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Precocious, a poet, a philosopher's daughter, Maitreyi Devi was sixteen years old in 1930 when Mircea Eliade came to Calcutta to study with her father. More than forty years passed before Devi read Bengal Nights, the novel Eliade had fashioned out of their encounter, only to find small details and phrases, even her given name, bringing back episodes and feelings she had spent decades trying to forget. It Does Not Die is Devi's response. In part a counter to Eliade's fantasies, the book is also a moving account of a first love fraught with cultural tensions, of false starts and lasting regrets.
Proud of her intelligence, Maitreyi Devi's father had provided her with a fine and, for that time, remarkably liberal education — and encouraged his brilliant foreign student, Eliade, to study with her. "We were two good exhibits in his museum," Devi writes. They were also, as it turned out, deeply taken with each other. When their secret romance was discovered, Devi's father banished the young Eliade from their home.
Against a rich backdrop of life in an upper-caste Hindu household, Devi powerfully recreates the confusion of an over-educated child simultaneously confronting sex and the differences, not only between European and Indian cultures, but also between her mother's and father's view of what was right. Amid a tangle of misunderstandings, between a European man and an Indian girl, between student and teacher, husband and wife, father and daughter, she describes a romance unfolding in the face of cultural differences but finally succumbing to cultural constraints. On its own, It Does Not Die is a fascinating story of cultural conflict and thwarted love. Read together with Eliade's Bengal Nights, Devi's "romance" is a powerful study of what happens when the oppositions between innocence and experience, enchantment and disillusion, and cultural difference and colonial arrogance collide.
"In two novels written forty years apart, a man and a woman tell stories of their love. . . . Taken together they provide an unusually touching story of young love unable to prevail against an opposition whose strength was tragically buttressed by the uncertainties of a cultural divide."—Isabel Colegate, New York Times Book Review
"Recreates, with extraordinary vividness, the 16-year-old in love that she had been. . . . Maitreyi is entirely, disarmingly open about her emotions. . . . An impassioned plea for truth."—Anita Desai, New Republic
"Something between a reunion and a duel. Together they detonate the classic bipolarities: East-West, life-art, woman-man."—Richard Eder, New York Newsday
"One good confession deserves another. . . . Both books gracefully trace the authors' doomed love affair and its emotional aftermath."—Nina Mehta, Chicago Tribune
- Sales Rank: #932662 in Books
- Published on: 1995-04-01
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .80" w x 5.50" l, 1.15 pounds
- Binding: Paperback
- 264 pages
From Publishers Weekly
Devi (1914-1990), though best known as a poet, ironically takes fewer artistic liberties than Eliade (see above) in her plainly autobiographical account of their relationship. "Why did you not write the truth, Mircea?" she asks no one in particular, describing the complex and lasting pain that his book--in which her real name was used and in which she was portrayed as a flirtatious, sex-minded character who came to his bed frequently--has caused her. She tells how she has had to keep the novel--though filled with "lies"--a secret from her family and her husband. Devi's story, more true-to-life, is less predictably patterned than Eliade's; her account of her confused feelings toward him is less polished. Devi tells of her meeting with Eliade for the first (and only) time after the end of their romance; as a much older woman aware of her mortality, she moves us with her description of Eliade's resigned sense of meaninglessness in the world, and with her own "tiny bird of hope."
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Eliade met Devi in 1930 when he was working for Devi's father in Calcutta. Eliade, a Christian European who became a religion scholar, was invited to live in Devi's Hindu upper-caste household in order to experience the true India. The two young people, both well educated but separated by seven chronological years and many cultural lightyears, fell in love. Her parents intervened to break up the relationship, which persisted in their hearts. Bengal Nights, originally published in 1933, is Eliade's fictionalized, somewhat erotic version of the affair. Devi, who did not read it until 40 years later, responded with It Does Not Die. The stories, which must be read together, provide a wonderful study in contrasting cultures as well as an engaging love story. Recommended for academic and large public libraries.
Ann Irvine, Montgomery, Ct.
Copyright 1994 Reed Business Information, Inc.
