62.sangeeta Article

www.TLHjournal.
com Literary Herald ISSN: 2454-3365
An International Refereed English e-Journal

Impact Factor: 2.24 (IIJIF)
Shashi Deshpande’s Ships That Pass: A Critique

Sangeeta
Research scholar
DSMNR University, Lucknow
Shashi Deshpande projects mysteriosophy in human relationship which take off

the emotions at high esteem. It seems that writing as an art is inherent in her blood by her
father‟s genes. She articulates the mysterious human psyche which has been never
touched before by anyone. It is her unconscious profession which flourishes to new
heights in Indian English writing. She does not prefer to call herself as feminist writer;
her choice goes with writing and representing feminine aspect as well as other aspects.
Now the question is that when man and woman, both are writing and reading all topics,
then how a woman becomes a feminist automatically and male writer is considered as
omniscient in all issues. She loves to write on all aspects of mysterious human nature but
prefers feminist issues.
Shashi Deshpande loves to expound the mystery in human behavior from artificial
and oblivious aspects. She represents motley dimensions of work which leads to
mysterious element in her work. She creates a web of mysterious elements in the Ships
That Pass where Radhika represents a young generation. While crossing the road she
takes the decision to get married but is not ready to follow the marital rituals. Next, Tara
grieves over Geetu‟s death being a mother but in another moment she represents that she
and Shaan do not deserve the parentage of Abhi. Third mystery is related with ram
Mohan who is introduced as a doctor of Tara. In the next segment, Shaan is portrayed as
sincere husband who is concerned about his wife‟s health and call Radhika to look after
her, but later on discovers that Shaan has engaged him in extra marital affair. Shashi
Deshpande weaves the mystery which mingle-mangle all relationship in the novel.
Key words: Family Relationship, Murder, Mystery, Marriage
Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

Page 514 Editor-in-Chief
www.TLHjournal.com Literary Herald ISSN: 2454-3365

Shashi Deshpande’s Ships That Pass: A Critique

Sangeeta
Research scholar
DSMNR University, Lucknow
Shashi Deshpande projects mysterious characteristics in the human

relationship which take off the emotions at high esteem. She articulates the mysterious
human psyche which has been ever touched before by anyone. It is her unconscious
profession which flourishes to new heights in Indian English Writing. It is an important
task before the Indian English writer is to write in the English language in a manner that
conveys the fragrance of the real socio – culture of India. It is important to sprouts out the
essence of theme without distorting the language. It seems that writing as an art is
inherent in her blood by her father‟s genes. She does not consider English as foreign or
colonizer language, but the medium of creativity in her prospect. Her thoughts wonder
between the language and writing which explores by everyone. Her writing‟s depth
decides the depth of her intensity in the work instead of language. She doesn‟t prefer to
call herself as feminist writer; her choice goes with writing and representing feminine
aspects as well as other aspects. Now the question is that when man and woman, both are
writing and reading all topics, then how a woman becomes a feminist automatically and
male writer is considered as omniscient in all issues. She loves to write on all aspects of
mysterious human nature but in all prefers feminist issues.
Shashi Deshpande loves to expound the mystery from the middle class ethos in
human behaviour. She contributes to Indian English writing which place her in canon. It
raises the hope of reader at her work Ships That Pass which story was first published in
Eve‟s Weekly in 1980. It depicts about people and their mysterious selves instead of
detect the characters. She unsatisfied to shape the real essence of story in serializations
for magazine. It lost the real essence of the story therefore she decides to rewrite the


story, Ships That Pass. It bases on complete story of love and mystery. Though time has
changed, it does not change the mystery of human mind. It remains the great mystery of
all time. She admires crime and mysterious story when she was young. She fascinates
with the story Murder Most Foul which inspire her to write something mysterious.
Shashi Deshpande elaborates the mysticism of human relationship in Ships That
Pass. She represents motley dimensions of her work which leads to mysterious elements
in her work. She creates a web of mysterious characteristics in the Ships That Pass. In the
beginning of the novella, she presents Radhika‟s character as a young generation girl who
assumes as a working woman by her family member. Radhika‟s family persuades her for
preparing competitive examinations like IAS after completing the college. They justify it
by correlating her working status to her marital life. It seems that they think working
woman considered as enjoying prestigious status in the society, but Radhika‟s conundrum
reflects something else. She thought of marriage instead of career option whereas her
friends have planned for a definite career. Shashi Deshpande writes,
“I stalked away from my friends in a foul temper. And then, while I
was crossing the road, at a point behind the Bombay University
building- a spot for me to remember, like the Buddha‟s Peepal tree
in Bodh Gaya- there came enlightenment. Revelation.” (
Deshpande, 9)
Shashi Deshpande exhibits the mysterious aspect of a youth who takes decision of
marriage while crossing the road. She projects the road as Buddha‟s Peepal tree in Bodh
Gaya. A youth like Radhika has decided regarding marriage simply as she plans for
shopping, party, movie etc... She symbolises as an educated youth whose friend Rashmi
plans for a medical studies, and another friend Supriya precedes her father‟s profession to
become as a lawyer. In the context, Shashi Deshpande displays a contrast exhibition of
psychological level of same generation.
Shashi Deshpande develops the mystical aspect in the beginning of the novel. The
reader tries to understand the reason of Radhika‟s decision of marriage who defies her


