Magazine 2017
International Peer-Reviewed Journal
RESEARCH HORIZONS, VOL. 7 SEPT. 2017
CONSTRUCTING IDENTITY: GENDER AND SEXUALITY IN
SHYAMSELVADURAI’SCINNAMON GARDENS
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Annabel Rebello
ABSTRACT
This paper aims to explore the constructions of identity in Shyam Selvadurai’s novel Cinnamon Gardens.
It will examine the textual representations of gender and sexuality and how these representations
speak to the stereotypes of identity prevalent in late 1920s phase of reform and unrest in Ceylon now
known as Sri Lanka. The paper will attempt to show the connection among gender and sexual identities
through the lives of the parallel protagonists; Balendran and his niece Annalukshmi, in Cinnamon
Gardens. Within the socio-political framework, the characters negotiate with issues of gender and
sexuality that plague their existence. The “constraints” of being a woman, as imposed upon Annalukshmi
in order to keep her and her family’s reputation and respectability, and the “type of love” Balendran
continually craves for, after having been forced to conceal his homosexuality, is reflective of the duo’s
struggle to be part of a socio-political system, which they don’t really belong to. Bound by social
conventions and casteist orthodoxy, the protagonists ruffle a few feathers, and often surprise themselves
with their bold and rebellious actions. The relationship between the three themes only provides a
deeper understanding as to why the protagonists choose to the path that they eventually take.
Keywords : Identity, sexuality, gender, homosexuality.
Constructing Identity: Gender and Sexuality in ShyamSelvadurai’sCinnamon Gardens
ShyamSelvadurai, Sri Lankan-born writer was born in 1965 in Colombo to a Sinhalese mother and a Tamil
father, members of conflicting ethnic groups in the whose troubles form a major theme in his works. Selvadurai’s
novel Cinnamon Gardens is set in 1927-28 Colombo of British-ruled Ceylon. The period (late 1920s) is crucial
to the novella, because it marks the phase of reform and unrest in Ceylon, as reflected in the desire for self-
rule, demand for extending the franchise to the Ceylonese masses — with the coming in of the Donoughmore
Commission, and the rise in the anti-colonial movement across the country. Selvadurai enmeshes multiple
themes, that of “nationalism, politics, family drama, emancipation, gender, homosexuality, casteism,” in his
novel. It is within this socio-political framework that the protagonists of the novel — Balendran and his niece
Annalukshmi, and other characters negotiate with issues of gender and sexuality that plague their existence.
The novel Cinnamon Gardens is set in a fictional place- Cinnamon Gardens, the affluent area in Colombo
inhabited mainly by wealthy Burgher and Tamil families. In this book, he takes up the themes of high-society
morality, hypocrisy and talks about the life of the upper classes of Colombo’s wealthy suburb. Along with that
he includes quotations from the Triukkural, (an ancient work of Tamil philosophy). These quotations are not
only cited by several characters but also by the author, at the head of each chapter. The “constraints” of
being a woman, as imposed upon Annalukshmi in order to keep her and her family’s reputation and
respectability, and the “type of love” Balendran continually craves for, after having been forced to conceal his
homosexuality, is reflective of the duo’s struggle to be part of a socio-political system, which they don’t really
belong to. Bound by social conventions and casteist orthodoxy, the protagonists ruffle a few feathers, and
often surprise themselves with their bold and rebellious actions. Heather Smyth in his critique of Cinnamon
Gardens associates this “respectability and heterosexuality, as essential to nationalism.” The relationship
between the three themes only provides a deeper understanding as to why the protagonists choose to the
path that they eventually take.
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RESEARCH HORIZONS, VOL. 7 SEPT. 2017
In understanding the novel, it is important to examine the issue of gender inequality that Ceylon was fraught
with during the early part of the 20th century. Annalukshmi, a bright 22-year-old qualified teacher, epitomises
the “new woman,” who “cannot be stopped by ridiculous conventions of the society”. But her achievements
though “remarkable” are “appalling” for her times. For starters, her decision to take up the job of a teacher,
won her nothing, but brickbats from relatives, who considered it “a great crime”.
Her free-spirited nature (travelling on a bicycle) and tendency to go against the existing social norms, earned
her a reputation that was both disconcerting and alarming for her mother Louisa.
