Dreams in Vain

Dreams in Vain 

Dreams in vain dissolve,

Vain distress consumes the souzl,

Heartache whispers low.

-- A short Haiku poem by Sai Varenya

13/06/2025

8.50 PM

No Tears Can Heal My Murivu

 No Tears Can Heal My Murivu

No tears can heal my murivu,

it's deeply cut.

And the murivu grows deeper

day by day.

Pain lingering

in my subconscious

has now leapt out

through my eyes —

as tears.

My tears tell a story,

a story of my pain,

a story of disillusioned dreams,

a story of who I longed to be.

Tears purify my mind,

if only for a while.

But still —

the mind remains unhealed.

-- Sai Varenya

13/06/2025

9.02 PM

I Wish I Were with You on A1171

 I Wish I Were with You on A1171

(A Lament for the Lost, and the Left Behind)

I wish I were with you in A1171,

On that final flight, beneath a setting sun.

The day my dear 241

Fell from the sky — and I came undone.

If fate had etched my name that day,

Perhaps a life might find its way

Back to the earth with breath and light,

If I had flown into that night.

But here I stand — a soul unhealed,

With wounds too deep to be concealed.

Each day I cry, each night I ache,

My dreams lie still — they will not wake.

My hopes are hushed, my spirit worn,

A desert heart, unloved, forlorn.

No hand to hold, no eyes that see

The aching truths that live in me.

No voice to lift me when I fall,

No warmth that answers when I call.

No mirror shows a smile that’s true —

I’ve forgotten how to simply be... or do.

Death is no friend — I know it well,

But sometimes it feels like a safer shell.

Not for joy — for peace, for rest,

To lay this sorrow from my chest.

Yet here I am, and still I write,

My grief a candle in the night.

The world may never truly see

The silent storms that rage in me.

But if these words can bear my pain,

Like petals soft beneath the rain,

Then let them float on winds above —

In memory, in loss, in love.

I wish I were with you in A1171,

But I remain… beneath the sun.

--Sai Varenya

13/06/2025

2.29 PM

Tears in Bloom

 Tears in Bloom

Tears bloom from my eyes —

when the dam breaks, they rush out,

watering silence. 

--Sai Varenya 

13/06/2025

2.39 PM

This is my first Haiku poem. 

TIAS

 Scheming Abusive Anarchy

Sowing discord with Insidious Lies

Tainting truths

You turned me into insane

With your toxic intentions

I didn't fight in your chaotic game, 

For I refuse to fight with  a fool. 

That's why I chose to walk away, 

With dignity at length.

--Sai Varenya

04/06/2025

8.44 PM

The Teacher I Never Wanted to Be

 The Teacher I Never Wanted to Be

-- Sai Varenya

I hate being a teacher—

Not the teaching,

Not the curious eyes

Or the minds hungry for meaning,

But this mask they force on me,

In this place

Where truth is a trespasser.

They say,

A teacher must be a role model.

But I’m not your flawless figure—

I carry cracks,

Scars unseen,

Flaws I don’t flaunt but don’t fake either.

Still, I stand

For truth.

Yet here—

Truth is an exile.

I am told to cook marks

Like recipes for praise.

Fabricate success.

Lure students with glittered lies

For the next admission season.

I speak what my mind refuses,

Nod when my soul says No.

Behind the curtain,

I’m not cast to shine,

But to serve shadows—

A puppet they prefer silent.

I was cheated.

Ignored.

Ghosted.

Felt like the air around them—

Present, but never seen.

At times,

I retreat into myself

And question my very breath.

Yet—I breathe.

Still here.

Wearing this uncomfortable mask

To please a crowd

That only claps when truth bows low.

I hate being this kind of teacher,

Who couldn't nurture truth,

Or build the future

With the bricks of values and virtue.

They worship marks—

But marks are just ink.

Degrees—just paper.

What matters

Is how you treat a stranger,

How you speak when no one’s watching,

What you choose

When no one applauds.

To all my students,

To colleagues

And the parents too—

Happiness is not measured in grades.

Peace can't be printed on certificates.

Wealth means nothing

If your heart is bankrupt.

True richness?

It’s in living freely.

In being honest—

Even when it hurts.

In serving with soul,

Not smiling for show.

If this world won’t let me teach

With truth in my hands—

Then maybe one day

I'll walk away,

To teach life

By living it

Loudly,

Lovingly,

And without lies.

Sai Varenya

04/06/2025

8.26 PM

The Lie You Called Love

 The Lie You Called Love

(A Poem of Betrayal)

Why did you walk into my life,

That cold February in 2020,

Wearing masks of charm and care,

But hiding only cruelty?

