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Obituary by AK Ramanujan
Father, when he passed on,
left dust
on a table of papers,
left debts and daughters,
a bedwetting grandson
named by the toss
of a coin after him,
a house that leaned
slowly through our growing
years on a bent coconut
tree in the yard.
Being the burning type,
he burned properly
at the cremation
as before, easily
and at both ends,
left his eye coins
in the ashes that didn’t
look one bit different,
several spinal discs, rough,
some burned to coal, for sons
to pick gingerly
and throw as the priest
said, facing east
where three rivers met
near the railway station;
no longstanding headstone
with his full name and two dates
to holdin their parentheses
everything he didn’t quite
manage to do himself,
like his caesarian birth
in a brahmin ghetto
and his death by heart-
failure in the fruit market.
But someone told me
he got two lines
in an inside column
of a Madras newspaper
sold by the kilo
exactly four weeks later
to streethawkers
who sell it in turn
to the small groceries
where I buy salt,
coriander,
and jaggery
in newspaper cones
that I usually read
for fun, and lately
in the hope of finding
these obituary lines.
And he left us
a changed mother
and more than
one annual ritual.
Obituary by AK Ramanujan: YouTube Link
Obituary by AK Ramanujan Analysis
Father, when he passed on,
left dust
on a table of papers,
left debts and daughters,
a bedwetting grandson
named by the toss
of a coin after him,
Explanation: The opening lines of Obituary by A. K. Ramanujan set a vivid scene of the father’s death and what he leaves behind. The phrase “left dust on a table of papers” suggests unfinished business or the mundane aspects of life he didn’t resolve. This image hints at a life that was not neatly tied up and perhaps filled with incomplete tasks or loose ends.
The line “left debts and daughters” emphasizes the financial and familial responsibilities that the father could not fulfill before he passed away. The mention of “daughters” also suggests societal challenges, as daughters often require dowries in traditional Indian contexts, adding a layer of burden for the family.
The “bedwetting grandson” who was “named by the toss of a coin after him” introduces a mix of humor and randomness, showing that even after death, the father’s influence persists, but in an odd, almost accidental way. This detail paints a picture of a family trying to make do with what little they have and dealing with the randomness of life.
Poetic devices
Imagery: The poem uses strong imagery, such as “dust on a table of papers,” to create a picture of neglect and unresolved matters. The “bedwetting grandson” adds a vivid, relatable image of childhood and innocence.
Symbolism: The “table of papers” symbolizes unfinished tasks or the administrative and mundane aspects of life that continue even after someone dies. The “toss of a coin” symbolizes chance and fate, suggesting that some things in life happen randomly and without deeper meaning.
Irony: There is an ironic contrast between what is expected to be left behind after death (wealth, a legacy) and what the father actually leaves (debts and triviality). The naming of the grandson by a coin toss is also an ironic reminder of how life’s important moments can sometimes come down to chance.
Metaphor: The grandson and the debt can be seen as metaphors for the father’s legacy—things that reflect imperfection and burden rather than the traditional markers of success or honor.
a house that leaned
slowly through our growing
years on a bent coconut
tree in the yard.
Being the burning type,
he burned properly
at the cremation
Explanation: In these lines from Obituary, Ramanujan describes the family house and the father’s cremation, using vivid imagery and symbolic references. The “house that leaned slowly through our growing years on a bent coconut tree in the yard” suggests the family’s financial instability or fragile state. The house leaning on a bent tree implies a lack of solid foundation, reflecting how the family’s life was somewhat dependent on uncertain or shaky support. This image of the leaning house adds a sense of imbalance and struggle throughout the years.
The phrase “Being the burning type, he burned properly at the cremation” transitions from the symbolic to the literal. Calling the father “the burning type” suggests that he was someone who lived with intensity, perhaps prone to anger or strong emotions. The statement “he burned properly” indicates that, despite any challenges in life, the cremation ritual was completed without trouble, fulfilling the cultural norms and expectations for a respectful send-off. The detached tone in “burned properly” reflects the narrator’s complex feelings—neither deeply mourning nor wholly indifferent.
