The Labyrinth of Silence

PANKAJ GIRI

Author: Aparna Salvi Nagda

Publisher ?: ? Vishwakarma Publications

The Labyrinth of Silence is primarily based on three characters – Girish, a reticent architect; Muki, a mute girl; and Kashi, a young girl burdened by the weight of her past – and their endeavours to find their way through the labyrinth of silence that destiny has created in their lives.

The story is intriguing from the get-go as it gradually reveals the character Muki and her strange obsession with the Kulkarni household, which comprises the stern matriarch Kusum and her quiet son, Girish. Then, life brings many twists and turns in the protagonists’ lives, taking the readers on a dark, deep, thought-provoking journey.

The character development is excellent, with the three protagonists and the secondary characters etched with a lot of care, giving them ample backstories to justify their natures. I especially felt for Muki and the tribulations the poor girl had to go through. Kashi is another sympathetic character, and I wanted her to discover the answers to the burning questions within her and find some contentment. And although Girish and Kusum were unlikable – which was the author’s intention, I’m sure – I could understand the reasons behind their eccentricities.

The language is classy. Ms. Nagda has a great command of the language and possesses an extensive vocabulary. I loved some of her implementations of metaphors and similes. They are fresh and a delight to read. However, sometimes, she goes overboard with the metaphors, making the prose heavy and difficult to read. I noticed this, particularly in the middle of the book, which is from Girish and Kusum’s POV. The Karakoram and the teardrop metaphors were used too repeatedly for my liking. Moreover, Girish’s travels into the village and the adjoining temple didn’t seem realistic. Even if that part was omitted, it wouldn’t have affected the otherwise interesting story.

Ms. Nagda is brilliant at descriptions, too, and I could picture everything vividly, be it the ghats of Benares, the suffocating ambiance of the vast Kulkarni bungalow, Muki’s small house with the well, or the ramshackle Banaras guesthouse. The descriptions of food and the clash of the Kannada and Marathi cultures in Belgaum are also portrayed exceptionally, adding richness and depth to the narrative. I also admire how Ms. Nagda has highlighted the ancient practice of Niyoga, which was perhaps hitherto unexplored by Indian writers. She has done justice to this theme by showing its profound impact on the characters’ lives.

Fortunately, the flow of the prose improved towards the end, and it was satisfying enough for me. Almost all loose ends are tied up (although the extent of Kashi’s knowledge about her family history at one stage did leave me confused), and after the almost relentless sadness throughout the book, the last few pages did bring a semblance of hope. It was well-written.

Overall, I enjoyed reading The Labyrinth of Silence. It portrays the dangerous repercussions of silence and family secrets using unique, intriguing characters and a well-written narrative.