I trusted you —

Blindly, hopelessly so,

That was my flaw,

And how well you played the show.

You laughed behind curtains,

Pulled pranks with a smile,

Made me your puppet,

At least for a while.

Though something felt off,

Something didn’t align,

I silenced the warning,

Pretended it was fine.

I thought you loved me.

Oh, what a fool I became.

You fed me sweet stories,

Each one a poisonous game.

You brainwashed my dreams,

Promised stars in the sky,

Spoke of a future

Built on a beautiful lie.

You painted me visions —

A job I’d adore,

As Assistant Professor

Behind college doors.

But truth surfaced cruelly,

A cooked-up deceit,

And I watched my ambition

Fall to my feet.

From that moment onward,

The spiral began,

Headaches and heartaches,

No strength left to stand.

I wished it would end,

Too many nights in despair,

Lost in the silence,

Screaming for air.

Why did you do it?

What joy did you gain?

Leaving behind

A trail of my pain.

Yet here I am —

Broken, but breathing still,

Fighting the storm

With a quieter will.

--Sai Varenya

04/06/2025

8.07 PM

HOUSE AND LAND -- ALLEN CURNOW

 HOUSE AND LAND (1941)

(Poem)

Wasn’t this the site, asked the historian,

Of the original homestead?

Couldn’t tell you, said the cowman;

I just live here, he said,

Working for old Miss Wilson

Since the old man’s been dead. 

Moping under the blue gums

The dog trailed his chain

From the privy as far as the fowl house

And back to the privy again,

Feeling the stagnant afternoon 

Quicken with the smell of rain

There sat old Miss Wilson,

With her pictures on the wall,

The baronet uncle, mother’s side,

And one she called The Hall;

Taking tea from a silver pot

For fear the house might fall.

People in the colonies, she said, 

Can’t quite understand…

Why, from Waiau to the mountains

It was all father’s land.

She’s all of eighty said the cowman, 

Down at the milking-shed.

I’m leaving here next winter.

Too bloody quiet, he said.

The spirit of exile, wrote the historian,

Is strong in the people still. 

He reminds me rather, said Miss Wilson, 

Of Harriet’s youngest, Will. 

The cowman, home from the shed, went drinking

With the rabbiter home from the hill.

The sensitive nor’west afternoon 

Collapsed, and the rain came;

The dog crept into his barrel

Looking lost and lame. 

But you can’t attribute to either

Awareness of what great gloom

Stands in a land of settlers

With never a soul at home.

About the Poet:

ALLEN CURNOW (1911 – 2001)

Allen Curnow was born in Timaru, 1911. His father was a fourth generation New Zealander and his mother was English born. Besides, his father was an Anglican clergyman and he lived in a variety of Anglican rectories around the far south of the South Island. Curnow studied at both Canterbury and Auckland universities and worked for various newspapers during this period. In between he prepared for the Anglican ministry however, decided not to be ordained in the early 1930s. His religious upbringing and personal religious crisis were an important influence in his writing. Later, he returned to the South Island in 1934 and went back to working for newspapers. Meanwhile, he became good friends with Denis Glover. During the war years, his writing became influenced by history and the idea of national identity.

It can be seen that after the war he moved to more personal and universal themes. Finally, he died in 2001at the age of 90.

Generations by Neela Padmanaban -- Summary and Notes

         

(For my III BA English students of MCCHE & T, Palloor. Useful for Sixth Semester BA English --Indian Culture Through Literature-- Pondicherry Central University Syllabus) 

Title: Talaimuraikal (Translated: Generations)

Author: Neela Padmanabhan

Translated by: K. Naa. Subramaniyam (from Tamil to English)

About the Author

Neela Padmanabhan (born 26 April 1938), is a Tamil writer from Nagercoil, India. He also writes in Malayalam.His first noted work was the novel Thalaimuraigal (lit. Generations). He has written 20 novels, 10 short story collections, 4 volumes of poetry and 7 essay collections in Tamil. In Malayalam, he has published a novel, four short story collections and a single essay collection. Besides Tamil and Malayalam, he also has a few English works to his credit. During 1985-89 he was the Tamil editor at Sahitya Akademi and was the convener of the Akademi's Tamil advisory board during 1998-2002. 

In 2007, he was awarded the Sahitya Akademi Award for Tamil for his novel Ilai uthir kaalam (lit. Autumn). He had earlier won the Sahitya Akademi Translation Prize in 2003 for his translation of Ayyappa Paniker's works into Tamil. In 2010, his novel Thalaimuraigal was made into a Tamil film titled Magizhchi (lit. Happiness). His most noted work is his novel Pallikondapuram.(lit. Where the Lord sleeps). He currently lives in Thiruvananthapuram.

