An Introduction By Kamala Das

This task is based on a group discussion about the poem An Introduction by Kamala Das. The task was assigned by Prakruti Bhatt ma'am.

Question which discussed by group

1.Is “ An Introduction” by Kamala Das a personal or a universal  poem? Justify your opinion.

2.Comment on the writing style of Kamala Das.

3. is there any personal connection between An Introduction poem and Kamla Das's life ?
     
4. Thematic and critical study of An Introduction poem ?
     
5. Kamla Das as confessional poet.

We also discussed the poem An Introduction in terms of escape and protest.

Name	Need Improvement	Good	Very Good	Excellent	Attendance
Shruti Sonani				✅	Present
Khushi Raviya			✅		Present
Jyoti Mer	✅				Present
Divya Paledara			✅		Present
Rozmin Pathan		✅			Present

Shruti guided the discussion, and each member participated equally. We took turns addressing every question thoughtfully, making sure everyone was involved. As a group, we covered all the important aspects of the topic in detail.

1.Is “ An Introduction” by Kamala Das a personal or a universal  poem? Justify your opinion.

“An Introduction” by Kamala Das is both a personal and a universal poem. It begins with her own life story, but the message she shares applies to many women in society.

Personal Aspects:

The poem is personal because the poet talks about her own childhood, marriage, emotional struggles, and her desire to write freely. She uses her life experiences to show how she felt restricted by rules made by society. The emotions in the poem come directly from her own journey, making it deeply personal.

Universal Aspects:

At the same time, the poem is universal because it speaks about problems faced by many women. It shows how society tries to control women’s behavior, choices, and identity. The poem raises important questions about gender roles and the right to speak and express freely. These issues are not only faced by the poet, but by women all over the world.

Conclusion:

So, the poem is personal in its expression but universal in its message. Kamala Das uses her story to represent the voice of many women, making it meaningful to a larger audience.

2.Comment on the writing style of Kamala Das.

Kamala Das’s writing style is bold, emotional, and highly personal. She writes with honesty and courage, often breaking traditional rules of poetry and language to express her inner feelings and struggles.

Confessional Tone:

Her style is confessional, which means she openly shares her private experiences, emotions, and pain. This makes her poems feel very real and powerful, as she talks about love, identity, body, and loneliness.

Simple and Direct Language:

She uses simple and clear language, which helps readers easily understand her message. Even when she talks about complex feelings, her words are direct and full of emotional depth.

Free Verse and No Fixed Structure:

Kamala Das often uses free verse, which means her poems do not follow regular rhyme or rhythm. This gives her freedom to express thoughts naturally, just like a conversation or diary entry.

Personal and Universal Themes:

Though her poetry is based on her personal life, her themes—such as gender roles, self-expression, and emotional suffering—connect with readers everywhere.

Conclusion:

In short, Kamala Das’s writing style is honest, fearless, and emotional. Her use of simple language and free verse makes her voice strong and unique in Indian English poetry.

3. is there any personal connection between An Introduction poem and Kamla Das's life ?

Yes, there is a strong personal connection between An Introduction and Kamala Das’s own life. The poem reflects her personal experiences, emotions, and struggles as a woman and a writer in a traditional Indian society.

Autobiographical Elements:

Kamala Das shares real details about her childhood, her early marriage, and her desire to express herself through writing. These are all based on her own life, which makes the poem autobiographical.

Struggle for Identity:

She writes about the pressure to follow society's rules for women and how she wanted to find her own identity. This struggle was a big part of Kamala Das’s real-life journey as a female poet in a male-dominated world.

Search for Freedom:

Her wish to speak freely, to write in her own voice, and to live life on her own terms is taken directly from her personal experiences. She faced criticism for speaking openly about topics like love, body, and desire.

Conclusion:

So, An Introduction is deeply connected to Kamala Das’s life. It is not just a poem, but also a reflection of her real feelings, challenges, and fight for self-expression.

4. Thematic and critical study of An Introduction poem ?

An Introduction by Kamala Das is a powerful poem that explores several important themes related to identity, womanhood, and freedom. It also holds an important place in Indian English literature because of its bold and personal style.

Thematic Study:

1. Search for Identity:

One of the main themes is the poet's search for her true self. She questions the roles given to her by society—like being a wife, a woman, or someone who must follow rules. She wants to create her own identity, not one given to her by others.

2. Rebellion Against Patriarchy:

The poem strongly challenges patriarchal rules that tell women how to speak, behave, or dress. Kamala Das expresses her anger against these social norms and demands the right to make her own choices.

3. Language and Expression:

Language becomes a symbol of freedom in the poem. The poet wants to write in her own way, using the words she feels comfortable with. This shows her fight to express her thoughts without restrictions.

4. Female Body and Desire:

The poem also deals with the theme of the female body and emotional desires. Kamala Das writes openly about love, pain, and physical experience, which was very bold and uncommon for her time.

Critical Study:

An Introduction is written in free verse, without any fixed rhyme or rhythm, which reflects the poet’s desire to break away from limitations.

The confessional style makes the poem very honest and emotionally strong. She does not hide her pain or confusion but shares it directly with the reader.

Critics appreciate the poem for its boldness and originality, especially in the context of Indian society where such topics were often silenced.

Some readers see this poem as a feminist text because it gives a strong voice to the struggles of women and calls for personal freedom and equality.

Conclusion:

An Introduction is a deeply personal yet universal poem. It talks about the poet’s real experiences while also reflecting the common struggles of many women. The poem is important for its strong themes of identity, rebellion, and expression, making it a significant work in modern Indian English poetry.

5. Kamla Das as confessional poet.

Kamala Das is widely known as a confessional poet because she writes about her private life, personal emotions, and inner conflicts with honesty and courage. Her poems, including An Introduction, focus on subjects that were considered taboo in Indian society, such as female desire, marital unhappiness, loneliness, and identity.

