently endure poor living conditions and have limited access to banking
facilities. Societal stigma also poses a significant challenge, as migrants are
often viewed with suspicion. Female migrants, in particular, face an increased
risk of violence, experiencing aggression from both fellow migrants and
individuals outside their communities. It is essential to note that Malayali
women, especially those from marginalized backgrounds, are similarly vulnerable
to male violence. Consequently, parallels can be drawn between the experiences
of Malayali women, particularly those from disadvantaged groups, and those of
migrant women. Yama’s novel Pipeelika aims to illustrate these connections. By
shedding light on the realities faced by migrants and the societal stigma they
encounter, she also underscores the broader struggles of women. One could argue
that her work offers a nuanced examination of migration experiences through a
female lens.
Discussion:
A new generation of postmodern writers emerged in Malayalam literature
between 2010 and 2020, characterized by distinctive themes and narrative styles
compared to their predecessors. Yama was one of them. She is a rising author within the realm of
Malayalam literature. Her writings primarily focus on subaltern themes and
feminist perspectives. The central characters in her narratives often belong to
marginalized communities, and she endeavours to depict their everyday
experiences and struggles.
In "Pipeelika," Yama explores the experiences of subaltern
migrants in Kerala. Through the perspective of Mahadev Karmakar, the
protagonist, the author provides an in-depth examination of the challenges
faced by migrants in the region. The central theme of the book focuses on
Mahadev and his companions as they strive to understand a society that is
fundamentally different from their own. They faced challenges such as adapting
to a new culture, overcoming language barriers, and addressing various other
difficulties in this unfamiliar environment. It is essential to recognize that
the majority of their difficulties stem from their subaltern position. This
status is the fundamental reason behind their struggles. Through Mahadev's
perspective, the author explores the experiences of both subaltern migrant and
non-migrant women, highlighting the similarities between the two. Yama seeks to
illustrate that numerous challenges faced by women are also deeply connected to
their subaltern and gendered identities.
The novel presents several incidents that highlight the subaltern
experience, one of which is Mahadev's interaction with the shopkeeper. When
Mahadev visits the shop to recharge his phone, the shopkeeper promptly displays
the recharge coupon, seemingly eager for him to depart. His demeanour is
notably indifferent, and he regards Mahadev with a sense of distrust. The
author effectively communicates the prevailing attitude towards impoverished
migrants through the use of metaphors associated with filth. The author offers
a detailed portrayal of dirt. The shopkeeper's demeanour towards Mahadev
prompts him to reflect on his existence. He holds the belief that certain
individuals are inherently marked by mud stains, which also reflects his
family's legacy in sculpting. Mahadev surmises that the shopkeeper dreaded the
idea of these 'mud stains' contaminating him even more than the prospect of
death. The choice of terms such as mud stains illustrates Mahadev's
self-perception; he views himself as tainted, yet he does not regard this as a deficiency.
He articulates that the freedom experienced by worms wriggling in the mud is
unparalleled in desirability. He further contemplates this notion by noting
that if the lack of dirt stains on one’s garments signifies pride, then soap
manufacturers would dominate the global market. These intricate depictions of
dirt can be likened to the. metaphors of dirt in Victorian novels. Sabine
Sculting in her work, Dirt in Victorian Literature and Culture distinguished
between the dirty working-class members or the ‘great unwashed’, who were
simply ignorant of their own dirt, and the paupers who refused to conform to
the middle-class standards of hygiene and whose misery was consequentially
interpreted as the result of “their moral and physical filthiness. Schulting
explains how cholera, the “filth disease,” came to be viewed as a punishment
for the latter group. (Sculting 54).
The author illustrates the experiences of migrant women through the
character of Lachmi Saraswati. In one notable incident, Lachmi, while trying to
evade the police, encounters Mahadev and his intoxicated companions. They flee
together upon noticing the approaching officers. Mahadev reflects that had his
friends discovered Lachmi in a more advantageous circumstance, they would have
likely exploited her, highlighting the precarious position that migrant women
frequently endure. Subsequently, the author introduces a Malayali woman, whose
life experiences further emphasize how women often fall prey to violence both
within their homes and in society at large.
The author presents to the audience both the internal and external
experiences of a subaltern Malayali woman through the character of ‘Pipeelika’.
The novel commences with a depiction of the daily lives of migrants but soon
takes an unforeseen turn, revealing the struggles faced by an underprivileged
Malayali woman as seen through the perspective of Mahadev. This viewpoint
allows readers to understand the experiences of both the migrant woman and the
Malayali woman, enabling them to draw meaningful comparisons between the two.
The narrative vividly illustrates the harrowing image of a woman
concealed behind the bushes in front of her home, while her second brother,
having brought a prospective buyer, shouts at their elderly mother in frustration
over her absence. The situation becomes even more distressing when it is
revealed that a migrant man, observing her from a distance, is throwing small
metal rocks to gain her attention while engaging in sexual behaviour. By
depicting the experiences of both Lachmi Saraswati, the migrant woman, and
Pipilika, the Malayali woman, as conveyed through Mahadev’s perspective, the
author underscores the broader plight of subaltern women.
