Like many other short stories in the regional languages of India, the modern Odia short story emerged towards the end of the 19th century—1898, to be precise. Fakir Mohan Senapati, widely regarded as the father of modern Odia short stories, wrote Rebati, and that’s where it all began.
Remember, this was during the time of British colonialism, when Western art and culture were beginning to influence their Indian counterparts. You can see this influence clearly in early Indian short stories, both in their themes and structure. The same holds true for Rebati, which is a heart-touching story about the education of a girl child. But before I tell you about particular story, let me first mention the book where I discovered it.
The book is titled Maguni’s Bullock Cart and Other Classic Odia Stories. It’s part of a series edited by Mini Krishnan, who has been collecting short stories from various Indian languages and collaborating with translators to bring them to readers like us. What’s particularly interesting about this collection is that the book has been translated by not one but three translators. I found that quite unusual and intriguing—I wonder how they managed to coordinate their work. If I ever get the chance, I’d love to ask the translators.
Now, let’s talk about Rebati.
Rebati: The first modern Odia short story
Rebati was not just another story. It became an archetype in Odia literature where the female plight was described by this name. Since then, hundreds of stories have been written on women’s agony, where “Rebati” represents women’s fate in the changing scenario of the time.
Set in a rural village plagued by poverty and superstition, the story follows Rebati, the daughter of Shyambandhu, a revenue collector, who nurtures her dream of education despite societal opposition. Her grandmother was the exact opposite.
“What would women do with studies?” the grandmother would question. She was not fond of her granddaughter. There is one line that she keeps uttering and it kind of symbolises what happens later in the story. Rebati! Rebati! You fire that turns all to ashes.
What follows next is a series of tragic events. Cholera devastates the village and claims the lives of Rebati’s family and her dreams are shattered. The story ends with Rebati’s untimely death. The same line is repeated at the end. Rebati! Rebati! You fire that turns all to ashes.
Quite powerful, isn’t it?
But that’s just the beginning. As we turn the pages of this book, we get to read so many more fascinating Odia stories.
Other Odia short stories from the collection
Fakir Mohan Senapati’s other story, Patent Medicine, is quite a humorous one. It pokes fun at a man who tries to secretly enjoy life, indulges in affairs, and eventually gets caught by his wife. She beats him with a broom, which the story hilariously describes as the ultimate remedy for men like him—a remedy so effective it ought to be patented as an Indian-specific cure!
This was a time when progressive ideas were beginning to take shape, and writers were boldly criticising superstitions and practices that caused human suffering. One such story is The Witch by Biswanath Rath. It tells the heartbreaking tale of a woman falsely believed to be a witch and blamed for all the miseries in her village. The villagers mock her, avoid her, and even beat her when misfortunes strike their families. Eventually, even her own family disowns her, forcing her to leave the village. It’s painful to read, and it makes you wonder how many women experienced such cruelty in the past. Stories like this remind us of the fact that human stupidity knows no ends.
Another story that explores oppression is The Tiger by Harishchandra Badal. This time, the oppressor is the woman’s abusive husband who torments both her and their children. There’s a powerful line in the story that captures their pain: “Tigers don’t eat humans; they only rip their hearts out and suck their blood.” Now you should understand the title in the context of an oppressive husband.
The title of the book comes from Godavarish Mohapatra’s Maguni’s Bullock Cart, which is brilliantly written. On one hand, it portrays Maguni’s hardworking life as a bullock cart driver; on the other hand, it reflects on the impact of modernity on traditional livelihoods. When buses arrive in the town, Maguni’s income dwindles, and he struggles to survive until he (along with the bulls) eventually starves to death. The story forces us to confront the darker side of modernity—something we often overlook.
Two stories stood out to me for their unique style and connection to folk tales. One is Upendra Kishore Das’s The Flame, which offers a thrilling experience in the darkness of nature, and the other is The Quest by Nityananda Mahapatra, which revolves around the ancient Indian practice of swayamvara. In this tale, the prince of Kalinga meets his bride after meeting a number of princesses in the guise of a prisoner.
By the time we reach the last story, Australia, we know we’ve entered modern times. The protagonist dreams of moving to Australia to make money—a dream that feels relatable to our age. In earlier times, few would have even heard of Australia, let alone aspired to live there.
These stories span from 1898 to 1945 and capture an incredible range of thoughts and ideas. They offer glimpses into Odisha’s past while making us wonder: how much has Odisha changed since then? Perhaps we can answer that question ourselves by travelling to this lovely state someday. What do you say?
Note: Learn more about Rebati and other Odia short stories in our latest podcast here.
Kalampedia 