About the Translator -- Ka. Naa. Subramanyam 

Ka. Naa. Subramanyam (31 January 1912 – 18 December 1988) was a Tamil writer and critic from Tamil Nadu, India. He is also popularly known by his Tamil initials as Ka. Naa. Su. 

Subramanian was born on 31 January 1912 in Valangaiman in Thanjavur District. His first noted published work was the novel Poithevu (1946). He also wrote poems under the pseudonym Mayan. He published many literary journals like Ilakkiya vattam, Sooravali and Chandraodayam. He became a literary critic in the 1950s, publishing reviews first in the magazines Swadesamitran and Saraswathi.

About the Novel (Important Points)

 

🌸The novel is set in the 1940s in a Tamil-speaking community near the Kerala border, specifically in Eraniyal, Kanyakumari district.  This setting provides a backdrop for exploring the intersection of tradition and modernity.  

🌸The protagonist is Diravi, a young boy who narrates the story from his perspective, capturing the changing dynamics of his family and community. 

🌸The title "Generations" (Talaimurakal) reflects the passage of time and the evolving perspectives between different generations.  It underscores the novel's exploration of how traditions are inherited and how individuals can influence change across generations.

🌸Generations (Talaimuraikal) is a seminal Tamil novel by Neela Padmanabhan, originally published in 1968. It was later translated into English by the renowned Tamil writer and critic Ka. Naa. Subramaniam. The novel is set in the 1940s in Eraniyal, a small town on the border between Tamil Nadu and Kerala, and delves into the lives of a Tamil-speaking community grappling with tradition, change, and social justice.

🌸Thalaimuraigal is a novel that describes the lives of three generations of a Chettiar family in Eraniel, a town in the Kanyakumari district. The novel elaborately portrays the family's relationships, traditions, lifestyle, festivals, and the social changes that occur over time. At the center of the story is a character named Dravidar, through whose perspective the changes in the family are observed.

🌸The novel vividly details the lives of three generations, focusing on family relationships, traditions, lifestyle, celebrations, and social transformations.

🌸"Tailaimurakal" (தலைமுறைகள்), translated into English as "Generations," is a modern Tamil classic by Neela Padmanabhan. The novel is set in the 1940s in Eraniel, a town on the Tamil Nadu-Kerala border, and follows the lives of a Tamil-speaking Chettiar family across three generations. The story is primarily narrated through Diravi, a young boy who matures into a thoughtful and responsible man. His sister, Nagammai, becomes the central figure, facing rejection from her husband and his family, leading to her return to her maternal home. Caught between two worlds, she endures humiliation and emotional turmoil. Diravi, witnessing her suffering, challenges the rigid customs of their community to support her. The novel delves into themes of tradition, gender roles, and the complexities of human relationships in a rural setting.

🌸The English translation by Ka. Naa. Subramaniam preserves the nuances of the original Tamil, capturing the cultural and linguistic essence of the community depicted. The narrative offers a poignant exploration of the intersection between tradition and modernity, highlighting the struggles of individuals within a conservative society. "Tailaimurakal" is celebrated for its rich storytelling and deep emotional resonance. 

🌸Neela Padmanabhan’s Thalaimuraigal (Generations) is a novel that holds a significant place in modern Tamil literature. Published in 1968, this novel was translated into English in 1972 under the title Generations.

Themes and Significance

Generations explores themes of gender inequality, the dowry system, and the marginalization of women. It also addresses the decline of a once-prosperous community grappling with changing times. The novel has been lauded for its critique of patriarchal structures and its portrayal of a young man's evolution into a feminist figure, challenging societal conventions. 

Important Characters

Diravi: The protagonist, Diravi is a thoughtful and observant boy who grows up questioning the rigid traditions of his community. His journey from adolescence to adulthood is marked by a deepening awareness of social injustices and a commitment to reform. 

Nagu (Nagammal): Diravi’s elder sister, whose tragic experience with her marriage serves as a catalyst for the story. Rejected by her husband, Perumal, and ostracized by both families, Nagu endures immense suffering, highlighting the harsh realities faced by women in traditional societies. 

Perumal: Nagu’s husband, whose insecurities and cruelty lead to the breakdown of their marriage. His rejection of Nagu and the subsequent treatment she receives underscore the patriarchal structures prevalent in their community.

Elements of Indian Culture

Thalaimuraigal reflects the traditions, relationships, and social changes within an Indian family. The life of three generations showcases the evolution of familial traditions in India. Family ties, customs, and social transitions are highlighted as key elements of Indian culture.

Thalaimuraigal is a novel that thoroughly portrays family traditions, relationships, and social changes. It helps readers understand the heritage and societal transformations of Indian family life.

