Book Review: Krishna learns to let go the Hindu way in this bestseller

Part popular romance, part spiritual melodrama, 'Krishnayan' by Gujarati writer Kaajal Oza Vaidya adds some real women to India’s mythological matrix 

Krishnayan by Kaajal Oza Vaidya, translated from the Gujarati by Subha Pande,
Eka-Westland, 272 pages, ₹499

The most remarkable thing about Indic civilisation might be the uninterrupted lifespan of its beliefs. Most Hindu gods and goddesses were already being worshipped in South Asia when the Greeks were building temples to Zeus and Athena, or when Jupiter and Diana ruled ancient Roman hearts. But while the Greek and Roman gods have been long superseded by the Semitic religions, ours live on. Deities like Shiva, Vishnu, Ganesh, Karthik and Durga, and divine epic heroes like Ram and Krishna remain a vivid presence for religious Hindus. Mythology is still the matrix for modern Indian life.

But as a cynical politics digs its claws into people's beliefs, that matrix is turned into a never-ending maelstrom of offense-taking and offense-giving. On Saraswati Puja this February, for instance, right-wing Indian Twitter trended demands for the arrest of a Dalit activist for having insulting the Hindu goddess of learning by referring to her as 'exploited' by Brahma. According to the myth, Lord Brahma, creator of the universe, fell in love with Saraswati after he made her. Philosophical-metaphorical readings (an artist besotted with his own creation), or anthropological ones (the fact that incest figures in most ancient creation myths) stand no chance in belligerent social media battles, where the dominant narrative frame is men avenging women's 'honour'.

Of course, such 'dishonouring' drives both our epics: the abduction of Sita in the Ramayana, the stripping of Draupadi in the Mahabharata. But while the plots may turn on women, the male characters receive greater attention. Relationships between them—Krishna and Sudama, Krishna and Arjun, Arjun and Karna, Ram and Lakshman, even Ram and Hanuman—have formed popular models of friendship, fraternal love and loyalty. Most literary retellings, too, have been through the eyes of a male character: Bhima in MT Vasudevan Nair’s famous Malayalam novel Randaamoozham, Karna in Shivaji Sawant's Marathi classic Mrintyunjay, and Yudhishtira, Bhishma and Abhimanyu in Aditya Iyengar's The Thirteenth Day (2015).

A female perspective on our epics has only begun to appear in recent decades, mostly in fiction by women. Draupadi got pride of place in Pratibha Ray's award-winning 1993 Oriya novel Yajnaseni and Chitra Banerjee Divakaruni's 2008 novel The Palace of Illusions. Sita got some play in the graphic novel Sita's Ramayana and Nina Paley's film Sita Sings the Blues. Lesser female characters are now getting their due in popular English-language fiction: for example, Aditi Banerjee's The Curse of Gandhari, and Kavita Kane's series of books centred on Ahalya, Surpanakha, Sita's sister and Karna's wife.

Kaajal Oza Vaidya's hugely popular novel Krishnayan, which has sold over 200,000 copies in Gujarati since its publication in 2006, is an important addition to this literature, using the figure of Krishna to explore aspects of the man-woman relationship.

Recently translated into English by Subha Pande, Vaidya's narrative starts where the usual telling of Krishna's life stops. What is traditionally called Krishna Leela, literally Krishna's play, is a set of stories about the birth, childhood and adolescence of the Yadava chieftain, with such set themes as the naughty baby Krishna stealing butter from the milkmaids of Gokul, or his youthful flute-playing assignations with Radha.

Krishnayan, by contrast, opens with Krishna awaiting death, reminiscing about his life. And in Vaidya's unusually frank telling, what emerges as significant as he waits for Gandhari's curse to take effect are his bonds with women. There are four primary ones: Rukmini, his intelligent, stately senior queen, his consort in the administration of Dwarka; Satyabhama, his younger queen, childish but captivating; Draupadi, loyal wife to the five Pandava brothers, but still carrying a special attachment to Krishna—and Radha, the childhood sweetheart he hasn't seen in decades, now not just a married woman and a mother, but a mother-in-law.

Vaidya's narrative can feel laboured, and her dialogue borders on florid, at least in Pande's translation. Here, for instance, is Rukmini, “The fire raging in my heart is trying to tell me that he is waiting to answer all my questions.” And here is Arjun on the eve of the war: “I have a lot to say and yet nothing to say. I am dumbfounded. I am hit by thousands of thoughts at times and sometimes, I just can't think. I am going through a strange period of indecision.”

But Krishnayan's fictional premise is as layered as any present-day polyamorous situation, and Vaidya has all the depth of the Mahabharata behind her as she moves deftly across characters and revisits familiar dramatic situations: the ethics of game of dice, or how the five Pandavas deal with their shared connection to Draupadi. She explores each of Krishna's loves for what makes it unique – intellectual partnership, sexual allure, emotional understanding, a shared history – and goes refreshingly beyond him, to these women's relationships with each other.

But for all the empathy with which she writes about women, Vaidya remains staunchly invested in an essential separation of the genders. The Krishna of Krishnayan is an adept lover, loving husband and devoted friend—but he remains a man. In some of Vaidya's most emotional scenes, Krishna claims limitations in gendered terms, applauding women for their greater capacity for selflessness. “While I have only been contemplating seeking moksha and preparing myself for it, these two dearly loved women [Draupadi and Rukmini] have... come forward to liberate me from the cycle of life. Only women can do this. Only a woman can control heart and mind and fulfil her moral duties... And only she has the magnanimity to accept a co-wife and give true meaning to the word life-partner, Krishna thought...”.