own decision but in next segment, she refuses to wear sari which expresses such beautiful
way.
“So when Aai asked, “You will wear a sari, won‟t you, when they
come?‟, I protested, „They‟ had suddenly become a potent force in
my life, in all our lives, actually. „A sari?‟ I was prepared to get into
the act of a girl being „seen‟ by her possible in-laws. But a sari?
No‟, I said firmly.” (Deshpande, 10)
It looks another mysterious concept where Radhika chooses marriage over the
career and then, she refuses to wear sari. It puzzles to connection of marriage and
protestation of wearing sari. It is strange to imagine an Indian society justify a marriage
without sari? It is automatically understood that Indian Bride weened in traditional outfit.
Shashi Deshpande sprinkles the element of curiosity and develops the quest for happen in
reference of Radhika.
As novella moves forwards, Tara and Shaan relationship flourishes different
shade of colour which is beyond to understand by Radhika. It becomes shocking to
Radhika for hearing how Shaan could comment that-“I have no influences over her at
all.” (Deshpande, 17) Radhika observes them as an ideal couple since childhood. Tara
gave up everything for Shaan to just get marrying. Radhika amazes to see shaan reaction
for whom her sister blindly jumps into marriage. Shaan calls Radhika to inform about the
Tara‟s health which seems much more mystical as it seems. Radhika decides to visit
Tara‟s house and clarify her curiosity. As soon as Radhika arrived to Tara‟s house, she
tries to find the truth. Tara tried hard to hide and proclaim everything normal, but small-
small things mingle more the complexity of the mystery. Shaan appears to be sincere and
caring husband, but he does not arrange any medical treatment for Tara. As novella move
forwards, Shaan linked up with Rohini for extra martial affair.
Shashi Deshpande expounds an unusal mysterious chemistry between Tara and
Shaan. It confuses regarding actual relationship of the couple how a caring husband could
engage in extra marital affair. Why he calls Radhika if he plans to cheat Tara. The


mystery left unsolved over the characteristics of Shaan and move forwards to Tara‟s
characteristics.
Shashi Deshpande elaborates the bewilderment of Geeta‟s death which shakes the
soul of Tara. In this episode, Tara shown psychological disturbance and need for medical
treatment. In later segment, it discloses in the conversation with Radhika that she over
comes from the grief of Geeta‟s death.
“Akka spoke to me of Geetu for the first time... Shaan has an
absurd idea that I‟m still grieving over her‟, She said. „Of course I
am, how can anyone forget one‟s own child? I will never stop
grieving‟... But I have accepted the fact that she‟s gone, that it‟s all
over. The day I came back from the hospital ... I knew she had
gone. In fact, to see her suffer was worse, the hope that she would
recover, that there would be some kind of a miracle and she would
be all right- that was the worst thing. It was a kind of torture. I was
thankful when the end came.”(Deshpande, 88-89)
Shashi Deshpande represents Tara occasionally portraits as composed personality it
illustrates during the conversation with Radhika over Geetu‟s death. Her personality
reflects very talented and active woman in the beginning of novella. Shaan shows a
caring husband and mature enough to handle Geetu‟s death which could not make an
issue between them. It seems a kind of finality in her voice and acceptance of fact. She
accepts the fact despite of she fells sick for Geetu. Thus, it raises another mystery which
quest for her sickness. It mingles the prejudice of reader‟s mind regarding her acceptance
of Geetu‟s death and her sickness over Geetu‟s death.
Shashi Deshpande expresses the biases motherhood of Tara at strange level. It can
only assume that Geetu‟s death is responsible for Tara mental state. She shows her
gratitude towards the dead child Geetu and neglect to alive child Abhi totally. Radhika
observes,