Neloufer De Mel highlights the plight of Ceylonese women in Women and the Nation’s Narrative: Gender and
Nationalism in Twentieth Century Sri Lanka. Shewrites “Women were educated only to make suitable partners
for the English-educated Sri Lankan male…to be a good mother and housewife…Beyond that there was no
need, even for those advocating reform, to educate and empower women in their own right.” This idea is
replicated by Aunt Philomena, who believes that “Normal women think of their husbands and nothing else.”
Since Annalukshmi is the eldest daughter, it mattered that she kept the reputation of the family and regulated
her behaviour in keeping with the society to further the chances of her sisters and her getting good marriage
proposals. It is due to this very reason that Annalukshmi later finds herself in a dilemma, one where she is
forced to choose between her own happiness, and that of the others.
On several occasions, the defiant Annalukshmi seems to give in to her mother’s tantrums. During one such
instance, she also agrees to compromise and meet Chandran Macintosh. Yet, she doesn’t think twice before
taking the bold decision to leave home — much against her father’s wishes, when her cousin Muttiah comes
down from Malay to get married to her.
A lot of Annalukshmi’s political and social ideas are fuelled by the Women’s Franchise Union’s debate that
she attended with her aunt Sonia; and her headmistress Miss Amelia Lawton, who she reveres and considers
a role model.
However, what is shocking is the role of women (including her mother Louisa, Philomena Barnett and her
sisters) in “othering” their own flock. Several references in the text reflect this:
Kumudini, alluding to Annalukshmi riding a bicycle, says “It’s one thing for European ladies to ride bicycles.
We can’t (women in Ceylon)”. Her aunt Philomena, on the same issue, says, “I have no objection to a girl
dabbling in a little teaching, but to go and get a professional certificate! What can you expect after that!...Let’s
marry off Annalukshmi... Nothing settles a girl like marriage.”
Cinnamon Gardens also echoes the tension prevailing in the society with respect to extending voting rights
to women. Aunt Philomena is absolutely against the idea, and believes that only “manly” women get involved
in political affairs. She favours the views of Sir Poonambalam Ramanathan, who claims that “the purity,
nobility, modest of women would be ruined if they are given the vote.”
The biases against women are not only restricted to gender, but also caste. Miss Lawton, who Annalukshmi
believes is the torch bearer of women’s rights and emancipation, refuses to admit a non-Christian into the
school. Annalukshmi’s aspirations to become headmistress too are quashed, when she realises that Miss
Lawton had no such inclination, and that only another white could take her position. The prejudices towards
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RESEARCH HORIZONS, VOL. 7 SEPT. 2017
ethnicity, caste and religion disappoint her greatly, ultimately forcing her to take the bold decision to quit at the
Colpetty Mission School, and apply at a Hindu School in Jaffna.
Another interesting character who is trapped in the politics of gender and representation is Balendran’s wife
Sonia. Born and brought up in England, Sonia represents “all that is modern,” and embodies the “westernised
women,” in the true sense. Though she moves to Colombo after marriage, she still takes great interest in
politics, is very actively socially, and also eggs her husband on, to take decisions for himself. In fact, she not
only believes in extending voting rights to women, but also to the common man.
However, despite being “empowered,” Sonia is unable to get out of her unhappy marriage. Instead, she
chooses to stay back, for her son and husband. The author also hints at Sonia being aware of Balendran and
Richard’s relationship, but she shows no aversion to this, and neither questions him. Instead, she decides to
leave for England to stay with her son and Aunt Ethel for some time. The complex character, as portrayed by
Sonia, reflects the social mores and gender roles, which tie her down. As De Mel puts it, “While it was the
preserve of men to reflect the transition of Sri Lankan society from eastern to western, traditional to modern,
its women were denied ability to cross these boundaries…They were constant signifiers of the ‘best’ in native
traditions.” Sonia was an embodiment of the same. This can also be said, of Balendran’s mother, who though
aware of the “influence that Miss Adamson” exerted on her husband, was unable to confront him.
Selvadurai’s novel also dwells on the issue of sexuality, with special emphases on same sex relationships.
Balendran, a closeted homosexual, is smothered by his father’s (the Mudaliar’s) rigid ideals and value systems.
