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** ISSN 2475-1359 **
* Bilingual monthly journal published from Pittsburgh, USA :: рдкिрдЯ्рд╕рдмрд░्рдЧ рдЕрдоेрд░िрдХा рд╕े рдк्рд░рдХाрд╢िрдд рдж्рд╡ैрднाрд╖िрдХ рдоाрд╕िрдХ *
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Book Review: Mother Mary Comes to Me
Reviewer – Snigdha Agrawal
Title: Mother Mary Comes to Me
Author: Arundhati Roy (Booker Prize Winner, 1997)
Genre: Non-Fiction / Memoir
Year of Publication: September 2025
ISBN: 9780143473060
Publisher: Penguin Random House, India
Pages: 373
Price: ₹899 (inclusive of all taxes)
At the outset, I would like to clarify that
this review reflects my personal impressions, an intentional surface-level response
to the narrative, rather than a critical examination of political ideologies or
factual accuracy. While some of the author’s views diverge from my own, I do
not seek here to either critique or endorse her politics. I am going to share
what stirred or resonated with me as a reader.
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The cover's visual impact is
instant and compelling. Hardcover in hibiscus-red, title and author name printed
in gleaming black, gives the effect of classic Indian holy books commonly found
on the domestic prayer altar. It is reverential, borders on devotional.
Concealed behind the white jacket is a butterfly motif. A delicate and tasteful
revelation that encourages one to take a second look. This covert design
feature, one that is both surprising and significant, is a visual metaphor for
the memoir itself: layered, intricate, and metamorphic. The proverb "Don't
judge a book by its cover" has seldom been more apt.
The white jacket, like a
wraparound skirt, over the red casing, features two contrasting portraits of
the author. On the front, a younger Arundhati Roy, with a lit beedi
(tobacco-filled, hand-rolled cigarette rolled in a dried tendu leaf), defiantly
sitting on her lips, radiates rawness and rebellion. On the back, the older,
serene-looking woman looks back with a melancholic serenity. Both of these
photographs tell more than a thousand words, narrating the path of a life led
uncompromisingly and on her own terms. The visual curation is nothing short of
brilliant.
The title, Mother Mary
Comes to Me, instantly provokes curiosity. Given Roy’s well-known
ambivalence toward organised religion, born to a Syrian Christian mother and a
Hindu father who later converted to Christianity, one wonders if this is a
reference to a mystical vision, a spiritual awakening, or a poetic metaphor.
The answer, as one reads on, lies somewhere in between. Roy explains that she
never quite belonged to any single religion or practised any religious
tradition. This confession flows like a throbbing vein throughout the memoir.
Whereas her name precedes her
reputation, backed by her prior win, connections with high-profile TV anchors, politicians,
and the movers and shakers in the literary world, what finally pushed me to
read her memoir was a combination of profound interest and respect for her
writing. Roy's narration of tales is seamless and unafraid. There is no
hyperbole, no attempt at veiling or softening truths. She lays bare her soul,
drawing the reader into the innermost recesses of her existence with a candour
that is disarming, making it hard sometimes to turn away or dismiss what she
says.
Fundamentally, Mother
Mary Comes to Me is a poignant exploration of mother-daughter
relationships: strained, complicated, but strongly binding. But the memoir also
branches out to Roy's activism, her public image, her politics, and the
personal wounds that fashioned her into who she is today. She writes about
childhood abuses, of being emotionally brutalised and neglected, of living on
the margins, physically, socially, and emotionally, and of speaking out
despite, or maybe because of, the silencing forces that prevailed around her.
Her mother, herself a hard-hitting activist, is at once a role model and
a source of pain. A woman who defied patriarchal succession laws in Kerala and
won against formidable opposition. She transmitted to her daughter the same
combative spirit. And yet, she also transmitted the trauma. In perhaps the most
burning chapter, "Her Birth Certificate Was an Apology from God," Roy
describes the emotional burden of being an unwanted child, of knowing her
mother had tried several times to abort her. It is ruthless in its candour,
jolting in its emotional nudity. And still bearing this weight, the daughter is
faithful, obedient, to a mother who was never able to really raise her.
This complicated, often heartbreaking relationship forms the emotional backbone of the memoir.
