Animal's People

The title Animal’s People offers interesting insight into the novel, as it gives us a view of the way the people of Khaufpur identified themselves. The chorus of the children copying Elli, after stating she doesn’t understand Animal's People, shows this unification of the people of Khaufpur. "We can hear the chorus of small voices gradually falling behind, ‘Hey Animal’s People!’"[1] Unification of people usually takes place during a disaster, which occurs during and after the crisis in Khaufpur. The title of the novel is used to help identify this unification of people and also to foreshadow the difficulty Elli will face when trying to open the clinic. Elli will have to try to break down the tough barriers which exist in Khaufpur, to help the people move past what they fear the most, change. The comfort they seek is always being able to blame the kampani for what happened to them, and assuming every outsider is there because the kampani sent them. The relation to the title is that Animal is a prime example of the hatred, with his foul mouth and negative attitude towards everything.

The title "Animal’s People" also refers to the difference in behaviors and attitudes between the citizens of Kaufpur and the American doctor, Elli. This becomes apparent on page 183 when Elli is frustrated about everyone's attitude toward her clinic, and yells "HEY ANIMAL’S PEOPLE! I DON’T [...] UNDERSTAND YOU!" She came to Kaufpur with only a mere idea of how the people had suffered. She knew that people were ill and her duty would be to nourish them back to health, but that was the extent of her connection to them. Due to her more fortunate circumstances, she could never fully grasp the trauma and the aftermath of the gas leak or the chronic poverty which plagued the city. Furthermore, she was oblivious to the reasons why the citizens were so untrustworthy toward outsiders. Without experiencing it for herself, Elli the doctress was an outcast among the rest of the city of Kaufpur—Animal's People.

Animal

Animal is the protagonist of this story. He is a victim of a chemical factory explosion caused by Kampani and is depicted as a boy with a twisted spine that roams around Khaufpur on both of his hands and feet like a dog. He constantly denies his humanity and claims that he is an animal. After this factory incident, Animal is put in an orphanage and taken care of by Ma Franci. He has no recollection of his parents. Animal openly displays his hatred toward humans yet there is a side of him that yearns to be a human being. Therefore, when an American doctor comes to Khaufpur, he regains his lost hope of being able to stand on his own two feet and dreams for that day to come. Although Animal initially loathes his inability to walk on two feet, in the end, he realizes that being a four-foot is better off for him. By being a four-foot, Animal avoids being one of the millions of upright humans and instead becomes the one and only Animal.

Somraj

Pandit Somraj Tryambak Punekar is Nisha's father and a music teacher. He is described as tall, with a long and pointy nose, and long fingers. He also has a stoic nature, being called solemn and private by Animal. The most important fact about Somraj is that he used to be a famous singer, known throughout India, who was referred to as the Voice of Khaufpur. However the night of the accident he lost his wife and baby son, in addition to his lungs being damaged by the chemicals. He no longer sings, and if he tries he has coughing fits.

Ma Françi

Ma Françi is a nun from France who worked in the orphanage where Animal grew up. She acts as Animal's mother figure and can be described as kind, although mildly senile. Her affliction from the accident is her loss of understanding Hindi and English. She believes that everyone else is speaking gibberish and is unable to understand that they are using another language, not just making random sounds. She also sees prophetic angels as a result of her madness. However, she still does her duties of going from house to house, helping the sick and injured as best she can.

Zafar

Zafar is Nisha's boyfriend. He is described as a man in his late thirties, tall, good-looking, thin with a jutting beard, curly black hair and glasses which makes him appear wise. Zafar is an outsider who is so appalled by the Kampani actions that he moves to Khaufpur to advocate on their behalf. He sacrifices everything in his life, including his studies as a scholar for the poor and sick. He is a saint and hero to the citizens of Khaufpur.

Farouq

Farouq is Animal's friend and nemesis. Farouq's family came to Khaufpur from Yar-yilaqis. His intelligence is that of a criminal in a gang, like his two brothers, or a mechanic. He is Muslim, a movie expert, and Zafar's number two man.

Nisha

Daughter of Somraj, girlfriend of Zafar, friend of Animal. Nisha sees Animal in the gutter and introduces him to Zafar. She is the object of his affection, yet sees him as a friend only.

Elli

American doctor who comes to Khaupfur. She is frequently described as wearing blue jeans and is an object of lust for Animal and others in the town. Acting out of philanthropy, she struggles to find acceptance.

The novel is told through Animal's tape recordings. The Kakadu Jarnalis insists Animal tell his story. The tapes are recorded in Hindi by Animal and then translated into English by the journalist. Like with previous foreign journalists, Animal thinks that his story will be entangled with everyone else's in Khaufpur; the stories of all survivors will be meshed together to form one tragic tale. To ensure this won’t happen, Animal agrees to tell his story if only it will be told exactly how it is presented through his tapes.

In Animal's second tape, he dwells on the audience and directly addresses the audience. In a letter to Animal, Jarnalis states "Animal, you must imagine that you are talking to just one person. Slowly that person will come to seem real to you. Imagine them to be a friend. You must trust them and open your heart to them, that person will not judge you badly whatever you say." Animal then talks to the reader and says "You are reading my words, you are that person. I’ve no name for you so I will call you Eyes."

