Thoughts on the family in Godavari

        

         Finally, a story with children! Not only is the novel written by a woman, but there is a predominantly feminine ‘consciousness’ and voice that prevails (I wonder if that lends greater authenticity to it compared to stories written by men about women). This feminine lens offers us insight into some delicate issues of domesticity. The child-mother relationship, which Riaz explores in significant detail, is one that I’m particularly fascinated by. We know Ma through her concerns and thoughts that revolve around her family. From being concerned about small things like “chiku ka nahanay ka pani theek say garam nahi howa tha” or admonishing Barki about her studies “roz dou ghantay zaroor parhna hai”. Her children are at the very forefront. I would go so far as to say that Ba’s interest in Usha is problematic only because it threatens her family and not her marriage.

    Riaz situates the role of Ma in a very conventional family setting but the novel clearly demonstrates that Ma is neither ‘domesticated’ nor dependent. Always cognizant about the needs of her family members, she is quick to take necessary measures when she deems fit. Her meeting with Usha warning her about her husband is an apt example of Ma taking initiative to protect her kin. This action is very cold, free from any sentimentalism. From what I’ve read so far, I think that Godavari poses difficult questions about both the role and purpose of women within a family (Ma the care giver) and women for whom family is not an option (Usha).