Detailed Summary 

*The Seven Towns Chettiar* -- Origin

The novel, Tailaimurakal or Generations describes the lives of three generations of a Chettiar family in Eraniel,  town in  the Kanyakumari district. It is replete with the customs and practices of the Chettiar community. 

Our central character, Diravi learns all about the community from his grandmother, Unnamalai Aachi, who tells him of their rich heritage. She also prides in the fact that they are the decendents of the Seven Towns Chettiar. So, what are these seven towns?  The Seven Towns were Eraniyal, Pazhavadai, Papanapuram, Parakkai, Midalam, Kolachal and Tiruvankode. 

Among these, *Eraniyal* is the place where the descendants of Kaveripoompatinam settled and it is also the hometown of our protagonist Diravi. 

When speaking of the *Seven Towns Chettiar*, there is a legend which is popular in the community and it is the story of Thangamme and Thayamme, the two beautiful, witty sisters. The story goes like this: Once the King had given the Chettiar, the father of these girls, a set of corals with no holes in it and ordered the Chettiar to bring it next morning as a necklace, all strung together. The Chettiar felt defeated already because of the impossible challenge. His daughters solved the problem and present to their father the necklace next morning. The King is overjoyed and on finding out that his daughters had done the impossible task, proposes marriage to the Chettiar's daughters. However, the Chettiar was not happy. He was deeply hurt; he cannot think of such a proposition at all, not even if it were the King himself. To marry someone outside their caste was unthinkable for him.

So he decided to sacrifice his daughters to safeguard Karrpu (chastity). On the pretext of getting something from the basement, he sends his daughters  on an errand, the two sisters unaware of their fate go to the basement. As planned, Chettiar seals the basement pouring mud, a few men of the clan assists him. After this, he also joins them in death. The curse of the virgin sisters bring much famine,  fever and earthquakes destroying Kaveripoompatinam. Some of the men fearing the wrath of the King escaped from there carrying their family deities, *Nagammai* and *Singa Vinayaka* and settle in *Eraniyal*.

Thus, Chettiars who settled in Eraniyal and some other places came to be known as the Seven Town Chettiars. 

Like most other communities in India, the Chettiar community  gave importance to chastity and adhere to the ideals of the beliefs and customs peculiar to their community. The story highlights the significance attached to marriage as a symbol of honour in the community.

*Characters*

🌸Diravi --Third child of Nagaru Pillai & Kuttiamme. 

🌸Unnamalai akka -- Diravi's older sister. 

🌸Nagammai or Nagu akka -- Diravi's  second sister. 

🌸Visalam -- Diravi's youngest sister.

🌸Unnamalai aachi -- Diravi's grandmother, the matriarch.

Other Characters

🌸Papathi and Kannu Pillai and their son Sevantha Perumaal Pillai or Sivananda Perumaal Pillai. 

🌸Sevantha Perumaal has 2 wives:

1) Nagammai (Diravi's sister) 

2) Vadivu

🌸Moses

🌸Dr. Rosammai

🌸Kuttalam

🌸Fishwife Vellachi --newspaper of the village.

This novel is about Diravi's angst and struggle to bring his second sister, Nagammai who is a mute victim of the patriarchal community. 

Nagammai is only 16 and half years old and is discarded by her husband Sevantha Perumaal within just six months of marriage.

From the age of youthful 15 to an adult teacher, the novel meanders in depicting the quest in Diravi's mind about the complicating familial ties that uphold some and shatter some others. The rigid customs and rituals begin to loose it's significance as Diravi witnesses the follies in it . Nagammai is an epitome of suffering. Her life becomes a question mark and her version of the story as the wife of Sevantha Perumaal is left unsaid by the novelist. The novelist has left it to substantiate the fact that woman is just a commodity in marriage.

Sevantha Perumaal was 35 years of age and had nkf been married for so long. His father Kannu Pillai is a diseased man chased away from his home by his wife and son. He was living with a krishna woman. As like typical arranged marriage, Diravi's parents and relatives go on with the proposal after the horoscopes match.

Actually, Papathi had sweet talked Unnamalai aachi in agreeing to the proposal. Though Kuttiamme had her initial fear knowing full well about Papathi's nature, she yields to the temptation because her daughter will at least have a better life.

Later, we see Sevantha Perumaal blames Nagammai's family of marrying her to him because she's not a woman at all. Perumaal accuses Nagammai of not being a woman. (Actually, the problem was with Perumaal and not Nagammai.) The reason is not tangible that it ca  solve the issue. It strikes at the very base of marriage. It is a lie, but when it comes from her husband, it is simply acceptable as a justified reason to discard a woman. Thus, Permaal discards Nagammai. 

