PVLF 2025

Interview with Madhurima Vidyarthi, Author of "Job Charnock and The Potter’s Boy"

Author Madhurima explores history, power, and women's voices in Job Charnock and The Potter’s Boy, blending fact and fiction to tell untold stories.
on Mar 27, 2025

Frontlist: Job Charnock and The Potter’s Boy explores a pivotal period in Bengal’s history. What inspired you to write about this era, and how did you approach blending fact with fiction?

Madhurima: This book came about from a deep love for my city. That sounds cheesy, but it is true. I become very unhappy if I have to stay away from Calcutta for any length of time. That is also true of the time I spent in London training to be an endocrinologist. Somewhere I wanted to go back to the beginning and ask the question, why here? While it is an accepted fact that there was a settled population on the site with a thriving economy, I wanted to know why the English did what they did. The answer was mind-blowing. Job Charnock stumbled upon Sutanuti by chance, but he was so fascinated by the tactical potential of the place that he took on the whole might of the Nawab’s army. It is a story of sheer grit and tenacity as much as one of great cunning and greed. The English were willing to break all the rules to acquire this tiny piece of land, and they did it by an enormous amount of deceit and stealth. That tells you at once how prosperous the land already was. But I don’t think even Charnock had any idea how big his tiny settlement would become. The seed of the Empire, as it is defined now, was planted by Charnock, and that is what drew me to the story.

I am not a historian, so I was always looking for the human story between the lines. It was a time of great flux. Many nations, many languages,s many people, all caught up together and converging to this one focal point. The drama was all there, I just had to pick up a few people and follow their stories, including the very human and very fallible Mr Charnock!

Frontlist: The book highlights the struggles of common people caught in the ambitions of the powerful. Do you see parallels between these historical struggles and the challenges women face today in male-dominated spaces?

Madhurima: Certainly. And what is very tragic is that there are no women’s histories that have come down to us from that time. What I find horrific, in general, is also that women are systematically written out of history across the world. Subaltern studies have found their place in academics largely due to the concerted efforts of a group of committed historians and hopefully, women’s studies will be recognised as equally important, if not more.

Frontlist: Your book touches on colonialism and power dynamics. Do you think the historical role of women in such conflicts is often overlooked? Did you consciously try to include female perspectives in the narrative?

Madhurima: Being a woman, I can’t help but think of the women caught up in the power struggles of the time, in any power struggle as a matter of fact. Women were used as pawns, as weapons, as spies, and yet, there is no acknowledgement of any kind of contribution, or even their sufferings, which were greater than those of the men.

Frontlist: How does Jadu’s journey reflect the resilience and adaptability of marginalized communities, including women, in times of upheaval?

Madhurima: At the end, it is a human story, about human beings and the human spirit and the determination to triumph in the face of all odds. Of course, it would be naïve to think that every story had a happy ending, but those who survived contributed to the making of history, each a thread in this vast canvas of the story of humankind.

Frontlist: Job Charnock and The Potter’s Boy is set against a backdrop of power struggles. If you had to write a similar story centered around a female protagonist, what kind of woman from that era would you focus on?

Madhurima: It is difficult to answer this because women had very limited scope in those days. Someone like Jadu’s wife for example, would not have much to do unless she left her home and family, in which case she would be immediately branded a fallen woman. And unfortunately, a lot of women like these were abducted or traded and ended up as slaves or prostitutes, and those stories are usually very brutal. They were brutal then and they are still very brutal now, regardless of the fact that the woman of the 21st century is considered emancipated. I think I would pick someone like Husna Jaan, who makes a fleeting appearance, who obviously lives by her wits, and fools a lot of people around her!

Frontlist: History is often told from a male perspective. What challenges did you face in bringing a fresh perspective to this well-known period of Bengal’s past?

Madhurima: I was looking at the story of the conquered, not at that of the conqueror. A young boy who, for no fault of his own, loses everything and survives simply by sheer luck. What was very interesting was that the British sources were full of praise and self-congratulatory, whereas those in Bengali and those by later historians and writers took a more balanced view. A lot of original correspondence has survived, and it is revealing in the way the plans are made to provoke and trap the nawab and his forces. Very clear, unapologetic and unashamedly acquisitive. Unfortunately, as is always the case, they were helped by a large number of local people.

The aim was to present the story not as black and white, with heroes and villains, but to show that the only victims were those who had no agency and just wanted to be left alone to lead their own lives.

Frontlist: As a writer and an endocrinologist, you’ve balanced two demanding careers. What advice do you have for women trying to pursue their passions in traditionally male-dominated fields?

Madhurima: Weigh your choices and your options and your priorities very carefully. Never give up on your dreams and never give in to the norms society has laid out for you. Make your own rules and live by them. Life is too short to try and please everyone.

Frontlist: What role do you think literature plays in shaping perceptions of women’s power, resilience, and agency throughout history?

Madhurima: Stories have to be told. Stories that may be unknown. Stories of ordinary people, men and women, overcoming their circumstances or refusing to be defined by them. A narrative can work wonders as an inspiration.

Frontlist: What message would you like to give young women writers who aspire to create compelling historical fiction?

Madhurima: Write it only if you feel drawn to it. Research adequately. Remember that all stories are human stories, and backgrounds are just that – backgrounds that should not overshadow the plot. Characters are important, both real and fictional, invest in them, flesh them out, make sure they have a back story that defines who they are and what they do.