“Akka herself seemed to be drifting vaguely through life, denying

everything: Geetu‟s death, her sorrow for Geetu, even her love for
her son, Abhi. She was very casual with him most of the time, often
irritable with him. Yet, I saw her sitting by his bed one night after
he had fallen asleep, doing nothing, just sitting there, looking at
him with such intensity that it was frightening.” (Deshpande, 32-
33)
She has portrayed double standard of motherhood in which one towards Geetu
descries the sensitive mother; on another side explores ignorance towards Abhi. Shashi
Deshpande explores the characteristic of motherhood in active and inactive pose. It raises
the question of mystery how one character would different towards own children. It
shows another aspect of Tara when she argues to Shaan that “In fact, she said we don‟t
deserve Abhi either, that we are not fit to be parents.” (Deshpande 52) it becomes
difficult to understand the mysterious characteristics of Tara‟s motherhood.
It diverts at different dimension of Indian society which explores new side of
women characteristics in reference of Tara. Shashi Deshpande depicts Tara‟s character as
smart, beautiful, talented youth and her married life goes awesome in view of society.
Then, how she leads towards the mental trauma and bias attitude towards own child.
Even, Tara draws the mystery draws over Tara‟s death. It does not expound towards
reader even at the last line whether she was murdered, suicide or natural death. Her death
mystery sketch many dimension but do not move forward either side. Shashi Deshpande
beautifies to raise the suspense but it shatters in different dimension which leave question
mark in the reader‟s mind. The whole novella dedicated towards the Tara or Tara‟s health
and the end come clueless. Shashi Deshpande provides the speculation of Tara‟s murder,
suicide or natural death.
There are many clues prompt of her murder which directs towards the Shaan. It
could be the possibility that Shaan plans murder for Tara. He calls Radhika so that later,
he can project himself innocent and caring daring husband by calling Radhika to look


after her sister. He has an extra marital affair with his neighbour Rohini which discovers
later by Radhika. It could possible that he plans for marry to Rohini. And, Tara knows all
about it and she might object over the matter. It may be reason behind Tara‟s ill health
which assume as reaction of Geetu‟s death. Shaan may fade-up with the dispute between
the couple. He can take step of her murder because Shashi Deshpande does not give him
clean chit regarding the accusation of Tara‟s death. The mystery of Shaan‟s character
does not clear which remained as a question mark. Why does Shaan arrest and how does
he release? There is no clue behind the Shaan arrest and release. It well maintains the
myth over it.
Tara‟s death took another dimension which direct to commit suicide. Shashi
Deshpande mingles mangle the death mystery of Tara‟s death. If it concentrates on
second assumption of Tara‟s death, it will become easy to justify. Tara‟s murder has just
an assumption which is the part of mysterious characteristic enhance by Shashi
Deshpande. Tara interprets as a mentally disturb patient. Shaan calls Radhika for her. It
discovers that Tara had tried to attempt suicide twice. Shaan said to Radhika,
“You know, Radhu, I think she hasn‟t stopped grieving for Geetu.
Sometimes I have a strange feeling that she welcomes her pain, as
if it‟s a just punishment for Geetu‟s death. It‟s been nearly two
years now, but I have this strange feeling that she‟s still listening
for Geetu‟s voice, or her footsteps. As if she thinks she‟s still
around. I don‟t know, it sounds stupid, but that‟s how I feel.
(Deshpande 31)
It seems Tara forgets to live life. She traps in her subconscious of Geetu‟s death.
It speculates that she takes action of suicide only to console its guilt conscious. She may
think that it only left way to overcome from the trauma. It observes that Tara had tried
enough to come on normal track but she trapped in mental trauma again in next episode.
It could possible reason to take step behind Tara‟s death.


