Section 3: Pages 90-116
Monsoons regularly flood villages
“A flock of herons fly across. There is a flash of lightning which outshines the daylight. The wind fills the black sails of the clouds and they billow out across the sun. A profound shadow falls on the earth. There is another clap of thunder. Big drops of rain fall and dry up the earth. It has come! Sheets of water, wave after wave. The people lift their faces to the clouds and let the abundance of water come to them. Schools and offices close. All work stops. Men, women, and children run madly about the streets, waving their arms and shouting "Ho, Ho," - hosannas to the miracle of the monsoon." (Singh 92)
In this passage, Singh vividly describes the coming of a monsoon and how everybody in Mano Majera rejoices of the fortuitous happening of large amounts of rain. A monsoon is a blessing in the villagers’ eyes and since it arrives in patterns, the Mano Majera villagers are able to guess when they come due to hints in herons flying across. In the previous passage, Singh describes how monsoons are vital in order for villagers to cultivate their farms and grow food for their family and livestock. In addition, Singh describes how during post-monsoon seasons the environment becomes very arid and dry due to dust clouds drying up many water sources. Singh describes how monsoons are extremely vital in villager’s lives, because monsoons provide vast amounts of water which eradicates droughts. Through the use of metaphors and personification, Singh shows how the “sheets of water” and “the wind fills the black sails of the clouds” are things to be rejoiced with in the town of Mano Majera.
““There was a child born to someone living in the Hindu locality. Without even thinking about communal troubles the hijras went there to sing. Hindus and Sikhs – I do not like Sikhs – got hold of them and wanted to kill them because they were Muslim.” She stopped deliberately. “What happened?” asked Hukum Chand eagerly. “They started to beat their drums and sing in their raucous male voices. They whirled round so fast that their skirts flew up in the air. Then they stopped and asked the leaders of the mob, ‘Now you have seen us, tell us, are we Hindus or Muslims?’ and the whole crowd started laughing – the whole crowd except the Sikhs.” (Singh 104)
In this dialogue, Singh describes just one example of religious discrimination of the Sikhs and Muslims. Hijras are hermaphrodite singers and dancers. The female dancer and singer, Haseen, who is talking to the magistrate, Hukum Chand, is Muslim and explains how Sikhs dislike Muslims. During the time period of the Partition of India in 1947, Singh shows the audience one of the various tensions and disputes that villagers had to go through. Although Hijras are not viewed equally in Muslim, Hindu, and Sikh beliefs, they are obviously seen as being discriminated against and the Sikhs wish to kill them. In the beginning of the book, Singh describes how Hindus and Muslims “both tortured and raped” (Singh 1) each other. Singh emphasizes how the time period during the Partition of India in 1947 was a rocky and dangerous one.
“Toba, Toba! Kill my own village banian? Babuji, who kills a hen which lays eggs? Besides, Ram Lal gave me money to pay lawyers when my father was in jail. I would not act like a bastard.” “I suppose they will let you off now.” “The police are the kings of the country. They will let me off when they feel like it. If they want to keep me in, they will trump up a case of keeping a spear without license or going out of the village without permission – or just anything.” (Singh 106)
This discussion between a budmash, Jugga Singh, and an educated political worker, Iqbal, shows how Jugga did not kill the money lender in the town of Mano Majera. Jugga states how he would not act like a bastard, and shows the reader how he is loyal to his villagers, even though he is mischievous at times. More importantly, this dialogue shows how the current situation was in India during the 1947’s. Singh shows the audience how “the police are the kings of the country,” meaning during the time of Partition in India of 1947, policemen and government officials were corrupt. Policemen were allowed to do whatever things they wanted and get away with it. An example of this can already be seen when Hukum Chand, a prominent magistrate, tries to seduce a young dancer to sleep with him. Jugga explains how the law officials would even make any excuses to keep their prisoners imprisoned, showing how policemen can easily distort the truth at will.
In this passage, Singh vividly describes the coming of a monsoon and how everybody in Mano Majera rejoices of the fortuitous happening of large amounts of rain. A monsoon is a blessing in the villagers’ eyes and since it arrives in patterns, the Mano Majera villagers are able to guess when they come due to hints in herons flying across. In the previous passage, Singh describes how monsoons are vital in order for villagers to cultivate their farms and grow food for their family and livestock. In addition, Singh describes how during post-monsoon seasons the environment becomes very arid and dry due to dust clouds drying up many water sources. Singh describes how monsoons are extremely vital in villager’s lives, because monsoons provide vast amounts of water which eradicates droughts. Through the use of metaphors and personification, Singh shows how the “sheets of water” and “the wind fills the black sails of the clouds” are things to be rejoiced with in the town of Mano Majera.
““There was a child born to someone living in the Hindu locality. Without even thinking about communal troubles the hijras went there to sing. Hindus and Sikhs – I do not like Sikhs – got hold of them and wanted to kill them because they were Muslim.” She stopped deliberately. “What happened?” asked Hukum Chand eagerly. “They started to beat their drums and sing in their raucous male voices. They whirled round so fast that their skirts flew up in the air. Then they stopped and asked the leaders of the mob, ‘Now you have seen us, tell us, are we Hindus or Muslims?’ and the whole crowd started laughing – the whole crowd except the Sikhs.” (Singh 104)
In this dialogue, Singh describes just one example of religious discrimination of the Sikhs and Muslims. Hijras are hermaphrodite singers and dancers. The female dancer and singer, Haseen, who is talking to the magistrate, Hukum Chand, is Muslim and explains how Sikhs dislike Muslims. During the time period of the Partition of India in 1947, Singh shows the audience one of the various tensions and disputes that villagers had to go through. Although Hijras are not viewed equally in Muslim, Hindu, and Sikh beliefs, they are obviously seen as being discriminated against and the Sikhs wish to kill them. In the beginning of the book, Singh describes how Hindus and Muslims “both tortured and raped” (Singh 1) each other. Singh emphasizes how the time period during the Partition of India in 1947 was a rocky and dangerous one.
“Toba, Toba! Kill my own village banian? Babuji, who kills a hen which lays eggs? Besides, Ram Lal gave me money to pay lawyers when my father was in jail. I would not act like a bastard.” “I suppose they will let you off now.” “The police are the kings of the country. They will let me off when they feel like it. If they want to keep me in, they will trump up a case of keeping a spear without license or going out of the village without permission – or just anything.” (Singh 106)
This discussion between a budmash, Jugga Singh, and an educated political worker, Iqbal, shows how Jugga did not kill the money lender in the town of Mano Majera. Jugga states how he would not act like a bastard, and shows the reader how he is loyal to his villagers, even though he is mischievous at times. More importantly, this dialogue shows how the current situation was in India during the 1947’s. Singh shows the audience how “the police are the kings of the country,” meaning during the time of Partition in India of 1947, policemen and government officials were corrupt. Policemen were allowed to do whatever things they wanted and get away with it. An example of this can already be seen when Hukum Chand, a prominent magistrate, tries to seduce a young dancer to sleep with him. Jugga explains how the law officials would even make any excuses to keep their prisoners imprisoned, showing how policemen can easily distort the truth at will.
