An Interview
My Life Exists Within My Literature:
Dr. Indira (Mamoni Raisom) Goswami

A Document of the Literature and Perception of life of
Mamoni Raisom Goswami

Hridayananda : Considering your vast contribution it can be observed that you are a prominent successor of the renaissance of India. In view of this what is your personal opinion?
Mamoni Raisom : My readers and those readers who thoroughly perceive my literature will determine this.
Hridayananda : There is dominant impact of sensitivity in your writings enriched with undeviating real experiences. Did you ever feel that this sensitivity would have been much more dominant?
Mamoni Raisom : Of course there was much scope of making the description of my novels more sensitive. I could have written many things in the first two novels of mine. Especially I could have made "Chenabor Xrot" and "Neelakanthi Braja" more superior. During the time of writing these novels I was a little more than twenty years of age. I was not thirty years of age by that time. It is age, which makes experience and sensitivity more dominant. My personal opinion is this that it is at the age of forty or thirty five that the numerous minute feelings concealed within the heart of man develops. The doctors of today say that it is not till the age of twenty-five that the childhood stage of man ends.
Hridayananda : In several novels like "Tez Aru Dhulire Dhuxorito Pristha" you have revealed electrifying barbarous situations which creates a hair-rising effect upon the readers. While doing this what kind of variation do you maintain between reality and imagination?
Mamoni Raisom : I maintain only a little variation between reality and imagination in my short-stories and novels. I try my best to portray the factual reality in literature. But such a method can't be applied in literature as because literature is an art. In real life I have seen many brutal incidents. Some incidents occur in this world, which are hard to describe. Among all the creatures in this world created by God, man is the cruelest creature. I didn't have to imagine while describing the brutal situations. In fact I had to regulate some strange scenes of reality through subjugation of passion. The experiences of my life are quite extensive. Perhaps to some extent it is mysterious even as said by the people. Similarly as I have met saint like persons, so also I have even come across persons with brutal characters.
Hridayananda : Your chief female characters are extremely bold and rebellious. What would you say about the main reason behind it?
Mamoni Raisom : The resentment and sorrow of my personal life is intermixed with the female characters of mine. In the same way as those are intermixed with the body of Giribala in 'Dantal Haatir Uye Khowa Howda', similarly the expression of my protest against sacrifice of animal is manifested through Bidhibala in 'Chinnamosta' and even in the body of deserted Padmapriya in 'Devi Peethar Tez' is intermixed the same sorrow and resentment. Perhaps this true feeling is clear and effective as it emerges from the heart. Of course it's not I who can judge it, my readers will judge my literature. Often I feel that reality is much more effective than imagination.
Hridayananda : You have achieved unimaginable success at the attractive use of symbols, similies and suggestive in your novels as well as short-stories concerning presentation and development of the story and has both gratified and fascinated the readers. Why is it that these elements are so vital and stimulating in your writings?
Mamoni Raisom : Some facts cannot be exactly defined. This question of yours is also one such fact. Perhaps as a result of creation of numerous reaction of the mind while writing a story and merging with the theme, scenes related to those subjects with it's mysterious reflection upon the sky, air, rivers and mountains open up an unusual door in the heart. That is why during the writing of "Chinnamosta" I imagined the setting sun of the sky as a sky smeared with the sacrificial blood and like the drops of blood falling drop after drop into the water. I want to preserve some descriptions live. Such as during the time previous to the gang-rape they tore off Dorothy Brown's clothes as like pulling off the skin of the body. Her breasts became exposed as if it were a pair of dead doves.
At another part in "Chinnamosta" I have described, "Over there the Brahamputra is in full spate. Those black logs are flowing away. As if these are the dark scars of nails in the heart of the Brahmaputra. As if this is the demolished splendid crest of a temple! Shattered pieces of wood....

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... Once again Dorothy turned towards the Brahmaputra. Oh! Again the Brahmaputra is in full spate. Some more pieces of bamboo, pieces of wood are floating away which have come with the current... Oh seeing it seems as if the burden suspended from one pole, which is used to carry a dead body, is floating away.
I try to make a picture that means a scene look live. I have described about the mysterious death of king Rudra Singha at Rudreswar in "Chinnamostar Manuhto":
"The devotee of the mother Goddess King Rudra Singha's dead body is being hauled onto the boat. At the feet of the king that means towards the end of the boat there lies a few dancing girls drenched with blood. Golden lime pots in their hands, golden waistband around their waists, earrings on their ears, they are girls killed by pressing between bamboos. Good gracious! Blood! Blood! Blood! Far away there lies the severed head of a sacrificed buffaloes...
