My mother knew where to pinch a crab to unravel its innards.
Content Advisory: This story contains mature themes.
I was disappointed when I learnt that people don’t like their faces to be studied when they eat. As a child, eating was only exciting if I could imitate how adults ate. Especially those that looked like adults but were closer to us in age: older cousins on the cusp of their teens, with their fledgling facial hair and cracked voices. I also enjoyed watching my father eat, particularly bone marrow. His temples bobbed in and out of his forehead and I was often tempted to touch that little delicate dot.
Adults were oblivious to the power they had over knowing what to order, how to eat, and how quickly to eat. They fed themselves—and us—with as much inattention as possible, wiping clean whatever was on their plate, while also doing far more demanding tasks simultaneously.
When I was seven, I was told by my mother’s sisters that she used to drink fish like a cat. They’ve seen her slurp down a plate of fish curry to the point where washing the plate would have been unnecessary. My father says that when she was pregnant with me, she’d polish off a whole plate of fried bolenjir or silver fish in seconds, like both Tom and Jerry would. When I imagine the bolenjir on hot Mangalore afternoons, I see them stacked like crispy chaklis on a steel plate, gleaming like the teeth in Happy Dent chewing gum ads. Her sisters also tell me that she knew where to pinch a crab to make it confess its complete innards, how to crack it open even with a fragile fist. This is a version of my mother I will never know.
I was still seven when I watched her roll around on the floor of a temple in a yellow saree. My father watched angrily, muttering curses and adjusting her pallu. She had given up on placating him but more importantly, she had given up on fish. I learnt later that this is called mada snana, a practice involving rolling on plantain leaves after the food served on it was eaten by Brahmins. She was hellbent on doing this, much to family protests, because a poojari had convinced her it was the only way to save her jaundiced three-month-old infant who lay dying in a hospital. Eggs, meat, seafood—all things she loved eating had to be given up.
It is odd and also rather stupid that this is the memory I have of my mother instead of her seafood-devouring face which I will never know. My brother survived, but my mother hasn’t eaten fish since then. She cooks it, smells it, touches it, cleans it, dreams of it, but can’t eat it. Every time we talk about fish, she tells us that it’s the one thing she wishes she could eat again.
On Sundays, my mother made fish curry and everyone at home except her ate it morning, noon, and night. The fish curry made on a Sunday tasted fishier on Mondays but its best use was found in our tiffin boxes on Tuesday afternoons when the curry was its sourest, tangiest, fishiest. Slices of white bread were most suited for this Tuesday fish curry. On Wednesday morning, after a couple of respectable innings, the vessel emptied of fish curry assembled under the lone tap in the kitchen sink, where it was cleaned in soapy water, single streaks of yellowish-orange curry still tracing along its edges. I’d spend the rest of the day smelling my hands, waiting for the next Sunday-Monday-Tuesday.
On the Tuesdays that I took fish to school, I happily danced with my lunch dabba. I was 12 but still felt seven. In the steel dabba was a pool of kane meen curry with a piece of kane bobbing up and down. When I walked with it, I imagined a single, gleaming fish eye looking up at me, its twin probably swimming at the bottom somewhere. I imagined what it would be like to hold the eye between my thumb and index, not squashing it, just delicately threatening to. I wondered if it tasted like it felt—smooth, creamy, silvery. On these days, I couldn’t wait for lunch. Even the back-to-back math class was tolerable. All I had to do was stare at the teacher and think about fish curry.
My mother would also wrap a few pieces of kane fry in my dabba—first in tissues, then newspapers, then more newspapers. Finally, she would tie the carrier in a towel to not only contain leaks, but also its smell, so the many sensitive adults and children who attended this very Brahmin school weren’t alarmed.
What is a Brahmin school? Well, it looked like a school, it took donations, and promised excellence, so my parents put us there. But we should’ve known. It had a long first name, a longer middle name, and the longest last name, all surrounding the name of a prominent Hindu god in the middle. On bad days, we were sent back home to wear bindis and then return to school. And on good days, opening dabbas with eggs or meat had classmates running in horror to the corners of classrooms.
One unfortunate Tuesday afternoon in school, there was a dabba explosion and my fish curry seeped out and made a delirious Marquez-level, magic-real attack in the corridor. It had somehow managed to escape my mother’s fish-curry rekha—the trio of carrier, newspapers, and towel, each uselessly laying on top of each other, collectively upturned, the dabba’s side clips unlocked.
One unfortunate Tuesday afternoon in school, there was a dabba explosion and my fish curry seeped out and made a delirious Marquez-level, magic-real attack in the corridor.
