What goes into the bitter-sweet broth of an Asian tale? Fry a pinch of radical politics with a subversive plot. Add a spoonful of mystery. Marinate some individuals in love and mystery and throw them into the political frying pan. Whip the beans of mystery with past till they are a smooth cream. As the soup comes to a boil, add a piece of tragedy and let the broth sizzle. Garnish with desi flavour and serve. Conceived on these lines, Dipika Mukherjee gives us a perfect Asian tale in her novel Thunder Demons. The novel was long-listed for Man Asian Literary Prize (2009).
The mixed Malaysian culture of Chinese, Indians and Malays provides the perfect ground for the action to unfold. The sensitive ethnic equation of the country and a constant political simmering are the backbone of the novel. Incidents like the Malay authorities seizing 20,000 Bibles for referring to God as Allah, find an echo in the story.
As the book opens we find a sinister Colonel S tying explosives onto a Tibetan model who is thereafter executed. Issues of attire and conduct of women are a part of the brewing social upheaval.
Jayantha or Jay, a professor at an American university, is called back to Malaysia by his mentor Colonel S. For Jay, Malaysia is a bank full of memories. He writes to his dead friend Shanti’s daughter Agnibina. In Agni’s honest reply Jay sees the prospects of an exciting visit. Meanwhile, Colonel S is hatching a terrible plot for which he intends to enlist the help of his best recruit, Jay. A stent filled with super-explosives in place of drugs, is the project for which he needs Jay’s help. Though aware of his ulterior motives, Jay decides to go back and lay at rest the “demon tooth” of Shanti.
On his arrival Jay finds himself in the midst of a mass protest. A large number of Indian men have gathered to protest the “growing arrogance of a Master Race of Malays.”
Jay’s visit rattles Agni’s bedridden grandmother Shapna and so a trail of secrets begins to spill out. Through her gurgling sounds Shapna tries to warn her granddaughter about Jay but is unable to.
Agni, recently back from a long affair in the US, knows Shapna hadn’t told her the real story of her birth. Though back in Malaysia, Agni isn’t sure of her relationship with the land where her mother lost her life for love.
Abhik, the son of Mridula and Ranjan, is a lawyer and is the voice of minorities in the country. Agni and Abhik are in love.
A multi-layered story unfolds as grandmother Shapna tells us about her journey from India to Malaysia. A child bride Shapna was taken by Nikhil, 40 years her senior. As a stunning Shapna looks the groom’s side in the eye, everyone knows she is an unusual bride. Brought to Malaysia, young Shapna finds little comfort in her marriage. As she loses her first child during the years of First World War her best friend Siti (a Malay) nurses her with Malaysian magic. Siti evokes charms for a child to come to Shapna and soon the duo “find” Shanti. This story of Shanti being a fairy child is passed onto her daughter Agni.
However, what Agni does not know is why years later Siti is shocked to see her vagrant husband Zanial’s shadow merge with that of young Shanti. Why Shapna refuses to let Shanti become Zanial’s second wife. Why do Zanial and Siti vanish from the scene? Shanti drowns to her death after Jay, spurned in love by her, reveals the Oedipal truth of her birth.
Still burdened by the death of Shanti, Jay now falls in love with her daughter Agni and watches as death strikes Agni’s life.
The shifting point-of-views of Shapna, Colonel S and Jay reveal the complex story of three Indian and one Malay family. While Shapna hates Jay and holds him responsible for the death of her daughter, Jay grudges her liaison with his father. Colonel S, on the other hand, is embroiled in a political plot and driven by the idea of Malay supremacy. The most powerful of the three is the voice of Shapna: “I was brought up hearing that a woman’s life is like that of a Koi fish, hanging on to life despite all odds. Such was the idiom of acceptance for other women, never for me.”
Dipika Mukherjee, who is currently Professor of linguistics at Shanghai International Studies University, is a gifted story-teller. The narrative moves forward in a mystery maze as characters emerge in bits and pieces. Though the story has a distinct cultural flavour one can’t help asking for more. You also miss the picturesque life of Malaysia which gets nudged out in bid to make room for a complex story.
