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This is an archive article published on March 24, 2006

Once Again, Funny Boy

He did so much and more in his debut novel, that whatever ‘Funny Boy’ Shyam Selvadurai writes is bound to be measured against his ...

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He did so much and more in his debut novel, that whatever ‘Funny Boy’ Shyam Selvadurai writes is bound to be measured against his first, which is as much a tale of ethnic divisions and the rage that destroys lives as it is of a boy who is more comfortable doing “girlie” things like wear saris, realising that that’s where — “the territory of girls” — he will confine himself forever. Selvadurai’s third novel, Swimming in the Monsoon Sea, has a sense of deja vu because like Arjie (the protagonist of Funny Boy), 14-year-old Amrith loses everything he holds precious. He is also forced to come to terms with his sexuality, and yet there’s something refreshing about this novel on childhood loss.

We meet Amrith, orphaned and in the care of sickeningly sweet Aunty Bundle and Uncle Lucky and their daughters Mala and Selvi, trying to make his mynah Kuveni talk. He has kept rigid control of his past, never letting his mind wander to the tea estate where he spent six years of his life. And yet when his mind does slip silently back, we are treated to some of the best moments of the book — a six-year-old trying to hold on to a single strand of memory, that of his mother trying to make life beautiful despite being caught in a terrible marital tangle.

Now 14, Amrith often has black moods — “he felt that familiar inner blackness come in and sweep him out, like a current” — and an utter sense of sadness over the loss of his mother. He knows that the only things that will keep him busy during the upcoming holidays are preparation for an audition for a school play (he wants to play the wronged Desdemona in Othello) and typing lessons at Uncle Lucky’s office.

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But then his long-lost cousin from Canada surfaces, and thereby hangs a tale. Amrith will be happy and ecstatic, sad and despondent, and along the way will have come of age. What is wonderful is the freshness — and humour, often times ironic (Amrith can’t understand why Desdemona should take her fate lying down and has an angry outburst with Othello, rather, the character playing the moor, during rehearsal) — Selvadurai brings to the tale, that describes a time and place that is precious and yet lost. Like Michael Ondaatje (Anil’s Ghost), this Sri Lanka-born, Toronto-based writer is brilliant at capturing moments out of that past and freezing it in pristine prose. We are treated to sights and sounds of Sri Lanka, not least the various moods of the sea, that is quite unforgettable.

From the monsoon sea, wild and savage, that had eaten up the beach, in the beginning, we have the sea pulling back in the end, leaving behind greater stretches of beach each day. “The water had returned to a shimmering turquoise, like blue silk shot through with threads of silver.”

In Funny Boy, Arjie’s pain on account of his being another way inclined is devastating: “I was no longer a part of my family in the same way. I now inhabited a world they didn’t understand and into which they couldn’t follow me.” In a way, Amrith’s rite of passage is softer, quieter. “He didn’t know what to do about this thing within him, where to turn, who to appeal to for comfort. He felt the burden of his silence choking him.” Which (the burden of his secret) eases a little when he is able to whisper three words at his mother’s grave: “I am… different.”

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