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Summary of

The Covenant of Water

(Oprah's Book Club)

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Summary of Abraham Verghese’s Novel

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Summary of The Covenant of Water (Oprah's Book Club) by Abraham Verghese

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This is an unofficial summary & analysis of Abraham Verghese’s “The Covenant of Water (Oprah's Book Club)” designed to enrich your reading experience.

 

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Part One

PART ONE

Always

1900, Travancore, South India

The story is about a twelve year old girl, Kezhekketha, who will be married in the morning. Her mother and daughter lie on the mat, their wet cheeks glued together. She hears her mother's sniffles change to steady breathing, then to the softest of snores. A brainfever bird calls out, but it is cut off abruptly. She awakes before dawn and finds her father's ornate charu kasera sitting forlorn and empty.

 

Her uncle had been looking to get her married off for a while, but she felt he was rushing to arrange the match. She felt pity for her mother, when she wanted to feel respect. Molay's mother tells her that her uncle is marrying a girl of little means, a girl without a dowry. Molay's uncle is forty and already has a child. Molay learns her letters on her father's lap, and when she does well in the church school, he encourages her to go to high school and college.

 

The narrator's father had been posted to a troubled church near Mundakayam, where he returned with teeth-chattering chills, skin hot to the touch, and urine running black. When her mother held a mirror to his lips, her father's breath was now just air. The narrator's father's chair and teak platform bed are like a saint's relics for her, and the Bible shows her that there is order beneath the chaos and hurt in God's world. The narrator prays for a good husband and believes that God will be with them always, even unto the end of the world.

 

To Have and to Hold

1900, Travancore, South India

The journey to the groom's church takes almost half a day. The boatman steers them down a maze of unfamiliar canals overhung by flaming red hibiscus, and they emerge onto a lake so wide that the far shore is invisible. At a busy jetty, they transfer to a giant canoe poled by lean, muscled men. The lake narrows to a broad river, and the boat picks up speed as the current seizes it. At last, a massive stone crucifix stands watch over a small church, one of the seven and a half churches founded by Saint Thomas after his arrival.

The marriage broker from Ranni paces up and down in the courtyard. The groom's party consists of the groom's sister, Thankamma, and the achen slips the ceremonial stole over his robes and ties the embroidered girdle. The bride shivers in the chatta and mundu uniform of every married woman in the Saint Thomas Christian world, white its only color. Light from the high windows slices down, casting oblique shadows, and the incense tickles her throat. Her uncle coughs and the sound echoes in the empty space.

The most important details in this text are that Thankamma is forty years old and her future husband is older than her mother. When her great-uncle puts out a hand to stop the departing groom, it is flicked away like an ant off a sleeping mat. Thankamma runs out after the runaway groom, pressing her hands on her brother's chest, trying to slow him down as she walks backward before him. She can't help but laugh as her brother pushes her as if he were a plowman and she the plow. Thankamma stands up for Monay when his eldest brother cheats him of the house and property that should have been his.

She tells Monay that her mother and grandmother married when they were nine, and that this produces the most compatible and best of marriages. Monay trusts Thankamma again, and the marriage broker confers with the achen, who mutters, "What kind of business is this?" A mysterious energy emanating from the altar now settles on her, bringing a profound peace. The church is consecrated by one of the twelve, the one apostle who touched Christ's wounds. Thankamma and her new sister-in-law, a boatman, must part at the water's edge. She has a new housename and a new home, unseen, to which she now belongs, and she must renounce the old one.

Thankamma promises to care for her as if she were her own and stay at Parambil for two or three weeks, so that she can learn her household better than her Psalms. The young bride and her widower groom live in Travancore, India, near the Arabian Sea and the Western Ghats. The land is shaped by water and its people united by a common language: Malayalam. It is a child's fantasy world of rivulets, canals, lakes, lagoons, backwaters, lotus ponds, and a vast circulatory system. Malayalis are as mobile as the liquid medium around them, their gestures fluid, their hair flowing, ready to pour out laughter.