It probably helps that Vaidya's Krishna isn't a god in the way we usually understand gods. He may know what is predestined—the Mahabharata war, the end of the Yadava race, or his own death—but he is powerless in the face of it. Rather than an uber-manipulator who's playing everyone else, this is a Krishna almost surprised to find that he, too, is caught in in a web of expectations and desires. “Why is everyone surrendering their selves to me? Unacceptance would be immoral, but where would I take them with me even if I accept? I will have to break these shackles of attachment.”

Full of intense exchanges on desire and ownership, mind and body, attachment and the atma, Krishnayan is a sort of manual for letting go. And if you can deal with its somewhat repetitive melodramatic style, it helps thicken the most famous Indian plot of all. It adds some real women to our mythological matrix.

Published in Mint Lounge, 29 Mar 2021.

Status and the status quo

My Mirror column:

Anubhav Sinha’s fearless Article 15 uses a pacy police procedural to make Indians sit up and pay attention to an aspect of our lives we pretend not to see: caste.

In an early scene in Article 15, a newly anointed IPS officer called Ayan Ranjan is being driven to his first posting when another policeman tells him a story. When Ram returned from his 14-year exile to finally claim his late father’s kingdom, the villages of Ayodhya lit up their homes with diyas in celebration. But one village had lit no lamps. “Why is there no light here?” asked Ram of the villagers. “Our darkness makes your palace shine even brighter,” they replied.

This story is, of course, told in the Ramayana, a part of the origin myth of Diwali, and one among thousands of tendrils of story that curl out of the central vein of the great epic. Its appearance at the beginning of Anubhav Sinha’s film may seem to come apropos of nothing – but in fact we are being led expertly, chillingly, to the underlying darkness that illuminates our palaces.

For it seems no coincidence that this story, about an epic hero’s ascension to the throne, is told to Ayushmann Khurrana’s character, Ayan: a young man about to ascend to a less mythic, but very real position of power. And it also seems no coincidence that the teller is an older colleague, a local man with far greater experience as a policeman, but one who is fated to remain much lower down the bureaucratic hierarchy. Almost none of those who enter the police at a lower level are able to rise through the ranks into the top administrative grades that are automatically handed to those who qualify through the national civil service examination. The Indian Police Service, too, is a kind of caste.

As a St Stephen’s College graduate who only returns from travelling around Europe at his father’s bidding, Ayan is clearly from the upper echelons of what we Indians insist on calling the middle class. He has the educational grounding and the cultural capital needed to clear the civil services examination (which, it is suggested, his old friend Satyendra (Aakash Dabhade) does not). He is also a Brahmin. And now, as the IPS officer in charge of Lalganj, he sits at the top of every possible hierarchy. And hierarchy, with caste at its root, is Sinha’s chosen theme.

By making their protagonist the epitome of privilege, Sinha and his screenwriter Gaurav Solanki demonstrate how hierarchy can be invisible to those who do not suffer its privations. But when that privileged outsider sets out to educate himself, we see how insiders identify themselves and others by their birth-based positions in the pecking order – and how each and every action is governed by a knowledge of those positions. So if the shop is in a Pasi village, then water from it will not be consumed by anyone higher up in the caste hierarchy – i.e. most people. The feisty Dalit woman activist (Sayani Gupta) might get a job cooking midday meals for government schoolchildren, but as soon as her caste becomes known to the eaters, the food is simply thrown away. From sharing a meal to giving a job, from education to marriage to party politics, caste is the invisible filter through which all Indians perceive one another.

Even for those who successfully fight or work their way out of their ascribed positions, it is almost impossible to achieve social equality. The film offers a sharp take on how this is true even within the police force, whose members wield so much institutional power. The most complex character in this regard is that of Jatav ji (played by the ever-brilliant Kumud Mishra), and its most powerfully etched relationship that of Jatav with his colleague Brahmdutt (an equally superb Manoj Pahwa, whose opening line “In fact Brahmdutt Singh, sir” reveals a great deal about him – as does his feeding of stray dogs, which evoked for me the UP chief minister’s feeding of calves).

The point Sinha and Solanki drum in is that our collective belief in hierarchy is still way more powerful than the equality on which our republic is premised. It is civilisational. And more than 70 years since we elected to govern ourselves by a Constitution that declares us all equal, we are still unable to see beyond the filter.

Those at the bottom of the hierarchy are hardest hit by this: as the film’s most promising but least fleshed-out character, the “Daliton ka Robin Hood” Nishad (Mohammad Zeeshan Ayyub), puts it, “We sometimes become Harijan, sometimes Bahujan, we just haven’t managed to become plain and simple jan yet, that we might be counted in the Jan Gan Man of the national anthem.”

But those at the top are loath to cede their positions of power, often justifying the status quo in ‘practical’ terms. “Aukaat mein nahi rahengeSir, toh kaam hi nahi kar payenge (If people don’t stay in their place, no work can be done),” says local contractor Anshu Nahariya. Then he adds, “Aukaat joh hum denge wahi hai. Aur jo humko milegi woh hamari hai. Aukaat toh sabki hoti hai na Sir. (Status is what we give them. And what is given to us, that is ours. Of course everyone has a status, Sir.)”

