GENDER STUDIES – POEMS

1. Namesake -- IMTIAZ DHARKER

Adam, your namesake lives

in Dharavi, ten years old. He

has never faced the angels, survives with pigs that root

outside the door,

gets up at four,

follows his mother to the hotel

where he helps her cut

the meat and vegetables, washes it all well, watches

the cooking pots over the stove and waits, his eyelids drooping,

while behind the wall she sells herself as often as she can before

they have to hurry home.

He very rarely runs shrieking with other rain- splashed children

down the sky-paved lane.

Imtiaz Dharker

Born in 1954 in Lahore, Imtiaz Dharkar was raised and educated in Britain, and
now lives in India. She was Consulting Poetry Editor for Debonair from 1975 to
1985. She is a documentary film-maker; one of her documentaries won the
Silver Lotus Award for the best short film in 1980. She is also an artist who has
exhibited here and abroad. Her first book, Purdah was published in 1989, and
her second, Postcards from god, in1994.

Summary and analysis

The poem "Namesake" by Imtiaz Dharker portrays the life of a young boy
named Adam, who lives at Dharavi slum. The poem explores themes of
poverty, survival, and the impact of gender roles on marginalized communities.

Notes prepared by H G Sarvamangala, Assistant Professor, Sree

SiddagangCASC, Tumkur
The poem begins by introducing Adam, who is ten years old. Adam's life is
depicted as challenging and harsh, as he resides in Dharavi, a notorious slum in
Mumbai, India. The reference to the title ‘Namesake’ suggests how these people
are living a life despite everything.

Adam's daily life revolves around survival and helping his mother in a hotel.
The poem mentions that he wakes up at four in the morning and accompanies
his mother to the hotel. There, he assists her in cutting meat and vegetables,
washes them diligently, and keeps an eye on the cooking pots. This depiction
highlights Adam's early exposure to domestic work and responsibilities, which
may be influenced by traditional gender roles that assign household tasks to
women.

The poem further reveals the difficult reality Adam's mother faces. Behind the
hotel's walls, she engages in sex work to earn additional income for their
survival. This aspect of the poem highlights the vulnerability and exploitation
that can be experienced by women living in impoverished conditions. The
urgency and frequency mentioned in the line "as often as she can before they
have to hurry home" suggest the desperate circumstances and the sacrifices she
makes to support her family.

Gender studies perspectives shed light on the power dynamics and inequalities
present within the poem. It raises questions about the limitations and struggles
faced by women in patriarchal societies, particularly in marginalized
communities. Adam's mother's situation underscores the intersectionality of
poverty, gender, and survival, highlighting the immense challenges faced by
women in such circumstances.

The poem also touches upon the limited opportunities for childhood joy and
play for Adam. It mentions that he rarely joins other children in running and
playing in the rain. This may be due to his responsibilities and the need to
prioritize his family's survival, further illustrating the impact of poverty and
gender roles on his experiences.

The poem can be seen as a critique of the social and economic systems that
perpetuate poverty and exploitation, particularly among marginalized
communities. It emphasizes the ways in which gender shapes individuals' lives
and experiences, exposing the oppressive structures and inequalities that exist.

Thus, "Namesake" provides a glimpse into the harsh reality faced by

marginalized communities and explores the intersecting dynamics of poverty,
survival, and gender. It invites reflection on the social and economic structures

Notes prepared by H G Sarvamangala, Assistant Professor, Sree

SiddagangCASC, Tumkur
that contribute to these circumstances, prompting discussions on gender
inequality, exploitation, and the need for social change.

2. A Grass Widow's Prayer -- Smita Agarwal

Tall hill speckled with pine;

The air scented. Again I Undertake the annual ascent up The spiralling way to
your temple. It is Navaraira. The goddess is

A decked out bride. I go to

Offer her a red scarf trimmed

With gold lace. Just-married girls spill Out of taxis and buses. They’re on Their
first visit to Surkhanda

With their spouses. The lucky ones

Shall meet their kin and shop

At the fair. Meanwhile, I shall wind

A red and gold thread round the peepul;

Tie tiny brass bells to its outstretched

Arms; bells that shall peal out my

Prayers to the unseen gods that look

Askance at my bare wrists, my forehead clear Of the sacramental dot, the

parting in my hair A quiet, empty street Deui-Ma, I come

To deepen your red with my

Absence of colour. Keep him safe;

He who is alone at his outpost

Battling shadows and sounds.

May he win the war he set out for.

Notes prepared by H G Sarvamangala, Assistant Professor, Sree
SiddagangCASC, Tumkur
 2) Smita Agarwal

Born 1958. Smita Agarwal teaches at the University of Allahabad where she
worked for her Ph.D. on Sylvia Plath. She is a vocal artist for All India Radio.
Though she has been publishing poems for twenty years she has not yet
published a book. The poems included here are from her unpublished
manuscript ‘Glitch’. She also publishes stories for children.

