Surah e Yasin Fast Version

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360 p

Al Hakimi 53

Dawoodi Bohra Surah

Surah E Yasin Fast version & Normal version

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The Curse, from its very title, seems to return with a warning. The titles of the stories too inspire a way of foreboding: “On the sting ,” “The Trap,” “The Orbit of Confusion,” and therefore the eponymous story, “The Curse.” If one were to spot Salma, the author of this story collection, with a specific literary concern, it might be this: women and domestic spaces that are transformed into suffocating epicentres of conflict. After all, The Hour Past Midnight (in Lakshmi Holmstrom’s translation) had gained recognition for the way during which it delved into the mundane darkness of the lives of its protagonists and therefore the domestic spaces they inhabit.

The stories within the Curse, curated and translated by N Kalyan Raman, follow this genealogy. Take, for instance , the setting of “Toilets”. Shamim, the protagonist, takes her aunt to the hospital because she has pains within the lower abdomen. The cause, we discover out, is because the aunt held in her pee for an extended period of your time .

As Shamim and her aunt make their way back home, we are introduced to the rest room from Shamim’s youth, or rather, to its inaccessibility. the rest room , set aside from the house, becomes the seat of the women’s strife. They can’t use it when there are people within the backyard, because “how can a woman resound while peeing?” Peeing, periods, pregnancy, and each other womanly function becomes policed through the space of the rest room .

The bathroom space makes another appearance in “On the Edge”: here it gives expression to Nanni’s compulsive washing. the lady cannot help but scrub everything she owns, again and again, obsessively. this type of repetitive behaviour also morphs into strong-arming her preferences on others.

Nanni, along side the unnamed narrator and Raadhi, are on their thanks to the hospital due to Raadhi’s ill-health. So displeased is Nanni by the circumstances of their travel that the whole journey becomes an effort at control . along side the narrator, we too feel a way of exhaustion: the air is tense and therefore the space becomes stuffy. we will only sit in disbelief because the most mundane things like playing music within the car, or turning on the AC become points of contention that need extraordinary manoeuvring to take care of the peace.

Cordoned off spaces

Each protagonist is caught in such an area , physically and mentally – closed off and suffocating – with knots that grow increasingly difficult to detangle.

Mehrunnisa from “Childhood” is stuck between the kitchen and her bedroom when her childhood lover involves visit; Jameela in “Atonement” is stuck in her bedroom with the ghost of her dead husband; Zakiramma from “Black Beads and Television” is stuck to the TV in Mahmuda’s house and crammed with the will to have one among her own; the unnamed narrator from “Trap” is stuck inside her dark bedroom paralysed by fear of what news (any news) which will come; Shamim from “The Curse” is stuck being the only , unmarried carer of a household where a family curse renders women mad after marriage.

Each of those spaces become homes for ghosts of lives past and future – women trapped within these walls become more and more agitated, they become anxious and high-strung and teeter over the tipping point into madness.

There is probably no better time to know the psychic disturbances that cordoned off spaces encourage, as we too sit within our own atomised boxes. Each of those spaces become hotspots of discontentment; encompassing, as they are doing , entire universes of thwarted desire.

Some of these women reckon with their disappointments out loud: Shamim envies her cousin’s attached bathroom, a daughter writes a letter to her patriarchal mother. Some others route it through different compulsive behaviours: Nanni beats her saree precisely 2 hundred times, Rashida wanders around posing for buttermilk from every household. no matter their mode of engagement, a way of hopelessness pervades these desires, as if they're to stay discontent with none scope for fulfilment.