Nagaru Pillai is shocked beyond words as he had conducted the marriage with great difficulty. This accusation is hard to bear and a disgrace nit only to Nagammai but to the family as well.

The matter is brought to the village trustees but Nagammai does not get justice because the charge against Nagammai is against her very identity as a woman. It is a very embarrassing charge with one's gender in question. Even the option of going to the court is discouraged. Kannu Pillai, Sevantha Perumaal's estranged father suggests that Nagammai should get justice and the case should be taken to court, Nagaru Pillai is unconvinced.

There was depressed situation at Diravi's home. Diravi's father dismisses the idea of going to court, afraid of the consequences as the chances of Nagammai returning to her husband will be closed for ever.  Nagammai becomes a source of worry and anxiety to the already economically weak family. Diravi is also upset. He is saddened by the face of silent wound that every one bears at home, his grandma breaking down in tears, his father bursting in anger and his mother's darkened face upsets him, most of all it was Nagu akka's sorry state that bothered him much. Diravi is also subject to taunt when his friends deride his sister. Kuttalam, an accomplice is the only person who takes care not to wound Diravi. Diravi begins to feel comfortable with Kuttalam.

Meanwhile, Nagu is taken to her in-laws though unwanted. Even before any settlement could be made, Papathi arranges the second marriage of her son Perumaal. It is secretly conducted. Second marriages were a norm in the community. Nagaru Pillai thinks that Nagammai must go back to her husband's house. A daughter once married becomes a property of her husband, "this is your wife, whatever you do with her is your affair". He is however unhappy about leaving her there but more than that he fears the disgrace and scoff from the community of she stayed with them. Vellachi the fish wife brings in news that Nagammai's condition is pitiable in her husband's home .  Before the family decides to bring her back, Perumaal brings her back warns her parents not to send her back where she is unwelcome.

Diravi completes his SSLC successfully and gets himself a job but he hardly gets his salary on time even after paying bribe for the job. He is fortunate to get a government job in Kirangi. A senior teacher, Moses notices that Diravi is often very silent and remorse. He tries to make Diravi cheerful telling him that it is rather unnatural for a man of 20 to be so withdrawn.

Moses is a very congenial man, so Diravi can't but feel compelled to share his sister's predicament. He opens up to him, but he's unable to say exactly the reason for his sister's plight. The kind of charge against his sister is not only embarrassing but a disgrace on her womanhood too. It is a seemingly unverifiable charge. No one was able to help their family because of such a charge. The village trustees were helplessin asking Sevantha Perumaal to take her home. 

Moses says that Nagammai can have a check up and matters could be straightened out. Sevantha Perumaal himself had said that she should be taken to a doctor but no one had bothered to do that earlier. Nagammai has been having fainting fits,  Diravi takes her to Dr. Rosamme under this pretext. Dr. Rosamme is Moses' wife and she certifies that there's absolutely nothing wrong with Nagammai.

Diravi now gains confidence and he's happy about his sister and is upset over the false charge that had made his sister wallow in sorrow for nearly six to seven years and suffer the blame for the broken marriage. Diravi meets Sevantha Perumaal with the plea to take his sister back. Sevantha Perumaal tells Diravi that the chapter of his marriage is closed. He even says that it is pointless for Nagammai to wear the thali. 

Diravi had been patiently telling him that he knows the truth about Sevantha Perumaal and it will be a disgrace to him, if Nagu amma is married again and bears children. So he pleads with him, knowing that Sevantha Perumaal is incapable of fatherhood.

Diravi & Kuttalam

Kuttalam is a school dropout. He is older than Diravi but a good companion. Things had not been favourable for Kuttalam, he had his grandmother supporting him and a father who didn't much care for him. He was a social misfit and rumour had it that he visited prostitutes and he drank a lot. He didn't have a steady means of income either, things changed after his grandmother's death and his father's paralytic attack. He took care of his father whom he had hated once. His life and prospects were getting better that he was going to a shop. Whenever Diravi met Kuttalam, Kuttalam would enquire about his sister Nagammai. Kuttalam referred to her as Nagu and this made Diravi feel uncomfortable.

After this we see Diravi's younger sister, Visalam gets a proposal. Though there is no means to conduct the marriage and with a discarded sister at home , Diravi's father hesitates to take the proposal forward. Diravi convinces his father and also suggests ways and means to conduct the marriage.  He says they could will the house to Visalam and sell some land to the groom's family and conduct the marriage without much hassle. 

Diravi is keen on Visalam's marriage because of the marriage he has planned for Nagu akka. Everything goes according to his plan and Visalam is married. 

