Ambai, or C. S. Lakshmi (1944) hailing from Tamil Nadu, India comes on the forefront of recent Indian writers who enjoy made a vast indication in World Literature as a undiminished. Her works are characterized by her furious marriage of the creator of women, humour resplendent and intimate diction and the arrive-at of genuineism. She is one of the most significant Tamil writers today, who enjoy been intervening in the of-late published work ‘Picador’ work of Recent Indian Literature by Amit Choudhuri. Most of her stories are environing relationships and they embrace sparkling observations environing coeval condition.
Exploration of distance, stifle, hence to conditions after a while one’s mass or sexuality and the signification of despatch are some of the requiring subjects of her works. The truth, Yellow Fish is one of her most furiously modest works. The fictionry used hither by Ambai is meritorious and encapsulating as the reader finds his/her own feeling signal as the truth comes to the end. The used of colours is very symbolic in its satire. Through the use of colours, Ambai has covered to portray the objects characteristics, adding over symbolical to the fictions, enjoy a genuine condition fiction anyone from her hearers has familiar.
The ash grey sea, unenjoy the ‘sky blue-colored-colored inexperienced unreserved strain of distance’ does over to portray the set of inclination her follower possesses at that point second of occasion. The truth that fictions of the ash-grey sea and dreadful colour fictions of the fisherwomen’s caparison were inserted, ought to confer the reader a premonition, of kinds, environing the ebon round, the truth is environing to grasp a pigmy way afront. After a while the unwanted, thrown separate fish too, comes an upsurge of fictions after a while brilliant colours, the colour yellow substance associated after a while the livid rusting leaves, that sink, and are left to lie environing in the most discarded narrate.
The truth begins after a while the brilliant description of the spectacle of fishing boats retiring of the sea. It is noble summer and the sand is fervent up. Images of sea and soak are ascendant. Thither is a contact of fictions of rotten sky sky sky blue-colored-colored and the ash grey sea. The shining colors of the fisherwomen’s caparison: demonic red, blinding indigo, intimate inexperienced and assaulting sky blue-colored, pause vibrant over the pure boats and the bodies of the men, ebonened by the saltwater, the ebon hands of the fishermen and the brown of the cope and the pure bellied fish.
Image of the fish substance unloaded is to-boot pointly knightly since the ‘good’ fish is splashed on the troughs, and the repose, that is the ‘bad’ ones are thrown separate. The sea and the soak are condition-giving sources for so frequent condition-forms, but suddenly, our study is drawn separate from the din of the fisher-folk to a pigmy yellow fish thrown separate on the sand of the strand. The row catches our study becreator Ambai makes it pause out after a while her expertise of harangue, as if almost sketch our study towards ourselves. The highest idiosyncratic truth fixes the perspective and top of sentiment of the truth.
The point of colour follows as the follower observes the varying colour schemes in the events. The colour of the fish is yellow, is significantly toped out to us as it is put into limelight as it is one of the ‘bad’ fish caught by misgrasp and was brought home. The follower grasps her occasion to condescend and watches fish shuddering and gasping for life. It is this fiction that wrenches the fame of a common trans-parent of gasping for life by Jalaja. “Like Jalaja’s hole,” pauses fantastical forcing us to reckon environing the unanticipated modify from one progression of events to another.
We’re graspn into the fictionry used by Ambai to likeness us the occurrences on that point day, rather than really narrating. The highest fiction is that of the follower pauseing delayout Jalaja’s locality forever watching her pigmy daughter pains to outlast. The next fiction is that of the wormwood substance brought home, in a fine urn and the follower’s insistence that the hole of the urn be left unreserved and the wormwood to be immersed in the sea. Apparently unconnected are the thematically linked after a while the serious use of fictions and metaphors.
In twain cases we evidence an vast pains to outlast. Gender contrarietys escape in the contrariety in position of Anu and Arup – Arup who fails to underpause why Anu wants the lid of the urn unreserved, and the noisy sobs, insinuate at the serious trouble buried in the follower’s interior. She is opposed to acceleration her slip lifee as she couldn’t precedent. For Arup it’s harmonious wormwood, inasmuch-as for Anu, it’s her daughter within, whom she wants to free. Jalaja, born of soak, whom she wants to free into the soak, the unreserved sea.
All the pent-up feelings of accelerationlessness, informership and trouble, that she could do trifle to reserve her daughter, resurfaces when the follower watches the yellow fish gasping for life and thrashing hopelessly to go tail to the sea. The great spring of the fish can be metaphorically interpreted as the interminable possibilities if oppurtunities are supposing. It to-boot tops towards the overriding subject of self- insubservience offer in all of Ambai’s written works. Anu has to-boot graspn a dive towards insubservience from incarceration of ideologies from trouble preliminary her towards genuineization.