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Chapter 2
Themes
Key
LitCharts assigns a color and icon to each theme in Hullabaloo in the Guava Orchard, which you can use to track the themes throughout the work.
Absurdity and Chaos
Nature vs. Modernity
Traditions, Customs, and Expectations
Exploitation of Spirituality
Summary
Analysis
Mr. Chawla loudly begins his morning routine of yoga stretches, getting cleaned up in the bathroom, and having Ammaji and Pinky sort out his laundry. He seems to go out of his way to make plenty of noise as he completes these tasks, as if wanting to announce to the world that he’s living responsibly and properly. As the other members of the family rush about him, he reads bits from the newspaper and happily complains about the country’s newest corrupt politicians, insisting he saw this coming. Kulfi remains uninterested in this talk as she continues fantasizing about elaborate dishes she could make.
Mr. Chawla’s behavior confirms that he hasn’t changed much since Sampath’s birth. He’s still devoted to maintaining an appearance of order and propriety, even to the point of absurdity. Similarly, Kulfi remains as distant as she was before, still focusing on food despite no longer having cravings due to pregnancy. All in all, Mr. Chawla’s household is still chaotic despite his attempts to adhere to social norms and raise an “ordinary” family.
Themes
Pinky is also bored with Mr. Chawla’s reading of the newspaper, asking him if there’s anything in the news about the “Cinema Monkey.” When Mr. Chawla admits ignorance on this topic, Pinky explains that a troublemaking monkey has been harassing women outside the local cinema lately, pulling and ripping their clothes until they drop their snacks. Mr. Chawla snorts derisively at this, while Ammaji suggests that Pinky could take Sampath with her to the cinema to protect her. Pinky insists that Sampath would be no help, and Ammaji admits that he’s probably not threatening enough to scare a monkey away. They all turn their gaze to Sampath, who’s slouched tiredly at the table, morosely watching a fly in front of him.
The existence of the “Cinema Monkey” is both ridiculous and fits with the emphasis on nature’s conflict with modernity. Through this troublesome monkey, the wildness of nature is a constant presence in the otherwise sensible, modern town of Shahkot. The animal’s behavior also highlights the absurdity of the situation. The antics of the Cinema Monkey make Mr. Chawla’s attempts at normalcy seem even more futile and ridiculous. Meanwhile, Sampath’s dullness suggests that he isn’t thriving in a normal setting.
Themes
Annoyed by his son’s passive attitude, Mr. Chawla swats the fly with a newspaper and berates Sampath, asking him where his common sense has gone. When asked, Sampath mutters that his work is going “all right,” but this isn’t enough for Mr. Chawla, who points out that if things were going well, Sampath would have received a raise in pay by now. Sampath had failed so many of his classes that it was difficult for him to find a job for the longest time. When asked about the job Sampath finally found, Mr. Chawla always explains that Sampath is in “government service.” This vague description paints a picture of a comfortable and well-paid position, but in reality, Sampath has a lowly position at the back desk of the Shahkot post office.
Here, one of the novel’s central conflicts appears for the first time: the constant tension between Sampath and Mr. Chawla. While Sampath is constantly distracted by fantasies and idle thoughts, Mr. Chawla is desperate to push his son into a demanding and lucrative career. Mr. Chawla respects the customs and expectations placed upon him, while Sampath feels constrained by them. Notably, Mr. Chawla’s vague explanations about Sampath working in “government service” is a sign that he (Mr. Chawla) cares deeply about the appearance of success, and he's willing to stretch the truth to maintain that appearance.
Themes
Still irritated with Sampath, Mr. Chawla continues his tirade about the value of work and all the things Sampath should be doing to further his career. Ammaji continually interrupts his speech with questions about what Sampath would like for breakfast, which annoys Mr. Chawla even further. He insists that she’s interrupting important matters, but Ammaji reminds him that getting a good meal is just as important for Sampath as anything else. Their argument continues; Mr. Chawla complains that Sampath has only been moving down society’s ladder since the day he was born, and will soon reach the very bottom. But Ammaji cheekily points out that the world is round, and that Sampath is simply taking the longer route down, so that he might pop up on top of the other side of the world. Nonetheless, Mr. Chawla continues his rant, which Sampath endures in silence, imagining the pleasant sleep he couldn’t find last night. Kulfi watches all this and feels sorry for her son.
This argument between Mr. Chawla and Ammaji highlights Mr. Chawla’s nearsightedness when it comes to Sampath’s future. Mr. Chawla can only envision outward success and can’t accept even a moment of slowing down on the road to a more profitable future. Ammaji, meanwhile, focuses on the present moment as she reminds Mr. Chawla that the small things in Sampath’s life matter just as much. While Mr. Chawla only sees his son as clay to be molded into something better according to the traditions and expectations of his society, Ammaji and Kulfi can see Sampath as a person of his own. Ammaji’s metaphor about the world is a perfect illustration of this idea. Mr. Chawla can only see the world in terms of black and white—up or down. But Ammaji sees the world in three dimensions, and she knows that there’s more than one way for Sampath to find a happier life.
Themes
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