Shashi Deshpande develops another episode over Tara‟s death. It seems neither
murder nor suicide cause behind her death. She may pass away through natural cause. It
already understands that she shows as a suffer candidate who gets relief only by death.
There is no wonder of her death. She does not show any connivance in her life. She
swings many times between the life and death. Her health is the major cause of her death.
It can speculate over murder or suicide, but her death will not benefit to anyone. It raises
the possibility of her natural death. Shashi Deshpande creates the web of assumptions
over Tara‟s death. The thread of assumption is in reader‟s hand wherever they want to
drag or lose it.
Shashi Deshpande introduces another curiosity of Radhika who married to Ram
Mohan in the last of novella. It does not show any chemistry between them. In fact,
Radhika has not shown any normal liking towards the Ram Mohan in the beginning.
They share normal relationship as common human being has to each other. Their age
difference has not clue anything like to happen last. Radhika has already engaged to
Ghanshyam and her emotion involves with Ghanshyam. She does not welcome Ram
Mohan even friendly as this conversation shows this.
“Let me complete the introduction. This, as you have guessed, is
my sister, Radhika.‟
„Tara‟s little sister, Radhika.‟
„You used to call him Ram uncle.‟
My first wild thought was – I can‟t possibly call him Ram uncle.
And my second was – I‟ll get a crick in my neck looking up at him.
I felt like a midget, a circus dwarf. Actually, there was nothing
intimidating about him.” (Deshpande 35)
This conversation expounds the Radhika‟s view towards Ram Mohan. This is an
introductive communication in which it reflects nothing intimidating about them. The
whole novella moves with normal communication which does not show anything
glittering between them. Ram Mohan helps Radhika only to resolve her sister‟s death


mystery. They meet with selective prospect of investigation and collecting evidence of
Tara‟s death. Shashi Deshpande modifies their normal relationship to marriage. It comes
to notice about their emotion in the last two chapters. This relationship does not develop
forward, simply next chapter‟s first line predicts.
“There‟s very little left to tell. Ram Mohan and I got married very
soon after. Dada and Aai were happy for us and everyone decided
there was no need to wait, it was a simple registered wedding.”
(Deshpande 128)
After this segment, they show happily married couple. Shashi Deshpande interlinks
many dimensions to Radhika marriage mystery. An engaged girl visits her sister house
and later busy in investigate Tara‟s death mystery. Her engagement breaks off without
solids reason and she married to Ram Mohan. Whom she used to call him uncle and the
age difference vanishes in a second somewhere. The whole marriage episode raises many
curiosity and confusion in reader‟s mind.
Towards the end, Shashi Deshpande depicts the different aspects of allusion of
women psyche in a reform way. All the characters are in allusion which portrayed the
modern human psyche‟s alienation and allusion in the society which weaves the web of
relationships beautifully. The characters are suppressed by their own thought process
rather than society. It creates the dilemma in the character which explores the mystic
thought in their life. It can only analyse at last that Ships That Pass is the mystery of
human mind in context of modern isolated society.
WORK CITED
Agrwal, Beena. Mosaic of The Fictional World of Shashi Deshpande, New
York : Book Enclave Publishers, 2009. Print.
Abrams, M.H. A Glossary of Literary Terms. 7th ed.1999. Banglore : Prism
Book Pvt. Ltd. , 2003. Print.


Atrey, Mukta and Viney Kripal. Shashi Deshpande: A Feminist Study of Her
Fiction. New Delhi: B. R. Publishing Corporation, 1998. Print.
Deshpande, Shashi. Ships That Pass. New Delhi: Raintree, 2012. Print.
---. Interview: Language No Bar. The Sunday Times of India. Ahemdabad, 23 April
1995. 10. Print.
---.Interview by Geeta Gangadharan, Denying The Otherness, Indian Communicator,
Sunday Magazine, 20 Nov. 1994. 11. Print.
Jaggar, Alison M. Feminist Politics and Human Nature. New Jersey : Rowman and
Allanheld Publishers,1983. Print.
Mukherjee, Meenakshi. The Twice- Born Fiction: Theme and Techniques in the Indian
Novel in English. 2nd ed. New Delhi: Arnold- Heinemann, 1971. Print.
Mehta, Sangita, and Rekha Chutani. Studies in Literature and Literary Theory. New
Delhi: Adhyayan Publishers and Distributors, 2011. Print.


62.sangeeta Article

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

62.sangeeta Article

Uploaded by

Copyright:

Available Formats

www.TLHjournal.

com Literary Herald ISSN: 2454-3365

An International Refereed English e-Journal

Shashi Deshpande’s Ships That Pass: A Critique

Shashi Deshpande projects mysteriosophy in human relationship which take off

Key words: Family Relationship, Murder, Mystery, Marriage

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

Shashi Deshpande’s Ships That Pass: A Critique

Shashi Deshpande projects mysterious characteristics in the human

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

“Akka herself seemed to be drifting vaguely through life, denying

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

An International Refereed English e-Journal

Vol. 2, Issue 4 (March 2017) Dr. Siddhartha Sharma

You might also like