The old woman depicts all those who live below the poverty line in India. If this is a common problem of many because of the problem of unemployment, the woman’s age is an indicator to the fact that the problem is more pronounced in the case of the old. When young they might have done more productive work and earned money. But in their old age, with their physical fitness reduced, they are reduced to the level of forcing themselves upon tourists who want to get rid of them. This can be a very painful experience for the people who have lived with dignity all along but are suddenly reduced to the status of being considered burr.
Arun Kolatkar wants to take up this social problem. He takes up the question of geriatrics – the caring to be shown to the old. Does he ask as to who is responsible for the pitiable condition of the woman? Shouldn’t the government take up the problem of the old and take necessary measures to ensure that they live a life of dignity? Kolatkar has a definite purpose in talking about the cracks on her face extending to the hills, temples and the skies. He seems to suggest that just as monuments are part of our heritage, the old are also part of our heritage. We cannot treat them as unwanted, disposable stuff.
When the speaker has this realisation, he has a changed perspective and he finds himself reduced to the position of being a person of insignificance – a cheap person like the small coins in the hands of the old woman. But this realisation has not dawned upon all and that is why the old woman continues to be a tourist guide, which is nothing but a euphemism for a beggar. Her suffering is indicated by the description that she has two bullet holes in the place of eyes. Eyes are normally taken as the indicator of life, but the old woman’s eyes are lifeless bullet holes.
Thus, Kolatkar takes up a social problem with a special focus on the aged and tries to awaken in us a sense of responsibility towards our fellow brethren.