Water is the highway in the absence of decent roads and regular bus transport and bridges. The royal families of Travancore and Cochin are under British rule as "princely states" and the maharajahs of the larger princely states are entitled to a nine-to-a twenty-one-gun salute. In exchange for keeping palaces, cars, and status, the maharajahs pay a tithe to the British out of the taxes they collect from their subjects. Kerala is a fish-shaped coastal territory at India's tip, with rust-tinged water and spices flourishing with an abundance unmatched anywhere else in the world. The spice craze swept over Europe like syphilis or the plague.

The most important details in this text are the stories of Vasco da Gama, the Zamorin of Calicut, and Saint Thomas, who landed on an Arab trading dhow in 52 AD and met a boy returning from the temple. Da Gama's ambition was to bring Christ's love to the heathens, but the Zamorin of Calicut found it laughable that da Gama's stated ambition was to bring Christ's love to the heathens. The Zamorin of Calicut found it laughable that da Gama's stated ambition was to bring Christ's love to the heathens, but the Zamorin of Calicut found it laughable that da Gama's ambition was to bring Christ's love to the heathens. Saint Thomas converted a few Brahmin families to Christianity and was martyred in Madras. Almost two thousand years later, two descendants of those first converts, a twelve-year-old bride and a middle-aged widower, have married.

The grandmother is certain that a good story tells the truth about how the world lives and offers instructions for living in God's realm. A good story can reconcile families and unburden them of secrets, but secrets can tear a family apart.

Things Not Mentioned

1900, Parambil

The new bride, Thankamma, dreams of splashing in the lagoon with her cousins. She wakes confused and discovers a snoring mound beside her. She hears nothing from her husband's room and is missing water. Yesterday, she and her husband arrive at a small jetty and cross a long field dotted with coconut palms. They walk through rows of banana trees, chempaka trees, a shallow stream, a pond, and an inclined washing stone near the pond's edge.

At last, they see the house, high up on a rise, silhouetted against the light. The narrator is lying on her back in a house with a sag in the middle and low overhanging eaves. The walls are of teak and the false ceiling is also of teak. There is a split door leading out to the verandah, with the upper half open to admit the breeze and the lower half closed to keep out chickens. Every thachan follows the same ancient Vastu rules, and when tragedy or a haunting hangs over a household, people will say it's because the dwelling was inauspiciously sited.

A rustle of leaves, a tremble transmitted through the ground, and a snake coil around the bush send her heart racing. A swatch of uprooted jasmine hovers above her, held fast by the trunk of an elephant. She feels a warm, moist, ancient breath on her face and fine soil particles fall on her neck. Hesitantly, she reaches for the offering. The story is about a two-year-old girl, JoJo, and her two-year-old brother, Thankamma, who are in Parambil.

They witness an apparition of an elephant, which is real, not a ghost, and the spirit takes orders from the jasmine-giver and retreats into the shadows. The girl sees echoes of her jasmine-bearing visitor on the elephant's leeward side, where a man sleeps on a rope cot. The spirit takes orders from the jasmine-giver and retreats into the shadows.

A Householder’s Initiation

1900, Parambil

The kitchen at Parambil is a shady sanctuary with a packed-earth floor, dark walls, and smells. Thankamma blows through a metal tube and coaxes the overnight embers back to life. She pours the bride coffee brewed in milk and sweetened with jaggery, and she makes puttu and beef fry and fish curry. Thankamma insists that a bride should let herself be spoiled, but JoJo drags her away, proud to be her guide. The house is L-shaped, with one limb being the older and constructed around the strongroom, or ara, in which a family's wealth is stored.

The newer limb is lower to the ground and has a sitting room, two large bedrooms, and a storeroom. In the evenings, a pulayi woman, Sara, sweeps the muttam with a stick broom and tells endless stories while spoiling JoJo and her with treats from the cellar. Thankamma's affection is so reminiscent of her mother that it can accentuate her sadness. On her second morning, when they hear the fishmonger's yodeling cry in the distance, Thankamma asks the bride to hail her and helps her lower the heavy basket off her head. The story is about a fishmonger who brings a special mathi for a bride.

The next day, the bride sees Shamuel pulayan crossing the muttam, straining under a headload of coconuts in a wide basket. He is Parambil's foreman and her husband's constant shadow, and his family has worked for them for generations. When he spots her, a huge smile transforms his face, his cheekbones shining like polished mounds of ebony and the white, even teeth highlighting his fine features. He removes the thorthu coiled atop his head, shakes it out, and wipes his face. The story is about a landowner, Thankamma, and his wife, JoJo.