Roy's life, as recorded here, reads
like a tattered red-and-white tablecloth, rough around the edges, smeared with
use, but sewn together with resolve. From poverty to world fame, from the
streets to the spotlight, from camp life in the forests to trial by jury in
courtrooms, her path has never been a straight one. She has lived
unapologetically, made unpopular choices, and in many cases, paid a high price,
in the form of imprisonment, censorship, or demonisation. And yet, her humanity
and ferocity are evident in equal proportions. She will not conform, will not apologise
for her decisions. And in so doing, she inspires.
The memoir is also punctuated
with digressions: accounts of demonstrations, political upheaval, and
incarceration. Although they seem to divert from the main theme, they actually
are crucial. Roy's activism is not an aside or an appendix; it is the essence
of who she is. These parts create tension and urgency in the narrative,
compelling the reader to read on and even to gasp in places.
As the pages turn, so do the
layers of Roy's personality: fiery yet tender, disillusioned yet optimistic,
severely hurt yet deeply self-conscious. She is, simultaneously, her mother's
daughter and her own woman. A product of abandonment and a figure of defiance.
A paradox she accepts more than she denies.
Having just
written/self-published my own individual memoir, I was especially interested in
reading Mother Mary Comes to Me. Although Roy and I have had very
different lives, there are certainly threads of similarity to be acknowledged,
particularly regarding how memory, emotion, and family influence identity. Her
direct candour and unapologetic storytelling caused me to think more deeply
about the vulnerability and courage it takes to share one’s life with the
world.
In short, Mother Mary
Comes to Me is a harrowing, uncompromising, and emotionally nuanced
memoir about a woman who has never followed the rules. It is more than a
chronicle of events; an intimate mapping of the emotional geography of her
life. Raw, defiant, and redemptive. Whether or not one shares her vision of the
world, it is impossible not to be impressed by the courage it took to publish
this book.
A powerful follow-up to The God of Small
Things, this memoir deserves both critical acclaim and a wide
readership. It would not be surprising if Roy adds another prestigious literary
accolade to her name for this explosive and exquisite work of truth-telling.
Verdict: A rousing, gutsy memoir that strips away every veil of the author's public self to show us a woman who is, above all else, human. A must-read.
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Third Eye, now brought to you by AI
Between the brows, where truths would hide.
It whispered cosmic, ancient lore
Now it streams the ads you saw before.
Once it saw beyond the worldly haze,
Pierced illusion, cracked the maze.
Now it pings: "You left items in your cart."
Divine insight, torn apart.
Where yogis sat, serene and still,
Tapping into a higher will
Now your search history lights the screen,
With tailored ads and targeted dreams.
Once one focused on a lotus bloom,
In silent depths of a quiet room.
Now that’s outsourced, replaced in tone,
By buzzing alerts on your mobile phone.
Intuition once danced in the subconscious,
Elusive, deep, mysterious, wondrous.
Now it’s searchable in a Google app
Neatly filed in data maps.
Yes, we've traded mystics for machine,
Enlightenment for dopamine.
The cosmic gaze replaced, alas
By software updates rolling en masse.
The mind has now gone to sleep
Curtained with blinds, got cheap
We no longer seek divine truths
We Google them. Fast. Uncouth.
The irony of it all is stark:
We've dimmed the soul’s once-radiant spark.
All hope of every recovering from this
Is becoming increasingly slim.
***
Ode to Ma’s Third Eye
That works year-round like a fine-tuned harp
It would, hands down, go to Ma,
For her gift of spotting every flaw.
As a teen, I tried my best to fib,
With clever stories and alibis, glib.
But no matter how smooth the tale I spun,
She saw through it all, before I'd begun.
Ma could outwit Sherlock Holmes.
Her third eye pierced through all unknowns.
It interrogated my teenage mind.
“Study group,” I’d say with flair
But one glare froze me mid-air.
Before my foot could touch the floor,
Her voice rang out: “I know the score.”
Dates? Please. I’d try to sneak away,
But her Third Eye blocked the very way.
It scanned the texts, the grin, the hair,
And sniffed out hormones in the air.
Sleepovers? “Just girls,” I’d swear
“Are their parents’ home?” questioned stare.
“I’ll walk you to their door,” she’d add
And just like that, my plans went kaput.
In temples, I bowed. Serene. Devout.
But that Eye saw through my spiritual pout.
No mantra, bell, or incense disguise
Could fool those ever-watchful eyes.
I’m sure she had a secret pact
With cosmic forces to keep me tracked.
While yogis sought enlightenment's glow,
I just hoped her spies would go.
