Cover image for Freedom song : three novels
Freedom song : three novels
Chaudhuri, Amit, 1962-
Personal Author:
First edition.
Publication Information:
New York : Alfred A. Knopf, 1999.
Physical Description:
433 pages ; 20 cm
A strange and sublime address -- Afternoon raag -- Freedom song.

Format :


Call Number
Material Type
Home Location
Item Holds
X Adult Fiction Central Closed Stacks

On Order



What most immediately galvanizes the reader ofFreedom Songis the elegance and idiosyncrasy of Amit Chaudhuri's writing. In the words of Salman Rushdie: "[His] languorous, elliptical, beautiful prose is impressively impossible to place in any category at all." And it is this quality of ineffability that gives Chaudhuri's words the power they have to reveal--slowly, quietly, with a richness of sensual detail and subtle humor--the significance of the ordinary moments of life. A boy spends a summer and a winter with his parents in a Bombay high-rise, and spends other summers in Calcutta immersed in the more traditional life of his uncle's extended family . . . A young man at Oxford, whose memories of home in Bombay bring both comfort and melancholy, faces a choice between "clinging to my Indianness, or letting it go, between being nostalgic or looking toward the future". . . The members of a Calcutta family are occupied with the task of finding the right woman for the twenty-eight-year-old son who would rather occupy himself with politics . . . In these three short novels--Freedom Song, Afternoon Raag,andA Strange and Sublime Address("The best portrait of India today I've read," wrote Margaret Drabble)--Chaudhuri illuminates the surprisingly nuanced intimate worlds of middle-class Indian men, women, and children. The novels brim with the author's stunning evocations of place and time, and his radiant descriptions and subtle explorations of the expected and surprising events of daily life; the effects of family connectedness and separation; the desires and demands of youth and age; the things and events that confirm "how mysterious the world [is] at every moment"; the hidden complexities of a fully lived inner life. From these elements Amit Chaudhuri shapes mesmerizing narratives, uncovering the remarkable in what might otherwise seem merely quotidian. Freedom Songis the work of a writer--published here for the first time in the United States--possessed of an extraordinary gift.

Author Notes

Amit Chaudhuri, author of three previous novels, has won several awards for his writing. A contributor to the "London Review of Books," the "Times Literary Supplement," & "The New Yorker," he lives with his wife & daughter in Calcutta.

(Bowker Author Biography)

Reviews 3

Booklist Review

This triptych of atmospheric novels draws on Chaudhuri's memories of the three places he has called home: Calcutta, Bombay, and Oxford. Very little overt action occurs, but much knowledge is conveyed in descriptions of the rituals and rhythms of family life--the rising and falling of conversations, the preparation and consumption of food, the whirling of ceiling fans--and, on a grander scale, the slow sweep of sun and shadows, the cycle of seasons of dust and of rain, of birth and death. In A Strange and Sublime Address, a Bombay boy spends his school holidays with relatives in Calcutta, absorbing the magic of their gentle world. Afternoon Raag recounts the experiences of an Indian student in Oxford, taking as its template the musical form celbrated by its title. Freedom Song returns to Calcutta and the domestic realm, weaving together the convoluted stories of the passions and traumas of two extended families. So ardent is Chaudhuri's attention to sensuous and psychological detail, it becomes a form of devotion, and his readers will bask gratefully in the glow. --Donna Seaman

Publisher's Weekly Review

Attended by its watchful, intuitive handmaiden‘the laudable Chaudhuri, in his first U.S. publication‘the English idiom emerges new-skinned and crying healthily in the humid air and shuttered rooms of Calcutta and Bombay. Collected in one volume, a primer on Chaudhuri's remarkable sui generis prose, these three modern, postcolonial novels poise their characters delicately between the ebb of the future and the flow of the past. This tension is often dramatized by the characters' use of the English tongue. A Strange and Sublime Address (1991) tells of the Bombay-bred Sandeep who aspires to be an English writer and, at 10 years old, already uses such words as "tentative," "gingerly" and "enthusiastic." Morning piles on midday, which builds to evening (or "cow dust" as the Bengali word means literally) as Sandeep spends his school holiday with his poorer and less educated cousins in Calcutta. In their house, and in Chaudhuri's nostalgic gaze, routine is elevated to ritual. The uncle's shaving and the aunts' application of "kumkum powder in the parting of their hair" are sacred arts; the sound of bangles clinking, rattling keys and "dervishing" fans are hymnals in the domestic temple. The North Indian protagonist of Afternoon Raag (1993), like Chaudhuri himself once did, studies English literature at Oxford. Far from home, and deeply immersed in the transporting lines of Lawrence's poems, he remembers vividly scenes from his childhood and the traditional music he played with his now-dead guru. "The raags," he says, "woven together, are a history, a map, a calendar, of northern India..." The simultaneous affairs the narrator carries on with two Indian girls‘one skinny and one plump‘provide a framework for his recollections and perfume the book with heady dormroom love. The final novel in the trio, Freedom Song, is a work of greater length and complexity than the preceding two; in it Chaudhuri hits the full stride of his mature voice. Dwelling longer on characterization, he examines the intricacies and contradictions of middle-class life in Calcutta through the relationships of one extended family. Bhaskar, a son more thin and dark than his mother wishes him, has compromised his chances of making a good match by joining the Communist Party and a street theater troupe. Bhaskar's Aunt Khuku and her friend Mimi winter out their late years in an intimate conspiracy of shawl-shrouded, tea-drinking gossip and political conversation. What may frustrate readers of the first two novels‘that Chaudhuri seems to chronicle events as they occur to him, and pushes the stories to their ends by the thin connectives "one time" and "the next day"‘gives way here to a more deliberate plotting that is nonetheless charmingly concerned with the behavior of Calcuttan pigeons and the rain-damp laundry on the line. (Mar.) FYI: A Strange and Sublime Sadness won the 1991 Betty Trask Award and the Commonwealth Writers Prize, and Afternoon Raag won two prizes, in Britain. (c) Copyright PWxyz, LLC. All rights reserved

