Shakchunni - Interview with Arnab Ray

What inspired you to write Shakchunni, and how did the idea evolve over time?

In Bengali folklore, a Shakchunni is traditionally depicted as a female ghost, specifically the spirit of a married woman who did not find happiness in life and has transformed into a vengeful spirit as a result. For many Bengalis of my generation, the Shakchunni is more than just a folklore figure; she is a character from our childhood, deeply embedded in our cultural consciousness through "Thakurmar Jhuli." This collection of stories, which we grew up reading or listening to, often featured the Shakchunni, typically recounted by our grandmothers.

Years later, while watching a cartoon adaptation of one of these "Thakurmar Jhuli" stories on YouTube with my five-year-old, I was struck by a subtext I had completely overlooked as a child. It was quite eerie and sparked a new understanding of the Shakchunni for me. This fresh perspective became the foundation for my book. I realized there was a much darker, more complex story to tell—one that explored the underlying themes hinted at in the original tale but never fully addressed. 

This eerie subtext, which I won't reveal to avoid spoiling anything, became the driving force behind "Shakchunni," shaping its narrative and exploring themes of inauthenticity, of being a stranger in your own skin, and of guilt and revenge. Revisiting this childhood story ultimately inspired me to write my own interpretation of the Shakchunni myth.

How did you approach integrating the legend of the Shakchunni into a narrative set during the Great Bengal Famine? 

Integrating the legend of the Shakchunni with the Great Bengal Famine felt both organic and necessary. The famine’s devastating impact and widespread hunger provided a rich backdrop for exploring key themes. At its core, the Shakchunni myth reflects a primal hunger—for life and for vengeance. The real suffering during the famine amplified this theme profoundly.

The historical context became integral to the narrative, creating a haunting atmosphere aligned with the Shakchunni legend. It allowed for an exploration of human nature’s darker aspects during crises. 

The depiction of the princely family as rice hoarders profiting from others' misery established a connection between the famine’s reality and the supernatural elements of the Shakchunni myth. They represent a hunger for power and wealth, creating tension between literal and metaphorical hunger. In this way, the Shakchunni embodies the consequences of the famine—an eerie symbol of suffering and injustice. This confluence of history and myth forms a haunting and resonant story.

What challenges did you face in accurately depicting the socio-political landscape of 1940s Bengal, and how did you address them?

Depicting 1940s Bengal accurately presented significant challenges because there are a lack of comprehensive historical accounts on certain aspects of that period. While the Great Bengal Famine is well-documented, other related topics—such as the presence of Japanese spies in Kolkata and the general atmosphere of wartime Bengal—are less explored. This made research particularly demanding.

Two key resources were invaluable in providing an authentic perspective. First, my immersion in Bengali literature about zamindars offered insight into the social dynamics of the time. Although fictional, these works reflected the realities of the zamindari system.

More importantly, conversations with my grandfather, a freedom fighter imprisoned in the Cellular Jail, gave me a firsthand account of the famine. His vivid stories, which I remember from my early teens when he passed away, highlighted the suffering of that era, helping me understand its human cost and authentically portray it in "Shakchunni."

How does Shakchunni explore themes of power dynamics and patriarchy within the zamindari system?

Shakchunni delves into the patriarchal power dynamics of the zamindari system in Bengal, where power was concentrated in the hands of male zamindars. This created a rigid social order that affected both men and women differently.

The novel illustrates how traditional gender roles enforced inauthentic identities. Men were pressured to embody strength and dominance, often suppressing their emotions, leading to internal conflict. Women, meanwhile, were relegated to domestic roles, valued for their beauty and ability to bear male heirs, which limited their agency and self-expression.

This rigid gender system fosters a struggle between the desire for authenticity and the pressure to conform. Characters grapple with this tension, particularly in zamindari families where maintaining appearances is crucial. The internal conflicts arising from these expectations can lead to psychological and emotional distress, illustrating cycles of oppression.

Shakchunni ultimately highlights the enduring impact of patriarchal structures and the universal quest for self-discovery and acceptance.

In your view, what role does folklore play in contemporary literature, and how can it be used to address modern societal issues?

Folklore plays an essential role in contemporary literature by connecting the past with the present. It captures the experiences, beliefs, and values of generations, offering stories that resonate today. These narratives serve to warn against certain behaviors, impart moral lessons, and help communities process trauma.

Ghost stories, a universal element of folklore, are particularly intriguing because they provide comfort amidst uncertainties and anxieties. They suggest that our essence or spirit endures beyond physical death, helping us confront existential fears about the randomness of life and the nature of existence.

In modern literature, folklore can be used to address contemporary societal issues. By reinterpreting traditional stories, authors can explore current anxieties and injustices, making these themes more relatable for readers. For instance, a cautionary tale about greed could be adapted to reflect the dangers of unchecked capitalism or environmental exploitation.

When a modern novel reaches a broad audience, it can become part of the evolving folklore. It draws from traditional narratives while contributing new stories that shape the future of our cultural narratives. "Shakchunni," for example, reinterprets Bengali folklore within a specific historical context to address themes of power, lack of authenticity, and trauma.

How have readers responded to Shakchunni, and were there any reactions that particularly surprised or resonated with you?

The response to “Shakchunni” has been incredibly gratifying, surpassing my expectations. It has received both critical acclaim and commercial success, with several screen adaptation offers soon after its release, highlighting its resonance with readers.

One of the most rewarding aspects has been how “Shakchunni” has challenged genre expectations. Horror often gets dismissed as low-brow, so seeing my book embraced by both genre fans and literary critics has been validating.

A particularly memorable moment was when “Shakchunni” was longlisted for one of India’s prestigious literary awards—not in a genre category, but in literary fiction. This recognition signifies a shift in how horror is perceived in literature, affirming that stories with darker themes can offer significant artistic value. It reinforced my belief that genre boundaries are often artificial and a well-crafted story can provide deep insights into the human experience.

Are there any upcoming projects or themes you're excited to explore in your future writings?

I have been working on Sultan of Delhi Part 2 for years. This is the same Sultan of Delhi that you can find on Hotstar, and it is based on one-third of Sultan of Delhi Part 1. I hope to finish it this year. I am also excited about my next horror novel, tentatively titled “The Bucket”.

Interviewed by Sapna Moti Bhavnani