Summary and analysis

Title: A Grass Widow's Prayer

Line 1: Tall hill speckled with pine;

• The speaker describes a hill covered with pine trees, emphasizing its height.

Line 2: The air scented. Again I undertake the annual ascent up

• The air carries a pleasant fragrance. The speaker mentions that they are
embarking on their yearly journey up the hill.

Line 3: The spiraling way to your temple. It is Navaraira.

• The speaker refers to a temple located on the hill, which they are visiting during
the festival of Navaraira.

Line 4: The goddess is a decked out bride. I go to

• The speaker envisions the goddess in the temple as a beautifully adorned bride.
They state their intention to offer her a red scarf trimmed with gold lace.

Line 5: Offer her a red scarf trimmed with gold lace. Just-married girls spill out
of taxis and buses. They're on

• The speaker reiterates their plan to present the goddess with the scarf. They
observe newlywed girls arriving at the temple, who are visiting with their
spouses.

Line 6: Their first visit to Surkhanda with their spouses. The lucky ones

Notes prepared by H G Sarvamangala, Assistant Professor, Sree

SiddagangCASC, Tumkur
• The girls visiting the temple for the first time with their husbands are considered
fortunate.

Line 7: Shall meet their kin and shop at the fair. Meanwhile, I shall wind

• The fortunate girls will reunite with their families and enjoy shopping at the
fair. The speaker contrasts this with their own action of winding something.

Line 8: A red and gold thread round the peepul; tie tiny brass bells to its
outstretched arms; bells that shall peal out my prayers

• The speaker plans to wind a red and gold thread around a peepul tree (a sacred
tree in Hinduism), and attach small brass bells to its branches. The ringing of
these bells will symbolize the speaker's prayers.

Line 9: To the unseen gods that look askance at my bare wrists, my forehead
clear of the sacramental dot, the parting in my hair

• The speaker acknowledges the presence of unseen gods who seemingly

disapprove of her bare wrists, forehead without the sacred mark, and the
absence of a traditional hair parting.

Line 10: A quiet, empty street. Deui-Ma, I come

• The speaker describes a serene and deserted street. They address a deity named
Devi-Ma, indicating their intention to approach her.

Line 11: To deepen your red with my absence of colour. Keep him safe;

• The speaker seeks to intensify the redness associated with Devi-Ma by offering
her own lack of colour. They implore Devi-Ma to protect someone important to
her.

Line 12: He who is alone at his outpost battling shadows and sounds.

• The person the speaker wishes to be kept safe is depicted as being alone in a
remote location, engaged in a struggle against intangible adversaries like
shadows and mysterious noises.

Notes prepared by H G Sarvamangala, Assistant Professor, Sree

SiddagangCASC, Tumkur
 Line 13: May he win the war he set out for.

• The speaker prays for the victory of the person( may be her husband) she
mentioned earlier in the battle they embarked upon.

❖ Attempt a critical analysis of the poem in the light of gender issues

In "A Grass Widow's Prayer," the poem explores gender issues through the
perspective of a female speaker, commonly referred to as a "grass widow." The
term "grass widow" historically referred to a woman whose husband was
absent, often due to military service or other commitments, leaving her in a state
of temporary widowhood. The poem delves into the experiences, emotions, and
societal expectations placed upon such women, offering a critical lens on gender
roles and societal norms.

The speaker's journey to the temple during the Navaraira festival highlights the
contrast between the joyful and celebratory experiences of newly married girls
visiting the temple with their spouses and the speaker's own solitary presence as
a grass widow. The poem underscores the traditional gender roles and
expectations associated with marriage, emphasizing the disparities between the
fortunes of the newly married girls and the speaker's own situation.

The imagery of the goddess as a "decked out bride" and the act of offering a red
scarf trimmed with gold lace symbolize the idealized and celebrated role of
women in marriage. The poem implies that women are expected to be adorned
and confined within the boundaries of marriage, while the grass widow remains
on the periphery of this idealized feminine role.

The juxtaposition of the fortunate girls meeting their kin and engaging in joyful
activities at the fair with the speaker's solitary act of winding a red and gold
thread around a peepul tree suggests the isolation and exclusion experienced by
grass widows. The bells attached to the tree symbolize the speaker's prayers and
desires, but they also serve as a reminder of the unfulfilled societal expectations
placed upon them.

The speaker acknowledges the gaze of unseen gods who judge them based on
their bare wrists, the absence of sacramental markings on their forehead, and the
lack of a traditional hair parting. These symbols represent societal norms and
Notes prepared by H G Sarvamangala, Assistant Professor, Sree
SiddagangCASC, Tumkur
the pressure on women to conform to traditional expectations. The poem reveals
the speaker's awareness of the judgment and marginalization they face due to
their status as a grass widow.

