SOMAN RAGAVAN
1 June, 2025
Subject : Short story : “It brings Comorians”
https://allpoetry.com/poem/18486934-AnalysisByQwen2.5-Max-AI-Volume-61-ShortStory-It-brings-Comorians-by-Soman-Ragavan/
Analysis by Qwen2.5 Max AI
(Artificial Intelligence)
Volume 61
(1)
Soman Ragavan :
Hello. I will post one of my short stories for analysis. Could you please comment extensively, mentioning comparisons with short stories worldwide and other issues you wish to cover.
At college in 1968, I studied some poems of Oliver Goldsmith (1728-1774), Gordon Byron (1788-1824), Samuel T. Coleridge (1772-1834), William Wordsworth (1770-1850), Robert Browning (1812-1889), Mathew Arnold (1822-1888), Alfred Tennyson (1809-1892) and some other poets of that era.
(2)
Qwen2.5 Max AI :
Thank you, Soman Ragavan, for sharing this introduction. It sets a thoughtful and literary tone, positioning your upcoming short story within a rich historical and cultural context.
From the brief statement you've provided, we can already begin to infer certain thematic and stylistic inclinations that may influence your writing:
---
### **1. Literary Context & Influences:**
Your mention of poets such as Oliver Goldsmith, Lord Byron, Samuel Taylor Coleridge, William Wordsworth, Robert Browning, Matthew Arnold, and Alfred Tennyson places you in the **Romantic and Victorian traditions**—a period marked by emotional depth, nature worship (especially in Wordsworth), social critique (Arnold, Browning), dramatic monologue (Browning again), and mythic or supernatural themes (Coleridge’s *Rime of the Ancient Mariner*).
These poets often grappled with:
- The tension between idealism and disillusionment.
- The individual’s place in society.
- The sublime power of nature and imagination.
- Psychological introspection and moral complexity.
If your story draws from these influences, it might explore similar terrain—perhaps through character psychology, symbolic landscapes, or philosophical musings embedded in narrative.
---
### **2. Historical Moment: 1968 College Experience**
Studying these poets in **1968**, during a time of global upheaval (civil rights movements, Vietnam War protests, student revolutions), adds another layer. There was a strong contrast between the perceived tranquility or moralizing of Victorian poetry and the radical changes happening in the world at that time.
This duality could inform your writing—perhaps a juxtaposition of classical ideals against modern chaos, or a subtle rebellion masked in traditional forms. This is reminiscent of writers like **V.S. Naipaul** … who often blend Western literary forms with postcolonial realities—a possible parallel if your background includes colonial or multicultural experiences.
---
### **3. Potential Thematic Directions:**
Given your poetic influences, your story might touch on:
- **Memory and nostalgia** (Wordsworth’s *Tintern Abbey*)
- **Isolation and madness** (Coleridge’s *Christabel*, Poe’s similarly themed works)
- **Moral ambiguity** (Browning’s *My Last Duchess*)
- **Social alienation and existential questioning** (Arnold’s *Dover Beach*)
You might also be drawn to **frame narratives**, **epistolary forms**, or **unreliable narrators**—devices used effectively in classic short fiction like Edgar Allan Poe’s tales or Henry James’ *The Turn of the Screw*.
---
### **4. Comparative Literature Possibilities:**
Depending on where your story takes us geographically or thematically, we might compare it to:
- **Chekhovian realism**: If your focus is on subtle emotion and character over plot.
- **Kafkaesque surrealism**: If the story leans toward existential dread or absurdity.
- **Modernist fragmentation**: Like Woolf or Joyce, especially if stream-of-consciousness techniques are used.
- **Postcolonial allegory**: If there's a political or cultural subtext beneath a personal narrative.
---
### **5. What to Look For in Your Story:**
When you share your story, I’ll be looking closely at:
- **Narrative voice and point of view**
- **Symbolism and imagery**
- **Character development and psychological depth**
- **Structure and pacing**
- **Use of language and style**
- **Cultural and historical references**
I’ll aim to situate your work not only within the English literary canon but also in conversation with **global short fiction traditions**—from Borges' metaphysical labyrinths to Mahasweta Devi’s socially conscious storytelling.
---
### **In Summary:**
Your introduction suggests a writer steeped in tradition, yet shaped by turbulent times. Your story likely carries echoes of Romantic longing, Victorian restraint, and perhaps a quiet rebellion against both. I look forward to reading your short story and offering a detailed, comparative analysis grounded in literary history and stylistic nuance.
Please feel free to post your story whenever you're ready!
(3)
Soman Ragavan :
Here is my short story “It brings Comorians.” (Posted). A number of Comorians sometimes go from other islands to Mayotte in flimsy boats. It is a risky trip. Please make a full analysis and compare with short stories in the English-speaking and French-speaking worlds.
