Cover image for The unknown errors of our lives
The unknown errors of our lives
Divakaruni, Chitra Banerjee, 1956-
First edition.
Publication Information:
New York : Doubleday, [2001]

Physical Description:
267 pages ; 22 cm
Mrs. Dutta writes a letter -- The intelligence of wild things -- The lives of strangers -- The love of a good man -- What the body knows -- The forgotten children -- The blooming season for cacti -- The unknown errors of our lives -- The names of stars in Bengali.
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From acclaimed and beloved author Chitra Banerjee Divakarunicomes a new collection of moving stories about family, culture, and the seduction of memory. With the rich prose and keen insight that madeMistress of SpicesandSister of My Heartnational bestsellers, these tales of journeys and returns, of error, of loss and recovery, all resound with her unique understanding of the human spirit. "Don't we all have to pay, no matter what we choose?"a young woman asks in "The Love of a Good Man," one of the unforgettable stories in Chitra Divakaruni's beautifully crafted exploration of the tensions between new lives and old. In tales set in India and the United States, she illuminates the transformations of personal landscapes, real and imagined, brought about by the choices men and women make at every stage of their lives. "The Love of a Good Man" tells of an Indian woman happily settled in the United States who must confront the past when her long-estranged father begs to meet his only grandson. In the acclaimed "Mrs. Dutta Writes a Letter," a widow, inadvertently eavesdropping, discovers that her cherished, old-fashioned ways are an embarrassment to her daughter-in-law. A young American woman joins a pilgrimage of women in Kashmir and, in the land of her ancestors, comes to view herself and her family in a new light in "The Lives of Strangers." Two women, uprooted from their native land by violence and deception, find unexpected comfort and hope in each other in "The Blooming Season for Cacti." And in the title story, a young woman turns to her painting and the wisdom of her grandmother for the strength to accept her fiance's past when it arrives on her doorstep. Whether writing about the adjustments of immigrants to a foreign land or the accommodations families make to the disruptive differences between generations, Divakaruni poignantly portrays the eternal struggle to find a balance between the pull of home and the allure of change.

Author Notes

Chitra Banerjee Divakaruni was born in India and later moved to the United States to attend college. She earned a M. A. at Wright State University and a Ph.D. from the University of California at Berkeley.

Divakaruni held many odd jobs until she was able to become an accomplished writer. She was the president of MAITRI, a crisis hotline for female South Asian victims of domestic abuse, and is currently a professor at Foothill College in California.

Her works have been recognized in more than 50 magazines and 30 anthologies. She also has been awarded two PEN Syndicated Fiction Project Awards, a Pushcart Prize, and the Allen Ginsberg Poerty Prize. Divakaruni's books include Arranged Marriage and The Mistress of Spices. Her Title One Amazing Thing made The New York Times Best Seller List.

(Bowker Author Biography) Chitra Divakaruni is the author of the bestselling novels "The Mistress of Spices" & "Sister of My Heart", the story collection "Arranged Marriage", which won several awards, including the American Book Award, & four collections of poetry. Her work has appeared in "The New Yorker", "The Atlantic Monthly", "Ms.", & other publications. Born in India, she lives in the San Francisco area.

(Bowker Author Biography)

Reviews 2

Booklist Review

Divakaruni's narrative elegance serves not to reduce the emotional impact of her fiction but rather to concentrate and intensify it. After two enormously successful novels, including the splendid Sister of My Heart (1998), she returns to the short-story form with which she had such success in Arranged Marriages (1995). Classically shaped but spiked with the unexpected, these potent tales portray families shattered by violence and stretched to the breaking point between the wildly disparate worlds of India and the U.S. Each story revolves around a reflective and strong-willed heroine, most of whom left India with the intention of living lives both fuller and freer than the traditionally restricted routines of their grandmothers and mothers, only to find themselves floundering, unsure of how to proceed, what to believe, and who they are. In "What the Body Knows," an Indian woman living in the U.S. almost loses the will to live after the birth of her first child. "The Blooming Season of Cacti" traces a young woman's journey from the shock of her mother's death in a Bombay riot to an Indian community in the California desert, where she is undone by her panicked choice of fantasy over intimacy. In "The Intelligence of Wild Things," a young woman living in California, whose mother is dying in Calcutta, muses on the Bengali word abhimaan, which describes a "mix of love and anger and hurt." This is the very turmoil Divakaruni captures so indelibly in stories about doting Indian grandparents and skittish American grandchildren, a young mother unsure about whether she can forgive her father for abandoning her and her mother, and a young Indian American woman who travels to India after a suicide attempt to try and recalibrate her life. These hauntingly beautiful stories of epiphany and catharsis place Divakaruni in the vanguard of fine literary writers who touch a broad spectrum of readers. Donna Seaman

