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zanoubia's review
dark
emotional
sad
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? N/A
- Flaws of characters a main focus? Yes
5.0
rupu's review against another edition
emotional
reflective
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.75
maketeaa's review against another edition
dark
sad
fast-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.75
this book was an unsettling web of unchecked desires and explores the potential for destruction in their indulgence. tagore does this particularly through mahendra's relationships with the two women of the story -- asha and binodini.
mahendra, pampered and doted on by his mother, rajalakshmi, lives a life characterised by indulgence. we see the effect of this uncontrolled indulgence when asha is first brought back to the marital home, in the absence of his aunt, annapurna, and rajalakshmi. the housework is neglected, along with mahendra's studies -- 'unless it is rooted in purposeful activity, its delights are neither fulfilling or lasting'.
with the return of rajalakshmi and the cataclysmic binodini, a sense of control brings such indulgence back into line. binodini is hardworking and takes care of the domestic chores, and develops a strong friendship with asha. but as her fascination with asha and mahendra's relationship grows, so does her own desire. using frequent imagery of fire, tagore highlights its uncontrollability -- and, forebodingly, its capacity to destroy. as this desire spills over to mahendra, too, the true potential of indulgent destruction becomes clear -- mahendra, who is one to take pride in his fierce principles of loyalty, gives into his feelings for binodini once in the absence of his mother and his wife, and takes the decision to run away with her.
in their abode away from everyone, exiled to a space for their own shame, we are given a sense of the reality of indulgence, of the gritty underbelly of was once so coveted. binodini's feelings for mahendra were temporary, transitory, fuelled by her want for something better than the cards she was dealt, not to be taken as sustainable. mahendra's frustration, often expressed through violent inner monologue, is a shock to what was once a playful, amorous connection -- in their desolate flat, when the haze of desire has dissipated, all that is left is binodini's scattered garlands and emptiness. mahendra begins to see binodini as simply an ordinary woman. the spell is broken.
it is their return to their home that returns structure to their lives, rajalakshmi's deteriorating health a unifying factor that creates purpose in all the characters. in her sorrow, asha becomes closer to her mother in law, taking on the role of the woman of the house, even shocking mahendra upon his return by the ease at which she forbids him from seeing his mother in case it worsens her health. asha takes on the appearance of an ascetic -- as her own spell is broken of her husband, she replaces her religious devotion of him with her religious devotion to god. the purposeful effect of religion guides her, empowers her, and symbolises a departure from the indulgence of her newlywed life, spending days overwhelmed with her love for mahendra. heeding annapurna's advice to forget mahendra and binodini's misdeeds, to not check their expressions as they are in the same room together, asha displays a key moment of self control -- the lack of indulgence in her own sorrow. contrasting with the myriad moments we are shown her tearfulness and desperation through the story, this is a clear example of her development as a character.
at the end, when the characters decide to work with bihari in his medical endeavours, we are left with the same sentiment as we started -- 'unless it is rooted in purposeful activity, its delights are neither fulfilling or lasting.'
mahendra, pampered and doted on by his mother, rajalakshmi, lives a life characterised by indulgence. we see the effect of this uncontrolled indulgence when asha is first brought back to the marital home, in the absence of his aunt, annapurna, and rajalakshmi. the housework is neglected, along with mahendra's studies -- 'unless it is rooted in purposeful activity, its delights are neither fulfilling or lasting'.
with the return of rajalakshmi and the cataclysmic binodini, a sense of control brings such indulgence back into line. binodini is hardworking and takes care of the domestic chores, and develops a strong friendship with asha. but as her fascination with asha and mahendra's relationship grows, so does her own desire. using frequent imagery of fire, tagore highlights its uncontrollability -- and, forebodingly, its capacity to destroy. as this desire spills over to mahendra, too, the true potential of indulgent destruction becomes clear -- mahendra, who is one to take pride in his fierce principles of loyalty, gives into his feelings for binodini once in the absence of his mother and his wife, and takes the decision to run away with her.
in their abode away from everyone, exiled to a space for their own shame, we are given a sense of the reality of indulgence, of the gritty underbelly of was once so coveted. binodini's feelings for mahendra were temporary, transitory, fuelled by her want for something better than the cards she was dealt, not to be taken as sustainable. mahendra's frustration, often expressed through violent inner monologue, is a shock to what was once a playful, amorous connection -- in their desolate flat, when the haze of desire has dissipated, all that is left is binodini's scattered garlands and emptiness. mahendra begins to see binodini as simply an ordinary woman. the spell is broken.