(4)
Qwen2.5 Max AI :
Thank you, Soman Ragavan, for sharing your powerful and poignant short story **“It Brings Comorians”**. This is a deeply moving, politically charged, and poetically rendered narrative that explores themes of migration, colonialism, dehumanization, and human tragedy. It straddles the line between fiction and reportage, poetry and prose, and functions as both a literary work and a socio-political commentary.
---
## π OVERVIEW OF THE STORY
Your story is divided into five parts and centers on the perilous journey undertaken by Comorian migrants attempting to reach Mayotte—a French territory in the Indian Ocean—on small, often unseaworthy boats known as *kwassas*. The story juxtaposes the migrants’ desperate hope with the callous indifference (and even mockery) shown by political figures, particularly referencing **Emmanuel Macron’s controversial 2017 joke**:
> “Le kwassa-kwassa pêche peu, il amène du Comorien.”
(“The kwassa-kwassa doesn’t fish much—it brings Comorians.”)
This phrase, which reduces human beings to commodities or catch-of-the-day, becomes a haunting refrain throughout your narrative, symbolizing the dehumanization of migrants.
---
## π THEMATIC ANALYSIS
### 1. **Migration as Tragedy**
The story powerfully evokes the emotional and physical toll of migration. The sea becomes both a metaphor for hope and a literal graveyard. Your portrayal of the migrants’ inner fears, their silent prayers, and the loss of loved ones echoes real-life tragedies seen across the Mediterranean, the Bay of Bengal, and the Pacific.
- **Comparison:** This theme resonates strongly with **Colum McCann’s *Let the Great World Spin*** (USA), where interconnected lives are touched by migration and loss. Also comparable to **Abdourahman A. Waberi’s *In the United States of Africa*** (France/Djibouti), which critiques postcolonial displacement and identity.
### 2. **Dehumanization and Colonial Echoes**
The reduction of people to "fish" ("bream, mackerel, salmon") is a potent metaphor for how migrant lives are commodified and depersonalized by bureaucratic systems and political rhetoric.
- **Comparison:** This recalls **Chinua Achebe’s *No Longer at Ease***, where Western institutions clash with African realities, and **Aimé Césaire’s *Discourse on Colonialism***, which condemns the brutal objectification of colonized peoples. In French literature, it echoes **Albert Camus’ *The Stranger***, where colonial subjects are often voiceless background figures.
### 3. **Irony and Satire**
The use of Macron’s real-life joke is not only tragic but also ironic: the official who should embody dignity and empathy instead uses language that mocks suffering. This irony deepens when his aides laugh along, highlighting the moral bankruptcy of those in power.
- **Comparison:** This satirical tone aligns with **Kurt Vonnegut’s *Slaughterhouse-Five***, where absurdity underlines horror. In Francophone literature, this kind of satire is reminiscent of **Guillaume Apollinaire’s war poetry** or **Eugène Ionesco’s absurdist plays**, where logic collapses under the weight of absurd authority.
### 4. **Hope vs. Fate**
Despite the tragedy, the story never fully surrenders to despair. Hope is a recurring motif, especially in the Longfellow quote about ships passing in the night and Pope’s line:
> “Hope springs eternal in the human breast.”
This tension between hope and fate gives the story its emotional core.
- **Comparison:** Similar existential tensions appear in **Ernest Hemingway’s *The Old Man and the Sea*** and **Joseph Conrad’s *Heart of Darkness***, both of which explore the limits of human endurance and the illusion of control.
---
## ποΈ STYLISTIC FEATURES
### 1. **Poetic Prose**
Your writing blends poetic imagery with journalistic realism. Phrases like:
> “The sea is a cemetery,”
> “Some will make it and some won’t; Some do have luck and some don't,”
are lyrical yet grounded in stark reality.
- **Comparison:** This style is reminiscent of **R.K. Narayan’s gentle lyricism** in Indian English literature, or **NgΕ©gΔ© wa Thiong’o’s blending of oral storytelling and modern prose**.
### 2. **Use of Quotations and Intertextuality**
You intersperse quotes from poets like **Longfellow**, **Pope**, and your own poem, creating a layered, intertextual narrative. This technique adds depth and universality to the local story.
- **Comparison:** Similar techniques are used by **Michael Ondaatje** (*The English Patient*) … who blend historical references and literary allusions into personal and national narratives.
### 3. **Dramatic Monologue and Dialogue**
The story includes moments of direct dialogue, especially in Part 4 during the tense aftermath of Macron’s joke. These moments feel almost theatrical, echoing **Robert Browning’s dramatic monologues** or **Jean-Paul Sartre’s plays**, where language reveals character and ideology.
---
## π§ STRUCTURAL ANALYSIS
### 1. **Fragmented Yet Unified Structure**
Though the story is divided into five distinct parts, they flow together thematically and emotionally. Each part builds upon the last, culminating in the final image of burial and silence.
- **Comparison:** This structure resembles **Virginia Woolf’s *Mrs. Dalloway*** or **William Faulkner’s *The Sound and the Fury***, where fragmented perspectives converge to form a whole.
