Contemporary Manipuri Short Stories
- Part 4 -

Nahakpam Aruna *

Library at Manipur University (MU) , Canchipur as seen on October 21 2014 :: Pix - Deepak Oinam

The voices of the marginalized, poor and impoverished peasants, deprived segments of the society – all find their space in Manipuri short stories. Most writers have an inclination to represent their realities. Getting out of the phase of romanticism and idealism and coming closer to realism began with the advent of the age of Meirik.

The flow of this trend is still prevalent till today. In the multiple currents of themes in short story writing, the theme related to the marginalized voices occupies a significant space. It is also pertinent to study the different ways in the depiction of these voices. Writers like Biramani in their later works resort to realistic depiction after withdrawing from their earlier experimental approach.

Despite the struggle and hardship of the individuals, the over dominance of certain social symbols prohibits the marginalized to come out of their social strata. Priyokumar's "Eekhoi Yumlonnaba" (Our Neighbour) captures the widening gap between the rich and poor has even altered conventional kinship relationships into that of the purely economic categories of "lender" and "borrower."

His uniqueness lies in the strength to portray the unsung, unseen and unheard peripheral lives in the hills and dales of Manipur. He successfully mirrors the soulful voices of these people thus strengthening his social commitment that can be easily traced in his writings. The fragility of life in the face of ruthlessness of time and poverty is strikingly opposed by Sudhir in his "Mei Changlaba Chek" (The Brick in the Fire Ordeal). He tries to trace the power of resilience and the hope to assert even by individuals who are yet to be turned into baked bricks.

In recent times, the resounding echoes of gunshots have shaped lives into a state of turmoil. The outbreak of armed political violence in the valley in 1978, subsequent counter insurgency operations from 1980, and the impact of these two developments have left an indelible mark of fear in the minds of the common people. To live or to die are no longer determined by fate alone, and the challenge of life is to live with uncertainties.

Since these nightmares have become an inseparable part of our day to day existence, the same have become core themes of many Manipuri short story writers. Atrocities committed by state forces, the mayhem created by the tussle between state and non-state forces, violence committed by goons pretending to be defenders of the land have become significant issues.

Manipuri short story writers have also adequately represented similar nightmares in the hills. Ever since the fratricidal killings between two ethnic groups, the fire of violence rages on. In this game of death, women, children and the innocents are not spared just like the virgin green patches turning to ashes.

The sheltered and tranquil existence of the people has turned into shattered and anxiety filled life on the run. One can no longer lead a normal life. The unfolding of endless violence and the enactment of the same has given an air filled with the sound of crying children and wailing mothers. Heart rendering tales from on and off the battle fields have become recurring themes from the hills.

Priyokumar's "Nongdee Tarakkhidre" (The Rain that Failed), Premchand's "Christmas Loiraga" (After Christmas), Dr. Ch. Ningomba's "Narakta Nantharakpa Swarg" (A Heaven that fell on Hell) and "Joseph Ki Macha" (Joseph's Child), picturise the chaos and uncertainties of lives in the hills.

In the 1980s, there emerged a group of women writers who drew inspiration from various sources and perspectives. The range of writings focused from the sheer achievements of the women to the despicable and appalling conditions of the women in society. Measuring the status of women, their fall or grace, is largely shaped by traditional values that reinforces and safeguards the patriarchal morality.

These contentions have been challenged by contemporary women writers. Their writings reflect the pangs and angst of living through the world governed by the rules and boundaries set by a patriarchal order. The pain of performing the responsibility imposed by the social norms and prevailing moral code of conduct has been expressed with a sense of dissent.

This voice of dissent is found in the writings of young women writers like Kshetrimayum Subadani, Haobam Satyabati, Memchoubi, Khumbongmayum Bimabati, Binapani and Ningombam Sunita. Bimabati in her "Yotlhingdugee Wangmada" (Beyond the Shackles) expresses the anxiety of women on the loss of identity bounded by the norms of marriage under the over rated notion of "unity of souls."

Sunita's "Mangalgee Maikeida" (Towards Radiance), underscores the advantage taken by men of women's tenderness, and challenges male defined idea of purity and chastity. Subadani and Satyabati make an attempt to build an alternate morality not based on social parameters defined by men. Despite all the efforts, these writings are yet to form a significant collective voice in the Manipuri literary tradition.

A century old short story writing culture in Manipuri has now entered the corridors of the twenty-first century. Traversing back into the history of Manipuri short story tradition, one finds a wide range of perspectives, styles, experiments and execution forming a rich body of work that calls for further research, interpretation and scrutiny.

Manipuri short story writers have kept pace with their counterparts in India and other parts of the world not only in terms of the short story's quantitative strength but also its qualitative potency. However, there is a felt need to give extra rigor to a more insightful narrative structure keeping in mind the tremendous potential this literary tradition has imbibed.


(This article originally appeared in Manipuri as one of the chapters titled "Houjikki Matamgi Manipuri Warimacha" in Nahakpam Aruna's Nongthangleima Amasung Taibang, Imphal, 2001. It was abridged and translated by Dhiren A. Sadokpam in 2008.)

Concluded..