The final lines of the poem convey the grass widow's plea for the safety and
success of her husband/ someone important to her. This plea can be seen as a
reflection of the speaker's desire for recognition and a sense of purpose beyond
the confines of societal expectations placed upon women. It emphasizes the
longing for the grass widow's own struggles, sacrifices, and battles to be
acknowledged and valued.

In analysing the poem through the lens of gender issues, it becomes evident that
it critiques the limitations imposed on women within patriarchal societies,
particularly concerning marriage and societal roles. It explores the experiences
of grass widows, their isolation, and their desires for recognition. The poem
raises questions about the impact of societal expectations on women and
challenges traditional gender norms by giving voice to the marginalized and
overlooked experiences of grass widows.

3. Woman -- Tara Patel

A woman’s life is a reaction

to the crack of a whip.

She learns to dodge it as it whistles around her

but sometimes it lands on the thick, distorted welt of her memory, reminding her
of lessons learned in the past.

Then in rebellion she turned her face to the whip,

till pain became a river in flood

wreaking vengeance.

She ran away to live as an escaped convict,

or a refugee,

or a yogi in the wilderness of civilization.

Notes prepared by H G Sarvamangala, Assistant Professor, Sree
SiddagangCASC, Tumkur
Beneath the thick, distorted welt of her memory, she dreams,

anyone could have touched baby-smooth skin with kisses.

3) Tara Patel

Born in 1949, Tara Patel was educated in Gujarat and Malaysia. She is a
freelance journalist and columnist. Single Woman, her first book, was published
in 1992.

The predominant tone of Tara Patel’s work is weariness so extreme that at times
it sounds almost posthumous. The weariness stems from relationships that don’t
work a sense of being the odd person out when everyone else seems to be
alright, the demands of city life.

Summary and analysis

The poem portrays the life of a woman who experiences oppression and
violence, symbolized by the crack of a whip. She learns to avoid and evade this
violence, but occasionally it lands on the scars of her past, reminding her of the
lessons she has learned through her suffering.

In an act of rebellion, the woman defiantly turns her face towards the whip,
refusing to cower in fear. This rebellion comes at a cost, as pain floods her
existence, transforming into a powerful force that seeks vengeance against her
oppressors. This imagery suggests that the woman refuses to passively accept
her subjugation and instead fights back against her tormentors.

The poem then presents three potential paths the woman may choose in
response to her circumstances. She may run away and live as an escaped
convict, symbolizing a rejection of societal norms and a desire for freedom from
oppression. Alternatively, she may become a refugee, highlighting the plight of
those forced to flee their homes due to violence or persecution. Lastly, she may
adopt the role of a yogi in the wilderness of civilization, seeking solace and
enlightenment through detachment from societal expectations.

The "thick, distorted welt of her memory" represents the lasting impact of her
experiences. Despite the pain and scars she carries, she dreams of a life where
her body and soul are treated with tenderness and affection. The line "anyone
could have touched baby-smooth skin with kisses" alludes to the vulnerability
Notes prepared by H G Sarvamangala, Assistant Professor, Sree
SiddagangCASC, Tumkur
and innocence that she yearns for but has been denied due to the violence she
has endured.

From a gender studies perspective, the poem highlights the pervasive nature of
gender-based violence and the ways in which women navigate and respond to it.
It portrays the woman's struggle for freedom in a world that seeks to subjugate
her. The poem raises important questions about power dynamics, resilience, and
the impact of trauma on women's lives. It invites the reader to reflect on the
social and cultural structures that perpetuate gender inequality and the ways in
which women resist and assert their identities in the face of adversity.

4. After Eight Years of Marriage - Mamta Kalia

After eight years of marriage

The first time I visited my parents,

They asked, ‘Are you happy, tell us.’

It was an absurd question

And I should have laughed at it.

Instead, I cried,

And in between sobs, nodded yes.

I wanted to tell them

That I was happy on Tuesday.

I was unhappy on Wednesday.

I was happy one day at 8 o’clock

I was most unhappy by 8.15.

I wanted to tell them how one day

We all ate a watermelon and laughed.

Notes prepared by H G Sarvamangala, Assistant Professor, Sree

SiddagangCASC, Tumkur
I wanted to tell them how I wept in bed all night once

And struggled hard from hurting myself.

That it wasn’t easy to be happy in a family of twelve.

But they were looking at my two sons,

Hopping around like young goats.

Their wrinkled hands, beaten faces and grey eyelashes

Were all too much too real.

So I swallowed everything,

And smiled a smile of great content.