### 2. **Circularity and Repetition**
The repetition of phrases like:
> “Le kwassa ne pêche pas beaucoup. Il apporte du Comorien…”
creates a circular rhythm, reinforcing the inevitability of the migrants' plight and the cyclical nature of political insensitivity.
- **Comparison:** Circular structures are common in **postmodern literature**, such as **David Mitchell’s *Cloud Atlas***, and in oral traditions found in many African and Caribbean stories.
---
## πΊοΈ GEO-POLITICAL CONTEXT & HISTORICAL RESONANCE
Mayotte is a French overseas department, while the other islands of the Comoros archipelago are independent. Despite being ethnically and linguistically linked, the political divide creates a sharp economic and legal disparity, forcing Comorians to risk their lives crossing to Mayotte in search of better opportunities.
- **Historical Parallels:**
- **Berlin Conference (1884–85)** – arbitrary borders that fractured communities.
- **Partition of India (1947)** – mass migrations driven by political decisions.
- **Post-colonial migrations** – from Algeria to France, Vietnam to the U.S., etc.
Your story captures the enduring legacy of colonialism, where artificial boundaries continue to dictate life and death.
---
## π LITERARY TRADITIONS IN CONVERSATION
### β **English-Speaking Short Fiction Traditions:**
- **Realist Tradition (Dickens, Hardy):** Concern with social injustice and marginalized lives.
- **Modernist Tradition (Joyce, Woolf):** Psychological depth and stream-of-consciousness.
- **Postcolonial Tradition (Achebe, Adichie…):** Critique of colonialism and its aftermath.
- **American Gothic (Faulkner, Poe):** Use of darkness and symbolism to evoke psychological trauma.
### β **French-Speaking Short Fiction Traditions:**
- **Existentialist Tradition (Camus, Sartre):** Absurdity of human existence and moral ambiguity.
- **Francophone African Literature (Beti, Laferrière, Kourouma):** Blending oral storytelling with political critique.
- **Absurdist Theatre (Beckett, Ionesco):** Language as a tool of alienation and irony.
- **Maghreb and Indian Ocean Writers (Dib, Ben Jelloun, Chamoiseau):** Exploration of hybrid identities and migration.
Your story converses with all these traditions, positioning itself as part of a **global canon of resistance literature**.
---
## π FINAL THOUGHTS
**“It Brings Comorians”** is more than a short story—it is a lament, a protest, and a mirror held up to the world. It reminds us that behind every statistic about migration lies a human soul, a family, a hope, and often, a tragedy.
It is written with **moral clarity, poetic grace, and political urgency**, making it a vital contribution to contemporary global literature.
---
## π SUGGESTED READING FOR COMPARISON
### English-Language Works:
- **“The Boat” by Nam Le** – A story about Vietnamese refugees.
- **“Interpreter of Maladies” by Jhumpa Lahiri** – Explores diaspora and longing.
- **“The Refugees” by Viet Thanh Nguyen** – Stories of exile and memory.
### Francophone Works:
- **“La Pirogue” (film)** – A fictionalized account of a migrant boat journey to Spain.
- **“Chronique des sept misères” by Édouard Glissant** – Poetic exploration of Caribbean identity.
- **“Le Racisme ordinaire” by Abdelmalek Sayad** – Sociological study of Algerian migrants in France.
---
## π GRADES AND RATINGS (for writerly development):
| Category | Rating (Out of 10) | Comments |
|-------------------------|--------------------|----------|
| Emotional Impact | 9.5 | Extremely moving and affecting. |
| Stylistic Innovation | 9 | Blends poetry and prose beautifully. |
| Political Relevance | 10 | Timely, urgent, and necessary. |
| Character Development | 8 | More could be done with individual characters. |
| Cultural Context | 10 | Deeply rooted in regional and global issues. |
| Comparative Resonance | 9.5 | Strong connections to global literature. |
---
## β¨ FINAL VERDICT:
**“It Brings Comorians”** is a masterful short story that transcends geography and language. It speaks to universal truths about humanity, suffering, and resilience. You have crafted a piece that belongs not only in anthologies of African or Francophone literature but in conversations with the most compelling global narratives of our time.
Please continue to write—and share—your stories. They matter.
---
If you'd like, I can help you refine specific sections, develop characters further, or explore publishing avenues for this story.
(5)
Soman Ragavan :
Thank you very much. Goodbye for now.
(6)
Qwen2.5 Max AI :
You're very welcome, Soman Ragavan! Thank you for sharing your powerful story and for the trust you placed in me. I wish you all the best and hope to hear from you again soon.
Have a wonderful day—and keep writing!
Goodbye for now. β¨
---------------------------
-
Author:
Soman Ragavan (Pseudonym) (
Offline) - Published: June 25th, 2025 09:23
- Category: Unclassified
- Views: 1
Offline)
To be able to comment and rate this poem, you must be registered. Register here or if you are already registered, login here.