An obedient son, he gives up on his lover Richard Howland, only to marry his cousin Sonia, with whom he is
not even half in love with. He is portrayed as one, who has been brutally suppressed to meet the ends of the
selfish bourgeoisie, a class which his father represents.
Even though he believes that he has “done the right thing,” his marriage is in absolute disarray. While Selvadurai
does not dwell upon Balendran and Sonia’s relationship, one cannot, but notice the cold distance between
the couple. Though not much is said between the two, the physical distance is more than apparent with
“Balendran’s formality in their lovemaking…his insistence that they maintain separate bedrooms,” and Sonia’s
outbursts now and then.
In order to satisfy his physical urges, Balendran also secretly visits Rajan, who lives near the railway platform.
And though Balendran “cursed himself” for risking his marriage by doing this, he cannot seem to help
himself. While he is still negotiating with his embattled gay identity, he is once again confronted with Richard,
who his father assumes is an assistant with the Donoughmore Commission.
This time his conscience takes a nosedive, and love blossoms again. However, aware that his father and the
family’s reputation were at stake, he plugs it again. Smyth in his critique of the novel associates Balendran’s
decision as one rooted in the desire for a national identity. Lynne Pearce author of Devolving Sexualities says,
“
National identity is perhaps the most easy to be proud of… It is much easier, indeed, than proclaiming an
identity that has been consistently, and historically, de-legitimated: like being gay.” Considering the political
undertones of the novel, and the reputation that Balendran knew he had to keep as the son of key member of
the Ceylon Tamil Association, the association cannot be ignored.
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RESEARCH HORIZONS, VOL. 7 SEPT. 2017
The Mudaliar is also important when discussing the issue of sexuality. A man with rigid value-systems — renounces
his own son (Arul) for having married a low caste woman — Mudaliar represents “bourgeois respectability and
Victorian morality.”
In the words of Smyth, the Mudaliar is synonymous to the British colonial power “at the level of the household.”
This is visible not only in his way of life, but also the influence and control he exerts on all the members of the
family. His authority is so overwhelming that even Balendran, whose political views are in complete contradiction
to his father’s, is unable to stand up to him. However, the Mudaliar in real, is a mirror of “hypocrisy”. The
Mudaliar is not only involved with his secretary, but also had a relationship with Arul’s wife Pakkiam’s mother,
who ironically belonged to a lower caste. The very values he stood for fell flat, because of his multiple sexual
encounters and his pretence of living by codes.
Gender and sexuality form the thrust of the novel, as they are the core problems that the protagonists encounter.
It connects the hidden, private lives of the bourgeoisie of Ceylon with the historical forces (Donoughmore
Commission). The struggle for self-rule is merged with the struggle for individual freedom — of Balendran
and Annalukshmi in particular — from social constraints and repressed desires, to carve out their own destinies
and seek love and lost friendship, without deharmonising the existing social setup. The novel re-traces the
history of Ceylon, but through these evocative and almost real characters, who though ahead of their times,
were indicative of what was to come.
The protagonists are modern characters but the conventional society is strong that it holds them back.
Women characters are portrayed as very strong characters. The three women– Louisa, Nalamma and Sonia,
in the novel play an important role in trying to hold the family together. The book traces the political issues of
the time as well as critiques the social situation inherent in colonial society. Thus, we see that the moral world
is not defined through stereotypes. It is defined through the action taken by Balendran and Annalukshmi
once they reach a point of understanding. Thus, we see that the themes of gender, sexuality and identity are
intertwined into the lives of the characters.
References :
Selvadurai, Shyam. Cinnamon Gardens. Penguin Books. 1998.
Smyth, Heather. Indigenizing Sexuality and National Citizenship: ShyamSelvadurai’s Cinnamon Gardens.
Mel, Neloufer. Women and the Nation’s Narrative: Gender and Nationalism in Twentieth Century Sri Lanka.
Rowman & Littlefield Publishers, 2002.
Pearce, Lynne. Devolving Sexualities. Edited by Phillips, Richard; Watt, Diane; and Shuttleton, David.De-
Centering Sexualities: Politics and representations beyond the metropolis.
*
Assistant professor , Dept. of English, Maniben Nanavati Womens College, Vile Parle (W),
Mumbai-400056 Email:ann.rebello1[email protected]
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