What is Confessional Poetry?

Confessional poetry is a style of writing in which the poet openly talks about personal experiences, including mental pain, relationships, and emotional struggles. It is intimate, self-revealing, and often very intense.

Why Kamala Das is a Confessional Poet:

1. Personal Subjects:

She writes about her own life—her childhood, early marriage, emotional suffering, and search for love and acceptance. These topics come from her personal journey.

2. Emotional Honesty:

Her poetry does not hide anything. She speaks freely about her feelings of sadness, desire, anger, and confusion. This openness is a key feature of confessional poetry.

3. Focus on Female Experience:

She honestly describes the challenges faced by women—like loss of freedom, pressure to behave in certain ways, and emotional neglect. Her poems give voice to what many women feel but cannot say.

4. Use of First-Person Voice:

She often uses “I” in her poems, which shows that the speaker is directly talking about herself. This personal voice makes her poetry feel raw and real.

Conclusion:

Kamala Das is rightly called a confessional poet because of her fearless way of expressing her private thoughts and emotions. She turned her personal life into powerful poetry, helping to create space for female voices in Indian English literature.

Maharaja: Analysing Editing and Non-linear Narrative

Maharaja: Analyzing Editing and Non-linear Narrative

This blog is created as part of the studio activity for the unit Introduction to Film Studies, guided by Dr. Dilip Barad Sir. For more details, please refer to the course material. Click Hear

PART A: BEFORE WATCHING THE FILM

1. What is Non-Linear Narration in Cinema? 

Answer : Non-linear narration in cinema is a storytelling technique where the events of the film are presented out of chronological order. Instead of following a straight timeline from beginning to end, the narrative jumps between different time periods—using flashbacks, flash-forwards, or fragmented scenes. This technique is often used to create suspense, reveal important information gradually, or reflect the psychological state of characters.

For example, in Christopher Nolan’s Memento (2000), the story unfolds in reverse order, mirroring the main character’s short-term memory loss. Similarly, Pulp Fiction (1994) presents different stories non-sequentially to add complexity and engagement.

2. How Can Editing Alter or Manipulate the Perception of Time in Film? 

Answer :  Editing allows filmmakers to reshape the flow of time in a film by compressing, expanding, or rearranging events. Techniques like flashbacks take the viewer into the past, while flash-forwards show future events. Ellipses skip over time to move the story forward quickly. Cross-cutting and parallel editing show two or more actions happening at the same time in different locations, creating tension or comparison. These techniques help control how the audience experiences the passage of time, making storytelling more dynamic and emotionally impactful.

PART B: WHILE WATCHING THE FILM

Scene/Sequence	Approx. Timestamp	Time Period	Visual / Editing Clues	Narrative Purpose
Maharaja reports missing dustbin	00:23:00	Present	Real-time pacing, no dramatic music	Introduces mystery and Maharaja’s calm but serious attitude
Flashback: Maharaja’s wife killed in accident	00:06:30	Past	Faded colors, slow motion	Reveals deep trauma and past loss
Cobra seen entering house	00:17:00	Symbolic / Present	Sudden close-up, fast cut	Represents rebirth, revenge and rising tension
Flashback: Daughter Jothi assaulted	01:42:00	Past	Desaturated tones, fragmented shots	Adds emotional weight and shows reason for revenge
Parallel: Police mock Maharaja’s complaint	00:25:00	Present	Cross-cut with flashbacks	Highlights disconnect between Maharaja and others
Police fake return of dustbin	01:55:00	Present	Bright lighting, comedy tone	Distracts from real crime, irony in narrative
Flashback: Maharaja kills Dhana	01:10:00	Past	Handheld camera, fast cutting	Reveals moral shift, justifies vigilante justice
Reveal: Selvam is Jothi’s biological father	02:14:00	Present	Close-ups, dramatic lighting	Adds twist and emotional complexity
Climax: Selvam jumps off building	02:17:30	Present	Long take, background score fades	Provides resolution, tragic end of villain

PART C: NARRATIVE MAPPING TASK 

1.Construct a Timeline of Events as They Occur Chronologically (Story Time)

Section A: PAST EVENTS

Section B: PRESENT EVENTS

Order	Event	Description
1	Maharaja Reports Missing Dustbin	In the present, Maharaja visits the police station to report that his red dustbin “Lakshmi” is missing. He behaves calmly but firmly, creating confusion among officers.
2	Police Investigate	The police dismiss his complaint at first but gradually realize the dustbin may be connected to a serious crime.
3	Maharaja’s Revenge Unfolds	As investigation progresses, flashbacks reveal Maharaja’s actions and motives. Selvam panics and ultimately commits suicide, unable to face justice.
4	Truth is Revealed	In the end, the audience learns that Maharaja’s “missing” dustbin was never about an object—it symbolized the trauma, justice, and memory of his past.

2. Create a Second Timeline of How Events Are Revealed to the Audience (Screen Time)

Order	Event (as shown on screen)	Narrative Technique	Purpose
1	Maharaja reports a missing dustbin at the police station	Starts in the middle (in media res)	Creates mystery — why is a dustbin so important?
2	Police mock his complaint and ignore him	Real-time sequence	Builds tension and curiosity about Maharaja’s character
3	Flashback of Maharaja cleaning the dustbin and worshipping it	Flashback / symbolic imagery	Suggests emotional attachment; builds symbolic meaning
4	Flashback: Death of Maharaja’s wife in an accident (very brief)	Fragmented flashback	Adds emotional depth and hints at a tragic past
5	Police try to return a random dustbin to Maharaja	Irony / black comedy	Continues misleading the audience, builds absurdity
6	Flashback to Jothi being assaulted (revealed partially at first)	Delayed flashback, montage	Begins to unravel the true motive behind Maharaja’s pain
7	Maharaja is shown cleaning blood, killing Dhana (revealed slowly)	Slow-reveal flashback	Twist moment: he is not just a grieving father, but has taken revenge
8	Selvam grows paranoid and attempts to flee	Parallel editing	Raises stakes — audience now suspects Selvam’s deeper involvement
9	Flashback: Jothi is revealed to be Selvam’s biological daughter	Major flashback twist	Deepens emotional conflict and moral ambiguity
10	Climax: Selvam jumps from the building	Present timeline / Real-time	Provides closure to narrative and resolves central conflict

3.Brief Reflection (150-200 words)

What effect does the editing have on your understanding of the characters and events?

