Marriage under the arclights
Manjima Chatterjee on dissecting marriages in Limbo and keeping the local sensibilities in her prose intact
Manjima Chatterjee’s “Limbo” splits open marriages, drags out the niggles, and lets the characters attack their discomfort. Three couples, three marriages — each through silences and outbursts — reconcile to a life together or apart.
Chatterjee’s “Limbo” captures marriages in contemporary India travelling through new and old relationships, metropolis and suburbs. Her couples are shorn of names and severely entrenched in their gender identities. The oldest couple looks back at 40 years of marriage stuck in an udan khatola (a kind of cable car) over a holy place.
The young, cosmopolitan couple squabbles over dishwashers, maids and remote control. Between the newly-wed suburban couple, dialogues are sparse with the “contemporary woman trapped in a traditional framework and the man caught up in his manhood”.
Chatterjee’s aim with “Limbo” was to look at marriages — men and women, with the focus on manhood and womanhood. “I began with the old couple as I started noticing conversations and peculiarities of marriages — I mean the typical north Indian arranged marriages,” she says.
About her oldest couple, where the man and the woman played defined roles throughout their lives, she says: “There is a choice-less acceptance of their fate with a pinch of humour.”
Her urban couple’s lives and conversations are “controlled by the efficiency of things around them” — so, the dishwasher would do to bicker. “The verbosity of the older couple is complementary to the silences of the contemporary couple. I see them as ends of the arc,” says Chatterjee. The couple in between cultures, Chatterjee says: “is about an India in between”, where the discomfort between the man and the woman is stark and disturbing. If humour is not far away in the other stories, here it is not easy to laugh.
Manjima Chatterjee
Chatterjee has also kept alive a sense…More
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