So, here’s to parents with powers uncanny,
Who knows when you’ve lied, without asking any?
A Salute to Ma’s Third Eye that never took rest
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Walk to the bank
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Book review: Heart Lamp
Reviewer: Snigdha Agrawal
BOLD, BRAVE, BANG ON…these are the words that best encapsulate the
stories in Heart Lamp, crafted in a deceptively simple yet deeply
relatable style. As someone who has lived in Karnataka for over three decades,
the geographic and cultural references struck a familiar chord, making the
narratives even more resonant. As a septuagenarian woman, I found myself
profoundly empathetic to the emotional and societal contexts within which the
female characters live, contexts marked by fear, suppression, violence, and
silence. Their pain often felt like a knife turning in the heart.
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Personal
Favourites
Without giving away too much, I’d like to
highlight a few stories that made a lasting impression:
1.
The Shroud – A powerful tale of guilt and atonement that
lingers long after it ends.
2.
The Arabic
Teacher and Gobi Manchuri – A
sharply humorous story, veering into absurdity, yet grounded in socio-cultural
reality.
3.
Be a Woman
Once, Oh Lord! – The last story is a
profound narrative that ties the collection together with philosophical depth
and emotional force. The line, “…because I am your incomplete creation”,
becomes a rallying cry for every woman questioning the fairness of her
existence. It challenges divine infallibility itself: “If you were to build
the world again... Come to the earth as a woman, Prabhu.” The closing
leaves the reader stunned, reflective, and emotionally spent.
On
Translation and Interpretation
Deepa Bhasthi’s translation is commendable for
preserving the soul of the original text. Her deliberate choice not to italicise
or explain colloquial words within the main body respects the texture of the
source language. However, for readers not familiar with the culture and
traditions, this choice tends to shift the focus from the story with having to
search for its meaning. A glossary, either per chapter or at the end of the
book, would serve as a helpful companion, preventing disruptions in the reading
flow without compromising linguistic integrity.
I also found the frequent references to Hindu
mythology and characters from the Ramayana, somewhat tangential. While they may
have been intended to add a layer of intertextual or philosophical depth, they
occasionally distracted from the storytelling. The strength of these narratives
lies in their authenticity and emotional weight, elements that do not require
symbolic reinforcement to make their mark.
Final Thoughts
Heart Lamp is a fearless, uncompromising, and deeply
affecting collection that gives voice to women who have too often been rendered
voiceless. Banu Mushtaq’s storytelling is both a literary triumph and a social
statement; bold in its themes, brave in its execution, and bang on in its
impact. Her characters are not just stories on a page; they are echoes of real
lives, crying out for recognition, justice, and change.
The book’s Booker Prize win is not just a personal milestone for the author but a landmark moment for regional literature, for women’s voices, and the larger movement towards inclusive storytelling. It speaks not only for a community or gender, but for every silenced voice seeking dignity and justice. May Heart Lamp continue to shine its light across cultures, spark difficult yet necessary conversations, and reach the minds of readers in every corner of the world.
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100-word Drabbles: Snigdha Agrawal
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Premonition
Sooraj
refused to wake and rise
Distinctly perturbed, yielding to Baadal
which seized the sky,
pulling over its face, a blackened veil.
Hawa had
long been choked to death,
while Jheel
stood frozen like a pantomime
Silent predictors of an impending disaster
That none had foreseen.
Was this, then, the end of Kalyug as foretold?
Or was it the Ides of March
A harbinger of doom and misfortune
Much like the day that sealed
the fate of Julius Caesar?
A family of pelicans;
A mother and her chicks
Sensed the treachery of the elements.
It was no longer safe to dive
Into a lake poisoned with death
Where lifeless fish floated
Their glassy eyes staring into nothingness
A silent mockery of a world
that once called itself civilized
A world now rogue, unravelling fast,
marching towards self-destruction
the price of ignoring nature’s warnings
Sooraj – sun; Badaal – clouds;
Hawa – wind; Jheel – lake;
Kalyug - Kalyug, or Kali Yuga, is the
fourth and final age in the Hindu world cycle, i.e., the dark age. Kali
Yuga comes from the Sanskrit words, kali and yuga. Kali means "ace"
on a die, and yuga means "yoke" or "age of the world".
(source internet)
Ides of
March – a day in
the ancient Roman calendar that falls on March 15
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The Reckoning
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Saying Goodbye
Skeletal Remains
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Earth Melodies: Snigdha Agrawal
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