But our philosophical justifications are much worse. “Sab baraabar ho jayenge toh raja kaun banega? (If everyone becomes equal, then who will be king?)” as the driver of the police jeep asks, not quite rhetorically. To live in a country where Article 15 is not just the law, we shall have to become a people no longer seeking a king.

Published in Mumbai Mirror, 7 July 2019.

Myth, Post Facto

A short art review I did for India Today magazine, on an art exhibition called 'Babur ki Gai'. 

“Mass propaganda discovered that its audience was ready at all times to believe the worst, no matter how absurd, and did not particularly object to being deceived because it held every statement to be a lie anyhow,” the political theorist Hannah Arendt wrote in The Origins of Totalitarianism. Arendt's words from 1951 ring terrifyingly true in our post-truth era, when opinions are ubiquitously shaped by emotional appeal rather than fact. “Facts remain robust,” the philosopher Bruno Latour recently told the New York Times, “only when they are supported by a common culture, by institutions that can be trusted, by a more or less decent public life, by more or less reliable media.” As that common culture breaks down, our belief in any statement comes to depend far less on its veracity than on who is making it and to whom it’s being addressed.

The exhibition 'Babur ki Gai', curated by Advait Singh, has 19 artists respond to this “general discrediting of the truth” by repurposing myths for our times. Singh's individual curatorial notes are informative (and charmingly handwritten). But his conceptual statement is plagued by the repetitive verbosity of contemporary artspeak. Sample: “By locating the point of origination of the myth in the conditional future, the fleeting 'nowness' or topicality of contemporary mythologies can be conserved.” The political claims made here – myth-making as a response to the breakdown of facts, of science – can feel a little grand for the playfulness of most works on display. Priyanka D' Souza's titular work, for instance, is a Mughal miniature style triptych traversed by a cow turning its rump to us, or half-hidden by the decorative margin.

Claiming these as “lost pages from the Baburnama folio” lets the artist tap into our faux-historical zeitgeist by adding her own “alternative facts”. Priyesh Trivedi's Adarsh Balak series cleverly transposes the poker-faced 'ideal children' of Indian school charts into socially-disapproved activities, but feels crowd-pleasingly hipsterish. Waswo X. Waswo's familiar painted photography here turns the colonial collector/scientist into a figure of fun. Shilo Suleman's embroidered poems “by an imagined [ancient] goddess cult of sexually empowered women” feel comic rather than magical. Amritah Sen's accordion-style takes on modern Bengali myths (from Netaji's hoped-for return to the Ritwik-Satyajit rivalry) are affectionate and fun but could be punchier. 

Not everything feels lightweight. Anupama Alias's rewritings of women into Judaeo-Christian iconography, using Adam's rib as symbol, have undeniable beauty. Manjunath Kamath’s hollowed-out terracotta divinities and Kedar Dhondu’s museumised array of displaced Goan deities draw attention to endangered belief systems. Ketaki Sarpotdar's finely executed etchings, using Animal Farm as inspiration for a satirical take on today's media circus, are sharp yet accessible, while Yogesh Ramakrishnan’s curious headless figures accompanied by snatches of Hindi commentary have both mystery and drawing power.   

Presented by Gallery Latitude 28 in collaboration with Art District XIII, Babur ki Gai runs through November 20.

Book Review: Uttara—The Book Of Answers

Ramayan's backstories

If we could stop trying to prove the truth of the epic, it can tell us much about ourselves. 

Uttara—The Book Of Answers. By Arshia Sattar, Penguin Books India, 286 pages, Rs 499.

“I staunchly believe that Lord Ram travelled in the Pushpak Viman. There were no Wright brothers at that time. But the Pushpak Viman existed. We need to prove this now.” So said Jigar Inamdar, a senate member of the Maharaja Sayajirao University of Baroda, to The Indian Express on 24 March, defending the university’s issuance of an annual diary and planner that credited mythical Hindu sages with scientific inventions. It may seem odd to begin a book review with a quote from the newspaper. But Inamdar’s assertion lets us see how the Ramayan has become something more than a great civilizational legacy in contemporary India—and something much less than one.

A multilayered literary treasure is being flattened into something that must be defended rather than actually read. The Ramayan is no longer an ethically complex story to be experienced in a variety of ways, as believers and non-believers in India’s many regions and subcultures have done for centuries, but something to be pushed on to us as religious and scientific truth.

It is in this terrifying context that we must read Uttara: The Book Of Answers. Arshia Sattar has rendered the Uttara Kanda, the seventh book of Valmiki’s Ramayan, from Sanskrit into eloquent, yet lucid English, and included some thoughtful essays on the text. Uttara seems a natural progression for Sattar, who translated Valmiki’s Ramayan in 1996, and who has since published a Ramayan for children, as well as Lost Loves: Exploring Rama’s Anguish, a fine set of essays on Ram’s sense of self. But as she writes in her acknowledgements, Sattar did not always find the Uttara Kanda interesting. For her 1996 Ramayana, she shaved its heft down to what she then saw as its few significant events: “Sita’s banishment, Ram’s reunion with his sons and Sita’s final and irrevocable departure.”

In her current Introduction, too, Sattar acknowledges that the Uttara Kanda might be read as recording a dull time after the tumultuous events of Ram’s life, his exile, and the biggest battles are really over: This is a text in which “nothing much happens”. In terms of style as well, she points out that the Uttara Kanda and Bala Kanda (the first book of the Ramayan, dealing with Ram’s childhood) do not have the glorious poetic verve of the epic’s central sections, and read more like the sectarian Puranas “in both language and attitude”.