A smell like the smell of sliced meat ready to be cooked for a feast mixed with the smell of Sewali flower has created a unique situation.
Slowly by slowly the body of the matted haired person became visible through the fog. As if an ancient piece of land has emerged from a lake. This piece of land is full of water, moss and creeper plants. The colour of his body is similar to the bones of a dead man dug out from under the soil."
I have even compared Dorothy Brown in this way: ".......... Her breasts are quite revealing on top of the woolen blouse. As if a struggling white pigeon is spreading her wings while taking her to the sacrificial altar."
I try to depict such type of scenes in my short stories even. For example my short-story "Pashu" can be cited:
" ................. As if every one of the division have turned into beasts. The skin of their bodies has turned thick like the skin of rhinoceros. Their inner world is like the hair on the bodies of polar bears. It is said that these bears can keep their hair and skin dry even after swimming across a sea. Their thirst is like that of the vampire. They are people who can disguise themselves putting on other people's dress as like Hermit crab ... And if necessary? Yes, yes, what can they do if necessary? If necessary they can act like man eating tigers that means they can even tear and eat up the clothes of their prey."
(Mamoni Raisom Goswamir Swanirbasita Galpa, Pp. 72)
All throughout my literary works numerous such scenes are being depicted.
Hridayananda : You never keep back anything while presenting your stories and characters. Do you feel that by doing so you have helped in solving some social problems?
Mamoni Raisom : To the answer of this question I remember the numerous letters of my readers sent to me from Assam and places other than Assam. Many have described how they were inspired in their struggle of life after having read my life story "Adha Lekha Dostabez." I feel that my writings have affected many to the core. Especially I received many letters from readers who have read my autobiography "Adha Lekha Dostabez" and still now I have not stopped receiving such letters. Some even composed poems and sent it along with their letters. I was really surprised to think what effect it had not only on people in Assam but also people who have read its Hindi and English version. Once when I set foot at "Port of Spain" after having crossed many seas, I was quite surprised to see the Hindi version "Zindegi Koi Sauda Nahin" of my: Adha Lekha Dostabez" published by "Saraswati Bihar" Prakashan of Delhi [This book has been published by Saraswati Bihar Prakashan in hard cover and "Hind Pocket Book" in Paper back] in the hands of the first secretary of the Indian Embassy.
They say that after reading this book they were quite fascinated. Dinesh Dwivedi of Madhya Pradesh dedicated one issue of the magazine "Punashwa" published from Madhya Pradesh to my writings. This issue was published on the month of December 2000. Many non-Assamese writers wrote about my literature. Among these are prominent writers such as Amrita Pritam, Mahesh Darpan, Shravan Kumar, Alka Pandey, Dr. Buddhadev Chatterjee, Dr. Bharati Zaveri, Saroj Sharma, M.S. Rajnarayan, Kiran Kumar Rai.
The readers of other places wrote many things after having read this book:
The famous writer of Punjab Kartar Singh Duggal wrote - "The deserted look of Brindavan the spot of amorous sport of Krishna, the description of sorrow and betrayal is quite grievous. In the same way the gradual presentation of the episode of Madhu is also quite heart-rending. Such presentation and expression touches the heart to the core. But the most significant aspect, which fascinates me, is her individual character. I welcome her. There are not many writers in the world who reveal themselves with such unusual character. The creative literary group of Assam can be proud at such adoption of Mamoni Raisom Goswami." (Kartar Singh Duggal, 6 April 1992)
Even the famous writer Mulk Raj Anand wrote: - "After having read this autobiography I have understood one thing that the sensitivity of the writer and her aspiration to present the truth is inexhaustible, which has become extensive through sentiment, uncertainty, indifference and misfortune. Very few contemporary writers have been able to make such impressive manifestation. If the Assamese language can convey such minute genuine sentiment then it is one such Indian language which can give shape to the eternal reverberation of poetical work with its minute internal perceptiveness."
(In Delhi Dr. Mulk Raj Anand inaugurated the Hindi version 'Jeevan Koi Sauda Nahin" of "Adha Lekha Dostabez" first published by Saraswati Bihar. Many personalities graced this inauguration function with their presence such as Amrita Pritam, the famous editor of Janasatta Prabhashi Joshi, the secretary of The Sahitya Akademi of that time Dr. Indra Nath Choudhury. The President of Bharatiya Prakashan Shri Dinanath Malhotra etc.)