Library Journal Review

This collection of three novels is Chaudhuri's first publication in this country. Set in Bombay and Calcutta and written in a quiet, meditative style, the novels reveal the intricacies of family life, providing the reader with insightful observation and very little directly related dialog. We see into the characters' thoughts but only from the narrator's perspective, as if we were looking through a window in the ceilings of the rooms where the action takes place. A Strange and Sublime Address describes a small boy from Bombay and his visit to relatives in Calcutta. In Afternoon Raag, a young Indian man, a graduate student at Oxford, reflects on his parents, his recently deceased music teacher, and the two women with whom he has become involved. Finally, Freedom Song follows two related families in Calcutta during a time of religious and political upheaval. These novels are distinguished by their peaceful and poetic tone. Highly recommended for both public and academic libraries.‘Rebecca A. Stuhr, Grinnell Coll. Libs., IA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



He saw the lane. Small houses, unlovely and unremarkable, stood face to face with each other. Chhotomama's house had a pomelo tree in its tiny courtyard and madhavi creepers by its windows. A boy stood clinging to the rusting iron gate, while another boy pushed it backward and forward. As he did so, the first boy travelled in a small arc through space. When the taxi stopped in front of the house, they stared at it with great dignity for a few moments, then ran off in terror, leaving the gate swinging mildly and illegally. A window opened above (it was so silent for a second that Sandeep could hear someone unlocking it) and Babla's face appeared behind the mullions. Chhotomama and Saraswati, the maidservant, came down and helped them with their bags. Sandeep ran up the stairs with his cousins, not looking back. There was a thrilled impatience about his movements, as if he either wanted to finish or begin something quickly. His aunt, by contrast, stood at the head of the stairs, in a place that was half sunlit and half shadowy, with immaculate serenity, seemingly not having moved from where she had said good-bye to him about a year ago; she said: "How have you been, Mona?" When she saw Sandeep's mother, she went down the stairs and grasped her hand in a relaxed way; all the excitement shone in her eyes. "Didi . . . ," she said. They went up in a procession, Abhi, Babla, Sandeep, his mother, his uncle, his aunt, as if they were going up to a shrine on pilgrimage. Later, they sat on a wide bed beneath an ancient fan which, as it rotated, moved unreliably from side to side, like a great bird trying to fly. The holiday mood transported them with its poetry; they could have been anywhere--on a hillside on the Western Ghats or in a cave in Kanheri. Sandeep's mother now opened a suitcase and distributed gifts she had brought from Bombay. Gleaming objects, clothes, perfumes, emerged from the suitcase. "And here are saris for you," she said to Sandeep's aunt. "Though Calcutta saris are the loveliest." "Oh but these are beautiful," replied Mamima, unravelling a sari, which broke out into a galaxy of hand-woven stars, a cosmos of streaking comets and symbolic blue horizons. "She's right," said Chhotomama. "Calcutta saris are the loveliest. Though this is nice," he said grudgingly, touching the cloth. Near them, Sandeep and Abhi silently wrestled with each other, looking vaguely like the two angry, rumpled pillows at the head of the bed. The grown-ups, who made a little shifting arena around their bodies, paid them scarcely more attention than they paid the pillows. Both arms pinned down, Abhi stared into Sandeep's eyes in mock exhaustion and with a distant affection. "Give up?" cried Sandeep. "No," whispered Abhi. "No I don't give up." Irreconcilable as two conflicting principles, they fell to struggling again. It was, actually, an excuse for embracing, touching, exploring each other's presence; not having met for a year, they, great friends, wanted to do these things, and fighting seemed the only acceptable way toward intimacy. Babla, meanwhile, sat listening to the adults talking; his eyes darted from one face to the other, then back again, as if he were following a game of tennis, as if he could see questions and answers, like white balls being tossed from one end of the court to another. The morning passed in a wave of words. Sandeep's mother talked about Bombay, about Sandeep's father's responsibilities in "the company," about how he worked too hard, and how he never had time to go anywhere. Chhotomama, whose problems were more ordinary and also more difficult to solve, loved listening to the remote complaints of his sister's life, objecting to or agreeing with, now and then, a phrase. Sandeep, an only child, felt the shared background of brother and brother, and brother and sister, throw upon him a shade like that of the cool, expansive