JoJo is pleased to be called the little master, and he has his own clay dish hanging from a hook under the overhang of the roof at the back of the kitchen. The bride serves him kanji with a piece of fish and lime pickle, and she notices his deformed right big toe, flattened out like a coin. The roof is like any other, but the front gable is unique to every home. Shamuel and the thamb'ran are living in a house with an elephant, Damodaran, who came to greet them on their first night. Unni is the mahout and the thamb'ran sleeps next to Damodaran.

Keeping an elephant is expensive and the thamb'ran is the mahout. At dawn, they find Damodaran on his side, one eye gone, bleeding, with a broken tusk sticking out between his ribs. The thamb'ran climbs up onto Damodaran's side and plugged the hole with leaves and mud, pouring water into his mouth and sat there talking to him all that day and night. Damodaran, the thamb'ran's new wife, is struggling to adjust to her new life at Parambil. Under the guidance of Thankamma, she slowly eases into her new life and begins to make jackfruit halwa together with JoJo.

She teaches him the secret of making wishes and feeding them to her husband, which is the key to a happy marriage. However, her pride is undercut by the knowledge that Thankamma must soon leave, and she finds herself clinging to Thankamma to stay. The most important details in this text are that Thankamma treats her daughter-in-law like a jewel, and that the footpath is lined with tall grass and the undergrowth is alive with scorpions, cobras, giant rats, and centipedes. Molay is anxious about her departure and discovers that there is no paper or pen at Parambil. Yohannan and his wife and son build a rough shelter, and the first week a tiger carried off their only goat.

Yohannan is like a father to Molay, showing that his ways are not the ways of everyone. Thankamma's husband enticed a skilled Hindu thachan and blacksmith to move to the area by offering them cleared plots by the stream. After his house was built, he gave one-to two-acre plots to a number of his relatives. He wanted the area to prosper, so he gave the land outright to his relatives. When he returned, he saw a log straddle a rivulet and a large burden stone on the other bank.

A young man pushes and rocks the horizontal beam of the burden stone, raising a cloud of red dust. Shamuel and Govind Nair are a couple from a large Nair family living along the western edge of Parambil. They look well-fed and appear to be Nairs, employed by generations of Travancore maharajahs to defend against invaders. To their surprise, their husband ignores the youths and squats down to the stone instead. He pushes it over and puts it back on the fulcrum of his shoulder.

His quivering thighs and neck muscles are thick ropes as he maneuvers one end and then the other back atop the vertical pillars. Kuttappan Nair's father and husband put up a stone before he was born, but now he must clean up behind his calf. The young man tries to lift the stone, but his muscles fail him and his friends rush forward to keep it from crushing him. Her husband arrives and conveys his thanks for lunch and his need to get back to work. Thankamma takes one look at her face and sits her down.

Thankamma reassures Molay that her husband will never be angry without cause and will never mistreat her. She reminds her of the day when she and her husband were ten, when they disliked each other and one time she pushed him into the water. Thankamma emphasizes that her husband is like a coconut and cares for her as she does.

Husbandry

1900, Parambil

In the wake of Thankamma's departure, silence descends on the house. JoJo is unsettled and doesn't let his stepmother out of his sight. Shamuel comes by several times during the day to ask if she needs anything. He surprises her when he returns from the market, retrieving envelopes, paper, and a pen from the collapsed sack on his head. Thankamma manages well and cooks several dishes, but JoJo gives her trouble when she wants to bathe him.

She now sees a war between the men of Parambil and the waters of Travancore, but won't share it with her poor mother. The narrator's mother is no longer the householder or mistress of the house and is being bullied and treated like a maid. Her daughter, Parambil, lacks for nothing and dreams of visiting her mother in Parambil. Her mother sends her a letter with love and kisses, but she dissuades her from coming back to visit, giving no explanation. The narrator's aunt is probing her bedroll while her mother bathes.

