Anita Desai, the acclaimed author known for her exploration of language, theme, and form, has ventured into new territory with her latest work, “Rosarita”. This dream-like novella, published by Picador, marks a notable shift in Desai’s storytelling approach, employing a second-person narrative to unravel a tale of imagination and discovery.
In a recent phone conversation, Desai, now 87 and thrice-shortlisted for the Booker Prize, reflected on the journey that led her to write “Rosarita”. She recounted her initial escape from a harsh North American winter to the vibrant landscapes of Mexico. What began as a retreat soon transformed into a profound connection, as Desai felt an unexpected kinship between Mexico and India. This revelation prompted her to explore how these two seemingly disparate cultures could interweave in her writing.
“Rosarita” is more than just a narrative; it is a tapestry of Desai’s experiences and impressions of both India and Mexico. The novella follows Bonita, a young student who, upon learning from a mysterious stranger that her late mother’s name was Rosarita and that she had studied art in Mexico, embarks on a journey of imaginative reconstruction. Desai’s choice to use a second-person narrative voice immerses the reader directly into Bonita’s internal world, creating a unique and intimate storytelling experience.
Desai’s use of the second person is a deliberate experiment, intended to bridge a more immediate connection with her readers. The dream-like quality of the novella is amplified by the introduction of a trickster figure, a magician who plants the seed of an imagined past into Bonita’s mind. This narrative device allows Desai to delve into themes of memory, identity, and the gaps left by absence, crafting an evocative portrayal of a mother who exists only in the realm of imagination.
Desai’s engagement with poetic techniques in her prose has long been a hallmark of her work. She cites her 1977 novel “Fire on the Mountain” as an early example of this stylistic influence. Her approach to prose, inspired by the suggestive and image-driven nature of poetry, is encapsulated in her favorite Emily Dickinson lines: “Tell all the truth but tell it slant/ Success in circuit lies.” This poetic sensibility is evident in “Rosarita”, where images and suggestions take precedence over straightforward exposition.
The novella form, which Desai has increasingly embraced, allows her to explore themes with brevity and precision. Her previous collection, “The Artist of Disappearance”, showcased her comfort with the form, providing a compact yet rich canvas for her storytelling. Desai’s transition to the novella reflects her preference for conveying depth in a condensed format, where every word and image is carefully chosen.
Desai’s reflections on the evolution of English literature in India reveal a shift from a more literary, bookish tradition to one that incorporates the vernacular and everyday language of contemporary India. While she acknowledges the influence of writers like Salman Rushdie, who brought Indian English into the present, Desai remains rooted in her own literary journey. Her early writing was shaped by the English literary tradition, a language she adopted for its rich literary heritage despite it not being her first spoken language.
The changing landscape of India, as seen through Desai’s eyes, has made her feel somewhat distanced from the country she once knew intimately. Yet, she remains connected through literature, finding resonance in contemporary Indian works, especially those translated into English. She mentions the poignant writings of Perumal Murugan, whose exploration of Tamil Nadu’s communities provides a window into a world she finds both captivating and accessible through translation.
The cover of “Rosarita”, featuring Amrita Sher-Gil’s self-portrait, serves as a fitting homage to the themes of the novella. The portrait, discovered by Desai’s publisher Teesta Guha Sarkar, evokes a powerful sense of identity and artistic vision that aligns with the novella’s exploration of imagination and memory.
In her conversation, Desai also touched upon her previous works, including “Baumgartner’s Bombay”. This novel, featuring the character Hugo Baumgartner, explores themes of alienation and identity, reflecting Desai’s ongoing interest in the intersections of personal and cultural displacement.
Looking to the future, Desai remains engaged with contemporary literature, expressing admiration for authors like Jenny Erpenbeck and Ismail Kadare. Her daily writing routine remains steadfast, with mornings dedicated to writing and afternoons reserved for reading and reflection.
Desai’s advice to young writers is both empowering and practical. She encourages them to confront and articulate the pressing issues of the day, asserting that the freedom of speech and expression are crucial in this transformative period. Her own journey, from writing about domestic Indian experiences to exploring broader themes, underscores the importance of adapting and evolving as a writer while staying true to one’s artistic vision.
In “Rosarita”, Anita Desai continues to push boundaries, merging her profound understanding of cultural nuances with innovative narrative techniques. Her exploration of Mexico, combined with her poetic approach to prose, offers readers a rich, imaginative experience that resonates with her lifelong commitment to literary experimentation.