It is noteworthy that the voices of women are predominantly absent in
the novel, with only a few exceptions. This observation can lead to two
interpretations. Firstly, it may suggest that the author intended to illustrate
the silencing of subaltern women, with a male character serving as their voice
(Spivak). Secondly, it can be viewed as a subaltern man acting as an ally to
subaltern women. When the Malayali woman falls victim to a tragic circumstance,
Mahadev expresses empathy and a desire to assist her, albeit ultimately in
vain. His distress is palpable when she passes away a few days later.
The author presents disturbing imagery regarding the circumstances faced
by various characters through the unsettling yet impactful depiction of bodily
fluids. The portrayal of the Malayali woman amidst the turmoil is particularly
striking. Her cries defy conventional expectations of beauty. Mahadev's initial
attraction to her dissipates, transforming into a sense of pity and an urge to
assist, though ultimately futile. The author's depiction of her cries is both
grotesque and poignant. She illustrates how mucus drips from her nose into her
mouth, which she repeatedly expels, creating a pool of saliva at her feet. Even
in her sorrow, she employs a stick to draw in the puddle, revealing her
vulnerability and fear. The author effectively captures the raw and realistic
reactions of individuals in moments of suffering and anxiety. Furthermore, the
narrative challenges the typical representation of women as pristine and
beautiful, even in their most exposed and painful moments.
A significant character in the novel is Bhola, who embodies an element
of mystery. He serves as a silent observer of the struggles endured by the
Malayali woman. While Mahadev falters in his attempts to provide assistance or
solace, Bhola succeeds in this regard. He places a glass of tea a short
distance from her, and although she does not drink it, she reaches for the cup.
This action indicates that Mahadev's earlier gesture may have offered her some
comfort. Bhola likely represents the first instance of kindness she has encountered,
elevating him above the other characters in the narrative. By the conclusion of
the novel, Bhola emerges as a figure of responsibility and compassion,
ultimately symbolizing goodness.
By the conclusion of the novel, the significance of the title "Pipeelika"
becomes clear to the readers. In the earlier sections, Mahadev reflects on an
encounter his mother, a skilled sculptor, had with a researcher who sought
information about the famous dancing girl sculpture from Mohenjodaro. During
her explanation of the sculpting process, she draws parallels to ant colonies,
highlighting how ants demonstrated specialization of labour and food storage
long before humans did. This observation suggests that ants laid the groundwork
for the organization of a colony or civilization. The importance of Mahadev's
mother's insights regarding ants is underscored by the novel's end, revealing
that the woman in question is named Pipeelika, which translates to
"ants" in Bangla. This name was bestowed upon her by her father during
a brief period spent in Bengal. Tragically, the woman passes away after a few
days under mysterious circumstances, leading to rumours that her spirit haunts
the building where Mahadev and his friends reside. Consequently, all their
migrant friends vacate the premises due to the police investigation and their
fear of her ghost.
One day, while preparing tea, Bhola sets a cup near the bushes where she
often sought refuge. The author then introduces a fantasy-like element, with
the woman, Pipeelika emerging from the foliage. Following this, a procession of
ants gradually encircles the teacup, prompting a comparison between the woman
and the ants. Pipeelika, accompanied by a gathering of spirits, embarks on a
journey into the unknown, with Bhola and Mahadev joining them. The narrative
concludes with the vulnerable yet virtuous characters finding solace together.
Mahadev and Bhola, both immigrant men characterized by their kindness, have
faced injustices and discrimination from others. Meanwhile, Pipeelika has been
subjected to sexual and physical violence at the hands of men. The author
unites these characters, offering them a form of redemption.
The novel presents additional examples of subalternity. At its outset,
it is disclosed that Mahadev began using a phone only after arriving in Kerala.
This device was a second-hand basic model, limited to fundamental functions. In
another notable moment, Mahadev reflects on an occasion when he and his
companions were unable to transport the body of a deceased friend back to his
hometown in Assam. Their unsuccessful effort to secure an aircraft highlights
the significant disconnects immigrants experience regarding technology and
transportation options. This situation underscores the digital divide that
separates impoverished migrants from their more affluent non migrants.
Conclusion:
Yama, in her novel Pipeelika
endeavours to illustrate a range of subaltern experiences. She begins with the
portrayal of a migrant man, Mahadev Karmakar, whose perspective serves as a
lens through which the lives and experiences of various migrants are revealed.
Additionally, she highlights the narratives of a migrant woman and a Malayali
woman, both of whom are marginalized and vulnerable to violence, particularly
sexual violence. Yama emphasizes that despite the differences among the
characters—such as Mahadev and Bhola, who are migrant men confronting social
stigma and poverty—the female characters, Lachmi, Saraswati, and Pipeelika,
endure a dual oppression stemming from their gender and subaltern status. It is
also crucial to note that the voices of these women are predominantly absent
from the narrative, as they are often conveyed through a second-person
perspective, underscoring the silencing of subaltern women.
Works Cited
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Peter, Binoy, Narendran, Vishnu. God’s Own Workforce: Unravelling Labour
Migration to Kerala. Centre for Migration and Inclusive Development, 2017
Sculting, Sabine. Dirt in Victorian
Literature and Culture: Writing Materiality. New York: Routledge,
2018
Srivastava, Ravi. “Integrating Migration
and Development Policy in India: A Case Study of Three Indian States.”
Centre for Employment Studies Working Paper Series. Institute of Human
Development, 2020. 1-25
T V Suneetha. “AdikaramillathavarudeSamrajyanirmithikal”.
Sahityalokam, vol no.. 53, no.3, 2024, pp 19
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