it is their return to their home that returns structure to their lives, rajalakshmi's deteriorating health a unifying factor that creates purpose in all the characters. in her sorrow, asha becomes closer to her mother in law, taking on the role of the woman of the house, even shocking mahendra upon his return by the ease at which she forbids him from seeing his mother in case it worsens her health. asha takes on the appearance of an ascetic -- as her own spell is broken of her husband, she replaces her religious devotion of him with her religious devotion to god. the purposeful effect of religion guides her, empowers her, and symbolises a departure from the indulgence of her newlywed life, spending days overwhelmed with her love for mahendra. heeding annapurna's advice to forget mahendra and binodini's misdeeds, to not check their expressions as they are in the same room together, asha displays a key moment of self control -- the lack of indulgence in her own sorrow. contrasting with the myriad moments we are shown her tearfulness and desperation through the story, this is a clear example of her development as a character.
at the end, when the characters decide to work with bihari in his medical endeavours, we are left with the same sentiment as we started -- 'unless it is rooted in purposeful activity, its delights are neither fulfilling or lasting.'
veenasoujanya's review against another edition
Yesterday I finished reading Choker Bali by Rabindranath Tagore and for the first time, I didn't know how to rate a book. Because it is Tagore's work are we supposed to give a 5star rating? To be frank I couldn't do so.I have seen many reviewers rating it less saying it is because of poor translation. I feel even that notion is wrong. I felt that there is a huge problem with the plot. In fact, if any other person other than Tagore had written the book I would have not even bothered to pick it up because of the storyline.Again, it is my opinion as for me the plot and the idea matters.The story, I understand is a great evolution for that period but if you pick it now, not knowing the title or author, I feel you can't read further after a few pages.
Choker Bali is supposed to be the story of two women. Again wrong. It is the story of an arrogant, spoilt and selfish man who decides that the world should revolve around him. The characterization of every character might be very real in accordance with that period, but now I think we evolved from accepting crap.
I won't go deep into the story. The basic outline is, a supposedly intelligent and smart Mahendra (he is going to be a doctor so let us assume him to be intelligent), marries Asha after seeing her for the first time though the match was originally designed for his best friend Bihari.(Ok, love, at first sight, I get it
Choker Bali is supposed to be the story of two women. Again wrong. It is the story of an arrogant, spoilt and selfish man who decides that the world should revolve around him. The characterization of every character might be very real in accordance with that period, but now I think we evolved from accepting crap.
I won't go deep into the story. The basic outline is, a supposedly intelligent and smart Mahendra (he is going to be a doctor so let us assume him to be intelligent), marries Asha after seeing her for the first time though the match was originally designed for his best friend Bihari.(Ok, love, at first sight, I get it
snarayan98's review against another edition
emotional
reflective
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.0
catommy17's review against another edition
dark
emotional
sad
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? N/A
- Flaws of characters a main focus? Yes
4.5
This story is so twisted and poetic and tragic, how intrigues of a small-minded people ruin lives. The social aspect is also important, I just can't imagine how small and cramped the world has been for women. It's impossible to blame it all on men seeing how many women lack compassion when it comes to each other, like in this book.
None of the characters are painted in the strictly positive light or negative, they are very complex. Tagore writes his characters with a lot of compassion and understanding. Even Rajalakshmi who is the one who started all this mess and was abhorrent towards everyone except her baby boy Mahendra and his best friend Behari can be understood. What I cannot understand is howeveryone just forgot how she herself refused to take medicine Mahendra prescribed for her and everyone was okay with that. It doesn't get addressed anywhere.
It's very psychological and many things are written between the lines, the always present tension between the characters. I have been consuming a lot of modern media recently which is pretty straightforward in nature and lacks nuance.
In the end, the books gets moralistic though. Okay, it isn't the worst outcome for Binodini, she could have gotten herself killed off (sending greetings to Anna Karenina and Madame Bovary). But I was rooting for her, finally finding love and happiness. But, hey, I read that author himself regretted not pushing forward. And how Asha is justexpected to forgive Mahendra and not make him feel guilty . The novel shows a lot of compassion to women but it's not feministic in the modern understanding of the word. I find it realistic that Asha doesn't want anything to do with Binodini after all that happened.
And I know, social and cultural context is important and I usually hate when people diagnose characters with different mental conditions but Binodini literally has so many BPD traits:
1. Goes from love to hate and back. I believe she indeed believed that she loved Asha and Mahendra, not just trying to live vicariously through them, intriguing and plotting revenge. But she quickly goes to 'I'm going to ruin their lives' in seconds, then forgets about it, then returns to her revenge plans with newly found resolve.
2. Pulls and pushes people, manipulating them. Not seeing anything bad in using and publicly humiliating Mahendra only to get to Behari. Showing kindness to Asha only to push her away (ignore her, not writing any letters while she was away. Also Asha is a precious baby and deserves everything)
3. Making big decisions on a whim without giving it much thought.
4. HOW SHE SQUANDERS ALL HER CHANCE FOR HAPPINESS EVEN WHEN IT IS RIGHT THERE!!! (so relatable).
5. Being hot, and mysterious, and unstable.
Anyways, great psychological novel about chronically fatherless people and a lot of pent up sexual frustration.