Malaysia’s tourism logo “Truly Asia” works as a foil as the country is seen falling apart over the question: who is “Bhumiputra”. A past muddled by invaders a present plagued with poverty and a future that asks poisonous questions makes this story of Malaysia truly Asian in spirit.
As the book opens we find a sinister Colonel S tying explosives onto a Tibetan model who is thereafter executed. Issues of attire and conduct of women are a part of the brewing social upheaval.
Jayantha or Jay, a professor at an American university, is called back to Malaysia by his mentor Colonel S. For Jay, Malaysia is a bank full of memories. He writes to his dead friend Shanti’s daughter Agnibina. In Agni’s honest reply Jay sees the prospects of an exciting visit. Meanwhile, Colonel S is hatching a terrible plot for which he intends to enlist the help of his best recruit, Jay. A stent filled with super-explosives in place of drugs, is the project for which he needs Jay’s help. Though aware of his ulterior motives, Jay decides to go back and lay at rest the “demon tooth” of Shanti.
On his arrival Jay finds himself in the midst of a mass protest. A large number of Indian men have gathered to protest the “growing arrogance of a Master Race of Malays.”
Jay’s visit rattles Agni’s bedridden grandmother Shapna and so a trail of secrets begins to spill out. Through her gurgling sounds Shapna tries to warn her granddaughter about Jay but is unable to.
Agni, recently back from a long affair in the US, knows Shapna hadn’t told her the real story of her birth. Though back in Malaysia, Agni isn’t sure of her relationship with the land where her mother lost her life for love.
Abhik, the son of Mridula and Ranjan, is a lawyer and is the voice of minorities in the country. Agni and Abhik are in love.
A multi-layered story unfolds as grandmother Shapna tells us about her journey from India to Malaysia. A child bride Shapna was taken by Nikhil, 40 years her senior. As a stunning Shapna looks the groom’s side in the eye, everyone knows she is an unusual bride. Brought to Malaysia, young Shapna finds little comfort in her marriage. As she loses her first child during the years of First World War her best friend Siti (a Malay) nurses her with Malaysian magic. Siti evokes charms for a child to come to Shapna and soon the duo “find” Shanti. This story of Shanti being a fairy child is passed onto her daughter Agni.
However, what Agni does not know is why years later Siti is shocked to see her vagrant husband Zanial’s shadow merge with that of young Shanti. Why Shapna refuses to let Shanti become Zanial’s second wife. Why do Zanial and Siti vanish from the scene? Shanti drowns to her death after Jay, spurned in love by her, reveals the Oedipal truth of her birth.
Still burdened by the death of Shanti, Jay now falls in love with her daughter Agni and watches as death strikes Agni’s life.
The shifting point-of-views of Shapna, Colonel S and Jay reveal the complex story of three Indian and one Malay family. While Shapna hates Jay and holds him responsible for the death of her daughter, Jay grudges her liaison with his father. Colonel S, on the other hand, is embroiled in a political plot and driven by the idea of Malay supremacy. The most powerful of the three is the voice of Shapna: “I was brought up hearing that a woman’s life is like that of a Koi fish, hanging on to life despite all odds. Such was the idiom of acceptance for other women, never for me.”
Dipika Mukherjee, who is currently Professor of linguistics at Shanghai International Studies University, is a gifted story-teller. The narrative moves forward in a mystery maze as characters emerge in bits and pieces. Though the story has a distinct cultural flavour one can’t help asking for more. You also miss the picturesque life of Malaysia which gets nudged out in bid to make room for a complex story.
Malaysia’s tourism logo “Truly Asia” works as a foil as the country is seen falling apart over the question: who is “Bhumiputra”. A past muddled by invaders a present plagued with poverty and a future that asks poisonous questions makes this story of Malaysia truly Asian in spirit.
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