Many writers and readers from Assam showed their appreciation towards this book. My favourite reader from the Department of English, Gauhati University, the Head of the Department Dr. Prafulla Kotoki wrote about this book :
"........ Those female and male characters that make their appearance in the stories, those are immemorable. Revelation of private life publicly is in itself a show of inexhaustible courage.............................. Reading her unfinished autobiography the reader can feel like discovering love, nature and the essence of innocence. Infact the book helps us to explore within ourselves................."
I remember one ardent fan of mine who became fascinated in such a manner that if I don't write a letter to him within a week then he would commit suicide................................ Till now some such type of letters are in my possession.
I have a wish to publish in future those poems and letters written by my readers in connection with "Adha Lekha Dostabez." Some poems actually touched me to the core.
The national newspapers also wrote :
An Unfinished Autobiography reads like a fictional narrative with it's dramas and suspense, its twist and turns, its portraiture of real men and women, who seem to be characters risen from the pages of a novel or a short story. A fascinating book to read, enjoy and preserve.
(Shiv K. Kumar, Hindustan Times, May 25, 1991)
As you go through this autobiography it leaves a pleasant feeling in you. All the ups and downs of her life come alive here in a translucent and fearless way. The way she has put across things also attracts attention. She has her own style which sustains interests. The language, too, is equally expressive and alluring. Readers should know the writer is the same Indira Goswami whose novel Mamore Dhora Tarowal won Sahitya Akademi Award in 1982.
In fact, this autobiography has the traits of a novel and that's why it sustains interest all through. It touches you in the raw, as it is also uplifting in effect. Autobiography writing is not an easy genre. It has its complexities. But Indira Goswami has turned it to her advantage by rising it to a higher pedestal from, an individualistic account to an universal account. It brings out her struggles in most vivid details. It, in fact, does proud not only to the Assamese literature but to the entire Indian literature.
(Navabharat Times : 1992)
An extra-ordinary writing, Indira Goswami's unfinished autobiography is extra ordinarily captivating, as well as disquienting - both fascinating and repelling in its naive openness and uninhibited nature..... It is a honest transparently sincere personality that Indira Goswami possesses.......... Reader will undoubtedly look forward to its sequel.
(The Hindu : 22 October, 1991)
"Adha Lekha Dostabez" is one such book which I myself didn't want to write. After Madhu's death I came to Guwahati for some time and again left to join at my job at the Sainik school in Goalpara.
During this time a heart-touching letter was sent to me by the prominent writer Shri Homen Borgohain requesting me to write this book. It was for his request that I have written this book. For some special reasons Borgohain couldn't publish the entire book in the "Neelachal" edited by him. Later on when I published the first chapter of Dostabez after some edition in the 'Asom Bani" then countless letters came to me - Many readers sent their composed poems. I remember that the editor of "Asom Bani" Shri Tilak Hazarika wrote a letter to me informing what tremendous impact this book created among the readers.
I was amazed at the large number of letters and poems sent by readers after they have read this book as because this was not my favourite book, I wrote it only at the request of Borgohain."
Soon after its Hindi and English version were published many non-Assamese people sent letters. I am amazed to think that one gentleman titled Mathur residing at Chandni Chowk came to my residence at the mid night hour after having read the English version. Actually a book can be written about the readers of "Dostabez."
Apart from the Assamese readers those comments made by the prominent Malayalam writer Kamala Das, Amrita Pritam, Mahasweta Devi, etc. were quite inspiring. This time, that means in the year 2001 those words spoken by one of the most famous writer of India Mahasweta Devi concerning my literature at the Barpeta Book Fair, will always remain inspiring for me, similarly the inspiring comments of Dr. Namvar Singh - a famous scholar of Hindi literature will keep on inspiring me. Those literary works which they read through translation, they read those quite attentively.
So, in reply to your question I would say this much that many people of India came to know about Assamese literature through my literary works, of course names of some prominent writers of Assam were know by many outside Assam. When I went to present speech on Srimanta Sankardeva and the Ramayana of Madhab Kandali then many came to know more about the outstanding writings of those personalities. Everyone made me perplexed asking for the translated versions of the Angkiya Naats of Srimanta Sankardeva and the Ramayana of Madhab Kandali.