None of the characters are painted in the strictly positive light or negative, they are very complex. Tagore writes his characters with a lot of compassion and understanding. Even Rajalakshmi who is the one who started all this mess and was abhorrent towards everyone except her baby boy Mahendra and his best friend Behari can be understood. What I cannot understand is how
It's very psychological and many things are written between the lines, the always present tension between the characters. I have been consuming a lot of modern media recently which is pretty straightforward in nature and lacks nuance.
In the end, the books gets moralistic though. Okay, it isn't the worst outcome for Binodini, she could have gotten herself killed off (sending greetings to Anna Karenina and Madame Bovary). But I was rooting for her, finally finding love and happiness. But, hey, I read that author himself regretted not pushing forward. And how Asha is just
And I know, social and cultural context is important and I usually hate when people diagnose characters with different mental conditions but Binodini literally has so many BPD traits:
1. Goes from love to hate and back. I believe she indeed believed that she loved Asha and Mahendra, not just trying to live vicariously through them, intriguing and plotting revenge. But she quickly goes to 'I'm going to ruin their lives' in seconds, then forgets about it, then returns to her revenge plans with newly found resolve.
2. Pulls and pushes people, manipulating them. Not seeing anything bad in using and publicly humiliating Mahendra only to get to Behari. Showing kindness to Asha only to push her away (ignore her, not writing any letters while she was away. Also Asha is a precious baby and deserves everything)
3. Making big decisions on a whim without giving it much thought.
4. HOW SHE SQUANDERS ALL HER CHANCE FOR HAPPINESS EVEN WHEN IT IS RIGHT THERE!!! (so relatable).
5. Being hot, and mysterious, and unstable.
Anyways, great psychological novel about chronically fatherless people and a lot of pent up sexual frustration.
tintin_loves_books's review against another edition
3.0
Commencing on the backdrop of Calcutta during the era of British India, we come across an Indian household leading a simple life, as it would seem at the very beginning. Mahendra, the spoilt endearing son of a widowed mother who is over-affectionate over him. He is bought up in an affluent household and loves to be the center of attention.
Asha, short for Ashalata, is Mahendra’s wife and Annapurna, Mahendra’s widowed aunt’s niece. She is a naïve girl, young and in love with her husband. She trusts everyone and is, at first, portrayed as a rather easy-going and weak character, quite opposite to her husband, who is sort of hard-headed.
The two characters share a loving bond at the beginning of their married life. These two characters are also accompanied by Bihari, who even though being Mahendra’s best friend is really different from him. He is understanding, compassionate and has a fair sense of justice. He has every of that good quality that is lacking in Mahendra. Out of the two, he is more likable, influential and intellectual.
The story takes a big turn when Binodini enters the life of the trio. She was once earlier set to marry Mahendra and later Bihari but was discarded by both. Out of all the characters, she holds the most complicated stand. She could be loved yet hated at the same time. Her character is one of substance and importance. Widowed within one year of being married, she is attracted to the loving married life of Asha and Mahendra and evidently wants it for herself. She has a contrasting sense of character within herself. She is the main female protagonist and rightfully so, she manages to ascertain her positions as such.
‘Chokher Bali’ or ‘the mote in the eye’ is rightfully named, everyone being an eyesore to the other at one point or the other in the story. This story is a mixture of love, hate, resentment, mistrust, adultery and a fine depiction of the Calcutta of British era. The story advanced in the most beautiful manner but at some points, it set upon a monotonous note and seemed to lose the touch of interest. Having read the translated version, the true essence of the story appeared lost at parts. Scenes seemed incomplete at times.
The story is a masterpiece owning to the captured feel of the old era. The dialogues are intense and poetic, even carrying with it a bit of subtle humor. Binodini and Bihari’s conversations are shared with the utmost intensity and feel. There are many such issues which appear relatable to even this day. Some of the customs went through noticeable changes, like ‘Aakadashi’ which was earlier a ritual followed only by the widows is now a routine for the married, as well. The similar factors faced by most Indian households, especially Bengali, is accurate. The tussle between the mother and Kakima, the mother and her daughter-in-law in regards to her son, everything is on point. This novel without a doubt was indeed way ahead of its time.