branches of a rooted banyan tree. He wandered in the shade, forgetting it was temporary. Mamima brought his mother and Chhotomama cups of tea, which they stirred thoughtfully in the middle of a discussion; Saraswati went to the market and returned with a large, dark boal fish for lunch. The grown-ups never fell short of subjects for discussion; in the kitchen, as Saraswati worked, the pots and pans also held a different, but no less urgent, dialogue. Sandeep, doing something or the other with his cousins, gradually adjusted his senses to Chhotomama's house, to the pale walls, the spiderwebs in the corners, the tranquil bedsheets on the old beds, the portraits of grandfathers and grandmothers, the fans that swung drunkenly from side to side--all so different from the quiet and perfected apartment he lived in in Bombay. After they had exhausted all their games, they had a bath. They stood naked in front of the bathroom; their clothes lay in a heap at their feet; their testicles hung silently and insignificantly like small, unplucked fruit. Babla's penis was hardly visible, a sleeping beetle everyone had forgotten to notice. He wasn't aware that anything unusual had happened; having spent only six years on this planet, clothes were still a relatively puzzling and uncomfortable phenomenon to him. Mamima now kneaded Abhi's and Babla's bodies with mustard oil. She twisted them, took them apart, put them together; they surrendered to her as plasticene surrenders its infinite forms to a child's fingers. When she rubbed an arm or a leg, it appeared to detach itself from the body, with a wonderful absence of pain, and come into her skillful hands, a live, grotesque appendage. She would oil it till it shone, and then fix it, with a grim, satisfied smile, where it belonged. A sharp aura of mustard oil flowered, giving Sandeep's nostrils a faraway sentient pleasure--it wasn't a sweet smell, but there was a harsh unexpectedness about it he liked. It reminded him of sunlight. In Bengal, both tamarind and babies are soaked in mustard oil, and then left upon a mat on the terrace to absorb the morning sun. The tamarind is left out till it dries up and shrivels into an inimitable flavour and a ripe old age; but the babies are brought in before they get too hot, and then bathed in cool water. With their frantic miniature limbs and their brown, shining bodies, they look like little koi fish caught from the Hooghly River, struggling into life. The bathroom was a small square room, with a basin on one side, and a window on the right. The windowsill was cluttered with shampoos and soaps and unguents. On the other side of the closed window, pigeons sat through their afternoons with a serene lack of urgency, and sometimes shifted to look in uncuriously at a nude bather. One could hear mynahs and shaliks singing outside, though one could hear their fragmentary chorus more clearly from the toilet, which was next to the bath. An obsessive, busy music repeated itself behind the frosted glass. Sometimes, one heard the shrill cries of their young, and felt surrounded and safe. There was a tap in the middle; at the top, a round eye sprinkled with orifices protruded from a pipe that was bent downward like the neck of a tired giraffe; this was the shower. There was no hot water and no bathtub, but no one seemed to miss what was not there. Sometimes, in the afternoon, Saraswati would wash saris and sheets, tedious yards of cloth, beneath the running tap, sitting fixedly on her haunches, rubbing the clothes, banging them repeatedly with a loud watery "pluff" on the floor. As she banged them, the bathroom echoed with a strange rhythm. Later, she would wring the saris into long, exhausted pythons of cloth. She would notice the boys observing her with dark, inquisitive eyes from behind the door, and she would say: "What are you looking at, you hooligans?" When they had had their bath, they trooped out like naked ruffians on an island, spattering the floor with their wet footprints. Later they went down to have lunch in the dining room; they dangled their feet ferociously from chairs round a large, shabby table with pots thronging in the centre. Pieces of boal fish, cooked in turmeric, red chilli paste, onions, and garlic, lay in a red, fiery sauce in a flat pan; rice, packed into an even white cake, had a spadelike spoon embedded in it; slices of fried aubergine were arranged on a white dish; dal was served from another pan with a drooping ladle; long, complex filaments of banana flower, exotic, botanical, lay in yet another pan in a dark sauce; each plate had a heap of salt on one side, a green chilli, and a slice of sweet-smelling lemon. The grown-ups snapped the chillies (each made a sound terse as a satirical retort), and scattered the tiny, deadly seeds in their food. If any of the boys was ever brave or foolish enough to bite a chilli, their eyes filled tragically with tears, and they longed to drown in a cool, clear lake. Though Chhotomama was far from