I have written frankly about those most harsh facts of the society which tormented me. That condition of the Brahim widows in South Kamrup which I have depicted in "Une Khowa Howda", now its no more there. It is hoped that the luminescence of knowledge will reach every nook and corner. Now the Brahmin widows of South Kamrup doesn't hesitate to go to the court in demand of their legal rights..................... .... This hasn't happened due to the reading of my book. But it cannot also be denied that my book has some effect concerning this.
The celluloid version of some extracts of "Une Khowa Howda" caught the attention of many audience. This film titled "Adajya" won the appreciation of the people at several places. The names of the Film Festivals where this film took participation are worth mentioning:
Calcutta Film Festival,
International Film Festival of India at Thiruananthapuram,
Karlovy Vary Film Festival, Montreal World Film Festival,
Focus on Asia, Fufuoka International Film Festival,
International Women's Film Week, Tokyo Film Festival,
Hawai Int'l Film Festival,
13 Mar Del Plata Film Festival, Argentina,
Festival des 3 Continents, Nantes, France,
Cairo Film Festival,
Goteberg Film Festival, Sweden,
Film India Festival, UCLA, Las Angeles,
International Film Festival, Istanbul,
International Film Festival of India, New Delhi,
Singapore Int'l Film Festival,
Pusan International Film Festival,
International Film Festival of India, Hyderabad,
Asian Film Festival, Bangkok etc.
At this point I would like to mention the recognisations given to "Adajya" by the people :
G. Aravindan Puraskaram for Director's First Film, 1997, Silver Lotus for Best Feature Film in Assamese in National Film Festival,
Best Photography for Mrinal Kanti Das in National Film Festival, Special Jury's mention for actress Bhagirathi in National Film Festival,
Silver Peacock and a cash of Rs. 2.5 Lakhs as Jury Award in Asian Director's Competition at International Film Festival of India, 1998.
Certificate of "Outstanding Film of the Festival" at International Film Festival, Istanbul etc.
Many scholars gave various comments after reading "Une Khowa Howda." Translated versions can never take the place of the original text. But the world can also be seen through the flimsy curtain of fog.
Some comments of scholars and newspaper are being quoted.
"Blessed with brains a writer's itch and a solid social background, Indira Goswami (Mamoni Roysom Goswami) came full circle to shine like a star in the literary and academic firmament of that great sub continent of Bharatadesha.
(Sunday Observer in Sri Lanka)
: I feel that with the publication of the book "Dantal Haatir Une Khowa Howda" (The moth eaten Howda of a tusker) a great writer has emerged amidst us. Mamoni Goswami tells a wonderful story, a story of disintegration of power, of unbelievable suffering of men and women and also of tremendous courage and the tremendous pain that love brings. The characters so Assamese and yet so universal alive and kicking real and exciting, to say the least, kept me haunting for many days. It is an unforgettable work. (Professor Sisir Kumar Das, the internationally known scholar and the Tagore Professor of Delhi University). The famous Hindi litterateur and creator of "Tamas" Bhisma Sahni commented on "Dantal Haatir Une Khowa Howda" (Saga of South Kamrup) :
It is not merely fortuitous that as soon as you turn the opening pages of this novel, you are face to face with an ambience which is misty and does not allow you to look through. Yes, there is mist all around, as there are dense forests with a variety of animals hollering in an awesome way. Then, there are uneven path ways lined with knots of opium-eaters, as there is a leper squatting near the bridge like an accursed being. We also hear the wailings of the wretched widows which come pouring out of the innards of their dilapidated houses. Besides, a myriad taboos of ritualism hold them in their vice-like grip.
There is the locale of this novel which is inhabited by Indranath and some other characters. On occasions, we do find patches of moonlight here and there, as we also come across female beauty and experience ripples of unsullied joy rising in our heart, but for most of the time, we suffer the traditional society which needs to be ripped apart and to an extent, a few characters do make an attempt in this direction. Ultimately, however, Giribala has to lay down her life, Indranath falls victim to his own men and Durga vanishes in the thin air because of her tuberculosis.
But this novel does not merely tell us the story of these characters. It has a wide spread and spans the entire society. Its reading is an unforgettable experience. Whenever my mind wanders back to this sombre, penumbral and horrid atmosphere, I feel overpowered by awe.
Indira Goswami has turned out a powerful novel. She needs to be congratulated heartily. It will undoubtedly, be welcomed by the Hindi world.

(Bhisma Sahni)
New Delhi,
August 12, 2000.

When I went to some villages the villagers collected funds to welcome me. They had huge structures created over the gate. On seeing all these, sometimes tears almost ran down my cheeks. In this way at times I go amidst my favourite readers and they welcome me with such warmth that I couldn't free myself from that bind of love of theirs. Numerous struggles followed. Tears almost came out of my eyes.