Publisher's Weekly Review

The female protagonists of eight of the nine stories in Divakaruni's sensuously evocative new collection are caught between the beliefs and traditions of their Indian heritage and those of their, or their children's, new homeland, America. Nowhere is this dichotomy of cultures so well evoked as in the title story, in which Divakaruni's gift for writing image-filled prose illuminates Berkeley resident Ruchira's gift for painting mythic figures from Indian legends, and poignantly underscores a very contemporary marriage dilemma, which Ruchira solves by intuiting her dead grandmother's advice. Equally excellent is "The Names of Stars in Bengali," the beautifully nuanced story of a San Francisco wife and mother who returns to her native village in India to visit her mother, in which each understands afresh the emotional dislocation caused by stepping into "a time machine called immigration" that subjects them to "the alien habits of a world they had imagined imperfectly." One misses a similar level of sophistication in such stories as "The Blooming Season for Cacti," "The Love of a Good Man" and "The Lives of Strangers," all of which seem contrived, overwrought and predictable. Yet at her best, as in "Mrs. Dutta Writes a Letter" and "The Intelligence of Wild Things,'' Divakaruni writes intensely touching tales of lapsed communication, inarticulate love and redemptive memories. This is a mixed collection, then, but one worth reading for the predominance of narratives that ring true as they illuminate the difficult adjustments of women in whom memory and duty must coexist with a new, often painful and disorienting set of standards. Starting with her first novel, The Mistress of Spices, India-born San Francisco resident Divakaruni has acquired a receptive audience, which undoubtedly will greet this new work with enthusiasm. Agent, Sandra Dijkstra. (Apr. 17) (c) Copyright PWxyz, LLC. All rights reserved