One day Diravi his father was alone in the field, Diravi makes his father understand Nagammai's predicament and what he has done to clear her name and he also expresses his desire to get her married to Kuttalam. 

Nagaru Pillai is unable to commit anything though as a father he feels proud of Diravi's love for his sister but he us worried much about the reaction of the community. Diravi convinces him that the community has not stood by their side when Nagu akka was dumped by her husband and it is futile fo give them any importance. 

Thus, Nagammai's marriage with Kuttalam is fixed. This is kept secret from the community. Everyone is happy, except Unnmalai Aachi, she is a woman of old beliefs and finds it difficult to accept the fact that Nagammai's second marriage with Kuttalam, a man of another caste.

It is because of Unnmalai Aachi's failing health that the marriage that was suppose to be fixed in the month of Avani is postponed to Thai. In the meantime, the people of the village have also heard of it and everywhere people are busy passing comments and even attempt to convince Kuttalam against marrying a discarded wife. Kuttalam had scant respect for the community and its trustees.

Hardly with three days more for the wedding, Diravi was finding it difficult to sleep, he was tormented by a bad dream. He is woken up by frantic knocking at the door. Bhoothan simply cries, saying "master, master", referring to Kuttalam. Diravi understands that something is grievously wrong with Kuttalam.

Tragic End 

The news that Sevantha Perumaal had become insane spread across the village but whenever he saw Diravi or Kuttalam he would stare in rage. It was a Sollamatan festival, Ponappan, a villager was possessed. Sevantha Perumaal snatched "the whip and leaves" from Ponappan and jumped into an abandoned well. 

Sevantha Perumaal's second wife, Vadivu, runs to Kuttalam's house seeking help and pleads with him to save her husband. Kuttalam rushes to the spot into the well to save Perumaal for Vadivu's sake. People wait in anxiety as it takes a long time for Kuttalam and Sevantha Perumaal.  Police arrive and haul out the corpse of Kuttalam. Diravi feels devastated. Sevantha Perumaal is hauled out next. He is alive. At dawn, news spreads that it was a trick played by Sevantha Perumaal and his wife Vadivu to safeguard Perumaal's image in society as a honourable man.

Perumaal will go scot free after this as he is branded as a mentally deranged person. Diravi and his parents and Nagu akka leave the village for Shencottah where Diravi has been transferred. They would never return. Neela Padmanaban concludes thus that the family of four appeared "more dead than alive" after the tragic end of Kuttalam. The novel closes as it ends with obeisance to the family deity, Singa Vinayaka.

Question Bank

Short Answer Questions

1. Who is the protagonist of the story?

The protagonist is Diravi, a young boy who narrates the story from his perspective, capturing the changing dynamics of his family and community. 

2. What is the central theme of the novel?

The central theme is the tension between tradition and modernity, highlighting how generational shifts impact family structures, values, and individual identities.  

3. Who is Aachi, and what role does she play?

Aachi, or Unnamalai Aachi, is Diravi's grandmother. She embodies traditional values and serves as a custodian of family history, often sharing stories that reflect the old ways of life.

4. What event causes a significant change in Diravi's family?

The tragic fate of Diravi's sister, Nagu, who is unjustly ostracized after her brief marriage, serves as a catalyst for questioning societal norms and the treatment of women. 

5. How does Diravi's perspective evolve throughout the story?

Initially, Diravi is a passive observer, but as he matures, he becomes increasingly aware of the injustices around him, particularly concerning gender roles and the limitations imposed by tradition.

6) What is the setting of the novel?

The novel is set in the 1940s in a Tamil-speaking community near the Kerala border, specifically in Iraniyal, Kanyakumari district.  This setting provides a backdrop for exploring the intersection of tradition and modernity.  

7. How does Diravi's character evolve throughout the story?

Diravi begins as an innocent child, observing the world around him.  As he matures, he becomes increasingly aware of societal injustices, particularly concerning the treatment of women, and takes active steps to challenge and change these norms.  

8. What role does Unnamalai Aachi play in the novel?

Unnamalai Aachi, Diravi's grandmother, represents the traditional values and customs of the community.  Her character embodies the generational divide, as she upholds old traditions, while Diravi questions and seeks to reform them.  

9. What is the significance of the character Nagu in the story?

Nagu, Diravi's sister, is unjustly ostracized due to her husband's false accusations.  Her plight becomes a catalyst for Diravi's realization of societal injustices and motivates him to challenge the status quo to secure her rights and dignity.  

10. How does the novel address the theme of tradition versus modernity?

The novel portrays the conflict between adhering to traditional customs and embracing modern values.  Through Diravi's journey, the story highlights the need for societal reform and the importance of questioning outdated practices that perpetuate injustice.  