Answer : The editing in Maharaja (2024) creates suspense and slowly reveals the truth about the characters. At first, Maharaja seems like a strange man upset about a missing dustbin. But through flashbacks and non-linear scenes, we learn about his painful past, his daughter’s assault, and his hidden plan for revenge. This changes our view of him completely. The editing also hides Selvam’s true nature until later, making the story more powerful and emotional.

Did any reveal surprise you because of how it was edited?

Answer : Yes, the biggest surprise was the reveal that Maharaja's daughter, Jothi, had been assaulted and that the missing dustbin actually contained the body of her attacker, Dhana. The editing delayed this truth using flashbacks and misdirection, making the dustbin seem like a silly obsession at first. When the flashbacks slowly revealed the trauma and Maharaja’s revenge, it was shocking and emotional. The editing made the twist more powerful by hiding key events until just the right moment.    

Would a linear narrative have had the same emotional or intellectual impact?

Answer : No, a linear narrative would not have had the same emotional or intellectual impact. In Maharaja (2024), the non-linear structure creates suspense and keeps the audience guessing about Maharaja’s true motives. If the story had been told in order, the mystery around the missing dustbin and his calm behavior would be lost. The emotional shock of Jothi’s assault and the depth of Maharaja’s revenge are more powerful because they are revealed gradually through edited flashbacks.

PART D: EDITING TECHNIQUES DEEP DIVE

Scene	Editing Technique	Impact on Viewer	Notes
Police try to return a random dustbin to Maharaja	Parallel editing, reaction shots, quick cuts	Adds irony and dark humor; keeps the audience guessing	The editing contrasts the seriousness of Maharaja with the cluelessness of the police, creating tension and subtle comedy.
Selvam’s final moments and suicide	Long take, silence, dramatic pacing	Builds emotional intensity and delivers cathartic release	The extended shot without dialogue creates a heavy, tragic mood, making Selvam’s end feel inevitable and impactful.

References 

Barad, Dilip. “ANALYSING EDITING and NON-LINEAR NARRATIVE IN MAHARAJA.” Research Gate, July 2025, www.researchgate.net/publication/393653801_ANALYSING_EDITING_NON-LINEAR_NARRATIVE_IN_MAHARAJA.

Maharaja. Directed by Nithilan Saminathan, Passion Studios, Think Studios, The Route, 2024. Netflix.

Netflix India. “Maharaja | Hindi Trailer | Vijay Sethupathi, Anurag Kashyap, Mamta Mohandas.” YouTube, 17 July 2024, www.youtube.com/watch?v=n3ttNeXKPHg.

Unit - 4 Crime and Punishment by R.K.Narayan (ThA)

Crime and Punishment by R.K.Narayan

  This blog compares R.K. Narayan’s short story Crime and Punishment with the film Sitaare Zameen Par, focusing on education, discipline, and empathy. Both highlight flaws in the education system and the impact of teachers and parents on a child’s growth. While the story shows a teacher misusing authority, the film shows a teacher who learns to understand and support differently-abled students. The film gives a strong message about love, patience, and inclusive learning. It made me realize that real education comes with empathy, not punishment.

About R.K.Narayan

Rasipuram Krishnaswami Iyer Narayanaswami, popularly known as R. K. Narayan, was born on 10 October 1906 in Madras (now Chennai), India, and died on 13 May 2001. He was one of the most celebrated Indian writers in English, known for his simple and realistic stories about middle-class Indian life. Most of his works are set in the fictional town of Malgudi, which he created. His first novel, Swami and Friends (1935), introduced his unique style of storytelling. Other major works include The Bachelor of Arts, The Guide, and Malgudi Days. His writing is marked by gentle humour, deep insight into human nature, and a clear, simple use of English, making him one of the key figures in Indian English literature.

About Crime and Punishment

Crime and Punishment is a short story by Indian author R. K. Narayan, first published in his 1945 collection An Astrologer's Day and Other Stories. Set in the fictional South Indian town of Malgudi, the story revolves around a strict, proud school teacher who gives private tuition to a boy. When the child fails to perform well in studies, the teacher becomes frustrated and beats him. However, when the boy's father arrives and humbly pays the fees without mentioning the incident, the teacher is overwhelmed with guilt. The story explores themes of morality, human conscience, discipline, and the gap between authority and humility. Narayan's simple narrative style and ironic tone make this a powerful tale that questions the ethics of punishment and the teacher’s own internal conflict.

About Sitaare Zameen Par

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Sitaare Zameen Par (2025) is a Hindi-language sports comedy-drama film directed by R. S. Prasanna and produced by Aamir Khan, who also stars as Gulshan, a disgraced basketball coach assigned to train a team of intellectually disabled and neurodivergent adults as part of his community service. A spiritual successor to Taare Zameen Par (2007), the film is an official adaptation of the 2018 Spanish film Champions. As Gulshan initially takes on the task unwillingly, the journey gradually transforms both him and the players, highlighting themes of inclusion, empathy, and personal growth. The film also stars Genelia Deshmukh and features ten debutant actors as the players. With music composed by Shankar–Ehsaan–Loy and lyrics by Amitabh Bhattacharya, the movie was released on June 20, 2025, and became a critical and commercial success, grossing over ₹220 crore worldwide. Celebrated for its emotional depth, humor, and powerful social message, Sitaare Zameen Par stands as a heartwarming tale of redemption, belonging, and the true spirit of teamwork.