The narrator's mother sends her a letter with love and kisses, but she dissuades her daughter from coming back to visit. Thankamma is worried about her mother's welfare, but JoJo encourages her to be observant. She ignores a speckled hen's clucking and sets it on a sack in the pantry, then inverts a wicker basket over it. The only visitors she's met properly are Georgie and Dolly from the tiny house closest to Parambil on the south side. Georgie is the son of her husband's brother, the one who tricked him out of his birthright.

She likes Dolly Kochamma, a quiet woman with doe eyes, and Georgie is the lively, gregarious type, surprising the new bride by happily crowding into the cozy kitchen with the women. She wonders why her husband would generously rescue his nephew yet have so little to do with him. JoJo is a farmer in Parambil, India. Her husband Shamuel and his helpers bring in a mountain of mangoes, which JoJo uses to make thera, a mangofruit jerky. JoJo also carves an unripe mango, splaying it open like a lotus flower and sprinkling it with salt and red chili powder.

Thera is an inch thick and can be cut into strips, and JoJo is thrilled to see her husband carry away a plug of thera after breakfast and lunch. The ara is built like a fortress and is built like a fortress. The Parambil house has a one-piece door with a huge lock, and the sill is so high that the wife must climb over it. Inside, she keeps her preserves in tall porcelain jars, and a dark, musty cellar where she keeps her preserves. She resolves to speak to the ghost who inhabits the cellar, who is a gentle, sad, and perhaps frightened spirit.

When the monsoon arrives, she and her cousin enjoy the downpour with their soap and coconut-fiber scrub. Without the monsoon, the land would cease to exist. Shamuel's wife, JoJo, is adamant about the rain, but she is too mesmerized by his body to run away. He has a cap from palmyra bark that allows water to sheet off his head, but he confines her husband in a way that baffles her. One unexpected rain squall caught him unawares and he ran for shelter without an umbrella.

The bride is feeling guilt, embarrassment, and fascination with her husband, JoJo. She believes this is due to the benevolent presence of JoJo's mother, and her dishes turn out better than expected. She is being rewarded for taking care of JoJo and feels one with the rhythm of the house.

Couples

1903, Parambil

The most important details in this text are that JoJo's mother, Shamuel, has transformed the covered breezeway outside the kitchen into her personal space and has a rope cot where she and JoJo nap. She is tired of chastising herself for not bringing a Bible with her to Parambil, so she directs her annoyance to JoJo's mother. The next week, when Shamuel returns from the provision store, he empties his sack with coconut oil, bitter gourd, garlic, and Malayala Manorama. She clutches the paper to herself, elated. Later that morning, she spots her husband seated in the fork of a plavu tree, ten feet off the ground, with a toothpick at the corner of his mouth.

The most important details in this text are that Thankamma, her mother, and JoJo have not seen each other for three months. Thankamma has put off her visit indefinitely due to her husband's illness and JoJo's refusal to go near the boat jetty. In the evenings, Thankamma reads the Manorama to her husband, but it does nothing for her loneliness. In response to her incessant prayers, a letter from her mother arrives after long months of silence. Shamuel's letter to his daughter, Biji, encourages her to treasure each day in her marriage.

On the first day of Lent, she gives up meat, fish, and milk, but on the second day she does not eat even a morsel. On the third day, her husband flattens the spine of the banana leaf with his fist and splashes jeera water on the green mirrored surface, brushing the excess off in the direction of the muttam. This makes her think this year will be different from previous years. Shamuel and Thankamma are struggling with Lent and the thamb'ran's warning that they are getting too thin. To help them, Thankamma prepares a dish called erechi olarthiyathu, which includes roasting and powdering spices, browning onions, and refrying the meat in coconut oil with fresh curry leaves and diced coconut.

When JoJo eats the dish, she stands quietly to one side, but closer than usual. The secret to getting what she wants from her husband is to make a wish as she prepares it. The most important details in this text are that Ammachi's husband JoJo is learning his letters and numbers, but only if she bribes him with a treat of raw mango dotted with chili powder. He then asks her a question that he might have asked a long time ago: "Sughamano?" He looks directly at her and asks her a question that he might have asked a long time ago. Ammachi's husband's bright smile is still there, revealing a side of him she has not seen.

