Dipika Rai - Someone Else’s Garden

Very secretly she harbours tremulous dreams of marrying someone who loves her. But what does she know of love? Can there be such a thing between a man and a woman? She has only heard of the legend of Singh Sahib and Bibiji, but to her it is more a myth. In her experience men are so far above women that she can’t conceive of a man showing anything more than kindness, bordering on pity, for his wife. Yes, for her kindness is love. Above all, she wants a kind husband.

‘I bet he has a quiff like Guru Dutt in Pyaasa !’

‘Guru Dutt, Didi, really?’ She can always count on Sneha’s unquestioning gullibility.

‘Yes, just like him . . .’ No one in the village has seen a film, but Lala Ram, the owner of Saraswati Stores, put up his favourite movie poster over thirty years ago as a community service. After that, the antique poster became the standard for good looks in Gopalpur. With his brooding cowlick towering over his sideburns, his streaky moustache, and his soft-focus sentimentality, Guru Dutt has sidled into every female heart upon teary jerks of breath.

‘Hai, Didi, how lucky. With such a handsome husband you can really tell that Ramu off when he teases you.’

‘Mamta! Sneha!’ warns Lata Bai. ‘You leave those boys from across the river alone, you never know what they might do.’

‘Amma, that Ramu comes over each day to my dung patch to take the sweet out of my sugar. He says my husband won’t be like Guru Dutt at all.’ Mamta squeezes her eyes closed, she’s not a child but Ramu’s words have the power to hurt her – ‘ Look at you, black as dirty oil. Do you think your mother could have got you married to a Guru Dutt?’ – Damn that motherfucker. Each day she runs to the river, makes a pool with her hands, fills it with water and searches it for her reflection. Ramu is right, she is black as dirty oil, but not dirty enough to hide her wretched birthmark.

‘You mustn’t listen, Mamta,’ says Lata Bai feebly, unwilling to waste time on simple lessons which she thinks her daughter should have learned a long time ago.

But Mamta can’t let go. Just yesterday Ramu’s friends tried to teach her a thing or two. Prem wanted to defend her, but she’d said, ‘They want me, let them talk to me.’ No one talked to Mamta. She could pitch a stone from a catapult better than any of them, and when she hitched up the skirt of her ghaghra and ran, there was no catching up. ‘Motherfuckers,’ she laughed, and tossed curses over her shoulders, ‘Catch me if you can.’ When they couldn’t, they’d started taunting her:

Marked Mamta’s getting married, Marked Mamta’s getting married, To an old, old man, He’ll come on an old horse to get her, He’ll give her an old sari to wear, They’ll jiggery all night together, They’ll jiggery all night together.

Marked Mamta’s getting married, Marked Mamta’s getting married, To an old, old man, He’ll beat her black and blue, Her belly will be swollen in no time, They’ll jiggery that night too, They’ll jiggery that night too.

She catches herself humming the ditty, feeling betrayed. ‘He tried to tease me again today, but I chucked a stone at his head. Oh, what fun that was! How he ran!’ says Mamta, putting her arms around her mother’s neck.

Lata Bai undoes her daughter’s arms saying, ‘Careful he doesn’t catch you one day, Mamta.’

‘Huh, what if he does? He can do nothing to me now. I will belong to someone else soon. My husband will protect me.’

‘Don’t start with the dreams. Marriage can be anything. Pray you have a good husband.’

‘You mean a good husband, just like Bapu?’ Mamta says sarcastically. ‘Amma, I don’t know why . . . why you bother with him.’ Her boldness takes her by surprise.

‘You watch out. That kind of talk will get you a beating from your husband.’

‘A beating from my husband . . . I don’t think so. We will be in love as much as . . . as our own zamindar Singh Sahib and Bibiji.’

‘Mamta!’ Lata Bai cups her daughter’s mouth violently with her hand. It is such a bad omen to say something so lofty about your future husband so close to your wedding date.

‘What a love that was,’ says Mamta with a sparkle in her eyes. Singh Sahib’s great love for his wife Bibiji is legendary. He is Gopalpur’s own home-grown Romeo. Gopalpur loves all of them – Romeo–Juliet, Laila–Majnu, Hir–Ranja . . . and of course Singh Sahib–Bibiji . . . all star-crossed, desperate couples dying for love. Love stories form the substratum of Gopalpur’s daydreams. A man like Singh Sahib who is willing to love in the glorious tradition of daydreams is naturally a legend. Secretly all Gopalpur’s men aspire to Singh Sahib’s love-standard, and some even think they love their women with the same honourable hopelessness, but they don’t. Their passion is nothing but a tremor in their collective imagination, a swindle by their egos.

‘Love stories will get you nowhere,’ says her mother.

‘Yes, hai, what if he is old and beats you?’ Sneha verbalises her sister’s worst fears. Sneha’s unquestioning gullibility isn’t the only thing Mamta can count on.

Once again the ditty takes hold of her . . .

Marked Mamta’s getting married, Marked Mamta’s getting married, To an old, old man, He’ll come on an old horse to get her, He’ll give her an old sari to wear, They’ll jiggery all night together, They’ll jiggery all night together.

Marked Mamta’s getting married, Marked Mamta’s getting married, To an old, old man, He’ll beat her black and blue, Her belly will be swollen in no time, They’ll jiggery that night too, They’ll jiggery that night too.

‘Amma, that Ramu said Bapu would sell me to the bandits if no one turns up to marry me,’ says Sneha. The taunting has left her nervous too.

‘Well, you can just tell him that there won’t be any bandits left by next planting season. Singh Sahib’s youngest son is bringing them all in and locking them in jail,’ says Mamta. ‘Amma, tell us again about the bandits,’ she says, moving away from the sordid world of taunting boys.

‘Yes, Amma, tell us, what did the bandits do?’

‘Where do these questions come from? All the time stories, stories, as if you girls have no work to do . . . as if I have no work to do. We can’t fritter our lives away on stories,’ says Lata Bai.

‘C’mon, Amma, tell us about Daku Manmohan,’ says Mamta. She knows she has to plead but a little for her mother to capitulate. It was Lata Bai who gave her a taste for stories in the first place. Bending the boundaries of time and place, she would weave together threads as separate as Kashmiri silk and Bengali cotton into one gargantuan tale of bravery, epic love and histrionic honour, leaping into the arena of myth with alacrity from a very lofty height.

‘Yes, come on, Amma, Mamta Didi will be leaving soon. There will be no one to beg you for stories after she goes,’ says Sneha, pulling a face.

Lata Bai smiles. Her children are still children. She suckles Shanti. ‘Stories, stories, that’s all you care for,’ she says mock-angry. ‘What about the cooking? What about the washing? What about the weeding and tying the vines back against the walls? What about the spices? The well water? Kneading the clay for a new pot; collecting the resin and the wild mangoes. So who will do all that then? Your father?’ The children look at her, their cheeks chubby with smiles. Of course she isn’t serious, they know that.

‘Come on, Amma . . .’