Beyond the maple leaf
By Zubair Ahmad
Surjeet Kalsey’s poetic and dramatic chronicles of Punjabi women in Canada
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he Canadian Punjabi diaspora has carved a unique place among Punjabis living abroad, willingly or unwillingly living. They have excelled not only in entrepreneurship but also in other fields such as Punjabi literature, art and culture. Canada is now home to millions of Punjabis who are producing talented writers, musicians and filmmakers. Unlike Pakistani Punjabis, who are less conscious of their language and culture, Indian Punjabis remain committed to preserving their language and heritage.
They proudly embrace their identity through their language and culture.
Surjeet Kalsey migrated to Canada in 1974 when she married Ajmer Rode, a prominent poet, playwright and translator. Writing for more than five decades, she has made a name for herself as a powerful voice advocating for women’s empowerment through her writings, staging plays and even taking to the streets in protest. A selection of her poetry, stories and dramas has been published in Shahmukhi for the first time in our part of Punjab. It is titled Rang, Ras, Naad.
She has authored ten books of poetry, four short story collections, a collection of plays, and five books of translations featuring Punjabi and Canadian writers. She curated a selection of around 55 Punjabi poets, which was published in English under the title Glimpses of 20th Century Punjabi Poetry in English Translation. She has also translated Faiz Ahmad Faiz’s Urdu poetry into Punjabi. In recognition of her contributions, she was awarded the Lifetime Achievement Award by the University of British Columbia’s Asian Studies Department in 2014.
This collection contains around 30 poems, providing a fair assessment of her poetry. Most of her work focuses on women, giving them a voice to express the unspoken and exploring the complexities of their existence. Her poetry does not dwell in nostalgia; her depiction of women is not that of the traditional Punjabi woman back home but the working Punjabi woman living in Canada. These women are not portrayed as affluent, adorned in expensive clothing and jewellery or enjoying parties and festivals, as often seen on social media. Such portrayals overlook the fact that these celebrations frequently shared online, can be quite disheartening for those who have chosen to remain in their homeland or have been unable to migrate and settle abroad.
These plays address a range of issues, including domestic abuse, parent-child conflict, the visa application process, the quality of life of South Asian immigrant women in Canada, etc.
In one of her poem, she tells all:
Even the titles of her poems give voice to women, with examples like Aurat, Aurat day Hatth (A Woman’s Hands), Aurat day Pair (A Woman’s Feet), Aurat da Chehra (A Woman’s Face), and Aurat day Dil Vich Sorah (The Yearning in a Woman’s Heart).
The collection includes five short stories, all of which portray the lives of subjugated and suppressed women. These stories often depict women who, after being married and migrating to Canada, become victims of cruel behaviour by their in-laws, suffering even more than they did in their own homeland. In the first story, Melu di Khani (Melu’s Story), Melu leaves her husband and seeks support from the system, which protects women and stands by those who are homeless or abandoned. Despite her lack of education, she rebuilds her life and raises her children. Though her husband continues to harass and threaten her, she remains resolute in her decision to leave him, proving that she can survive without marriage or the patronage of a man.
Dahil z t p r (Beyond the Threshold) is the story of Chitana, who is married to an Indian Canadian husband. Her parents arranged the marriage, believing she would live a happy life in her new country. However, she is mistreated by both her husband and in-laws. Years ago, while studying in college, she had a crush on her professor and had even asked him to marry her to avoid the proposal from Canada. Many years later, she receives a call from her former professor, who has come to Canada looking for her. In a moment of courage, when she is beaten by her husband again, she fights back and escapes in her car, leaving everything behind.
Another poignant story, Tal sh Pathar Ga (The Search Lost Its Way), is about a woman whose children are taken away from her. In the beginning, her husband vanishes with their children. After much effort, she finally finds him and files a case to reclaim her children. Though she wins the case, her children no longer recognise her as their mother.
The third section of the book focuses on plays written and staged by Kalsey. Her first play, Mehlin Wasdiyan Dhiyan: Daughters Behind Palace Doors (1982), which deals with wife assault, was performed in New Westminster. “This was the first South Asian Canadian play on the unspoken issue of violence against women on a public stage. Some of the actors included women survivors from support groups using drama therapy,” Mandeep Wirk wrote in an article about Kalsey.
Later, a collection of seven three-act plays under the same title was published in 2002. These plays address a range of issues, including domestic abuse; sex selection; parent-child conflict; the visa application process; the quality of life of South Asian immigrant women in Canada; the relationship between immigrant women and their sponsors; and the hopes and dreams of immigrants striving for a better life in Canada.
The book offers a glimpse into a world unfamiliar to many Pakistani Punjabis, as there is very little literature written by us about the immigrant experience in Canada. A one-page introduction by Fauzia Rafique, an esteemed poet and novelist based in Canada, serves as an inspiring invitation for readers to explore the book.