1.How does the movie portray the education system?

Introduction:

The film Sitaare Zameen Par (2025), directed by R.S. Prasanna, sheds light on the education system, especially its treatment of differently-abled individuals. While the story centers on a basketball coach working with neurodivergent adults, it makes a powerful commentary on how educational institutions often ignore inclusivity, emotional development, and individual needs.

1. Lack of Inclusive Education

The film highlights how traditional education systems often fail to accommodate students with special needs. Most schools focus on academic excellence and discipline but ignore emotional intelligence, creativity, and diverse learning styles. The neurodivergent characters in the film are shown to be misunderstood, underestimated, or even excluded from mainstream learning environments.

"Our system teaches competition, not compassion." — A key message from the movie.

2. Misjudgment Based on Abilities

Teachers and schools are often quick to judge students based on their performance in fixed academic frameworks. The film shows how society labels individuals as "unfit" simply because they do not conform to traditional standards. It criticizes the "one-size-fits-all" model and calls for recognizing multiple intelligences and talents.

3. The Role of Empathy in Education

Through the character of the coach (played by Aamir Khan), the film promotes an alternative approach to education—one that is based on empathy, patience, and understanding. The coach becomes a mentor who believes in the potential of every individual, which contrasts with the rigid and indifferent attitude of most institutions.

4. A Call for Reform

The film indirectly urges educators and policymakers to rethink the system. It advocates for:

Inclusive learning spaces.

Teacher training in handling special needs.

Emotional support alongside academics.

Conclusion:

Sitaare Zameen Par serves as a mirror to the current education system. It reveals its limitations and urges us to build a system where every child, regardless of ability, is given a chance to shine. The film reminds us that education should not just be about grades, but about growth, dignity, and humanity.

2.What message does the movie give about the role of teachers and parents?

Introduction:

Sitaare Zameen Par (2025) presents a strong emotional message about how teachers and parents shape the lives of children and individuals with special needs. The film challenges the traditional mindset and promotes a more understanding, compassionate, and supportive role for both teachers and parents.

1. Teachers as Mentors, Not Just Instructors

The movie shows that a good teacher is not just someone who delivers knowledge but someone who understands each student’s potential. Aamir Khan’s character, the basketball coach, becomes a mentor and friend to his neurodivergent team.

He gives them confidence and dignity.

He adapts his teaching style to suit their needs.

He does not judge them by their limitations, but encourages their strengths.

"A real teacher brings out the hidden star in every student." — This is the film’s central belief.

2. Parents Must Be Supportive, Not Pressurizing

The film subtly criticizes how some parents force their own dreams and expectations on their children. Instead of supporting their children’s unique journeys, many parents in the film are shown as either overprotective or indifferent.

Parents are reminded to listen, accept, and trust their children.

Emotional support is shown to be more important than pressure for success.

The film encourages parents to focus on their children’s happiness, not just their achievements.

3. Joint Responsibility for Emotional Growth

The movie gives the message that both teachers and parents are equally responsible for the emotional well-being of a child or student. It is not enough to just educate or feed them; they need love, understanding, and acceptance.

Teachers and parents must work together to support a child’s growth.

They should create a safe space for children to fail, learn, and improve.

Conclusion:

Sitaare Zameen Par powerfully conveys that teachers and parents must shift from being authority figures to becoming empathetic guides. Only then can children and neurodivergent individuals truly grow, express themselves, and become confident members of society.

3.How does it compare with the story?

Introduction:

Both Sitaare Zameen Par (2025) and R.K. Narayan’s short story Crime and Punishment explore the theme of education and the treatment of young learners. While the film focuses on neurodivergent adults in a sports setting, and the story portrays a schoolboy under academic pressure, both works deliver powerful critiques of rigid teaching methods and highlight the importance of empathy in education.

1. Teacher's Role: From Authority to Mentor

In Crime and Punishment, the teacher is a young home tutor who uses fear and punishment to make the boy obedient. He slaps the child when he lies about his homework, showing how education is used as a tool of discipline.

In contrast, Sitaare Zameen Par portrays a coach (teacher) who is gentle, patient, and encouraging. Instead of punishing his players, he builds trust and guides them by understanding their individual needs.

Message:

While Narayan criticizes harsh discipline, the film promotes empathy-based teaching.

2. Parental Pressure and Expectations

In Narayan’s story, the boy’s father expects strict discipline and good academic performance. He hires the tutor to make sure the child performs well, ignoring his mental and emotional well-being.

In Sitaare Zameen Par, some characters also represent parents who judge children by success or failure. But the film eventually shows how accepting and loving parenting can bring out the best in children, especially those with special needs.

Message:

Both texts criticize parental pressure and show how it can harm a child’s confidence and growth.

3. Emotional Needs Over Academic Performance

The boy in Crime and Punishment is intelligent and playful, but the focus on marks and strictness kills his curiosity and joy. The tutor later realizes this and regrets his harsh methods.

In Sitaare Zameen Par, the coach understands that emotional safety comes before performance. The neurodivergent characters learn best when they feel valued and free from judgment.

Message:

Both stories highlight the importance of emotional well-being over academic or athletic performance.

Conclusion:

Both Crime and Punishment and Sitaare Zameen Par deliver a similar moral: Education must be rooted in empathy, not fear.

R.K. Narayan shows how punishment can harm children, while Sitaare Zameen Par offers a hopeful model where love, understanding, and flexibility help individuals shine.

Together, they urge teachers and parents to nurture, not control, those in their care.

4.What did you feel or learn after watching the movie?

