Sunday, July 21, 2002		Books

Novel that reads like the script of a tragic film
Aditya Sharma

Embers
by Ajaya Kumar, Srishti, Pages 469, Rs 295.

DEBUT novels are generally marked by a passionate intensity but, at the same time, are also characterised by a lack of fullness. This applies to Ajaya Kumar’s maiden novel Embers. Poring over it, one realises that although the author has put some earnest effort into its making, yet it is not free from faults.

Ajaya’s forte definitely lies in her dexterous use of the language. The entire prose is studded with some very apt words that go on to make it extremely readable. But mere ornamentation of the language doesn’t fashion a novel into an accomplished work. In addition, it needs a gripping and convincing storyline. It is here that the author has faltered and failed to deliver the goods.

The novel contains a main plot along with several disjointed sub-plots. The main plot describes the life of the protagonist, Tara. Her happy and smug family life is shattered one day when her young and handsome brother, Avinash, is drowned while swimming in a sea. This misfortune is heightened by the fact that Tara, an ace swimmer, could do nothing to save him. Shell-shocked and transfixed, she watches her brother submerge in the deep blue sea. This trauma leaves her heavy with guilt and throughout the novel, she is haunted by regret.

After this calamity, the story develops cracks and begins to lose its plausibility. Tara’s home instantly witnesses a spate of deaths and the next to pass away is Tara’s father. His death seems contrived. It appears that for the sake of the story to proceed he is made to die. Next to follow suit is Tara’s mother, who dies of breast cancer. As if these three deaths were insufficient, Tara’s fiance dies in a most bizarre accident, while trying to save a dog!

So many deaths in quick succession seem highly unnatural. The novel gets suffused with an exaggerated sadness and starts resembling the script of some tragic Hindi film.

Then there are several sub-plots that run parallel to the main story. Although they are not altogether insipid, yet they have little or no bearing with the principal storyline.

Two common characteristics emerge out of the main plot and the sub-plots. First, all these plots deal with the lives of female characters, making it quite apparent that the novel is by, of and for the fair sex. Second, in all these cases the characters resign themselves to the quirks of fate. The turbulence in their lives culminates in some form of feel-good adjustments.

It must also be said that the author belongs to that school of writers who believe that the existence of art is for life’s sake. But in her efforts to enlighten the readers, she has gone a bit too far. The copious manner in which words of wisdom have been strewn around, often leave a reader wondering if he is reading a piece of fiction or an erudite book describing the meaning of this obscure life.

The last two chapters of the novel deal with Tara’s escape to Rishikesh in search of peace. After having some abstract encounters with divinity, she returns home and discovers that Avinash has been reborn. All these accounts, which required a deft handling, have been hurriedly described with complete ineptitude. The story that had set out on a promising note, ends pathetically.