Much of the Uttara Kanda consists of Ram asking questions of the sages, and backstories being related to him in return. If the five middle kandas—Ayodhya, Aranya, Kishkindha, Sundara, Yuddha—gave us the splendid narrative and rich characters we know so well, the Uttara Kanda is like a coda designed to explain why these characters acted as they did. So we return to Hanuman’s infancy, to explain why he did not know his own strength. Or we hear of Vedavati, who leaps into a fire to escape Ravana’s harassment, and whose return to earth as Sita is foretold “for the destruction of that rakshasa”.

The Uttara Kanda’s backstories revolve around boons, curses and past lives, thus shifting the characters’ decisions towards predestination and away from free choice. For instance, it tells of how Ravana once raped the apsara Rambha and was cursed that “his head (would) split into seven pieces” if he ever took another woman against her will. This becomes the uttara (answer) to the implicit question: Why did Ravana not violate Sita while she was his prisoner?

The Uttara Kanda thus robs Ravana of a rare redeeming characteristic—that he does not think of raping Sita. Departing radically from the Sundara Kanda, where Ravana’s effulgence is such that even Hanuman says he “has all the signs of a great king”, the Uttara Kanda portrays him as a harasser of women and belligerent challenger of kings and gods, placing him in a long genealogy of aggressive rakshasas.

Meanwhile, Ram gets treated less and less like a human being with frailties, and more and more as a god. He is Vishnu, and he can do no wrong. So even when he abandons a pregnant Sita because of the common people’s “vulgar talk”, Lakshman is persuaded to stop questioning Ram’s actions by his charioteer Sumantra, because the sage Durvasas predicted this fate. Ram’s kingliness is now also tied actively to caste: In the text’s most shocking moment, he kills a man “performing the best of penances” simply for being a Shudra, and is congratulated by rishi Agastya for having restored the caste order.

On a lighter note, reading Uttara can tell you why the peacock has a patterned tail, or serve as a much needed reminder of Indic standards of beauty, where “lovely hips” always win. If we could just stop trying to prove the truth of the Pushpak Viman, the epic can tell us many truths about ourselves.

Published in Mint Lounge, 3 June 2017.

PS: If Ramayana books interest you, my 2013 review of Devdutt Pattanaik's Sita (also for Mint Lounge) may be of interest.

Not Losing Our Religion

My Mirror column today: 

The success of 'Bajrangi Bhaijaan' is a testament to our faith — in uncomplicated national myths, and in miracles.

It might seem up-to-the-minute, with a song about selfies and a narrative arc involving YouTube (courtesy Nawazuddin Siddiqui, doing a brilliant reprising of his Peepli Live turn as a TV news stringer). But Bajrangi Bhaijaan is a masterclass in old-style Hindi movie melodrama: slightly stupid golden-hearted hero, ridiculously winsome little mute girl, and that lost-child-of-unknown-religion plot that we warm to subliminally, from watching all those Manmohan Desai movies. At least one important political commentator has written a ridiculous piece that professes to expose the film's "unreal" aspects and then attacks it for a premise it does not profess (that India and Pakistan are the same). 

If you went into this film seeking "realistic" depictions of society or state on either side of the border - or of how the border itself operates - well, you might as well stop reading now. What Kabir Khan's film does - and does with some aplomb - is to produce an Indo-Pak narrative that speaks simultaneously to the worst and the best in both our countries. It does this by stripping down to the bare essentials - and weaving around them a film with enough broad-strokes to keep the laziest viewer in on things, and yet with enough sly detail to surprise you if you're falling asleep. 

The essentials, to make things even easier, are presented to us as binaries: India, Pakistan; Hindu, Muslim; veg, non-veg; saviour, spy; good, evil. None of these binaries is as clear-cut as the film makes out. But this simplistic mapping of the world - made a little more believable by being presented through the eyes of a man we're told isn't the brightest, but is "dil ka saaf" - makes possible an equally simple unravelling of kattar positions. 

So Indianness is represented by Hinduness, which is represented by the Hanuman-bhakt son of an ex-shaakha-pramukh (the second time this year that we've had a Hindi film hero shown trying to toe the RSS line and not quite succeeding - the first was Ayushmann Khurana in the wonderful Dum Laga Ke Haisha). Pavan Kumar Chaturvedi, affectionately known as Bajrangi after his favourite god, is Brahmin, vegetarian, asexual and generally vice-less, and Salman Khan plays him as a combination of goodness and stupidity that brings to mind a long list of anaari Hindi film heroes (think Ishwar). Meanwhile Pakistan is represented by a Kashmiri family in which the father has fought in the Pakistani army, but the grandfather remembers being taken to Delhi's Nizamuddin Dargah as a child. The family's devout Muslimness does not preclude a belief in Sufi shrines - it is a visit to a dargah that precipitates the child getting lost and being found, and even the discovery of her religious identity. 