Mrs. Dutta Writes A Letter When the alarm goes off at 5:00 A.M., buzzing like a trapped wasp, Mrs. Dutta has been lying awake for quite a while. Though it has now been two months, she still has difficulty sleeping on the Perma Rest mattress Sagar and Shyamoli, her son and daughter-in-law, have bought specially for her. It is too American-soft, unlike the reassuringly solid copra ticking she is used to at home. Except this is home now, she reminds herself. She reaches hurriedly to turn off the alarm, but in the dark her fingers get confused among the knobs, and the electric clock falls with a thud to the floor. Its insistent metallic call vibrates out through the walls of her room until she is sure it will wake everyone. She yanks frantically at the wire until she feels it give, and in the abrupt silence that follows she hears herself breathing, a sound harsh and uneven and full of guilt. Mrs. Dutta knows, of course, that this turmoil is her own fault. She should just not set the alarm. There is no need for her to get up early here in Sunnyvale, in her son's house. But the habit, taught to her by her mother-in-law when she was a bride of seventeen, a good wife wakes before the rest of the household, is one she finds impossible to break. How hard it was then to pull her unwilling body away from her husband's sleep-warm clasp, Sagar's father whom she had just learned to love. To stumble to the kitchen that smelled of stale garam masala and light the coal unoon so she could make morning tea for them all--her parents-in-law, her husband, his two younger brothers, the widow aunt who lived with them. After dinner, when the family sits in front of the TV, she attempts to tell her grandchildren about those days. "I was never good at starting that unoon--the smoke stung my eyes, making me cough and cough. Breakfast was never ready on time, and my mother-in-law--oh, how she scolded me until I was in tears. Every night I would pray to Goddess Durga, please let me sleep late, just one morning!" "Mmmm," Pradeep says, bent over a model plane. "Oooh, how awful," says Mrinalini, wrinkling her nose politely before she turns back to a show filled with jokes that Mrs. Dutta does not understand. "That's why you should sleep in now, Mother," says Shyamoli, smiling from the recliner where she sits looking through the Wall Street Journal . With her legs crossed so elegantly under the shimmery blue skirt she has changed into after work, and her unusually fair skin, she could pass for an American, thinks Mrs. Dutta, whose own skin is brown as roasted cumin. The thought fills her with an uneasy pride. From the floor where he leans against Shyamoli's knee, Sagar adds, "We want you to be comfortable, Ma. To rest. That's why we brought you to America." In spite of his thinning hair and the gold-rimmed glasses which he has recently taken to wearing, Sagar's face seems to Mrs. Dutta still that of the boy she used to send off to primary school with his metal tiffin box. She remembers how he crawled into her bed on stormy monsoon nights, how when he was ill no one else could make him drink his barley water. Her heart balloons in sudden gladness because she is really here, with him and his children in America. "Oh, Sagar"--she smiles--now you're talking like this! But did you give me a moment's rest while you were growing up?" And she launches into a description of childhood pranks that has him shaking his head indulgently while disembodied TV laughter echoes through the room. But later he comes into her bedroom and says, a little shamefaced, "Mother, please, don't get up so early in the morning. All that noise in the bathroom, it wakes us up, and Molli has such a long day at work . . ." And she, turning a little so he shouldn't see her foolish eyes filling with tears as though she were a teenage bride again and not a woman well over sixty, nods her head, yes, yes . Waiting for the sounds of the stirring household to release her from the embrace of her Perma Rest mattress, Mrs. Dutta repeats the 108 holy names of God. Om Keshavaya Namah, Om Narayanaya Namah, Om Madhavaya Namah. But underneath she is thinking of the bleached-blue aerogram from Mrs. Basu that has been waiting unanswered on her bedside table all week, filled with news from home. There was a robbery at Sandhya Jewelry Store, the bandits had guns but luckily no one was hurt. Mr. Joshi's daughter, that sweet-faced child, has run away with her singing teacher, who would've thought it. Mrs. Barucha's daughter-in-law had one more baby girl, yes, their fourth, you'd think they'd know better than to keep trying for a boy. Last Tuesday was Bangla Bandh, another labor strike, everything closed down, even the buses not running, but you can't really blame them, can you, after all factory workers have to eat, too. Mrs. Basu's tenants, whom she'd been trying to evict forever, had finally moved out, good riddance, but you should see the state of the flat. At the very bottom Mrs. Basu wrote, Are you happy in America? Mrs. Dutta knows that Mrs. Basu, who has been her closest friend since they both came to Ghoshpara Lane as young brides, cannot be fobbed off with descriptions of Fisherman's Wharf and the Golden Gate Bridge, or even anecdotes involving grandchildren. And so she has been putting off her reply while in her heart family loyalty battles with insidious feelings of--but she turns from them quickly and will not name them even to herself. Now Sagar is knocking on the children's doors--a curious custom, this, children being allowed to close their doors against their parents--and with relief Mrs. Dutta gathers up her bathroom things. She has plenty of time. It will take a second rapping from their mother before Pradeep and Mrinalini open their doors and stumble out. Still, she is not one to waste the precious morning. She splashes cold water on her face and neck (she does not believe in pampering herself), scrapes the night's gumminess from her tongue with her metal tongue cleaner, and brushes vigorously, though the minty toothpaste does not leave her mouth feeling as clean as did the bittersweet neem stick she'd been using all her life. She combs the knots out of her hair. Even at her age, it is thicker and silkier than her daughter-in-law's permed curls. Such vanity, she scolds her reflection, and you a grandmother and a widow besides . Still, as she deftly fashions her hair into a neat coil, she remembers how her husband would always compare it to night rain. She hears a commotion outside. "Pat! Minnie! What d'you mean you still haven't washed up? I'm late every morning to work nowadays because of you kids." "But, Mom, she's in there. She's been there forever . . ." says Mrinalini. Pause. Then, "So go to the downstairs bathroom." "But all our stuff is here," says Pradeep, and Mrinalini adds, "It's not fair. Why can't she go downstairs?" A longer pause. Inside the bathroom Mrs. Dutta hopes Shyamoli will not be too harsh on the girl. But a child who refers to elders in that disrespectful way ought to be punished. How many times had she slapped Sagar for something far less, though he was her only one, the jewel of her eye, come to her after she had been married for seven years and everyone had given up hope already? Whenever she lifted