11. What is the role of the Chettiar community in the narrative?

The Chettiar community's customs and traditions are central to the story.  Their practices, particularly concerning marriage and gender roles, serve as a backdrop for the novel's exploration of societal norms and the challenges of change.  

12. What is the significance of the title 'Generations'?

The title reflects the passage of time and the evolving perspectives between different generations.  It underscores the novel's exploration of how traditions are inherited and how individuals can influence change across generations.

Paragraph Questions

Q) Main Themes:

1. Tradition vs. Change:

The novel highlights the tension between time-honored customs and emerging modern sensibilities. Diravi's inner transformation represents a subtle shift in generational thinking.The traditions of the family and their transformations are closely linked to the progress of society.

2. Patriarchy and Women's Oppression:

Nagammai's experience showcases the lack of agency afforded to women, especially in cases of marital estrangement. Her marginalization is quietly resisted by Diravi's growing empathy.

3. Generational Conflict:

The title Talaimuraikal itself means Generations—emphasizing the contrast in values, expectations, and experiences between elders and youth.

4. Coming of Age:

Diravi's journey is inward and observational. His growth is shaped not by overt rebellion but by his understanding of emotional truth and injustice.

5. Religious and Cultural Identity:

The novel deeply engages with rituals, language, and the rhythms of Brahmin life in South India, making it both a social document and a literary work.

6. Family Relationships: The relationships among family members, the conflicts within them, and their resolutions are central to the narrative.

7. Social Changes: The novel explores the progress of society, technological advancements, and the impact these have on family life.

8. Heritage and Modernity: The importance of heritage and the influence of modernity are reflected in the life of the family.

Q) Important Characters (Paragraph Questions) 

1) Diravi – The Observer:

Diravi acts as a silent narrator and emotional witness. Through his eyes, readers experience:

The injustices done to Nagammai.

The moral and emotional contradictions within his family.

The quiet power of observation as resistance.

His role is reflective rather than active—yet this internal evolution is the heart of the novel.

2) Nagammai 

In Talaimuraikal (Generations), Nagammai is a central figure through whom the novel explores the deep injustices faced by women in traditional Tamil Brahmin society. Her story is told through the eyes of her nephew Diravi, and her suffering forms an emotional and moral core of the novel.

Q) Injustices Faced by Nagammai:

1. Marital Rejection and Social Stigma:

Nagammai is abandoned by her husband, who refuses to take her back after a minor conflict. In a society where a woman's identity and security are tied to her husband, this is catastrophic. Despite being the aggrieved party, she is blamed and shamed, both by her in-laws and by some members of her own family.

2. Lack of Agency:

She is not allowed to make her own decisions or defend herself meaningfully. Elders in the family take control of her fate, treating her more as a problem to be solved than a person with rights. She becomes a passive victim of family negotiations, with no say in her own future.

3. Emotional Isolation:

Even within her natal home, Nagammai is not fully accepted or supported. The silence and indifference of the family members isolate her emotionally. She is left in a liminal space—neither a wife nor a daughter—trapped by the expectations of both roles.

4. Religious and Cultural Constraints:

Nagammai's condition is worsened by rigid Brahminical customs. Her status as a married woman separated from her husband limits her ritual participation and social standing. Cultural rules prevent her from living a dignified life after marital estrangement.

5. Moral Hypocrisy:

The male elders of the family uphold oppressive norms in the name of tradition, while showing little empathy or fairness. The moral failure of the community lies in their inability to question injustice when it’s cloaked in custom.

Diravi’s Response:

Though young, Diravi notices the unfairness of Nagammai's treatment. He empathizes with her suffering and begins to emotionally rebel against the values upheld by his elders. His silent observation is a powerful counterpoint to the communal indifference around him.

Nagammai’s story is not resolved in a conventional, redemptive way. Instead, the novel uses her character to expose the deep-rooted patriarchal cruelty and social rigidity that defined—and in some ways, still define—many women’s lives.

Useful Points for Essay Question

Q) Theme of Generational Conflict in the novel

The theme of generational conflict is one of the central pillars of Talaimuraikal (Generations) by Neela Padmanabhan. The novel explores how values, emotions, and ways of thinking shift across three generations in a traditional Tamil Brahmin household. These conflicts are subtle, psychological, and expressed through silence, observation, and emotional dissonance—especially from the perspective of the child-protagonist Diravi.

Key Aspects of Generational Conflict in the Novel:

1. Tradition vs. Change:

The elders uphold strict rituals, caste norms, and gender roles. Their worldview is shaped by religion, duty, and family reputation.

The younger generation, represented by Diravi, begins to sense the injustice and emotional cost of these values.