The binary most clearly enunciated - and clearly dealt with - is the veg/non-veg one. The same smell, of meat cooking, that makes Pavan sniff suspiciously is so attractive to little Shahida that she follows it to the "Mohammedan" neighbours' house - and is happily being fed when Pavan discovers her. He drags her away, but what's fabulous is what happens next: an outing where Pavan can eat veg food, and the child can eat her fill of meat. The infectious Chicken song, couched as a tribute to "Chaudhary Dhaba" - "Aadha hai non-veg, Aur veg hai aadha, Spasht kijiye, kya hai iraada" - is as good a philosophical position as you can find on how to live successfully with others. There's some good-humoured mockery of upper-caste purity-pollution notions -"Thodi biryani bukhari, Thodi phir nalli nihari, Le aao aaj dharam bhrasht ho jaaye", followed by a funny but firm admonishment to those who might marshal culinary choices into divisive politics - "Sabhi ek plate mein adjust ho jaaye," go Mayur Puri's wonderful lyrics. 

The matter of the child's fair skin, too, is dealt with in this good-humoured way: showing up the ridiculousness of people's community-based stereotypes, but without being snide about it. Pavan's assumption that she must be Brahmin is based, he says, on how "gori" she is. When she reveals her meat-eating side, he decides she can't be Brahmin (never heard of Kashmir Pandits, or Bengalis, has he?). So, thinks Mr Genius, she must be Kshatriya: they're fair, and legit non-vegetarians. 

There are several themes which Bajrangi Bhaijaan shares with another recent film about an Indo-Pak encounter, Nitin Kakkar's Filmistaan (2014). One is cricket, another is the border. It's interesting how similar the Bajrangi scene of the child celebrating the Pakistani cricket win is to Filmistaan's scene of Sunny's joy at the Indian victory: both the spontaneous joy, and the irrational, violent anger it evokes in those of the other country. 

The border we see several times, and each time in a different register. First up is the bureaucratic border, policed by firm but human officials, who try to help but cannot bend the law. Next is the military border, manned by men with guns - but undercut by men making money. And last is the border as pure metaphor: a geographical point at which people gather to see themselves mirrored in the eyes of those on the other side. 

In fact, it is only in this respect that the film suggests that Indians and Pakistanis are alike- as human beings. Otherwise, Pavan's arrival in and journey through Pakistan is almost a version of PK's in an alien universe: an isolated desert landing, early encounters with unsympathetic, disbelieving residents, and a series of culture shocks involving religion and cross-dressing. What makes the film work, in fact, is its deliberate, almost mythical magnification of our differences - and a mythically pure human connection forged across them. Let's not think too much about Pakistan being represented as helplessly bezubaan, while India is the moonhphat saviour.

Book Review: Unbound: 2,000 Years of Indian Women’s Writing

Published in the Indian Express:

A Book of One's Own

To represent the immense variety of texts produced by Indian women over the last 2,000 years — in 350-odd pages — is no mean feat.

Unbound: 2,000 Years of Indian Women’s Writing
Ed: Annie Zaidi
Publisher: Aleph Book Company
Pages: 372 
Price: Rs 595

First things first: in assembling this anthology, Annie Zaidi has accomplished a mammoth task. To represent the immense variety of texts produced by Indian women over the last 2,000 years — in 350-odd pages — is no mean feat.

As with any anthology, both its pleasures and its perils lie in personal choice: the editor’s love of a particular piece will eventually determine what makes the cut. With a project as ambitious as this one, there are also all sorts of less personal variables to consider. Should it include anonymous folk literature in a feminine voice? Does “Indian” include writers who later became Pakistani or Bangladeshi citizens? Does it include diaspora writers? “Indian” wasn’t the only word that Zaidi had to define: “writer”, she decided, couldn’t include columnists, speech-writers and letter-writers, and for 20th century writers, they needed to have “a body of work”. When it came to genre, though, Zaidi cast her net wide, including excerpts from novels, stories, non-fiction, essays, speeches, travelogues, memoirs and plays. A poet herself, she gives a lot of space to poems. A different editor might have decided differently. But Zaidi’s careful introduction lays out her criteria with such scrupulous honesty that disagreements seem churlish.

In any case, it is indisputable that this volume contains many more gems than duds, and a reader dipping into it at random will net enough unexpected pleasures. Some are famous names you have somehow never read: for me, these included Kamala Markandeya, the surprisingly vivid Cornelia Sorabji, Sarojini Naidu (represented not by her poetry but by a superb speech) and Bhakti poets like Bahinabai and Akka Mahadevi. Others I had never heard of, like Vibhavari Shirurkar (1905-2001), whose lovely excerpt from Kharemaster has a husband wooing his teenaged wife, or Pratibha Ray, whose Yagnaseni is a provocative Oriya retelling of the Mahabharata in Draupadi’s voice. There are several well-known writers I admire — Vaidehi, with one of her most brilliant stories, 'Gulabi Talkies', about the coming of the cinema to a small town; Krishna Sobti, with an extract from Surajmukhi Andhere Ke, which I wouldn’t have chosen, but which is rare for its frank, intimate depiction of sex; Mrinal Pande, whose Bibbo is a delightfully sardonic tale of an upper class couple’s domestic help; or Easterine Kire, whose excerpt from Bitter Wormwood offers a sharp, sweet sense of what it was to hear about Gandhi’s death in Nagaland.

The question whether such an anthology deserves to exist is answerable in two ways. One is historical: given the traditional disadvantages Indian women have battled in terms of even gaining literacy, it seems worth mapping what they have concerned themselves with when in the privileged position of publishing books. One hopes that the ongoing transformation of women’s lives (and of publishing) will make such a project seem ridiculously broad, 50 years from now. The second answer is that women’s writing is writing by women — it need not be about them. This could have been the answer provided by this book, and to some extent it is: the selections reveal that women, even when constrained by domesticity, embrace the world. It is here, though, that I must strike a note of disagreement with the organising scheme, which seems to give “female” thematics more space than gender-neutral ones. 

