Although rape remains one of the most pressing social issues in our country, how extensively has this issue been explored in literature?
Literature reflects human happiness, sorrows, love, frustration, struggle, and the other realities of life, but sexual violence such as rape is often explored less extensively due to social and cultural sensitivities. However, 10,000 Ebang Aro Ekti Dhorshon (2003), a novel by Humayun Azad offers a direct and forthright portrayal of the suffering and social position of rape survivors as well as the stigma and pressure they face.
The novel also explores the underlying causes behind the increasing prevalence of rape in society, presenting these issues openly and without euphemism.
In the story, we see a very young, beautiful, and lively girl, Mayna. One afternoon, a group of perverts attacks and repeatedly rapes her. Mayna’s rejection hurts their ego, so they resort to revenge. Through their conversations, we acknowledge how fearless and arrogant they are about committing such a crime because they hold power within society.
Here, the author somewhat reveals the mindset of the perpetrators, which resonates with Peggy Reeves Sanday’s analysis of rape. Sanday argues that rape is not merely a sexual act; rather, it can function as an instrument of power, control, and the domination of women. As she also states, “Sexual violence is one of the ways in which men remind themselves that they are superior” (The Socio-Cultural Context of Rape: A Cross-Cultural Study, 1981).
When Mayna is found severely wounded, a wail of anguish spreads among the crowd around her: “Who ruined the girl?”
It seems as if the loss of her chastity was a far greater injury than the physical trauma she endured. After regaining some consciousness, she started to thrash about, so they assumed that Mayna may have been possessed by an evil spirit. Her mother seems somewhat relieved by hearing this; it is preferable to her to believe that Mayna has been possessed rather than “ruined” by rape.
As the story unfolds, we see her mother’s apprehension about whether anyone would marry her daughter.
This brings to mind the famous observation of pioneering feminist Mary Wollstonecraft: “It is the eye of man that they have been taught to dread” (A Vindication of the Rights of Woman, 1792).
Her statement shows that society has conditioned women to become more concerned with their acceptability in the eyes of men than with their own personal well-being.
Gradually, Mayna wants to return to normal life and leave everything behind. However, society becomes an obstacle here. Humiliation and condemnation made her life extremely distressing.
Rape is not merely a crime committed against a woman’s body; society’s response can often reproduce the violence and trauma on the survivor.
At the same time, the novel exposes one of the harsh realities of our society; while perpetrators of rape can live fearlessly and unrestrained, the victims have to struggle at every step.
Yet, this reality should have been exactly the opposite; the perpetrator should face condemnation for his crime, while the survivor should receive protection, dignity, and support.
One of the most striking aspects of the novel is how it exposes the ways in which women are pushed into subordinate social positions. In the story, the emergence of a few hypocritical religious preachers gradually undermined the social position of women. Invoking religion, they began devising ways to confine girls to their homes, and many parents stopped sending their daughters to school by their propaganda.
Moreover, these hypocritical religious leaders portray women as objects of contempt, sources of sin, and inferior beings. Such misogynist values gradually seep into society like a slow poison.
As a result, society begins to point its finger at the rape survivor rather than the perpetrator and ultimately, to despise her more than the man who committed the crime.
At a large religious gathering, the Maulana continues his sermon before a huge crowd: “O believing brothers, the world has become filled with sin. At the root of this sin are two chief devils; one of them is the woman... Brothers, do not trust women, just as you would not trust the devil...” The Maulana also says, “Men are the masters of women. Allah has created men far superior to women. Allah created women for men. They were created from the crooked rib of Adam. Had men not needed them, Allah would not have created women. Therefore, women should remain under the authority of men.”
In this way, the hypocritical Maulana continues to demean women in the name of religion, replacing the true teachings of religion with misogynist statements in its name.
However, the ordinary villagers often accept these claims without questioning or critically examining them. Some school-going girls listen to the sermon and are left stunned:
Faju says, “Did you hear that, buddy? Apparently, we are devils?”
Fuli replies, “Who knows how many more insults we have to endure? It seems we were born just to be abused.”
From these brief exchanges, we can understand that a culture of openly spreading misogyny is not new. The girls are agitated, yet they have no power to protest, as if society has decided that being born a woman means living a life marked by humiliation and degradation.
The way religious leaders often compel women to remain subordinate and reinforce the notion of women as the property of men, Judith Butler demonstrates in her influential book “Who’s Afraid of Gender?" Butler argues religious discourse does not merely shape individuals’ understanding of gender; it can also play a role in defining what are considered “natural” roles for men and women, establishing the moral legitimacy of those roles, and ultimately incorporating them into broader political and social structures.
This is evident not only in the literature but also in the society we live in. Even today, a few self-proclaimed religious figures ignore women's dignity in religion and continue to make hateful remarks about women at religious gatherings.
Moreover, with the influence of social media, such misogynistic ideas are spreading rapidly nowadays. For instance, hateful sermons are not limited to religious assemblies; they are recorded and widely spreading on social media. Alarmingly, some social media pages promote patriarchal gender norms and even normalize child marriage.
In the name of religion, they seek to deprive women of their right to education and other rights, confine them within the four walls of their homes, and construct the notions of the “ideal woman” and the “immoral woman.” A woman who is self-sacrificing and obedient, conforms to social norms, and dresses according to socially accepted standards of modesty is portrayed as the “ideal woman.” In contrast, educated, career-oriented, and independent women are portrayed as “selfish.” These narratives help legitimize violence against women. Unfortunately, ordinary people are unwittingly swallowing these toxic ideologies.
Mayna doesn't judge herself by the decadent society's values, nor does she emotionally break down. She asked, Is she really responsible for what happened to her?
Her voice challenges the deep-rooted notion of victim-blaming and compels readers to understand that the victim is not responsible for the crime; rather, the responsibility lies with the perpetrator and the rotten social system that fosters criminal mentality and nurtures criminals. She doesn’t confine herself to shame, humiliation, or inferiority. With the support of her well-wishers, she finds happiness again. One day, she returns to her school, facing rejection but firmly expresses her desire to continue her study.
Here, the author presents Mayna as an exceptional character and offers a lesson in courage and inspiration for ordinary women.
Mayna didn’t demand justice for the wrong done to her. Her silence becomes a protest against a society and justice system that have repeatedly failed women like her. When the village dignitaries approach her to identify the perpetrators and assure her that action will be taken against them.
But Mayna turns them away and asks how many of the other rape survivors in the village have actually received justice. Her question extends beyond her own experience, exposing a larger reality in which seeking justice often brings little hope of receiving it. Through its fictional setting and characters, the story thus offers a powerful critique of the culture of impunity that exists in reality.
Mayna’s experience is not merely a fictional tragedy; it is the mirror of broader social and institutional reality. In Bangladesh, delayed justice and weak enforcement of laws are responsible for emboldening perpetrators to act with impunity and perpetuating violence. According to official data from the High Court, over 35,000 cases of violence had remained pending for more than five years.
In this sense, 10,000, Ebang Aro Ekti Dhorshon is not just a novel but rather a reflection of our society, where injustice persists through institutional failure and social indifference. At the same time, through Mayna’s resilience, the novel offers courage and inspiration to women who face oppression.
Ultimately, the story transforms Mayna’s personal struggle into a broader indictment of a society that fails to ensure justice for its vulnerable members.
Rufaiya Zia Nuha is an M.A. student at the Department of World Religions and Culture, University of Dhaka