Free Ebook The Temple Is Not My Father: A Story Set in India, by Rasana Atreya
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The Temple Is Not My Father: A Story Set in India, by Rasana Atreya
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Ensnared by a tradition hundreds of years old, a woman fights for her daughter's happiness.
From the author of Tell a Thousand Lies, which was shortlisted for the 2012 Tibor Jones South Asia award. UK's Glam magazine calls Tell a Thousand Lies one of their "five favorite tales from India".
If you like Rohinton Mistry or Shilpi Somaya Gowda, you might like this short story.
- Sales Rank: #30395 in Audible
- Published on: 2015-01-26
- Format: Unabridged
- Original language: English
- Running time: 94 minutes
Most helpful customer reviews
5 of 5 people found the following review helpful.
Dedicated to Goddess Yellamma - married to the Goddess or married to the `temple.'
By Grady Harp
Rasana Atreya is an important writer - not only because she creates novels of intense interest and fine writing technique, but also because she is unafraid to take on the circumstances of her mother country India and as a proactive feminist brings to light aspects of Indian tradition and cultural proclivities that are likely unknown to most Westerners.
The theme of her brief novella is the concept of the Devdasis, the sacred prostitutes of India who are given into a life of disdain by parents or guardians and serve the sexual appetites of men. Rasana opens her story with her main character Godavari explaining her life station with her daughter Sreeja - being married to the goddess Yellamma at age seven, and taken to the temple by her parents (her mother crushed by the father's decision to sell Godavari to the temple and thus to the life of a devadasi. Upon Sreeja's birth Godavari's mother wills her money to prevent Sreeja from being destined to live as a devadasi - a move that makes her family irate, forcing Gadavari and her daughter to live in the mud walled little home of her mother in seclusion. The options begin to change as two Indian girls - Neeraja and Vanaja - arrive from the US to escape American loose life and learn Indian customs. Sreeja and the two girls bond, but Sreeja is removed from Godavari to be put up for adoption in an attempt to prevent her form following in her mother's footsteps. But with the many twists and turns of the plots we find Godavari changing her life, learning computer skills, joining a non-governmental organization to salvage young girls from the life she has suffered, nurtures Raji, a child mute form the experiences of her life, and teaches at least one should to resist and grow.
Elegant, eloquent and profoundly moving, Rasana Atreya has the gift and she is using it very well indeed. Grady Harp, July 14
4 of 4 people found the following review helpful.
A plot distorted for the sake of the climax?
By Jay Howard
This story is a flowing, easy read and I found myself looking forward to the next section when I had insufficient time to complete it at one sitting. Having finished it I sat momentarily stunned at the final climax. Then I started thinking about what I had read.
The MC, Godavari, was young, with very limited experience of the world. She had low self-confidence, low self-esteem. She saw herself as the other villagers saw her, as someone bearing the stigma of being a devadasi. But she also had a secure home and income. She had a mobile phone so she could, if she wished, discuss things with her sister and the NGO women who were offering her help. Why is Godavari’s mobile phone mentioned so often yet she never uses it to good purpose? Why does Godavari’s mother have to commit suicide to help her daughter? She had other young children who needed her too so why would she not seek an alternative method? Why did Neeraja and Vanaja promise to see Sreeja every month and pass on news of her to Godavari but never do? Most telling of all, why did Godavari trust the man who had raped her with her beloved daughter’s future? The list goes on and on in my mind. Whichever way I turn it over in my mind I’m left with the nagging feeling that the choices the MC (and her mother) made were ones driven by the author’s need to create the circumstances for the dramatic finale, rather than choices a woman in that situation would actually have made.
Apparently there is a sequel due which addresses the things left unexplained. In my opinion it’s too late to do so in a sequel; this novella was written for an international audience unaccustomed, as am I, to Indian cultural mores. I have tried very hard to put myself in the shoes of a young, relatively uneducated Indian woman. Without expansions of parts of the story which at the moment are unclear I have only my imagination to aid me in trying to feel as Godavari would. My thinking time has been limited; within the timeframe of the story the MC had plenty of opportunity to ponder her situation and make better decisions. If I am to believe she would have acted as she did I need to know her better, more about her and more about her neighbours and situation. Any story should be able to stand by itself; the only story I can review is the one sent to me and I feel hobbled by lack of information.
This novella made me aware of a custom in India of which I, as a Westerner, was previously unaware. Since reading this story I have read several accounts of the lives of the devadasis. Incidentally, in the copy I was sent for review the author consistently uses the term devdasi which she assures me is an accepted alternative spelling, although I cannot find it online anywhere. For centuries it was a system of dedicating young girls to the goddess Yellamma, and their subsequent service, on the face of it to the temple, in actuality to men. As cultured musicians and artists they had high status, despite their sexual services to the rich and powerful men whose patronage allowed them a life of such leisurely pursuits. It was made illegal in 1988 but continues in a degenerate form; girls’ virginity is sold to the highest bidder and pimps take over this supply of prostitutes. Such abuse of children happens all over the world and can only be combatted when people are aware it is happening, so well done, Rasana Atreya, for telling a story that raises consciousness of the issue and hopefully it will be one of the many small things which, when added together, will end such abuse.
3 of 3 people found the following review helpful.
Indian women and power (or the lack thereof...)
By John P. Jones III
Ever since the days of my youth, when I undertook an extensive 7-week tour of India, I have had an enduring fascination for the "wonder that was (is) India" to use, and paraphrase the title to A.L. Basham's excellent history. I've also been drawn to, and have read a number of Indian writers, including Arudhati Roy, Amit Chaudhuri, Anita Desai and Krushwant Singh. One writer, Ved Mehta, in his impressive Portrait of India has presented an eclectic and broad-spectrum view of the many Indias, both in terms of geography and society. The one area that has been most elusive to me, certainly uncovered in the 1971 trip, but also by my selection of Indian writers, has been the central east coast, specifically Orissa and Andhra Pradesh. Telugu is spoken in much of the latter Indian state, and Hydrabad, where I have been to, is its capital. When I was offered this novella from Rasana Atreya, I realized that I could "fill in some gaps."
The practice of "devadasi" is at the heart of this novella. Admittedly, I had never heard of it. Wikipedia provides a somewhat anodyne view of the practice, and if that was the sole source, one might conclude that it is not much different that a woman entering a nunnery in the West, and even mentions the high status the "devadasi" women have in society. It also mentioned that it was outlawed in India in 1988. Why so, one might wonder? Atreya provides the reasons!
The two principal characters are a 22-year old woman, Godavari, and her daughter, Sreeja, who is around seven. Men are the bad guys in this novel, no doubt with considerable justification. Power, and the ability to obtain money, by selling their daughters to the temple, are at the heart of the matter. Sreeja has no (known) father, but realizes, as the title proclaims, that the temple is not her father. The author does a good job of unfolding the story via two other characters, teenage girls, Vanaja and Neeraja, who are marooned between two cultures. They are Americans, but were sent back to India to be with relatives because "dear old dad" is afraid they will be corrupted by America, and only traditional India is "safe," seemingly ironically oblivious to the deep corrupting influence of practices such as devadasi. "NGO" (non-governmental organizations) ladies also play a crucial role in the climatic developments of the story.
Atreya packs a lot into a wonderful introduction to her work, though I thought the ending was a bit contrived... like all too many a movie out of Bollywood. Nonetheless, it has been enough to conclude that the author has something useful to say, so I'll be reading Tell A Thousand Lies: A Novel Set In India, which is her more famous work, having been short-listed for the Tibor Jones South Asia prize in 2012. And it is a full novel. For "The Temple is not My Father" novella, 5-stars.
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