Still, some of her sections hold together beautifully, like ‘Food’, ‘Children’, and ‘Ends’ (which should be ‘Bodies’, since that is what ends in almost every piece). Often, though, the themes feel unnecessarily constrained. Why, for instance, must we separate ‘Spiritual Love’ from ‘Secular Love’ when our traditions of poetic writing, especially the Sufi and Bhakti poets who dominate the ‘Spiritual’ section, have never done so? Why is ‘Secular Love’ necessarily outside ‘Marriage’, with the latter so exclusively given over to depressing accounts of widowhood, marital angst, patriarchal in-laws? Conversely, some section heads are so broadly metaphorical — ‘Identity’, ‘Battles’, or ‘Journeys’ — that many pieces seem switchable. Iravati Karve’s brilliant unpacking of the Khandava fire could be in ‘Myth and Fable’ as much as ‘Battles’. Mahadevi Varma’s underwhelming piece on a Chinese peddler in ‘Journeys’ seems rather statically about ‘Identity’ to me. I could go on. 

My other problem is that in trying to fit in over 100 authors, each is allotted barely three pages. Poems benefit, while stories and essays seem cruelly cut short. I’d also have liked the date of original publication under each piece: an index isn’t the same thing. Unbound is a labour of love, and a tantalising glimpse of wonderful writers we must read. But for an introduction that offers both authoritative critical heft and delightful biographical detail, I would still return to the two-volume Women Writing in India, edited by Susie Tharu and K Lalita (1991-93) and thankfully, still in print. 

OUT OF THE BODY: On Devdutt Pattanaik's Sita

My piece on Devdutt Pattanaik's latest book, for Mint Lounge.

Sita: An Illustrated Retelling of the Ramayana joins an increasing tribe of books of Indian epics retold. Devdutt Pattanaik, the author of many books on Indian myth (Jaya: An Illustrated Retelling of the Mahabharata; Myth=Mithya: A Handbook of Hindu Mythology; The Pregnant King), here seems to be making a contribution to two growing sub-genres: the graphic book, and the retelling through women’s eyes. But unlike Amruta Patil's brilliant, jewel-like Adi Parva: Churning of the Ocean, or the striking images of Samhita Arni and Moyna Chitrakar's Sita’s Ramayana, Pattanaik doesn’t seem invested in the visual. And while ostensibly structured around Sita’s life, it is stuffed with too much else to feel consistently like her story: Hanuman often seems more of a presence.

Pattanaik does offer more detail about women’s worlds than most versions of the Ramayan: the child Sita entering the kitchen, or Sita and her sisters as newly-arrived brides in Ayodhya spending “all day and all night listening to tales of the sons told by their adoring mothers”. He tries to bring relationships between women to the fore: Anasuya welcoming Sita into womanhood with a garland, a garment and a pot of cream—symbols of shringara (adornment), or Mandodari barring Ravana’s way, taunting him to wait for Sita to come to him willingly. “Only Sita understood what Mandodari had done; she had protected her own station in the palace while ensuring another woman’s freedom”.

Sita—An Illustrated Retelling of the Ramayan: Penguin, 328 pages, Rs499

Pattanaik stresses the remarkable fact that has puzzled readers and writers for centuries—that Ravana, having taken the hapless Sita from her forest hut, does not force himself upon her. Unlike Greek and Roman mythology, in which it is unremarkable for Zeus/Jupiter to rape Leda, Europa, and several others, Ravana woos Sita with stories and gifts and songs. He becomes, in other words, the most persistent lover. But Sita is unmoved. “This is not love,” she says to his sister Trijata. “He just wants to possess me.” Then Pattanaik puts in Sita’s mouth these transcendental words: “I am not my body. I will never ever be violated.”

It is a hope we have all nurtured: to cease to be identified only with our bodies. But Pattanaik’s insistence on Sita’s status as goddess (“I cannot be abandoned by anyone”) elides the fact that neither Sita’s world—nor, sadly, our own—is prepared to do women any such favours. Throughout the Ramayan, the married woman’s embrace of another man is heavily punished even when unintentional (the classic case being Ahilya’s of Indra, who has taken the form of Ahilya’s husband Gautama). And anyway, as the supremely tragic example of Sita shows, being “pure of thought and body” cannot protect any woman from having her reputation besmirched. Reputation is everything, and it is not in a woman’s hands. Ram declares that he has fought a war, but only to restore the honour of his family name; Sita is nothing but “grit in [his] eye”, for she has chosen to live under another man’s roof rather than kill herself. There, in a nutshell, is the tragedy of patriarchy: to keep “honour” alive, women must die. Men, meanwhile, are expected to acquire the wives of the men they slay, and considered honourable when they “accept” them as wives, rather than take them by force.

But while Pattanaik points to the killing of Tadaka by Ram as signalling the epic’s “acceptance of male violence against women”, he seems not to acknowledge the violence done to Sita by Ram’s spurning of her. In allowing Ram the privilege of splitting into the man who loves his wife, and the king who must reject his queen, Pattanaik allows “honour” in by the back door.