Watching Sitaare Zameen Par was not just a movie experience — it was an emotional journey that changed how I think about education, ability, and human dignity. It made me realize the importance of empathy, patience, and acceptance, especially toward those who are differently abled.

The film beautifully teaches us that everyone has the right to dream, grow, and be respected, regardless of their learning speed or social behavior. It questions the idea of "normal" and shows that being different is not a weakness but a unique strength.

One of the most powerful dialogues that stayed with me was:

"Tum sab sitare ho… bas zameen par ho. Chamak toh tumhari bhi kisi se kam nahi."

(You are all stars… just placed on the earth. Your shine is no less than anyone else’s.)

This line reminded me how labels like 'slow', 'useless', or 'mad' are unfair. People need love, not judgment.

Another moment that deeply moved me was when the coach gently says:

"Main tumse kuch alag nahi chahata… bas itna chahata hoon ki tum khud par bharosa karna seekho."

(I don’t want anything special from you… I just want you to learn to trust yourself.)

Through his journey with the neurodivergent team, we see that true teaching is not about correcting mistakes, but about building confidence.

The movie also criticizes the pressure placed on children by society. One meaningful dialogue was:

"Kab tak hum apne sapne in bachchon par thopte rahenge?"

(How long will we keep forcing our own dreams on these children?)

This line made me think about how both parents and teachers often forget to listen — they only instruct. The film gently teaches us that real education is not in books alone, but in building human connection, showing compassion, and recognizing inner talent.

In conclusion: 

Sitaare Zameen Par taught me that everyone deserves a chance to shine, and that the role of teachers and parents is not to force success, but to guide, support, and believe. It left me with hope — that if society changes its mindset, even the most neglected stars can light up the sky.

References

Narayan, R. K. Malgudi Days. Indian Thought Publications, 1982. Accessed 13 July 2025.

Prasanna, R S. “Sitaare Zameen Par.” Wikipedia, Wikimedia Foundation, 12 July 2025, en.wikipedia.org/wiki/Sitaare_Zameen_Par. 

 An Astrologer's Day by R.K.Narayan

Welcome to this blog, where we’ll take a closer look at the intriguing short story “An Astrologer’s Day.” In this discussion, we’ll examine how the story reflects different aspects of human nature, moral choices, and the influence of society on individual lives. Join us as we explore what this tale reveals about who we are and the world we live in.

 

R. K. Narayan (Rasipuram Krishnaswami Narayanaswami, 1906–2001) was a celebrated Indian novelist and short‑story writer renowned for his mastery of storytelling in English. Born in Madras (now Chennai) and educated at Maharaja’s College, Mysore, he became one of the pioneers of Indian English literature alongside Mulk Raj Anand and Raja Rao  . His enduring legacy lies in the richly imagined South Indian town of Malgudi, the backdrop for many of his works, including Swami and Friends, The Guide, The English Teacher, and the short‑story collection Malgudi Days  . Praised for his gentle humor, narrative simplicity, and keen social insight, Narayan published across genres—fiction, mythology, and memoir—over a career spanning more than six decades  . His contributions earned him numerous honors, such as the Sahitya Akademi Award, Padma Bhushan, Padma Vibhushan, the Royal Society of Literature’s Benson Medal, and a Rajya Sabha nomination.

Here some Questions and answers based on this comparison of   short story & short film :

1. How faithful is the movie to the original short story?

The short film closely adheres to the original story, as stated at the beginning of the video, which acknowledges it as based on Narayan’s work. However, it also includes some changes.

2. After watching the movie, has your perception about the short story, characters or situations changed?

The story had already been covered in class, and its descriptive language made it easy to visualize. As a result, the overall impression of the story remained largely the same. The short film, featuring visuals, music, and ambiance, simply enriched the experience by bringing the familiar characters and scenes to life.

3.Do you feel ‘aesthetic delight’ while watching the movie? If yes, exactly when did it happen? If not, can you explain with reasons?

I felt a strong sense of aesthetic enjoyment while watching the film, especially toward the end when the astrologer reveals a deeply buried secret to his wife. Initially, the astrologer's detailed knowledge about Guru Nayak and his past builds suspense and curiosity. However, the true surprise comes later when it is revealed that the astrologer had once stabbed Guru Nayak during a violent argument years earlier. This unexpected twist not only shocks the viewer but also adds emotional complexity to the characters and their past. The film creates a powerful sense of artistic satisfaction by highlighting how past actions continue to influence the present and by portraying the intricate nature of human relationships.

4. Does screening of movie help you in better understanding of the short story?

Yes, it contributed to a better understanding of the astrologer’s background. The use of black-and-white scenes clearly represented the flashback, with the conflict between Guru Nayak and the astrologer being effectively emphasized through careful camera angles and visual storytelling.

5. Was there any particular scene or moment in the story that you think was perfect?

The revelation scene is masterfully presented, exposing the true identity of the astrologer, and is followed by a heartfelt moment when his wife comments that sweets will finally be made at home after a long while. Additionally, the story highlights the struggles of the poor, showing how difficult circumstances often compel them to take up such occupations as a means of survival.

6. If you are the director, what changes would you like to make in the remaking of the movie based on the short story “An Astrologer’s Day” by R.K.Narayan ?

If I were directing the film, I would introduce some creative changes to give the story a modern flair. Instead of showing the astrologer seated under a tree, I’d place him in a contemporary setting—perhaps working in an office—portraying his role as part of a modern business.

The characters’ appearances would also be updated: the astrologer would wear formal business clothes, while his clients would follow current fashion styles. Still, their thoughts and beliefs would remain rooted in tradition. Guru Nayak, on the other hand, would be depicted as a successful businessman, driven by a thirst for revenge. A major twist would involve reimagining the astrologer as a tech-savvy hacker who uses social media and digital tools to locate and recognize Guru Nayak, adding a fresh, high-tech dimension to the story.