From Kirkus Reviews
Turnabout is fair play. The woman mythologized as an enigmatic Indian maiden by Romanian scholar Mircea Eliade in Bengal Nights (see below) offers her own novelized version of their supposed torrid affair. Imagine making a trip to Europe as an adult and finding people who know intimate details of your teenaged years. Such was the experience of Devi (who died in 1990, an accomplished poet and scholar) when she found that Eliade, a renowned scholar of religion, had written a ``semi-autobiographical'' (he uses her actual first name in his story) account of his time with her family in Calcutta in the 1930s. When she heard that the young man with whom she had first felt the pangs of passion--but, in her account, had next to no physical contact--had portrayed their relationship as a wild, sexual affair that ended when her staunchly traditional family learned of it, her pleasant memories of the events turned to anger: This man ``whose memory I preserved in the depth of heart as a sacred trust...has been selling my flesh for a price.'' Now, after Eliade's account has appeared in several languages and on film, Devi uses fiction to tell her side of the story. In lucid prose that calls into question the concepts of time, memory, and the adventuring spirit of the colonizing West, she undercuts Eliade's portrait of a curious, na‹ve girl by showing just how cosmopolitan and precocious she was. After all, her first book of poems was published, with a preface by Rabindranath Tagore, when she was 16. She also denies that their affair led to beatings and disgrace. An engaging story from a talented and skillful poet, philosopher, and storyteller having her say about the tangled threads of passion and memory. -- Copyright ©1994, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
12 of 15 people found the following review helpful.
A semi-autobiography of am emotional adolescence.
By A Customer
As a Bengali reader of the novel "Na Hanyate" (It Does Not Die) by Maitreyi Devi, I've got charmed with the true essence of not the story only, but the language it was written in also. To tell about the literary value, I have to tell the fluency and the story-telling style of the novel. As was associated with the family of Rabindranath Tagore, 'Ru', as the writer called herself in the novel knew how to write such a story in a descent and controlled way. The story about the love of Mircea Eliade & Maitreyi had flourished secretly quite unknowingly to her parents, who were very conservative and respected persons in the early-20th century Bengali soceity. If anybody knows the true history of that society, he can easily understand how much 'unlawful' it was to make love and then to marry in those days, even if they were Bramha in religion (which was well-known as the religion of those educated in Western culture & believed to be beyond all kinds of conservativeness). So unfortunately the affair had been public & Mircea, who was in their house as a helper to her father's work and stayed with so-called good will had been thrown away. Now starts the tragedy. Maitreyi got consolation from Tagore and then got married to another goody guy. She was happily living in her marital life. But after publishing of 'Bengal Nights', by Mircea, Ru went to him and chraged him for exploting their relation. Ru then felt that their love would not die. All the stars of night are in the depth of sunshine.
I think as a chracter Ru has not correctly portrayed Mircea. What disturbed her later, was a madly work of Mircea, according to Ru. But the feelings of them are really touching to one's heart. Sometimes Ru seems to be selfish and cruel, the reader can get an easy sympathy for Mircea. But still a very good readable book indeed. Quite unforgettable affair with tragic end, one of so many in today's world even.
7 of 8 people found the following review helpful.
The other side of a fascinating story
By A. Badus
First of all, this book makes a lot more sense if you also read Mircea Eliade's "Maitreyi"...
"It does not die" reveals not only a Bengali woman's views on love, marriage and life, but also the relationship between a writer and its subject. For the sensual, tragic Maitreyi from Eliade's novel reveals herself as a woman with her feet down to earth and a lot of common sense. I was charmed by her serenity and tenacity.
We don't get to hear "the other side of a story" too often. This is one of the rare instances where we can meet both the literary heroine (from Eliade's novel) and the real woman, with her personality so different from what we might have expected. I could go on talking about inspiration and influences, about social norms and the ideas of "exotic beauty", but I will let you enjoy the book :)
12 of 16 people found the following review helpful.
A minor actor in the drama
By Shirley
As a graduate student at the University of Chicago in the early 1970's, I was assigned to shepherd visiting scholar Maitreyi Devi around during her visit there to speak on Tagore (Rabi Thakur). She requested that I take her to Mircea Eliade's Mead Theological Seminary office. What happened in Eliade's office was a bit puzzling. But several days later a Bengali faculty member told me about Eliade's book and their earlier love.
I've been telling that story for thirty years. This spring I told it to another Bengali scholar at a cocktail party in Canada. He was stunned. He said, "You are in her book!" I bought the second book, and I am in it. The incident is the last chapter of "It Does Not Die" - I am the Shirley in the story.
Now I have an even better story to tell.
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