JoJo and his wife have been married almost three years ago and JoJo has kept his distance from her since then. She has a strange urge to go to him for affection and human touch, but he refuses. Later that night, JoJo returns to the kitchen to clean up and cover the embers with a coconut husk. She discovers an open metal trunk on the floor with a stack of folded white clothing belonging to JoJo's mother. The chattas are tight at the shoulders and they faintly outline her budding breasts.

JoJo has taken to wearing an oversized chatta and mundu from Thankamma's trunk, which fits her perfectly. She has bled for the first time in over a year, so she brewed ginger tea and made menstrual cloths. On Sunday, she finds her husband in his wedding clothes, and they set off to a rivulet with a single-log bridge. JoJo takes two steps for each of her husband's feet, and he follows her. They reach the rivulet, where JoJo rests a hand on the burden stone.

The narrator and her husband are walking to church, crossing a bridge wide enough for carts. When they arrive, the narrator feels God's presence and the Holy Spirit wash over her. When the service is over, the narrator spots her husband emerging from the graveyard, his expression brooding. He speaks of his late wife, JoJo's mother, with such emotion. She is silent, fearful that anything she says will stop the flow of words.

When they ford the log bridge, the narrator goes first, studying his young wife who wears the clothes of her late wife. He wishes she could see how well she cares for JoJo and the love he has for her. She feels dizzy from the praise, clutching the Bible that once belonged to the woman he just invoked. The most important details in this text are that JoJo has no memory of his mother, and that he proposes to her to go alone to church by boat. On her sixteenth birthday, she hears a commotion outside the kitchen and the excited voices of children, and the ducks clustered around the back steps squawk and struggle to take flight, forgetting their clipped wings.

JoJo stands at the limits of his world, and he stands at the limits of hers. The most important details in this text are that Damodaran is a giant with an ancient eye, tangled eyelashes, and cinnamon-colored iris. He is making meen vevichathu, a fiery red gravy with seer-fish fillets, chili powder, shallots, ginger, and spices, but the key to its signature flavor is kokum, or Malabar tamarind. Damodaran pinches the lip of the bucket, lifts it from her hands, and inverts its contents into his mouth. Unni is perched on Damo's neck, pointing to the mess on the muttam.

She leans her hand on Damo's trunk and reveals that he came for her birthday. Unni has chained Damo's back leg to a stump, but it's more reminder than restraint. Every child around Parambil has come running to see Damo, who is fastidious and won't eat if his excrement is lying around. The blacksmith's daughter points to a thick, crooked club hanging down from Damo's belly, which her brother compares to a Little-Thoma. The children compare it to the goldsmith's two-year-old grandson, who has one finger in his nostril.

The blacksmith's boy believes Damo's trunk looks more like a Little-Thoma than the goldsmith's grandson. Damo, a blacksmith's boy, is seen plucking leaves from a coconut branch. He then snatches a towel off Unni's shoulder and waves it like a flag before Unni snatches it back. The blacksmith's son, JoJo, overhears the blacksmith's boy say he'd reach up and pluck mangoes or coconuts. The blacksmith's son, Little-Thoma, overhears the blacksmith's boy say he'd reach up and pluck mangoes or coconuts.

The blacksmith's son, JoJo, overhears the blacksmith's boy say he'd reach up and pluck mangoes or coconuts. The blacksmith's son, JoJo, overhears the blacksmith's boy say he'd reach up and pluck mangoes or coconuts. The blacksmith's son, JoJo, overhears the blacksmith's boy say he'd reach up and pluck mangoes or coconuts The most important details in this text are the piercing of the ear, the enlargement of the hole by packing it with areca leaves, and Unni's wedding ring, gold minnu, and gold studs. Unni is a farmer who is aware of dates and seasons and remembers his wife's birthday. He leaves without a word and returns to Parambil to visit his wife.

That night, Unni appears and pulls her to her feet with an oil lamp in one hand and a tiny oil lamp in the other. They step out into his room. The story is about a sixteen-year-old girl who suddenly hears the hammering of her heart and panics. JoJo gently guides her to stretch out beside him on his raised teak bed, where she is frightened, shivering, and on the verge of tears. He gently gathers her to him, one arm under her head, enfolding her, holding her, and they lie there for a long time.