References : 

Pocket Films. “An Astrologer’s Day - Hindi Short Film.” YouTube, 17 June 2017, www.youtube.com/watch?v=TkfrjYFQozA.

Narayan, R. K. Malgudi Days. Penguin, 1984.

How to Deconstruct a Text : Deconstructive Reading of Three Poems by Shakespeare, Ezra Pound and William Carlos Williams

This blog is part of an activity titled How to Deconstruct a Text. In this activity, we will closely analyze three poems written by William Shakespeare, Ezra Pound, and William Carlos Williams. We will use a method called deconstruction, which was developed by the philosopher Jacques Derrida. This approach helps us explore how the meanings of texts are not fixed or stable. Instead, it shows that the meaning of a text can change depending on how it is read and interpreted by different people.

Poem : 1 Shall I compare thee to a summer's day?

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer’s lease hath all too short a date;

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm'd;

And every fair from fair sometime declines,

By chance or nature’s changing course untrimm'd;

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow’st;

Nor shall death brag thou wander’st in his shade,

When in eternal lines to time thou grow’st:

   So long as men can breathe or eyes can see,

   So long lives this, and this gives life to thee.

A deconstructive reading of Shakespeare’s Sonnet 18 focuses on how the poem’s meaning is not as clear or stable as it first seems. At first, the poet compares his beloved to a summer’s day, but then says the beloved is actually “more lovely and more temperate.” This creates confusion—if summer is so nice, why is the beloved better? The poem also promises that the beloved’s beauty will never fade because it is captured in the poem’s words. But deconstruction asks: can words really stop time or death? Can poetry really make someone immortal? The poem seems to say yes, but it depends on language, and language is always open to different meanings. Deconstruction shows that what the poem says and what it actually proves are not the same. It also questions whether this poem is really about the beloved, or if it’s actually about the poet showing off his writing skill. In the end, a deconstructive reading doesn’t try to find one clear message—it shows how the poem’s meaning keeps shifting, and how the message falls apart when we look closely.

Poem : 2  "In a Station of the Metro" 

"The apparition of these faces in the crowd;

Petals on a wet, black bough."

Poem : 3 "The Red Wheelbarrow"

"so much depends upon a red wheel barrow glazed with rain water beside the white chickens."

Poetry doesn't just describe real things. It uses words (called signifiers) to create images and feelings in our minds. Even if we don’t see the actual object, the words help us imagine something beautiful, emotional, or powerful. Poems connect different ideas and invite us to think in new ways.

Example 1: Ezra Pound’s Poem

In the poem “In a Station of the Metro,” Ezra Pound compares people’s faces in a crowd to flower petals on a wet tree branch. These are very different things, but the comparison feels right. The poem doesn't show real people or flowers—it gives us words that create that picture in our minds. The word "apparition" adds a ghost-like feeling, and the rhythm and short lines make the poem feel soft and magical. This shows how poetry uses signifiers to make meaning, not just to describe real things.

The Power of Sound: Kristeva’s Idea

Julia Kristeva says that sound and rhythm in poetry can give us feelings, even before we understand the meaning. She calls this the semiotic. It's like when babies make sounds before they can speak—those sounds still show emotions. In poetry, rhythm and music can break the usual rules of language and make us feel something deep and personal, beyond logic.

Example 2: The Red Wheelbarrow

In the poem “The Red Wheelbarrow” by William Carlos Williams, the poet names simple things: a red wheelbarrow, rainwater, and white chickens. At first, it seems like he’s just describing real objects. But when we read closely, we notice the poem feels clean, pure, and perfect—more like a picture in a children’s book than a real farm. The poem uses simple words and repeating rhythm to create a calm and innocent feeling. It reminds us that even simple things in poems come from language and imagination, not just from the real world.

Who Is Julia Kristeva?

Julia Kristeva is a famous thinker from France, originally born in Bulgaria. She studies language, psychology, and poetry. She believes that poetry has the power to go beyond normal meaning through sound and rhythm. Her idea of the semiotic shows how poetry can touch our feelings even without clear meaning, and this is why poems are so special and powerful.

Poem : 4 A Refusal To Mourn The Death, By Fire, Of A Child In London

Never until the mankind making

Bird beast and flower

Fathering and all humbling darkness

Tells with silence the last light breaking

And the still hour

Is come of the sea tumbling in harness

     

And I must enter again the round

Zion of the water bead

And the synagogue of the ear of corn

Shall I let pray the shadow of a sound

Or sow my salt seed

In the least valley of sackcloth to mourn

     

The majesty and burning of the child's death.

I shall not murder

The mankind of her going with a grave truth

Nor blaspheme down the stations of the breath

With any further

Elegy of innocence and youth.

     

Deep with the first dead lies London's daughter,

Robed in the long friends,

The grains beyond age, the dark veins of her mother,

Secret by the unmourning water

Of the riding Thames.

After the first death, there is no other.

What Do Post-Structuralist Critics Do?

Post-structuralist critics believe that language is not always clear or reliable. They think a text can have many meanings, not just one. So they try to find hidden meanings, contradictions, and strange parts in the writing. Sometimes, the deeper meaning is completely different from what the text seems to say on the surface.

They pay close attention to how words sound, what the words originally meant, or old-style comparisons (metaphors) that may not work anymore. They also look for breaks or sudden changes in the text—these are signs that something important is being left out or not said clearly. These breaks are called “fault-lines”, like cracks in rocks that show something happened under the surface.

What Is Deconstruction?

Deconstruction is a method used by post-structuralist critics. It doesn’t destroy the poem or story—it takes it apart to show that the meaning is not simple or clear. It shows that words can mean many things, or even the opposite of what they first seem to say.

Deconstruction has three main steps:

-The verbal stage

-The textual stage

-The linguistic stage

We will explain each one using the poem “A Refusal to Mourn the Death, by Fire, of a Child in London” by Dylan Thomas.

