An allegorical short story on the emotional coercion of voters

For the first time in its electoral history, Tamil Nadu is witnessing a curious campaign by a political party — actor Vijay’s Tamilaga Vettri Kazhagam (TVK). Unlike the State’s traditionally vibrant and high-pitched electioneering, the party’s campaign seems, in part, to be unfolding quietly within households.

The refrain from a section of his supporters is: “My son is asking me to vote for Vijay. My daughter, too, says I should vote for him.” Neither the son nor the daughter has attained the age of voting. Still, they are mounting an emotional campaign, bordering on coercion, and reminiscent of the short story Marumagal Vaaku (Daughter-in-law’s Vote) by the late Tamil writer, Krishnan Nambi. According to the late writer, Sujatha Rangarajan, Marumagal Vaaku, a part of the collection published by Kalachuvadu, qualifies as one of the world’s greatest short stories.

Local body election

The story is set in a village in Kanniyakumari district, probably the one where Krishnan Nambi lived. It revolves around a local body election in which Veerabahu Konar, contesting on the parrot symbol, and Mariyadu Perumal Pillai, contesting on the cat symbol, are in the fray, representing two mutually antagonistic species.

“Agragaram Pillaiyarkoil Street, inhabited by cooks and temple workers, is considered an impregnable fortress of the parrot. Yet, even in that stronghold, the milk supply is provided by Veerabahu Konar,” the story says, hinting that political influence can penetrate in innumerable ways.

Meenakshi Ammal, a widow; her son Ramalingam, a government employee appointed on compassionate grounds after the death of his father; and his wife Rukmani are the three main characters. Though the story revolves primarily around Meenakshi Ammal and Rukmani, the latter is portrayed as a powerless housewife under the thumb of her mother-in-law, toiling for hours.

Though fully aware of Meenakshi Ammal’s preference for the cat, a woman among a group provokes her by asking, “Maami, your vote is only for the parrot, no?” “You are provoking me though you know my choice,” Meenakshi Ammal replies. “Whom should your daughter-in-law vote for,” the women ask, winking at each other. Meenakshi Ammal  turns angry. “Hey, pondugala (women), why are you trying to drive a wedge between us? We are one,” she says.

In the grip of tension

On the day of the election, both Meenakshi Ammal and Rukmani go to the polling booth at the school together. On the campus, Rukmani  notices an anise tree, her favourite from her school days, rekindling memories of her happiest moments as a girl. A parrot sitting on its branches draws her attention. “Oh, parrot, you need not tell me. My vote is for you. I have already decided. But do not tell my mother-in-law. She wants me to vote for the cat,” Rukmani says to herself.

But the moment she reaches the ballot box, tension engulfs her. Her body trembles. “Ah… Parrot.”

As she is about to mark her vote for the parrot, someone seems to grab her hand. There is no one around, yet it is as though Meenakshi Ammal’s hand is guiding hers. It moves her hand away from the parrot and towards the cat, and she marks her vote accordingly. Yes — Rukmani’s vote is also for the cat. She walks out of the booth with her head bowed. The pain in her chest deepens. She struggles to hold back her tears, her condition, utterly pitiable.