Diravi does not directly rebel, but he questions silently, indicating a generational shift toward introspection and empathy.

2. Emotional Expression:

The older generation suppresses emotions in favor of duty and social conformity.

Diravi, on the other hand, is emotionally attuned and troubled by what he sees—especially in the treatment of his aunt Nagammai.

This contrast highlights how younger minds internalize pain differently and begin to resist inherited emotional frameworks.

3. Authority vs. Observation:

The grandparents and parents assert control—deciding where people should live, whom they should marry, and how issues are handled.

Diravi, still a child, has no power—but his inner world grows in clarity. He watches the moral failures of his elders with quiet discomfort.

His passive resistance suggests the future generation will think differently, even if they don’t act yet.

4. Gender Norms and Their Transmission:

Older women in the family also reinforce patriarchal norms, even while suffering under them.

Younger characters like Diravi begin to see the contradictions, especially in Nagammai’s plight.

The novel subtly critiques how oppression is passed down in the name of culture.

5. Communication Breakdown:

The generations speak, but they don’t really listen to one another.

Diravi’s world is full of adult voices making decisions, but his voice is absent—symbolizing how younger generations are often unheard.

This lack of dialogue reflects a wider disconnect in values and priorities.

Conclusion:

Talaimuraikal presents generational conflict not through loud confrontations but through silences, inner conflicts, and emotional contrasts. It captures a pivotal moment in Tamil society—where the old world is still dominant, but cracks are beginning to show through the perceptions of a more empathetic, questioning younger generation.

Short Summary (Extra) 

Talaimuraikal is a poignant family saga set in a rural Tamil village during the 1940s. It traces the lives of three generations, centering around Diravi, a young boy, who observes and absorbs the unfolding emotional and social dynamics of his family.

A significant subplot involves Nagammai, Diravi's sister, who is caught between the traditions of her natal and marital homes. Abandoned by her husband and stigmatized by society, she represents the plight of many women confined by rigid patriarchal norms. Diravi, though young, becomes emotionally attuned to her suffering.

The novel reflects on the social constraints, religious practices, and psychological burdens within a traditional Tamil Brahmin family.

Short Summary

Tailaimurakal – A Story of Generations, Customs, and Silent Struggles

Tailaimurakal (Generations) follows three generations of a Chettiar family living in Eraniel, a town in Tamil Nadu’s Kanyakumari district. The novel is rich in the traditions, beliefs, and pride of the Chettiar community.

At its heart is Diravi, a thoughtful young man who learns about his heritage from his wise grandmother, Unnamalai Aachi. She often speaks of their proud lineage — the Seven Towns Chettiars, descended from Kaveripoompatinam, who settled in towns like Eraniyal, Parakkai, and Kolachal.

A famous legend of two clever sisters, Thangamme and Thayamme, shows the community’s deep respect for chastity and family honour. When a king wanted to marry the girls after they solved an impossible task, their father chose death over breaking caste rules — sealing their fate and causing destruction in their hometown. Survivors then settled in Eraniel, forming the Seven Towns Chettiar community.

Diravi's family includes his stern father Nagaru Pillai, loving mother Kuttiamme, and three sisters — Unnamalai, Nagammai (Nagu akka), and Visalam. The novel mainly focuses on Nagammai, a quiet, young woman who becomes a victim of cruel patriarchy.

At just 16, Nagammai is married to the much older Sevantha Perumaal, but is thrown out within six months. Her husband falsely accuses her of not being “a real woman.” The claim is shameful and vague — yet accepted without question. No justice comes from the village elders, and her own family, weighed down by social pressure, hesitates to act.

Diravi, deeply disturbed by his sister’s suffering, tries to help. He takes her to Dr. Rosammai, who proves there is nothing wrong with Nagammai. This discovery gives Diravi courage. He confronts Sevantha Perumaal, who coldly refuses to take her back.

Meanwhile, Kuttalam, Diravi’s loyal friend, stands by him. Though rough around the edges, Kuttalam respects Nagammai and eventually agrees to marry her. This shocks the traditional village, especially Unnamalai Aachi, who cannot accept a second marriage, especially to a man of a different caste.

Despite gossip and resistance, preparations begin. But just days before the wedding, tragedy strikes. Kuttalam dies while trying to rescue Sevantha Perumaal from a well — a staged act by Perumaal and his second wife, Vadivu, to protect his reputation. Perumaal survives. Kuttalam does not.

Devastated, Diravi and his family leave the village for good. The novel ends on a somber note, with the family “more dead than alive,” paying their last respects to their deity Singa Vinayaka.

Notes compiled by, 

Sai Varenya, Assistant Professor, PG Department of English, MCCHE & T, Palloor