Poetic Device
Imagery: The description of the house leaning on a “bent coconut tree” paints a vivid picture of instability and precariousness. This imagery emphasizes the fragility of the family’s situation over the years.
Symbolism: The leaning house symbolizes the family’s struggles, uncertainties, and dependence on imperfect support. The “coconut tree” adds a touch of locality and cultural setting, indicating a typical South Indian home.
Metaphor: Describing the father as “the burning type” is a metaphor that conveys a personality marked by intensity or strong emotion. It also foreshadows the cremation, tying his life to his death in a seamless way.
Irony: There is an ironic tone in the matter-of-fact way the cremation is described—”he burned properly”—as if even in death, the father conformed to societal expectations, despite the struggles he faced in life.
Alliteration: The repetition of the ‘b’ sound in “being the burning type, he burned” adds a rhythmic quality to the verse.
as before, easily
and at both ends,
left his eye coins
in the ashes that didn’t
look one bit different,
several spinal discs, rough,
some burned to coal, for sons
Explanation: In these lines from Obituary, A. K. Ramanujan continues to reflect on his father’s cremation, adding details that are both personal and culturally significant. The phrase “as before, easily and at both ends” suggests that the father lived life intensely (“burned at both ends”) and departed without resistance. This could symbolize a life that was lived with passion or perhaps consumed quickly, leaving little behind.
The “eye coins” refer to the traditional practice in Hindu cremation rituals where coins are placed over the eyes of the deceased, symbolizing the payment for safe passage to the afterlife. The ashes “that didn’t look one bit different” highlight the impersonal nature of death—ashes look the same regardless of the person they came from, underscoring the universality of mortality.
“Several spinal discs, rough, some burned to coal, for sons” points to the remains left after the cremation. These fragments are a literal reminder of the father’s existence and become a burden or duty for the sons, who must handle them according to ritual practices. The detailed imagery suggests a physical and emotional connection between the father and his sons, who must complete their duty by picking up the remains gingerly.
Poetic Device
Imagery: The descriptions such as “eye coins,” “spinal discs, rough,” and “burned to coal” create vivid mental images of the cremation and its aftermath, grounding the poem in tangible, sensory details.
Symbolism: The “eye coins” symbolize a traditional funeral rite and signify the transition to the afterlife. The “spinal discs” symbolize the remnants of life—bones that were once strong but are now reduced to ashes.
Metaphor: “Burned at both ends” metaphorically suggests a life lived intensely or recklessly, hinting at a personality that expended energy rapidly without much reserve.
to pick gingerly
and throw as the priest
said, facing east
where three rivers met
near the railway station;
no longstanding headstone
with his full name and two dates
Explanation: In these lines, Ramanujan describes the final ritual of the father’s cremation, where the sons must pick up the ashes and bones and “throw as the priest said,” following traditional instructions. The word “gingerly” shows the delicate and cautious way in which they handle their father’s remains, emphasizing respect, reverence, and perhaps discomfort with the physical reality of death.
The priest’s direction to face “east where three rivers met” holds significant cultural and religious meaning. In Hindu traditions, facing east and performing rituals where rivers meet (a confluence known as sangam) are considered auspicious and spiritually purifying. The mention of the “railway station” situates the ritual in a real, everyday setting, contrasting the sacred with the ordinary and showing how life and spirituality often intertwine in practical ways.
The line “no longstanding headstone with his full name and two dates” suggests that the father did not leave behind a conventional, lasting memorial like a grave with an inscription. This symbolizes the fleeting nature of his existence and how, despite the rituals performed, he remains unremembered in any permanent way. The absence of a headstone contrasts with traditional ideas of legacy and remembrance, implying that the father’s impact was not marked in the usual way.
Poetic Device
Imagery: The image of the sons picking up the remains “gingerly” and throwing them as instructed evokes the tenderness and reluctance of the act. The mention of “three rivers met near the railway station” blends the sacred with the ordinary.