Step 1: Verbal Stage

In this step, we look closely at the words in the poem. For example, the last line of the poem says:

“After the first death, there is no other.”

This doesn’t make sense. If it’s called the first death, then that means there should be a second or third. So, the sentence goes against itself. Deconstructionists say this shows how language can be confusing and full of contradictions.

There are other strange word uses too. The poem says things like “until never”, which also doesn't make much sense. These kinds of paradoxical (opposite and confusing) phrases show that language is not always trustworthy.

The poem also changes common opposites. Usually, people think light means good and darkness means bad. But in this poem, darkness is shown as the thing that creates life. So the poem flips the usual idea, which shows how language creates its own world, not just a copy of the real world.

Step 2: Textual Stage

In this step, we look at the whole poem, not just single words. We try to find big changes in time, tone, voice, or mood. These shifts show that the poem is not stable and doesn't have one clear meaning.

For example, in Dylan Thomas’s poem, the first two stanzas talk about ancient time and the end of the world. Then suddenly, the third stanza talks about the child’s death in the present moment. Then the last stanza zooms out again and talks about the history of London.

These big changes make the meaning unclear and broken. The poet says he refuses to mourn the child, but the poem doesn’t explain why, and it actually feels like a mourning poem. These confusing changes and missing explanations are what deconstructionists focus on.

Step 3: Linguistic Stage

In this step, we look at how the poem talks about language itself. Sometimes the poem says that language can’t express certain things, but then uses language anyway.

In this poem, the speaker says he won’t mourn, but the poem itself is a form of mourning. He also says he doesn’t want to use fake or formal language, but then he uses big, poetic words like:

“London’s daughter”

“robed in the graves of her majesty”

This shows the poet is stuck in the same language he wants to avoid. Deconstruction says this is because no one can fully escape language—even when you try, you still end up using it in the usual ways.

What Do We Learn from Deconstruction?

Deconstruction helps us see that texts are not simple. They are full of hidden meanings, contradictions, and broken ideas. Even a poem that says “I won’t mourn” might secretly be mourning in a deeper way.

Deconstruction is different from traditional criticism. Traditional critics try to find unity in a poem. Deconstruction shows that there is no complete unity—only many layers of meaning.

Both methods have their uses, but deconstruction helps us understand that language is complex and never fully stable. It makes us question what we read and think more deeply about how meaning is made.

References

-“A Refusal to Mourn the Death, by Fire, of a Child in London by Dylan Thomas.” Famous Poems, Famous Poets. - All Poetry, allpoetry.com/A-Refusal-To-Mourn-The-Death,-By-Fire,-Of-A-Child-In-London. 

-Barad, Dilip. “Deconstructive Analysis of Ezra Pound's 'In a Station of the Metro' and William Carlos Williams's 'The Red Wheelbarrow.'” Research Gate, 03 July 2025, https://www.researchgate.net/publication/381943844_Deconstructive_Analysis_of_Ezra_Pound's_'In_a_Station_of_the_Metro'_and_William_Carlos_Williams's_'The_Red_Wheelbarrow'. Accessed 03 July 2025.

-Belsey, C. (2002). Poststructuralism (First Indian Edition 2006 ed.). New York: Oxford University Press.

-“In a Station of the Metro.” The Poetry Foundation, 29 Oct. 2024, www.poetryfoundation.org/poetrymagazine/poems/12675/in-a-station-of-the-metro.

“The Red Wheelbarrow.” The Poetry Foundation, 22 June 2024, www.poetryfoundation.org/poems/45502/the-red-wheelbarrow. 

Poetry and Poststructuralism: An AI Powered Analysis

This blog has been created as part of an assignment assigned by Professor Dilip Barad sir . The task requires the creation of a poem using AI and the preparation of study material on the concepts of deconstruction or post-structuralism. The main goal is to critically examine the AI-generated poem through these theoretical lenses and then use ChatGPT to carry out a deconstructive analysis of the poem.

Teacher's blog - Visit the article for background reading.

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Poetry and Poststructuralism: An AI Powered Analysis 

Whispers of Death

In twilight’s hush, where shadows lie,

Death walks softly, passing by.

Not cruel nor kind, just ever near,

A silence deeper than our fear.

It wears no mask, it speaks no name,

Yet touches all with equal claim.

It folds the stars in quiet grace,

And smooths the sorrow from each face.

A gate, not end, through which we tread,

Not cold decay, but peace instead.

So fear it not, this final breath—

There’s gentleness within dear Death.

Analysis with Three Step Model of Peter Barry  : 

1. Verbal Stage: 

In this stage, we focus on verbal contradictions and semantic paradoxes within the language of the poem itself:

The line “Not cruel nor kind, just ever near” is paradoxical. It denies moral attributes to Death but still anthropomorphizes it with the phrase “just ever near”, suggesting presence, constancy, and even emotional proximity. So, while Death is said to have no moral polarity, it still behaves in a familiar, almost comforting manner—this reveals a slippage in meaning.

The final line, “There’s gentleness within dear Death”, contradicts the typical connotation of Death as terrifying. “Dear Death” as an address turns Death into a kind of intimate companion, yet this sentiment is in conflict with the usual image of Death as an ending. Here, language does not clarify but destabilizes our assumptions.

Like Dylan Thomas’s “first death” paradox, the phrase “a gate, not end” implies death is an entry rather than a conclusion. Yet, if death is a gate, what lies beyond is undefined, thus implying continuity while simultaneously embracing semantic ambiguity.

2. Textual Stage: 

In this stage, we look for shifts in tone, focus, or narrative direction—the "textual fault-lines":

The first stanza presents Death as neutral, passive, and impartial: “Not cruel nor kind”. The second stanza shifts tone—becoming soothing and even redemptive, casting death as a comforter who “smooths the sorrow from each face.”