The fish curry left its dabba as if it was leaving a relationship, like it wanted to live, not die. It had assembled itself nicely in a watery orange pool right in front of my second-floor classroom. The bell rang for lunch and before I could get to it, its smell had summoned everyone to the second floor. A dozen double-plaited Brahmin girls shrieked and leapt in the air. One hand covering their pretty noses, another holding their knee-length skirts, they tiptoed away from the curry, crossing the rekha onto the other side. Then they all ran away to call our class teacher, a bespectacled, round-faced, tough-looking woman who knew the names of all the rivers of the world by heart. Poke her in the arm and she’d say Amazon, poke her in the stomach she’d say Sutlej, poke her cheek, and she’d say Chenab.
I often relied on the size of her red bindis to figure out whether to be scared of her, or smitten by her. She laughed more on the days she wore tiny dots of glimmering stickers, but was firmer, unsmiling, and less patient when she wore the big, angry ones. Madam S came to inspect the area and followed the river of fish curry to my mute basket which sat like a defeated Johnny Lever after getting beaten up by women.
She looked at it, and then at my prematurely raised hand. Wordlessly, she made way and I followed her into the staff room amid the sighs and semi-howls of petrified girls and boys.
“Child, this is not your dining hall,” she hissed. I focused on her big red bindi. It was like looking deeply into an eye without being seen. She snapped her fingers at the man from housekeeping to clean the floors and pointed towards the corridor.
Standing in the grey staffroom, I thought back to the time my parents were called in for a meeting with the headmistress: my five-year-old brother was seen walking around hanky-lessly, collar and tie yellowed by thick snot because of his overflowing nose. The school secretary asked us which village we came from. My brother looked confused, and I wondered how to keep my eyes from welling up.
She repeated her question and this time, she screamed, “What is the name of this village that you and your brother come from???” I was either preparing to yell back or burst into tears, I cannot remember which but when my brother blurted out his full name and ran away, I had to control my giggles. He had completely missed the insult she had thrown at us, assuming she was only asking him to tell her his name.
A dozen double-plaited Brahmin girls shrieked and leapt in the air. One hand covering their pretty noses, another holding their knee-length skirts, they tiptoed away from the curry, crossing the rekha onto the other side.
We still tease him about it, but my father laughs the loudest, imagining the confused look on the poor woman’s face who never saw it coming. Twenty-two years later, at my workplace in a different staff room where I sit every day, I think about what a joy it is to be able to bring fish curry here and watch its smell dance around. It was here that I conducted a writing workshop called ‘Elf-Respect/Self-Respect: Building a life of mind’ for students. My PPT had 15 slides and the only one I was shamelessly proud of was a still from the film Maryan featuring Dhanush feeding food to Parvathy. Under it, I had said in bold Papyrus typeface, equally shamelessly, “eat fish off of a lover’s hands.”
I was persuading them into taking a leap with me, into believing the intimacy there is in fish. What fish has to do with elves or respect or even the mind, I won’t be able to tell you. But I do know that feeding fish to a lover is the most delicious kind of intimacy. Feeding anything to a lover most likely is, but nothing quite cuts it like fish. It’s probably because when you are on your way back home after hours of either making love or eating fish, your fingers move to your nose automatically, and the fact that you can always smell them (lover or fish, take your pick) on your fingers is what makes this intimacy deeply delicious.
Back in my college days as an undergraduate, during a discussion on feminism, a few boys from my class found it necessary to declare that going down on a woman was like a visit to the fish market. Their gang of cronies roared approvingly, disgustedly. “It’s too gross, macha,” one of them said, closing his nose. I sat there rolling my eyes, terrified to argue but desperate to counter them. I was trying to reach for a word, a language to reason with them. What’s gross about smelling like fish, I wanted to ask but could not. Instead I looked at the girl sitting next to me, who looked equally put off by them, and muttered something about boys not exactly smelling like the Nilgiri forest down there. She smirked.
My quarrel with the English language is most acutely realised when I try to write about seafood and fall short. The more I try to stuff its innards with stories of fish curry drunk on simmering afternoons, of crabs excavated with index fingers, or prawns relished despite ongoing diarrhoea, the more it withdraws. It does not accommodate the dryness and wetness of fish. The Konkani I learnt from my mother and the rest of the women in my family is perhaps apt. Like the smell of dry fish, it is not for the fragile. It is brutal, unkind and possibly the best smell to take over your fingers. And when it drenches the Karagasa—the robustness of a handsaw blade—of my father’s Kannada, oceans meet.
Looking back, I might have said to the boys that sweat and fish are smells of intimacy and giving in to them requires a surrender of some kind, a brushing away of a certain Savarna purity. My inability to say anything to them wasn’t only coming from a fear of them, it was also coming from my own displacement with English. I found it difficult to translate that particular swimming sensation of headiness you feel after stepping into a home that’s cooking dry fish saaru, its assault on the nose as testing as it is inviting.
Vijeta Kumar teaches Communicative English at St Joseph’s University, Bengaluru. She is currently pursuing a PhD on the works of writer Dawn Powell. She loves eating fish and writing short stories.
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