Indra Sinha begins Animal’s People with the editor's note: "This story was recorded in Hindi on a series of tapes by a nineteen-year-old boy in the Indian city of Khaufpur. True to the agreement between the boy and the journalist who befriended him, the story is told entirely in the boy’s words as recorded on the tapes." Although this premise is entirely fictional, Sinha wanted to convey the story in a way that gave authority and a singular voice to the real, but little known aftermath of a gas leak in India that is considered the world's worst industrial disaster, the Bhopali disaster. The "recorded tapes" are arranged in a largely linear manner that is interrupted with flashbacks that skip between the past and present. They impart the story gradually, developing the setting and characters of Animal's past while simultaneously incorporating ongoing events. Animal tells his story in the past-tense, as he is repeating experiences to Jarnalis via the tapes. The first and second tapes introduce Animal as the narrator and establish the audience as nothing more than disembodied "eyes." In the middle of the second tape, Animal jumps back to when he was six years old and the pains of his apparent morph from "human to animal" that occurred as his spine twisted to the point where he had to walk on all fours. He then quickly fast-forwards in tape three to the meeting of present characters: Nisha and Zafar, then interjects a narration that describes the current appearance of the Kampani's factory. The story continues in this flitting manner to uncover the full depth of the situation through Animal's unexpectedly fierce and spirited narration, giving an unconventional take on the idea of "distant sufferers."

Animal’s People is primarily a first-person monologue in which the narrator (Animal) details past events of his life and his internal thoughts from that time to an audience whose existence he is aware of. On occasion the novel changes to a third-person narrative where Animal narrates another character's independent experiences, such as Elli's interactions with her ex-husband in Tape Twenty. In both cases, the story, though it occurred in the past, is presented in the present tense. Despite the fact that the novel details past events, Animal is not presented as an omniscient narrator—the reader is never informed beyond Animal himself (the character rather than the narrator) in the context of the story. This, in addition to Sinha's use of present tense to describe past events causes the reader to experience Animal's life (in the form of direct speech) alongside him while still allowing for commentary from a narrator who has already lived through these experiences (usually in the form of indirect speech). Thus, the reader is caused to identify more strongly with Animal's own thoughts, emotions, and desires as the story unfolds—something that falls in line with Indra Sinha's past career writing emotionally charged advertisements for charities such as Amnesty International.[2]

Influence of perspective

The story told by Indra Sinha in Animal’s People is one that is obviously influenced by the Bhopal disaster from 1984, and the way Sinha wants the world to see the disaster. Sinha chose to write the story in a fictionalized setting so he could write “freely”, as opposed to the situation he already knew regarding Bhopal.[3] However, his goal was to instead tell the aftermath of the disaster which he does through the lens of Animal. In Animal, the perspective of Sinha and many others still seeking reparations from the incident are channeled and reflected.

Khaufpuri language

Indra Sinha's inclusion of words such as kampani and Khaufpur—"kauf" meaning "terror" in Urdu[3] —challenges readers' competency as linguists. Animal's language (Khaufpuri) requires readers to recognize phonetic similarities to English and etymological cues (e.g. Hindi, French) in order to ascribe meaning to the text. The inclusion of a Khaufpuri Glossary in Animal's People substantiates the cultural richness of Animal and the Khaufpuri people while successfully reminding the reader of the "otherness" of Animal. Sinha's melding of linguistic traditions enhances the meaning of the text and artistic freedom of the author.

According to The Bookbag, Sinha's book was shortlisted for the 2007 Man Booker prize, described in the Independent as an extraordinary achievement and by the Indian Express as a novel so honest it leaves you gasping for breath. Lesley Mason said in his review of Animal's People, "This is a book that should be part of the national curriculum through-out the world. Not only does it explore the outfall of one particular humanitarian and ecological disaster and the pitiful response to it by those responsible; but takes in the wider picture of the general attitude of richer people to the poorer and that of the so-called developed nations to those who have yet to claim a share of the power and the glory (or the muck and the money)."[9]

New York Times

"It (Khaufpur) is also the setting for his fiercely polemical — and unexpectedly bawdy — novel Animal’s People, a finalist for the 2007 Man Booker Prize that reveals not a paradise but a blighted city."[10]

Blog Critics

"Try to imagine for a moment what it must be like to be the people of Bhopal who have lived for twenty plus years watching family and friends die, descend into madness or give birth to stillborn babies. Animal's People, the latest offering from Indian author Indra Sinha available from Simon & Schuster Canada, does just that."[11]

Washington Post

Washington Post said of Animal's People, "The right writer has met the right tragedy".[12]

Barnes and Noble

Eric Banks of Barnes and Noble Review said, "It isn't hard to figure why it hooked critics: Sinha controls language so magnificently in this novel... [he] carves out his territory with a vengeance".[13]

• Article about Indra Sinha's novel Animal's People and statement of the author on the fictional parts of the story. The Guardian, 2007.