her hand to him it was as though her heart was being put through a masala grinder. Such is a mother's duty. But Shyamoli only says, in a tired voice, "That's enough! Go put on your clothes, hurry." The grumblings recede. Footsteps clatter down the stairs. Inside the bathroom Mrs. Dutta bends over the sink, gripping the folds of her sari. Hard to think through the pounding in her head to what it is she feets most--anger at the children for their rudeness, or at Shyamoli for letting them go unrebuked. Or is it shame that clogs her throat, stinging, sulfuric, indigestible? It is 9.00 A.M. and the house, after the flurry of departures, of frantic "I can't find my socks," and "Mom, he took my lunch money," and "I swear I'll leave you kids behind if you're not in the car in exactly one minute," has settled into its placid daytime rhythms. Busy in the kitchen, Mrs. Dutta has recovered her spirits. It is too exhausting to hold on to grudges, and, besides, the kitchen--sunlight sliding across its countertops while the refrigerator hums reassuringly--is her favorite place. Mrs. Dutta hums too as she fries potatoes for alu dum. Her voice is rusty and slightly off-key. In India she would never have ventured to sing, but with everyone gone, the house is too quiet, all that silence pressing down on her like the heel of a giant hand, and the TV voices, with their unreal accents, are no help at all. As the potatoes turn golden-brown, she permits herself a moment of nostalgia for her Calcutta kitchen--the new gas stove bought with the birthday money Sagar sent, the scoured brass pots stacked by the meat safe, the window with the lotus-pattern grille through which she could look down on children playing cricket after school. The mouth-watering smell of ginger and chili paste, ground fresh by Reba the maid, and, in the evening, strong black Assam cha brewing in the kettle when Mrs. Basu came by to visit. In her mind she writes to Mrs. Basu, Oh, Roma, I miss it all so much, sometimes I feel that someone has reached in and torn out a handful of my chest. But only fools indulge in nostalgia, so Mrs. Dutta shakes her head clear of images and straightens up the kitchen. She pours the half-drunk glasses of milk down the sink, though Shyamoli has told her to save them in the refrigerator. But surely Shyamoli, a girl from a good Hindu family, doesn't expect her to put contaminated jutha things in with the rest of the food? She washes the breakfast dishes by hand instead of letting them wait inside the dishwater till night, breeding germs. With practiced fingers she throws an assortment of spices into the blender: coriander, cumin, cloves, black pepper, a few red chilies for vigor. No stale bottled curry powder for her! At least the family's eating well since I arrived , she writes in her mind, proper Indian food, rutis that puff up the way they should, fish curry in mustard sauce, and real pulao with raisins and cashews and ghee--the way you taught me, Roma--instead of Rice-a-roni . She would like to add, They love it, but thinking of Shyamoli she hesitates. At first Shyamoli had been happy enough to have someone take over the cooking. It's wonderful to come home to a hot dinner, she'd say, or, Mother, what crispy papads, and your fish gravy is out of this world. But recently she's taken to picking at her food, and once or twice from the kitchen Mrs. Dutta has caught wisps of words, intensely whispered: cholesterol, all putting on weight, she's spoiling you. And though Shyamoli always refuses when the children ask if they can have burritos from the freezer instead, Mrs. Dutta suspects that she would really like to say yes. THE CHILDREN. A heaviness pulls at Mrs. Dutta's entire body when she thinks of them. Like so much in this country they have turned out to be--yes, she might as well admit it--a disappointment. For this she blames, in part, the Olan Mills portrait. Perhaps it had been impractical of her to set so much store on a photograph, especially one taken years ago. But it was such a charming scene--Mrinalini in a ruffled white dress with her arm around her brother, Pradeep chubby and dimpled in a suit and bow tie, a glorious autumn forest blazing red and yellow behind them. (Later Mrs. Dutta would learn, with a sense of having been betrayed, that the forest was merely a backdrop in a studio in California, where real trees did not turn such colors.) The picture had arrived, silver-framed and wrapped in a plastic sheet filled with bubbles, with a note from Shyamoli explaining that it was a Mother's Day gift. (A strange concept, a day set aside to honor mothers. Did the sahebs not honor their mothers the rest of the year, then?) For a week Mrs. Dutta could not decide where it should be hung. If she put it in the drawing room, visitors would be able to admire her grandchildren, but if she put it on the bedroom wall, she would be able to see the photo, last thing, before she fell asleep. She had finally opted for the bedroom, and later, when she was too ill with pneumonia to leave her bed for a month, she'd been glad of it. Mrs. Dutta was not unused to living on her own. She had done it for the last three years, since Sagar's father died, politely but stubbornly declining the offers of various relatives, well-meaning and otherwise, to come and stay with her. In this she had surprised herself as well as others, who thought of her as a shy, sheltered woman, one who would surely fall apart without her husband to handle things for her. But she managed quite well. She missed Sagar's father, of course, especially in the evenings, when it had been his habit to read to her the more amusing parts of the newspaper while she rolled out rutis. But once the grief receded, she found it rather pleasant to be mistress of her own life, as she confided to Mrs. Basu. She liked being able, for the first time ever, to lie in bed all evening and read a new novel of Shankar's straight through if she wanted, or to send out for hot brinjal pakoras on a rainy day without feeling guilty that she wasn't serving up a balanced meal. When the pneumonia hit, everything changed. Mrs. Dutta had been ill before, but those illnesses had been different. Even in bed she'd been at the center of the household, with Reba coming to find out what should be cooked, Sagar's father bringing her shirts with missing buttons, her mother-in-law, now old and tamed, complaining that the cook didn't brew her tea strong enough, and Sagar running in crying because he'd had a fight with the neighbor boy. But now there was no one to ask her, querulously, Just how long do you plan to remain sick, no one waiting in impatient exasperation for her to take on her duties again, no one whose life was inconvenienced the least bit by her illness. From the Trade Paperback edition. Excerpted from The Unknown Errors of Our Lives by Chitra Banerjee Divakaruni All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Table of Contents

1. Mrs. Dutta Writes a Letterp. 1
2. The Intelligence of Wild Thingsp. 35
3. The Lives of Strangersp. 55
4. The Love of a Good Manp. 89
5. What the Body Knowsp. 119
6. The Forgotten Childrenp. 145
7. The Blooming Season for Cactip. 167
8. The Unknown Errors of Our Livesp. 211
9. The Names of Stars in Bengalip. 237