Symbolism: The act of facing east and throwing the ashes where rivers meet symbolizes the belief in the soul’s journey and the idea of merging back with the divine or nature. The missing headstone symbolizes a lack of formal legacy or recognition.
Contrast: The contrast between the spiritual act of facing the confluence of rivers and the mundane mention of the “railway station” highlights the coexistence of the sacred and the everyday.
Irony: The absence of a “longstanding headstone with his full name and two dates” is ironic, as headstones usually serve as markers of a person’s life. This line suggests that, despite the ceremonial efforts, there is no enduring remembrance of the father.
Enjambment: The lines flow into each other without strong breaks, reflecting the continuous, unbroken process of life, death, and ritual.
to holdin their parentheses
everything he didn’t quite
manage to do himself,
like his caesarian birth
in a brahmin ghetto
and his death by heart-
failure in the fruit market.
Explanation: In these lines, A. K. Ramanujan uses a poignant metaphor to reflect on the father’s life. The phrase “to hold in their parentheses” refers to a headstone’s inscription that traditionally includes a person’s birth and death dates, marked within parentheses. This symbolizes a life summarized by just two moments—its beginning and end. The poet suggests that within those symbolic parentheses, there are numerous things the father “didn’t quite manage to do himself.” This implies a life marked by unfulfilled potential, incomplete dreams, or ambitions that were never fully realized.
The specific mention of “his caesarian birth in a Brahmin ghetto” highlights the father’s humble and difficult beginnings. Being born through a caesarean section may symbolize an unusual or challenging start to life, while “Brahmin ghetto” points to the paradox of being part of a high-caste community yet facing economic hardship and limited opportunities. This detail roots the poem in cultural and social context, showing the complex nature of identity and class.
The father’s death “by heart-failure in the fruit market” adds an element of irony and realism. The juxtaposition of a sacred, noble birth with a mundane, almost unremarkable death in a public space like a fruit market emphasizes the ordinariness and unpredictability of life. The fruit market—a place of everyday commerce—contrasts sharply with the father’s birth in a religious community, further underscoring the disparity between beginnings and endings.
Poetic devices
Metaphor: The idea of “parentheses” holding a person’s life represents how life is summed up by its start and end, ignoring everything in between. This symbolizes the brevity of human existence and its often uncelebrated moments.
Irony: There is an ironic tone in the way the father’s life starts with a dramatic “caesarian birth” but ends with “heart-failure in the fruit market,” showing how ordinary and unremarkable the end can be compared to the beginning.
Imagery: The details of the father’s birth in a “Brahmin ghetto” and death in a “fruit market” evoke strong visual images of both high and low points of life, providing a snapshot of different phases of his existence.
Enjambment: The lines flow from one to the next without a full stop, symbolizing the ongoing nature of life and its complexities, despite individual milestones.
But someone told me
he got two lines
in an inside column
of a Madras newspaper
sold by the kilo
exactly four weeks later
to streethawkers
Explanation: These lines from Obituary by A. K. Ramanujan highlight the fleeting nature of recognition and memory after death. The poet reflects that his father’s life was only acknowledged by “two lines in an inside column of a Madras newspaper.” This implies that despite the father’s entire existence, his public remembrance was minimal and overlooked, buried deep within the paper where few would notice it.
The detail that the newspaper was “sold by the kilo” and “exactly four weeks later to streethawkers” emphasizes the transient nature of life and how quickly a person’s memory fades into everyday commerce. Newspapers, which are meant to record important events, become just another commodity, highlighting how personal loss becomes part of the mundane cycle of life. The image of streethawkers buying these papers to resell as packaging for goods underscores the idea that even death and remembrance are subject to the practicalities of life.
Poetic devices
Irony: There is strong irony in the father’s entire life being reduced to “two lines” in a newspaper that is later sold for trivial uses. This underscores how insignificant his passing was in the public eye, contrasting with the importance it held for his family.