The character most cherished was perhaps Binodini. She was such a strong female lead, being convent educated, she was already ahead of her time. When the girls of her age knew not how to read or write, she could converse as well. She was a relatable character and appeared more real. Her thoughts were deep and profound, something that indicates a person’s strength. Being a person of perfect qualities and beauty, it was not wrong for her to think- Mahendra deserved her and not the simpleton Asha. Even though, Bihari and Binodini’s link was more interesting. She was a person of strong moral character, although wavered at one point, her later decisions convey the statement. Her negative role didn’t appear negative enough, as somehow her reactions were well understood. The resentment, envy, and desires she faced while being with Mahendra and Asha was something completely normal.
The side characters like the two elderly woman, Annapurna and Rajalakshmi were portrayed in the natural and real light as well. All in all, they were unique and firmly placed in the rightful scenarios. The plotline reflected Tagore’s one of the best works. Even so, the end of the story wasn’t as great as it should have been, something even Tagore regretted in his days.
‘Chokher Bali’ is thus an amazing read and for all avid reader of any age. It is bound to capture your attention and seek your judgments. The concept was perfectly new and daring for those times. The plight of the widows, lets us know the distance we have traveled since then. There is a familiar feel to it. Something of usual and homely nature.
The movie version of this book directed by Rituporna Ghosh is as beautiful as the book itself. For literary fans, this book is surely a must read. It explored places, the people of those times couldn’t have imagined.
Asha, short for Ashalata, is Mahendra’s wife and Annapurna, Mahendra’s widowed aunt’s niece. She is a naïve girl, young and in love with her husband. She trusts everyone and is, at first, portrayed as a rather easy-going and weak character, quite opposite to her husband, who is sort of hard-headed.
The two characters share a loving bond at the beginning of their married life. These two characters are also accompanied by Bihari, who even though being Mahendra’s best friend is really different from him. He is understanding, compassionate and has a fair sense of justice. He has every of that good quality that is lacking in Mahendra. Out of the two, he is more likable, influential and intellectual.
The story takes a big turn when Binodini enters the life of the trio. She was once earlier set to marry Mahendra and later Bihari but was discarded by both. Out of all the characters, she holds the most complicated stand. She could be loved yet hated at the same time. Her character is one of substance and importance. Widowed within one year of being married, she is attracted to the loving married life of Asha and Mahendra and evidently wants it for herself. She has a contrasting sense of character within herself. She is the main female protagonist and rightfully so, she manages to ascertain her positions as such.
‘Chokher Bali’ or ‘the mote in the eye’ is rightfully named, everyone being an eyesore to the other at one point or the other in the story. This story is a mixture of love, hate, resentment, mistrust, adultery and a fine depiction of the Calcutta of British era. The story advanced in the most beautiful manner but at some points, it set upon a monotonous note and seemed to lose the touch of interest. Having read the translated version, the true essence of the story appeared lost at parts. Scenes seemed incomplete at times.
The story is a masterpiece owning to the captured feel of the old era. The dialogues are intense and poetic, even carrying with it a bit of subtle humor. Binodini and Bihari’s conversations are shared with the utmost intensity and feel. There are many such issues which appear relatable to even this day. Some of the customs went through noticeable changes, like ‘Aakadashi’ which was earlier a ritual followed only by the widows is now a routine for the married, as well. The similar factors faced by most Indian households, especially Bengali, is accurate. The tussle between the mother and Kakima, the mother and her daughter-in-law in regards to her son, everything is on point. This novel without a doubt was indeed way ahead of its time.
The character most cherished was perhaps Binodini. She was such a strong female lead, being convent educated, she was already ahead of her time. When the girls of her age knew not how to read or write, she could converse as well. She was a relatable character and appeared more real. Her thoughts were deep and profound, something that indicates a person’s strength. Being a person of perfect qualities and beauty, it was not wrong for her to think- Mahendra deserved her and not the simpleton Asha. Even though, Bihari and Binodini’s link was more interesting. She was a person of strong moral character, although wavered at one point, her later decisions convey the statement. Her negative role didn’t appear negative enough, as somehow her reactions were well understood. The resentment, envy, and desires she faced while being with Mahendra and Asha was something completely normal.
The side characters like the two elderly woman, Annapurna and Rajalakshmi were portrayed in the natural and real light as well. All in all, they were unique and firmly placed in the rightful scenarios. The plotline reflected Tagore’s one of the best works. Even so, the end of the story wasn’t as great as it should have been, something even Tagore regretted in his days.
‘Chokher Bali’ is thus an amazing read and for all avid reader of any age. It is bound to capture your attention and seek your judgments. The concept was perfectly new and daring for those times. The plight of the widows, lets us know the distance we have traveled since then. There is a familiar feel to it. Something of usual and homely nature.
The movie version of this book directed by Rituporna Ghosh is as beautiful as the book itself. For literary fans, this book is surely a must read. It explored places, the people of those times couldn’t have imagined.
moumita's review against another edition
emotional
reflective
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
This was an interesting book. A tragic ending would have been better.