The Tale of Hansuli Turn
The Tale of Hansuli Turn
TARASHANKAR BANDYOPADHYAY
Translated by Ben Conisbee Baer
Copyright Date: 2011
Published by: Columbia University Press
https://doi.org/10.7312/band14904
Pages: 408
https://www.jstor.org/stable/10.7312/band14904
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Book Info
The Tale of Hansuli Turn
Book Description:

A terrifying sound disturbs the peace of Hansuli Turn, a forest village in Bengal, and the community splits as to its meaning. Does it herald the apocalyptic departure of the gods or is there a more rational explanation? The Kahars, inhabitants of Hansuli Turn, belong to an untouchable "criminal tribe" soon to be epically transformed by the effects of World War II and India's independence movement. Their headman, Bonwari, upholds the ethics of an older time, but his fragile philosophy proves no match for the overpowering machines of war. As Bonwari and the village elders come to believe the gods have abandoned them, younger villagers led by the rebel Karali look for other meanings and a different way of life.

As the two factions fight, codes of authority, religion, sex, and society begin to break down, and amid deadly conflict and natural disaster, Karali seizes his chance to change his people's future. Sympathetic to the desires of both older and younger generations, Tarashankar Bandyopadhyay depicts a difficult transition in which a marginal caste fragments and mutates under the pressure of local and global forces. The novel's handling of the language of this rural society sets it apart from other works of its time, while the village's struggles anticipate the dilemmas of rural development, ecological and economic exploitation, and dalit militancy that would occupy the center of India's post-Independence politics.

Negotiating the colonial depredations of the 1939--45 war and the oppressions of an agrarian caste system, the Kahars both fear and desire the consequences of a revolutionized society and the loss of their culture within it. Lyrically rendered by one of India's great novelists, this story of one people's plight dramatizes the anxieties of a nation and the resistance of some to further marginalization.

eISBN: 978-0-231-52022-5
Subjects: Language & Literature
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  1. Front Matter
    Front Matter (pp. i-vi)
  2. Introduction
    Introduction (pp. vii-xxviii)

    Tarashankar Bandyopadhyay’s Hansuli Banker Upakatha, or The Tale of Hansuli Turn, as I have translated it, tells the story of an India modernized by the forces of war in the mid-twentieth century. The novel was written across the cusp of India’s formal accession to independent nation-statehood and was published in various versions between 1946 and 1951. It first appeared in a much shorter version in a special annual Durga festival issue of Ananda Bazar Patrika in 1946. (During the celebration of Durga Puja in late October in Bengal, many periodicals bring out a special issue publishing new writing, often by...

  3. Part 1
    Part 1 (pp. 1-72)

    At night in the thick jungle of Hansuli Turn someone’s whistling. No one knows if the spirit’s a god or a demon. Everyone’s terrified. Especially the Kahars.

    Almost at the midpoint of the Kopai river there’s a famous river bend called Hansuli Turn—meaning that where the river doubles back on itself in a very tight curve, its figure is just like a crescent-shaped hansuli necklace. In the rains, as it encircles the green fields, the hilly Kopai’s redearth-filled, water-brimming bend looks like a golden hansuli on a dark girl’s neck. In the spring months, when the water flows clean...

  4. Part 2
    Part 2 (pp. 73-162)

    Some days later.

    In accordance with the laws of the world, night turns to dawn at Hansuli Turn. No transgression there. Birds call from trees; on grass tips, night’s dewdrops tremble like grains of pearl. From the tops of bamboo, from the tops of rain tree, neem, mango, berry, jackfruit, acacia, banyan, and fig, dewdrops drip down onto earth’s breast. To each season its own flowers in bloom. Eastward, open fields that run down to the river’s edge yonder—sun rises over branches on the far side of the Kopai where Gopgram village is ringed with trees. But the Kahars...

  5. Part 3
    Part 3 (pp. 163-220)

    On the backs of great drums, crow, kite, heron feather decorations; yaktail plumes on rounded handle ends dance up and down with the beat. Gongs play, horns play, sweet incense smoke floats at Babathakur’s shrine; devotees dance in the “jutebit,” that’s to say the jute yard, cane sticks in hand, “scarfies,” or scarves, on their necks, wearing ochre wraps, rouge marks on foreheads, Ganges-mud “marksigns,” unoiled hair, faces drawn with fasting, yet dancing wildly the glory of Father. Hari, Dom, Bauri, Kahar: whoever wishes can take part as Father’s devotee. This time, the head devotee is Bonwari. That’s the foremost...

  6. Part 4
    Part 4 (pp. 221-258)

    Pagol brought Bonwari home and laid him down. Bonwari was beside himself. The hamlet folk crowded in. What happened? How did it happen?

    Pagol said—Fell down at the edge o’ Jangol village gaspin’.

    —Edge o’ Jangol?

    —Yeh. Pagol was saying this after much troubled thought. He saw almost everything that happened at the end. Seeing the moonlight, he’d gone down to the Kopai’s banks on a whim. Kalobou had then been singing. With boundless curiosity he climbed a tree so he could watch Bonwari’s love play. Then Porom came along and the whole thing was over in the blink...

  7. Part 5
    Part 5 (pp. 259-352)

    Gajon festival’s drum sounded again. Bonwari lay on the Charak board looking up at the sky and paid obeisance to Kalaruddu. That’s it. Year’s over, year’s over, the Kahars’ year has passed very well, by grace of the most kind and angry Father. Bonwari’s terrors did not come to pass. Youths, elders, headmen of Kaharpara all made it through. No more “deeth,” that’s to say death. Well, there was some, but of the regular type, no more than usual. One little accident happened in Atpoure Para—that Kalobou died. And Noyan died suddenly too. Besides this, three or four children...

  8. Final Part
    Final Part (pp. 353-374)

    A long sixty days, that’s to say two months, later.

    Strange sounds coming from all corners of Hansuli Turn, from Kopai river’s every bend. Khot-khot-khot-khot. That sound running through the river’s womb; running through, striking yonder turn, coming back this way. All at once tranquil Hansuli Turn is becoming noisy.

    Today Bonwari got up from his sickbed. He was sixty days laid sick; unconscious for fifty of those days. He somehow managed to get up today with merely this skin-covered, big-boned frame.

    Sixty days before, the Kahars had brought him home from the Kopai’s edge fevered and unconscious. No one...

  9. Acknowledgments
    Acknowledgments (pp. 375-375)
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