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47 pages 1 hour read

Bapsi Sidhwa

Cracking India

Fiction | Novel | Adult | Published in 1988

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Symbols & Motifs

Felines

At the beginning of the novel, Ayah brings a very young Lenny to the zoo and leaves her pram in front of the lion’s cage. Although Lenny knows that the lion is caged and toothless, he haunts her dreams for years. Eventually, the zoo gets lion cubs and Lenny knows that they will grow up to be terrifying as well. The lion represents a latent threat that is only dormant as long as safety measures—the cage, the zookeeper’s strength, or the goat keeping the lion from being too hungry—hold up. Sikhs, Hindus, and Muslims use the idea of forestalling a latent threat to justify their murder of innocent, helpless villagers—though of course, like the toothless lion, the majority of people in India pose no real threat to the extremist mobs.

In Hamida’s story, a tiger in a painting comes alive to eat the son of a king because of an inescapable prophesy about the king’s bad karma. This tiger represents the cruel vagaries of inevitable fate—a belief that excuses the violent acts men perpetrate against women. Hamida accepts as fated that her rape means her family and children must shun her: For her, there is nothing to do, since, “What can a sorrowing woman do but wail?” (273). Similarly, Godmother tells Ayah that her kidnapping and rape was fate and she can only move on. Only Lenny refuses to accept this, blaming the men for their actions instead.

When Imam Din catches a giant black cat that has been sneaking in to steal food, he is prepared to kill the animal. The helpless cat spits and hisses in desperation, until Mother intervenes, hitting Imam Din with a flyswatter—a tiny, weak weapon—hard enough to draw blood. It’s notable that while doing this, Mother, who has put her own safety on the line to rescue kidnapped women, refers to the cat as a “she.” 

The Cracking of India

Because of a childish misunderstanding, when Lenny hears that India might break or crack, she is afraid of a literal breaking of the land. She imagines a crack appearing under her house or blocking her from Godmother’s house. The image is so meaningful it becomes the novel’s title—a symbol of small, seemingly harmless tensions that eventually erupt into full-scale destruction. The minor differences in religious ideology, the small insults, and the religious jokes are cracks in the idea of a unified India. But the cracks compound upon each other and grow larger over time. Small insults and jokes turn into prejudice and dehumanization, opening the door for extraordinary acts of violence perpetuated by ordinary people.

In a literal way, India as a country is actually broken apart into two countries. In Lahore, Lenny sees the impermanence of her world when flames engulf the marketplace and a mob parades a dead child, waving her body impaled on a spear like an obscene flag. The cracks go outward and inward, as we see when Lenny rips her dolls in half, reenacting the violence. Breaking away and the birth of a new nation sound clean and hopeful, but Cracking India shows the viciousness underneath.

Eyes

Perspective and viewpoint are key aspects to this story of Pakistan and the partitioning of India. Lenny’s view of her world is necessarily childish and subjective—qualities that emphasize the unavoidable bias of any historical narrative. Lenny’s eyes witness a historical moment and its attendant atrocities. An observant and curious child, she pays close attention to her world and the people in it. She also feels keenly how other people’s eyes feel on her. When Lenny meets Gandhi, she looks down, aware that this is the first time she has cast her eyes downward as a sign of respect for a man.

Lenny also describes the eyes of others to mark race and ethnicity—and there is a clear hierarchy of eye color in Lenny’s culture. Blue eyes top the pecking order and belong to the British: she notes the “chilly blue eyes” (147) of Police Inspector Rogers and the “little girls with blue eyes” (42) that light-complected Adi has the privilege playing with. Next are the hazel-green eyes of Sikh women that Dr. Manek Mody fetishizes. Finally, there are Ayah’s large, expressive, and lively eyes, which Lenny believes attract her bevy of suitors. Lenny dwells on Ayah’s eyes, and it all the sadder that near the end of the novel Ayah’s eyes grow lifeless and defeated after her kidnapping and forced marriage.

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By Bapsi Sidhwa