Hridayananda : You are a humanistic litterateur. You are always involved in pursuit of fearless, sympathetic heart. In this regard what inspires you or what is the power behind which gives you the energy to do so?
Mamoni Raisom : It was not necessary to teach me about humanity. This flow is an inborn flow of the heart. But I could never forget the teachings of my mother and father. Once in childhood I saw my father doing a strange thing - A butcher was dragging away a black goat to slaughter it. My father paid a large sum and bought that goat. While it was being dragged away the goat was bleating continuously. Father was moved and made the goat our companion at play after having bought it from the butcher. It was during the time of our father that the tradition of killing goat by suffocation putting its head into a pit during the annual death Anniversary feast of our grandfather came to an end at our ancestral sattra residence in South Kamrup. The domestic elephant of our sattra residence was shot to death at the order of the Government after it killed people being mast. Till now I remember how my father shed tears that day.
My mother Ambika Devi was also a very kind-hearted lady. The way she helped the teachers of Primary school, poor students etc., all these now seem to be stories for me. If she wanted to, she would have spent a lavish life full of comforts. But the word lavishness wasn't known to her. Once she showed extreme courage and extinguished the fire occured from a lantern which almost burnt our house. When I think about this now, I feel quite fascinated. Once a helpless young girl came to our residence in search of work. The clothes worn by her were in shatters. Mother went out in the rain and bought for her a dress. Due to her going out in the rain, mother suffered from fever for two days. Later on we came to know that the girl's character wasn't good. Our relatives commented that mother wasn't so wise concerning worldly matters. But mother had some divine qualities. I was quite influenced by those.
I always dreamt that all the people will be vegetarians one day. Clots of blood would disappear from slaughter houses, temples and places of feast. For the first time when I saw the terrified eyes of buffalo taken away for sacrifice and the pathetic scene of the buffalo passing out ordure in fear, for many days I couldn't think of any thing else. That scene came to my mind every now and then.
I felt quite helpless. As for these things always come to my mind, I have expressed these things in the novel titled "Chinnamostar Manuhto." I stopped eating fish and meat. This notion became embedded in my mind that it is man who can be the most cruel animal on this earth. Buddha and this cruel animal reside side by side in this world. I have always tried to understand the mysterious character of man.
What I express is that which is the manifestation of the spontaneous flow of the heart. For that I don't have to make any effort. That is why I even venture to know about the feelings of murderers and insurgents by going to their side. In order to know what would be the smell of blood and stale corpses be like I went to the morgue at Barafkhana in Delhi. In order to know the mental attitude of the prostitutes I sat on the same bench with the prostitutes at G.B. Road in Delhi....... That feeling which I believe is honest, I depict that in my literature. For that I have no fear or hesitation.
Hridayananda : What is the biggest problem of modern man? Are you certain that you have illustrated that problem?
Mamoni Raisom : The biggest problem of modern man is this that they want to get all their desired things at once. That for acquiring these there is necessity of severe efforts, many of them can't think about this fact. They are always affected by self conflict. At such a time one is bound to persevere to achieve one's goal ignoring every other aspect.
Hridayananda : Do you wish to remain individually alive in the minds of people or would be pleased to see your literature remain alive?
Mamoni Raisom : Firstly, I never had this notion that there is nothing in this world which is ever lasting. I remember a stanza of a poem of my childhood days composed by some poet -
"It is the coffin which is my bedroom
It is the grave which is my village
It is mud which is my body
It is dust which is my last name.............."
In this way this stanza was being recited to me in childhood by my uncle Shri Subha Chandra Barua. It remained in my memory. I learnt to understand life as such-. But it is true that my life is intermingled with my literature. So, if my literary creations remain alive then perhaps the woman (I) will remain in the imagination of the readers. But who ever knows about it?
Hridayanda : Whatever maybe there in destiny but people wish that you may remain alive forever. You and your literature will remain united for time immemorial- This is the wish of your readers and well-wishers. Now let me ask you the last question- Man's outlook towards life changes in accordance with time and situation. What is your opinion concerning what ought to be the outlook of man towards life like?
Mamoni Raisom : Man's outlook towards life changes with the times and situations. I wish that man may remain as human beings. This is the wish of my heart. When man has this profound realisation that what is the meaning to remain alive as human beings is, it is only then that the world will transform into heaven.

Editor

Hridayananda Gogoi