Imagery: The mention of “an inside column of a Madras newspaper” and “sold by the kilo to streethawkers” evokes clear images of the everyday life and commerce of a bustling city. This helps situate the poem in a real, relatable context.
Symbolism: The newspaper symbolizes impermanence and the brevity of life’s recognition. It also reflects the idea that life, in the end, may be reduced to a few words or forgotten altogether.
Alliteration: The repetition of the ‘s’ sound in “sold by the kilo to streethawkers” adds a subtle musical quality to the verse, enhancing its rhythm.
who sell it in turn
to the small groceries
where I buy salt,
coriander,
and jaggery
in newspaper cones
that I usually read
Explanation: These lines continue the theme of the father’s fleeting legacy in A. K. Ramanujan’s Obituary. The poet describes how the obituary, originally published in a Madras newspaper, eventually ends up being sold by streethawkers to small grocery shops. These shops then use the newspaper to make cones for holding everyday items like salt, coriander, and jaggery. The image of these grocery cones made from newspaper containing the father’s obituary adds a powerful sense of irony and impermanence to the poem.
The poet’s act of buying groceries wrapped in newspaper and “usually read[ing]” these cones for fun highlights how even something as significant as a death notice can be reduced to an object of everyday use. This suggests that personal grief and memory are woven into the mundane aspects of life, and that individual legacies become part of the practical, unnoticed flow of daily routines. The use of these newspaper cones reflects how memory and significance become mixed into the unremarkable, everyday activities.
Poetic devices
Irony: There is deep irony in the fact that the newspaper containing the father’s obituary ends up being used for something as ordinary as wrapping groceries. This emphasizes how even solemn events are trivialized by time and routine.
Imagery: The vivid description of small groceries and items like “salt, coriander, and jaggery” creates a relatable, sensory-rich scene. This imagery roots the poem in the reality of everyday life and evokes the smell, texture, and familiarity of shopping in an Indian market.
Symbolism: The newspaper cones symbolize the transient nature of memory and recognition. They serve as a metaphor for how the legacy of an individual can be reduced to an overlooked and disposable detail within the cycle of life.
Juxtaposition: The poet juxtaposes the solemnity of an obituary with the mundane act of buying groceries. This highlights the tension between the significant and the insignificant, showing how personal losses become intertwined with the ordinary.
for fun, and lately
in the hope of finding
these obituary lines.
And he left us
a changed mother
and more than
one annual ritual.
Explanation: In the final lines of Obituary, A. K. Ramanujan captures the lasting impact of his father’s death on the family. The poet reads the newspaper cones “for fun,” but now with a deeper purpose—”in the hope of finding these obituary lines.” This subtle shift shows how he seeks a tangible reminder of his father, a way to reconnect with a memory that feels lost in the routine of life. It reflects a longing for acknowledgment and the emotional need to see his father remembered, even in the smallest, most trivial way.
The father’s legacy is not one of monumental achievements or lasting public memory but is instead found in the subtle and intimate changes left behind. “A changed mother” points to how the father’s death transformed their mother, possibly making her more resilient, solemn, or burdened by responsibilities. The phrase “more than one annual ritual” hints at the traditions and ceremonies the family must now uphold in the father’s absence, marking their continued connection to him even though he is no longer physically present.
Poetic devices
Imagery: The image of reading newspaper cones “in the hope of finding these obituary lines” illustrates a poignant scene of searching for traces of the past amid the mundane aspects of daily life.
Symbolism: The “changed mother” symbolizes how loss reshapes those left behind, altering their roles and perspectives. The “annual ritual” symbolizes continuity, the ways families carry on with traditions that keep the memory of loved ones alive.
Juxtaposition: The act of reading paper cones “for fun” contrasts with the more serious search for obituary lines, highlighting the blend of everyday life and deeper emotional experiences.
Enjambment: The continuation of lines without a pause mimics the ongoing nature of life and the persistent influence of the past. It reflects how the memory of the father weaves through the family’s daily routines and rituals.