Eventually, if the Ramayan has been “criticized by feminists” and “deconstructed by academicians”, there are real reasons for it. In any case, Pattanaik’s categories seem sweeping and not useful. When he refers to the “Ram of academics” versus “Ram of devotees”, or “Western thought” versus “traditional Indian thought”, he means a certain kind of rationalist who-what-where history, while ignoring reams of philosophy, anthropology and religious studies, much of it “Western”, that has been crucial to studying Indian myth. Oddly, Pattanaik’s own book is strewn with distracting factoid “boxes” that draw on this work—providing alternative folk recensions and narrative variations of the sort that Paula Richman has spent a career gathering, mythic analysis of the Wendy Doniger variety. One is left wondering why he feels the need to diss the bricks of which his house is built. Pattanaik sees the richness and complexity thrown up by the living text, and then places it disdainfully in his supplementary narrative, as if he fears causing offence to some imaginary unquestioning devotee.

Published in Mint Lounge.

Book Review: Channelling the Mahabharata

Adi Parva: Churning of the Ocean
Via Amruta Patil
Harper Collins, Rs 799
Pages: 276

Adi Parva is the richly imagined and stunningly executed first volume in Amruta Patil's forthcoming Parva trilogy, a pictorial retelling of the Mahabharata. As different as Adi Parva's jewel tones and lush forest glades are from the spiky, angsty, black and white world of Patil's first book, Kari (2008), they would both be described as graphic novels. Yet the two narrative endeavours could not be more unlike each other. Kari's authorial voice is so intimate and personal that at least one reviewer felt it read "like a reconstituted memoir". In contrast, Adi Parva positions itself self-consciously as a retelling of what is perhaps our most enduring story — if one can refer to the innumerable nested narratives that make up the Mahabharata as a single story.

In an essay called 'The Storyteller', Walter Benjamin made a characteristically fertile, provocative suggestion: that the rise of the novel marks the end of storytelling. "What differentiates the novel from all other forms of prose literature — the fairy tale, the legend, even the novella — is that it neither comes from oral tradition nor goes into it," wrote Benjamin. In a 1977 lecture, the anthropologist Claude Levi-Strauss made a similar throwaway reference to the moment "when myth disappeared as a literary genre and was replaced by the novel." Both Benjamin and Levi-Strauss gesture to a binary in which myth — and its community of oral re-tellers — form one end of the spectrum, while the novel — and its solitary, textual originator — forms the other.

Adi Parva is fascinating, first of all, because it attempts to marry these two apparent binaries: to enshrine the oldest stories in book form, to put her stamp on them not just verbally but visually. There's no denying that this involves freezing that which was meant to be perpetually retold, to be imagined differently each time it was heard. But in a world where less and less of us will hear these stories from a grandmother or a village bard, this book is a precious gift.

And Patil understands this clearly: the place of her book, and the place she must clear before she begins. Adi Parva is not "by" her, but "via" her. And when her preamble invokes the sutradhar —"Trust the humble storyteller who knows how to unravel thread. Beware the braggart who embellishes and confuses" — one can hear the echo of Benjamin's words — "it is half the art of storytelling to keep a story free from explanation as one reproduces it".

Her telling does steer clear of unnecessary explication. But the storyteller's voice is a very particular one: cool, wry, but always just this side of dramatic. The narrator is Ganga, "queen of celestial and earthly rivers", a central character in the origin-myth of the Kuru-Pandavas. She first appears here as a mortal in a white sari, telling her tale to a rapt street side gathering, even as passing men gather to challenge this woman "sitting brazenly talking to strangers in the middle of the night". Ganga and her listeners form a kind of Greek chorus, their comments and questions helping clarify the main narrative. Choosing a female narrator (rather than Ugrashravas) is a simple but radical move, allowing Patil to focus on the women with natural ease and empathy. We think, perhaps for the first time, of whether the mountain princess we have always only known as Gandhari had a name except that of the kingdom she represented, and of how Kunti must have felt when her husband King Pandu died making love to her rival queen Madri. (And we wonder how this will change in the next volume, when the narrator, we are told, will be Ashwatthama.)

There are occasions when Patil's narrative feels too clever, too knowing, too full of backchat. But textual pleasures are the least of the joys afforded by this book. With artwork that ranges from black and white sketches (for Ganga and her audience) to magnificent textured collages, with Patil drawing on and reworking everything from Botticelli's Birth of Venus to Matisse's La Danse to ancient Egyptian motifs with delicious abandon, Adi Parva is perhaps the most beautiful book you can own this year.

Published in the Indian Express.

The Real Demon: Ramlila, Ramanujan, and the freezing of tradition

A 'Perspectives' essay, published in The Caravan.

The week before Dussehra, I saw several performances of the Ramayana story. I went to Old Delhi, the site of three famed Ramlilas and one Ramayana-themed procession called Sawaari, to the sarkari heart of the capital, where I watched the dance drama Shri Ram, and finally to Mehrauli, where a resident friend said there was a local Ramlila.

I watched the Sawaari outside Chawri Bazaar Metro station: brass bands followed by a series of tableaux, actors dressed as Rama, Lakshmana, Ravana, Sita and Hanuman, looking more jittery than benevolent. Friends who grew up with the Sawaari announced it was no patch on what was. By Delhi standards, the watchers were few, the lack of excitement palpable. “Almost no one lives in sheher anymore,” said one friend, using the term for Old Delhi that means simply ‘city’, marking its originary claim to urbanity within the vast, disparate terrain that constitutes the National Capital Region. “And who has the time to come from elsewhere?”