This movement from detachment to comfort forms a disjunction in emotional positioning—at first, Death is indifferent, and later, Death is deeply personal and healing. This shift lacks a clear narrative justification, forming a textual instability. The poem oscillates between reverence and resignation, preventing the emergence of a singular coherent attitude.

Furthermore, the poem omits key elements such as any specific cause of death, individual identity, or religious or metaphysical framework. This absence makes the poem vulnerable to multiple readings, echoing Barry’s point about omissions revealing repressed tensions.

3. Linguistic Stage:

 At this stage, we interrogate how the poem’s language undermines its own claims:

The poem claims not to fear Death—“So fear it not”—yet it uses metaphors like twilight, shadows, and final breath which are all euphemisms and poetic deferrals of the raw fact of dying. This suggests a linguistic evasion, a sign that even in trying to comfort, the poem cannot escape language’s failure to name death directly.

The use of “gate” and “peace” is metaphorical. But metaphors are not transparent vehicles of truth—they are constructions that replace one signified with another. Thus, when the speaker says “Death is a gate,” it replaces one unknown (death) with another unknown (a metaphor), showing the inadequacy of language to fully signify.

The line “It wears no mask, it speaks no name” asserts a kind of linguistic clarity or purity, but paradoxically, the poem still gives Death a voice and an identity. This performs the very metaphorical act it tries to disown—thus falling into the same language trap Peter Barry describes in Dylan Thomas’s poem.

Deconstructive Reading Conclusion : 

Following Barry’s deconstructive method:

The verbal contradictions, such as Death being both neutral and comforting;

The textual shifts in tone and focus;

The linguistic traps of metaphor and poetic ambiguity—

all reveal that the poem does not uphold a singular or coherent understanding of death.

Instead of resolving death into a peaceful, universal truth, the poem fractures under close reading—revealing conflicting emotions, metaphorical evasions, and a language that contradicts itself. In short, Whispers of Death becomes not a poem about clarity or acceptance, but about the impossibility of fully signifying death through poetic language.

The Soul of Words

Literature lives where silence breaks,

In whispered truths that no one fakes.

It binds the past to what is near,

A mirror sharp, both bright and clear.

Through ink and voice, the world is spun,

A thousand lives lived, lost, and won.

It speaks in tongues of joy and pain,

Of lovers lost and kings who reign.

Each page a pulse, each line a breath,

Defying time, outwitting death.

In books we find both wound and cure—

A voice that echoes, deep and pure.

1. Language is Not Transparent

Belsey shows how in “The Red Wheelbarrow” and “Metro”, words don’t give access to things—they gesture toward sensations and associations. In “The Soul of Words”, terms like:

“whispered truths”

“mirror sharp”

“each line a breath”

are metaphorical signifiers, not references to real objects. The poem praises literature as revealing truth, but what is “truth” here? It’s never defined. Instead, meaning dissolves into metaphors—“mirror,” “pulse,” “breath”—which signal multiple emotional responses but no concrete referent.

Like Belsey’s reading of “The Red Wheelbarrow,” the object (literature) is not described but evoked through signifiers. The primacy of the signifier means the idea of literature becomes a product of sound, rhythm, and emotional association—not substance.

2. Unstable Subjectivity and the Dispersed 'I'

Belsey argues that in poststructuralism, the unified authorial voice is deconstructed. In this poem, there is no “I”. Instead, a disembodied narrative voice speaks for a generalized “we” or humanity:

“In books we find both wound and cure—

A voice that echoes, deep and pure.”

This universalizing move erases subjectivity, presenting literature as a disembodied entity that speaks. But this voice is nowhere and everywhere, a poetic construct without stable origin. Thus, like the voice in “In a Station of the Metro,” this is an apparition—a phantasmic subject.

3. Intertextuality and Parallels with Other Texts

Belsey reads Shakespeare’s Sonnet 18 not as a celebration of beauty, but a textual construct where metaphor and tradition collide. Likewise, “The Soul of Words” draws from a long tradition of poetic celebration of literature (e.g., Shelley’s Defence of Poetry, or even Shakespeare’s Sonnet 55—“Not marble nor the gilded monuments…”).

By echoing conventional tropes—“wound and cure,” “voice that echoes,” “defying time”—the poem becomes intertextual, dependent on and shaped by previous poetic discourses. This imitation calls into question originality, one of poststructuralism’s key targets.

4. Disruption of Closure and Stable Meaning

Poststructuralist readings seek disunity, contradiction, or repression in the text.

The poem presents literature as a healer and truth-teller, yet this idealization masks tension. For example:

“Defying time, outwitting death” is a bold claim—but can literature actually defeat death?

“A thousand lives lived, lost, and won” hints at chaos, plurality, and suffering—not only triumph.

Thus, beneath the polished lines lies unresolved contradiction: Is literature a cure or a reminder of mortality? Is it eternal or ephemeral, just more “ink and voice”?

This contradiction is repressed by the surface smoothness of the poem. A poststructuralist critic, like Belsey, would expose this tension between the poem’s celebratory tone and the fragility of the literary sign.

Conclusion: The Poem as a Construct of Difference and Ambiguity

Following Catherine Belsey’s poststructuralist reading strategy, “The Soul of Words” can be seen as:

A text that privileges signifiers over stable meanings.

A site where subjectivity is dispersed and authorial authority is undermined.

A network of intertextual echoes rather than a self-contained whole.

A surface of linguistic beauty masking deeper contradictions and incoherence.

Just as Belsey shows The Red Wheelbarrow to be not a simple image but a construct dependent on poetic form, your poem too becomes a fiction about fiction, where literature is not described, but continuously deferred—a trace, not a truth.

References 

 
-Barry, Peter. Beginning Theory, 3/E. Viva Books Private Limited, 2010.

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