At first, she hears only the hum of the stars, a pigeon coos on the roof, a bulbul call, a faint scuffle in the muttam, and a repetitive drumming. Then it comes to her: it is his heartbeat, loud and almost synchronous with hers. This reassures her that she is in the arms of the man she married almost five years ago, and reminds her of the quiet ways he has attended to her needs. He expresses his affection indirectly through acts of caring, but on this night he conveys his feelings directly through precious earrings. He asks her if she's ready and she nods.

He hovers over her and guides her to receive him, but she bites her lips at the first sharp pain. He pauses and retreats out of concern, but she pulls him down, hiding her face against the valley between his shoulder and chest. The narrator feels betrayed by all the women who withheld this knowledge from her. He is gentle and considerate, but his repetitive thrusts intensify and the pace quickens. He tries to stifle an agonal moan, but fails.

He lies on her, exhausted and wet with perspiration, and her body, her contribution to what transpired, has left him robbed of all strength and rooted to her. She recognizes that she has blundered into full womanhood.

A Mother Knows

1908, Parambil

JoJo is ten and taller than his Ammachi, but reverts to acting much younger. He tries to cheer her up, weaving her a ball from coconut fronds. After lunch, she retreats to her bedroom and bursts into tears. He insists that she must forgive him, but she shakes his head. She confides freely in her husband except when it comes to her mother, who is being mistreated and starved.

She worries about her mother, and finally confesses what she has kept from him. The most important details in this text are that Molay's mother, Shamuel, and her daughter, Molay, have been separated for fifty years and have not returned to each other since then. Molay's mother, Molay's uncle, has not offered water and Molay's mother has been living like the women seeking alms outside the church. In the room they will share, Molay watches her mother take in the teak almirah where she can put her clothes, the writing desk, and the dresser with the mirror. She also sees her own reflection and self-consciously tucks white strands of hair behind her ears.

The most important details in this text are that the protagonist's mother has changed from a child bride to a capable mother of JoJo and the mistress of Parambil. At midnight, the protagonist runs to greet her husband as if he's been away for years. At one in the morning, she sees a distant glow from a torch and jumps into his arms. She pleads with him to never grow old or die, knowing it's too much to ask. He washes by the well and eats dinner.

JoJo has been walking for 18 hours and over 50 miles, and is now in his bed. He leads her in and she lies next to him. He smiles and he squeezes her to him, but then catches himself. She hears his breathing become deeper and steady, and his hand stays on her belly, cupping his child. She prays for forgiveness, but God's time is not the same as hers.

She must look to the future with faith that the pattern will be revealed. She doesn't know that she'll soon be Big Ammachi to all.

Till Death Do Us Part

1908, Parambil

The most important details in this text are that Dolly Kochamma moved in during the last stages of her confinement, to help with the household tasks and with JoJo. Dolly never speaks of the challenges she and Georgie face on their small plot of land, but every morning, when the baby falls asleep after her ten o'clock feeding, Dolly oils the new mother's hair and massages her with spiced coconut oil. When Big Ammachi thanks her profusely, Dolly encourages her to go to the stream and bathe properly. JoJo and his mother, Dolly Kochamma, move to Dolly Kochamma's house, where Dolly and Georgie indulge him and spread a mat for him. When word comes that his Big Ammachi misses him, JoJo returns, but his mother smothers him with kisses until he gives up his façade.

Baby Mol sleeps through most anything, and JoJo and his mother sleep on their mats in the mornings. Every evening, JoJo appears at the threshold of her room. The most important details in this text are the relationship between the protagonist and her husband. The protagonist's mother feigns a task in the kitchen and disappears, while her husband brings the bundle of cloth and flesh that is her infant to his chest. The protagonist's mother marvels at the sight of Baby Mol swallowed by her husband's huge, callused hands.

The protagonist isn't ready for her husband, as she is still grieving the ordeal of labor. She also misses the closeness with her husband, the excitement of getting on

Impressum

Verlag: BookRix GmbH & Co. KG

Tag der Veröffentlichung: 04.05.2023
ISBN: 978-3-7554-4115-1

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The Covenant of Water is a novel by Abraham Verghese that follows three generations of a family in Kerala, South India, and is a testament to progress in medicine and human understanding.