affluent, they ate well, especially on Sundays, caressing the rice and the sauces on their plates with attentive, sensuous fingers, fingers which performed a practised and graceful ballet on the plate till it was quite empty. Later, after washing their hands, they went up to the second and topmost storey of the house. Sandeep's mother and Mamima reclined on the large bed. Their conversation was a transparent stream that occasionally trickled into desert patches of silence. Chhotomama turned on the radio, which began to babble immediately like the local idiot: "Both grandson and grandfather love eating Thin Arrowroot Biscuits." "Nothing's as kind to your skin as Boroline Antiseptic Cream." He lay back on the small bed, secure as a soldier in his trench, with the newspaper in his hands; he folded it several ways and made it crackle festively. His face and his arms drowned in the black-and-white ocean of the newspaper, surfacing intermittently. Sighing regretfully, Chhotomama fell asleep, the newspaper covering his face. When the breath came up from his nostrils, the newspaper rose and fell lightly, as if it were breathing as well. On the big bed, Mamima and Sandeep's mother began to dream, sprawled in vivid crablike postures. His aunt lay on her stomach, her arms bent as if she were swimming to the edge of a lake; his mother lay on her back, her feet (one of which had a scar on it) arranged in the joyous pose of a dancer. A mournful song now came on the radio. It was an old radio, a wedding gift, shaped like a box, with outdated knobs and dials. When Sandeep was younger, he had thought there were little men, talented homunculi, inside the box of the radio, who performed those songs. But that seemed long ago. Beside the radio, there was a clock with a white face which always ran ten minutes fast. Every night, the time was readjusted, and every morning, with great accuracy, it had gained ten minutes. At about half-past four, when the clock said twenty to five, the grown-ups woke and stretched their arms like reluctant children. The Sunday lunch, then the Sunday nap--and the thought of Monday, that difficult day, was aborted. The radio crackled with the nervous, breathless sound of football commentary; dust had settled on the floor and furniture of the house. Calcutta is a city of dust. If one walks down the street, one sees mounds of dust like sand dunes on the pavements, on which children and dogs sit doing nothing, while sweating labourers dig into the macadam with spades and drills. The roads are always being dug up, partly to construct the new underground railway system, or perhaps for some other obscure reason, such as replacing a pipe that doesn't work with another pipe that doesn't work. At such times, Calcutta is like a work of modern art that neither makes sense nor has utility, but exists for some esoteric aesthetic reason. Trenches and mounds of dust everywhere give the city a strange bombed-out look. The old houses, with their reposeful walls, are crumbling to slow dust; their once-gleaming gates are rusting. Dust flakes off the ceilings in offices; the buildings are becoming dust, the roads are becoming dust. At the same time, dust is constantly raised into startling new shapes and unexpected forms by the arbitrary workings of the wind, forms on which dogs and children sit doing nothing. Daily, Calcutta disintegrates, unwhispering, into dust, and daily it rises from dust again. A house in Calcutta must be swept and scrubbed at least twice a day. Once, in the morning, Saraswati polished the floor with a moist rag, and Mamima religiously dusted the tables and chairs. The dust rose in the air in breathless clouds and seemed to evaporate and disappear. But by evening, it would condense, like moisture, and resettle on the surfaces of things. A little before sunset, a woman called Chhaya came to clean the house a second time, smiling at the boys as they waited impatiently for her to finish. She had a serious cultured face with a serious smile, the face of a kindly and understanding teacher; it was hard to believe she lived across the railway lines, in the clump of huts called the basti, from which whiffs of excrement rose on windy days. She would sweep the floor--unending expanses, acres and acres of floor--with a short broom called the jhadu, swiping away the dust in an arc with its long tail, which reminded one of the drooping tail of some nameless, exotic bird. She would collect the dust in a corner, and here there would be an accumulation of unlikely treasure that had blown in from outside or had gathered, unnoticed, inside: a single elegant pigeon's feather, a page lost from a book, a dead spider which ants had forgotten to carry off, the long, black, tender loops of Mamima's and Sandeep's mother's hair. Then she would dip a grey rag into a pail, and sit on her haunches at one end of the room, and swish the rag around the floor. Carefully, deliberately, she would begin to advance to the other end of the room, swiping th