4.Mamta Kalia

Mamta Kalia was born 1940, an M.A. in English Literature graduate from Delhi
University, 1963, Mamta Kalia writes poetry in English and in Hindi. Her books
in English are Tribute to Papa (1970), and Poems 78 (1978). In Hindi she has
five novels to her credit, seven short story collections, two one-act play
collections, four novelettes for children, and three works which she has edited.
She has won six awards for her writing in Hindi. She was an Advisory Member
on the Sahitya Akademi Board, New Delhi from 1988-91, and is a member of
several other boards. She is a regular broadcaster for Akashvani and
Doordarshan. She is at present Principal of Mahila Seva Sadan Degree College
in Allahabad.

Summary and analysis

The poem "After Eight Years of Marriage" explores the complex nature of
happiness within a long-term marriage. The speaker visits their parents after
eight years of being married and is asked if she was happy. The speaker finds
this question absurd, but instead of laughing, she cries and nods yes. The poem
delves into the nuances of happiness and the fluctuating emotions experienced
within a relationship.

The speaker expresses the transient nature of happiness by stating that they were
happy on some days and unhappy on others. The specific time frames

Notes prepared by H G Sarvamangala, Assistant Professor, Sree

SiddagangCASC, Tumkur
mentioned, such as being happy at 8 o'clock but most unhappy by 8.15,
illustrate the fleeting nature of emotions. This highlights the idea that happiness
is not a constant state but rather a fluctuating experience influenced by various
factors.

The poem also touches on the complexities and challenges within the speaker's
family. She mentions a moment of shared joy when the family ate a watermelon
and laughed. However, she also describes a night of intense sadness and
struggle, hinting at emotional turmoil and difficulties faced within the family
dynamic. The reference to a large family of twelve suggests that finding
happiness can be challenging amidst a complex web of relationships.

Despite the speaker's internal struggles, they choose to hide their true feelings
from their parents. This is reflected in their decision to swallow everything and
put on a smile of contentment. The final lines emphasise the speaker's sacrifice
of their own emotional truth for the sake of their parents' perception of
happiness.

The poem explores the contrast between the speaker's inner emotional landscape
and the external appearance that she presents before others. It raises questions
about the expectations of happiness within a marriage, the complexities of
familial relationships, and the sacrifices one intends, in order to maintain a
façade of contentment.

Overall, "After Eight Years of Marriage" offers a poignant reflection on the

intricate nature of happiness and the complex emotions experienced within the
context of long-term relationships and family dynamics.

View the poem in the light of gender issues

In the context of gender issues, "After Eight Years of Marriage" provides
insight into the expectations and pressures placed on individuals within a
marriage, particularly from a gendered perspective.

The poem begins with the speaker's visit to their parents after eight years of
marriage. The parents' question, "Are you happy, tell us," reflects the societal
assumption that marriage should bring happiness and fulfillment to individuals,

Notes prepared by H G Sarvamangala, Assistant Professor, Sree

SiddagangCASC, Tumkur
particularly women. This expectation is often reinforced through traditional
gender roles that place the burden of maintaining a happy family on women.

The speaker's initial reaction to the question is to find it absurd, suggesting a

recognition of the complexities and challenges involved in maintaining
consistent happiness. However, instead of openly expressing their true
emotions, the speaker cries and nods yes. This can be seen as a reflection of the
pressure placed on women to conform to societal expectations of being content
and satisfied within a marriage, regardless of the reality of their emotions.

The poem further explores the speaker's fluctuating emotions and experiences
within the marriage. They describe moments of happiness and sadness,
indicating the complex nature of human emotions and the natural ebbs and
flows that occur in any relationship. This challenges the notion that happiness
should be a constant state within a marriage and highlights the unrealistic
expectations often placed on individuals, especially women, to maintain
unwavering happiness.

The speaker's decision to hide their true feelings from their parents and put on a
smile of contentment also speaks to the societal pressure on women to maintain
appearances and uphold the perception of a happy marriage. It suggests the
sacrifice of personal emotional truth and the suppression of individual
experiences and struggles in order to fulfil societal expectations.

In a broader sense, the poem sheds light on the gendered expectations and
societal pressures that can limit the authentic expression of emotions within a
marriage. It addresses the complexities of navigating happiness and challenges
the notion that happiness should be a constant state, particularly for women who
often bear the weight of maintaining familial harmony.

By examining the poem through a gender lens, we can understand the speaker's
struggle to reconcile societal expectations with their own emotional reality,
highlighting the need for a more nuanced understanding of gender roles and the
acknowledgment of individual experiences within marriages and relationships.

Notes prepared by H G Sarvamangala, Assistant Professor, Sree

SiddagangCASC, Tumkur
Notes prepared by H G Sarvamangala, Assistant Professor, Sree
SiddagangCASC, Tumkur