Anita Desai's "Cry, the Peacock": The Aspirations and Struggles of Ordinary People in their Homeland

"‘Do you not hear the peacocks call in the wilds? Are they not blood-chilling, their shrieks of pain? 'Pia, pia, they cry. “Lover, lover. Mio, die, I die.” Go out into the jungles before the monsoons come -at the time when the first clouds cross the horizon, black as the kohl in your grave eyes. How they love the rain - these peacocks. They spread out their splendid tails and begin to dance, but, like Shiva’s, then- dance of joy is the dance of death, and they dance, knowing that they and their lovers are all to die, perhaps even before the monsoons came to an end."

"Cry, the Peacock" 

(Part Two, Chapter 3)

Anita Desai

Introduction:

Anita Desai's first novel "Cry, the Peacock" that took the literary world by surprise and was praised as a poetry- novel of exceptional distinction, presents a compelling portrayal of the aspirations and struggles of ordinary individuals within their homeland. Set against the backdrop of post-colonial India, Desai weaves a feminine narrative that unearths the depths of human desires, societal expectations, and the complexities of personal fulfillment. Through the experiences of the protagonist, Maya, Desai highlights the universal themes of longing, alienation, and the quest for identity. The novel also provides a faithful description of Maya's psychosomatic growth as she struggles to cope with the practical world of her husband, leading to her feelings of depression and an intensified inner turmoil. 

The Suppression of Individual Aspirations:

Book in my Shelf

In "Cry, the Peacock," Desai presents a society where individual aspirations are often stifled by societal norms and expectations. Maya, the central character, grapples with a sense of confinement and yearns for personal freedom due to their marital disharmony. There is the disharmony between Maya and Gautama, highlighting Maya's dreamy and sensitive nature in contrast to Gautama's rational and detached personality. The lack of communication and mutual concern leads to alienation and loneliness in their relationship. Desai elucidates this struggle through Maya's inner monologues, where she laments, "In the day- time, amidst companions, I could force myself into  believing that it was only a nightmare, no more. But, in  the night, under the stark gaze of the moon, in that  waiting silence, my memories came to life, were so vivid,  so detailed, I knew them to be real, too real. Or is it  madness? Am I gone insane? Father! Brother!  Husband . Who is my saviour? I am in need of one.  I am dying, and I am in love with living. I am in love,  and I am dying. God, let me sleep, forget, rest. But no.  I'll never sleep again. There is no rest any more -only  death and waiting." (Part Two, Chapter 3) This quote reveals Maya's realization that her desires are in conflict with the expectations placed upon her by her family and society. It highlights the tension between personal dreams and the societal constraints that hinder their realization. We can't deny the feminine sensibility where Maya's suffering and longing for emotional connection go unnoticed by her husband. 

Alienation and Loneliness:

Desai skillfully portrays the profound sense of alienation and loneliness experienced by the characters in "Cry, the Peacock." Maya's isolation within her marriage to Gautama is a recurring theme throughout the novel. She reflects on her solitude, stating, "Yes, I cried, yes, it is his hardness-no, no, not hardness, but the distance he coldly keeps from me."(Part Two, Chapter 1) This evocative quote captures Maya's emotional detachment and her desperate search for connection and understanding. It sheds light on the universal human experience of feeling trapped within oneself, despite being surrounded by others. But Maya's intense involvement in her inner world and attachment to the past create a gap between her and Gautama. The novel explores the consequences of this alienation and the resulting isolation.

The Burden of Expectations:

The burden of societal expectations weighs heavily on the characters in Desai's novel. Maya's struggle to conform to the traditional roles assigned to her as a wife and daughter-in-law becomes increasingly suffocating. Desai emphasizes the pressures faced by Maya, who confesses, "‘No one, no one else,' I sobbed into my pillow as  Gautama went into the bathroom, ‘loves me as my father  does.' The curtain fell to behind him, in tragic folds. He did not hear me - the tap was running. The vacuum  into which I spoke made me more frantic, and yet he  was not really meant to hear. In Gautama's family one  did not speak of love, far less of affection." (Part Two, Chapter 2) It exposes the inner conflict between societal expectations and Maya's own desires, emphasizing the sacrifices she must make to maintain the facade of a dutiful wife. It highlights the universal struggle of individuals caught between conforming to societal norms and pursuing their personal aspirations.

The Quest for Identity:

Desai explores the theme of identity through Maya's search for self-discovery and purpose. Maya, dissatisfied with her constrained existence, yearns to find her own identity beyond the predefined roles she is expected to fulfill. Desai captures Maya's yearning with the line, "I raised my voice. ‘Nor will you ever understand. You know nothing of me - and  of how I can love. How I want to love. How it is  important to me. But you,' I looked at him straight, 
and w’th hate, ‘You've never loved. And you don't love  me ... ' 
Now look-’ 
‘Oh, if you do, if you say you do, it means nothing.  Love has no importance for you. It is merely - attachment, and I spat out that treacherous, betraying word, hating it." (Part Two, Chapter 3) Here the words encapsulates Maya's desperation to break free from the societal constructs and carve out her unique individuality. It speaks to the universal longing for self-realization and the struggle to define oneself in a world that often defines us. Maya's sensitive nature clashes with the practicality expected of her in marriage, leaving her yearning for love and affection. Her imprisonment within the confines of her home amplifies her grief and disillusionment. The novel reaches its climax with Maya killing Gautama and subsequently taking her own life, representing her search for liberation from her past and present dilemmas.

Conclusion:

Anita Desai's "Cry, the Peacock" offers a poignant exploration of the aspirations and struggles of ordinary individuals within their bound of family. There are the themes of suppressed desires, alienation, societal expectations, and the quest for identity. The novel resonates with readers by addressing universal human experiences and emotions. As Maya's story unfolds, readers are exposed to the complexities of navigating one's aspirations amidst societal pressures through her monologues. Desai's skillful storytelling and evocative language allow readers to empathize with Maya's journey and reflect on their own experiences of longing, alienation, and the pursuit of personal fulfillment. But "Cry, the Peacock" is also accused of being  boringly sentimental, slow-paced, and nonengaging. A feeling of numbness through the dramatic elements are seen as excessive and dizzying, without adding any depth or excitement to the story. The lack of events is not even substituted by Maya's monologues, and hence,  the repetitive nature of the subject matter contribute to the overall feeling of uneventfulness. 

(Foot Note: Anita Desai, a remarkable women novelist, began her literary career at the age of 26 and wrote numerous novels. Born in 1937 in Mussoorie to a German mother and Bengali father, she was raised in Delhi during a time of Punjabi cultural influence. Desai's novels offer a satirical perspective on social change in post-independence India, focusing on themes of waste, limitation, failure, and frustration. Some of her notable works include "Cry the Peacock" (1963), "Voices in the City" (1965), "Bye-Bye, Blackbird" (1971), "Where Shall We Go This Summer?" (1975), "Fire on the Mountain" (1977), and "Clear Light of Day" (1980). She has also written short stories, collected in "Games at Twilight" (1978), and works for children, such as "The Village by the Sea" (1982).)

Ardhendu De

References: 

1.Desai, Anita Cry the Peacock, New Delhi: Orient Paperbacks, 1980. Print

2. Manohar, Murali D. Indian English Women’s Fiction., A study of marriage career and divorce, Atlantic Publishers and Distributors, 2018 www.atlanticbooks.com