The Sawaari did seem like a local tradition in decline, a ritual that once brought together an urban community and was now only perfunctory. In contrast, the Ramlilas of Parade Ground and Ramlila Maidan, with their gigantic sets and ear shattering sound systems, seemed to be thriving. Massive crowds came to watch the Ramayana story being played out episode by episode, culminating in the 10th day’s burning of Ravana, the symbolic victory over evil.

But these crowds, largely poor or lower middle-class, came from all across the city, and had no particular connection with Old Delhi or its specific history of Ramlila. In this repect, they resembled the better-off families who came to see Shri Ram, a two-and-a-half-hour show enshrined, in post-Independence Delhi tradition, as the Shriram Bharatiya Kala Kendra (SBKK) Ramlila.

If the SBKK performance was almost exactly as I had imagined it—a proscenium performance involving an impressive Kathakali-dancing Ravana and grave, pithy English supertitles that interpreted the Lakshman Rekha scene, for instance, as the marker of ‘moral order’ where ‘transgression’ could have terrible consequences—the Old Delhi Ramlilas surprised me by being spectacles that were almost as anonymous and non-participatory as SBKK. Perhaps it was my fault, showing up expecting some organic cultural expression of community in a place where everyone knew everyone else. My Bollywood viewing should have given me a clue: an idealised representation like the one in Rakeysh Omprakash Mehra’s Delhi-6 can only come into existence once that which is represented is no longer. The only form of participation possible was through collective consumption: of the performance, but more importantly of the ferris wheels, maut ka kuans and food stalls in Old Delhi, and the more sanitised papri chaat, samosas and chai that constitute SBKK’s attempt to replicate an imagined sheher.

In Mehrauli, a neighbourhood most known for the Qutb Minar, I found the Shree Rama Dramatic Club. A rapt audience, packed tight as sardines, watched as a loud-voiced Hanuman strode about in a cloud of white hair. Behind him was a portly prompter in a pink shirt, intermittently visible when, overcome by emotion, he raised his hand to the heavens. Scenes were hurriedly ended to accommodate bhajans by one Mohanlal ji, the quality of whose singing implied he must be important in the mohalla for some other reason. When Samudra Dev appeared, the woman next to us giggled and held her breath: it was her husband. He was doubling up as Kaushalya, but that part was ours if we wanted it. “Par aapko dekha nahin pehle yahan, naye aayein hain kya (Haven’t seen you before. Are you new to the locality)?” said the woman. The community couldn’t have been less anonymous. And there was no mela in Mehrauli.

One might, on the basis of this stop-go ethnography, propose a neat little stage-by-stage theory, with largely lower-middle-class Mehrauli as the sole surviving bastion of local community and living tradition, if it weren’t for the fact that at the other end of Mehrauli Bazaar was an equally large crowd watching — on a large screen specially set up for the duration of Navratri by the local BJP MLA — Ramanand Sagar’s Ramayan.

Some necessary context here: the broadcast of Sagar’s Ramayan from 1987 to 1990 marked a huge departure from the non-religious programming that had characterised Indian state television until then. It has been suggested that the mass-mediatised crystallisation of a Hindu viewing public around the figure of Ram was integral to the rise of an aggressive Hindu nationalist politics focused on the Ram Janmabhoomi-Babri Masjid issue.

In a strange way, Mehrauli’s decision to showcase a 1980s television serial as the accepted ‘true’ Ramayana is only the final step in a continuum. The Ramlila in Old Delhi is already halfway there, with its ‘actors’ actually only lip-synching to a recorded soundtrack. And the SBKK Ramlila has been performed in the same way, to the same musical recording, for 54 years.

Last week, when Delhi University’s Academic Council arrived at a decision to withdraw from the undergraduate history syllabus an essay called ‘Three Hundred Ramayanas: Five Examples and Three Thoughts on Translation’, it was kowtowing to the singular vision of Rama’s tale that Ramanand Sagar anointed as indelible truth. The right-wing objection to the essay — an elegant piece by the late AK Ramanujan about the diverse narratives that go by the name ‘Ramayana’ — is that its non-judgemental account of Jain, Buddhist, Tamil or Thai tellings undermines the Valmiki-plus-Tulsidas version that most north Indian Hindus perceive as religious truth.

Ramanujan speaks of the Jaina Ramayana of Vimalasuri, in which Ravana is not an evil demon but a great Jaina ascetic undone by his passion for Sita, and of a Kannada folk Ramayana in which Sita is born of Ravana’s own womb — essentially a story about a daughter causing the death of her incestuous father. He points to differences between Valmiki’s Sanskrit and Kampan’s more dramatic Tamil. He describes Ramayanas for whom Sita is the main focus, and others that centre on Ravana.

But the essay also provides a vivid sense of the Ramayana as an ur-narrative, from whose characters and events our values and metaphors spring. And every fresh telling builds on that sense of always already there-ness: in one, when Sita pleads with Ram about accompanying him into exile, she clinches the argument by bursting out, “Countless Ramayanas have been composed before this. Do you know of one in which Sita doesn’t go with Rama to the forest?”

We have reached a stage in our modernity when we seem to believe that the only way to hold on to traditions is to immobilise them, recording final definitive versions from which any departure is either unnecessary or sacrilegious. The SBKK probably thinks of itself as far away from Ramanand Sagar. But traditions do not live when they are frozen. It is only by inhabiting them — letting them change us, and letting ourselves change them — that we will ever succeed in keeping them alive.

Published in the Caravan, November 2011.