Today is World Sibling Day and I thought it would be fun to share some of the “fictional siblings” that I think makes for great reading and showcases some of the best brotherhood/sisterhood/siblinghood. So here goes –
Eleanor and Marianne Dashwood – As a devoted Austinian, I cannot help but start with the incomparable sisterhood of the Dashwood sisters. Simply in terms of descriptions vis a vis the relationship between sisters, I feel the Dashwoods outshine the Bennetts. For years, I have been told and I agree with this assumption, that my older sister was the epitome of Eleanor and I Marianne. Their relationship seems real to me at so many levels; there is love, there is a unique brand of humor which can only exist between sisters, and there are difficult moments where they get on each other’s nerves or fail to see the other’s point of view, all the while standing by each other. I personally feel that Ms. Austen being the younger sister herself, took a slice of her life with Cassandra and wrote about it in this novel.
Jane and Elizabeth Bennett – Now that we have accounted for the Dashwood sisters, can the Bennetts be far behind? While the younger three evoke a variety of emotions ( I especially feel bad for nerdy Mary – I really think she had potential ) the fact remains , the elder two are absolutely peerless. I know many people are convinced of the brilliance of Elizabeth’s character, and there is no question that she is brilliant, but I do feel that she shines so bright, because she has a contrast in Jane. I have shared this in the past, but growing up, of course I wanted to be Eliza Bennett but as I came of age from a Marianne, I became more of a Jane, trusting everyone and failing to see the obvious pitfalls. I am still a bit like that, but then my Eleanor is also a bit of an Elizabeth ( Yup! She is BRILLIANT!) and usually is there is to rescue me from fools and mercenaries!
The March Sisters – Across the Atlantic, another sisterhood gave us joy and hope and was again a very authentic portrayal of the bond that exists among sisters. Theirs was a real relationship filled with joy, some mean acts, love and support. That act of cutting up Joe’s book, haunted me for days, not because I did that to anyone and my sister would NEVER do that to me, but just the fact that in a moment of anger we can commit such grievous acts where we hurt those nearest to us. Beautiful and heartbreaking ( Like Joey in Friends I want to keep the book in fridge every time I reach the part of Beth’s illness ) Ms. Alcott created one of the most outstanding sibling novel ever!
The Finch Siblings – Would we have adored Scout so much if there was no “wiser” older brother Jem who had to think of his younger sister whenever he was scared? Yet another very real portrayal of siblings especially during childhood. We lived through the young adolescents of Jem Finch who would tell Scout Finch to stick to her set in school or break up any fights she got into. And we were Scout Finch when our siblings fell ill or were hurt, mentally or emotionally! To Kill a Mockingbird is as much a story of the brother and the sister as much their father, Atticus Finch.
Shanta from Ramayana – I close this piece with a Shanta, the elder sister of Lord Rama, the doyen on Hindu Gods, and a forgotten sibling in the larger narrative of the epic The Ramayan. Mythology says that she was the neglected daughter of the King Dasharath who gave her away to be adopted by another king to save his land from draught. She agreed to the adoption so that her father would be given a boon from the Gods, that would allow him to father sons. She marries Rishyashringa, a sage whose celibacy causes drought in kingdom of her adoptive father and with her marriage, there are rains and an end to the draught in the region. The reason why I wanted to add her to the list is because she was the only one who critiqued her brother, the almighty Rama for abandoning his loyal wife because of street gossip. She is the only character in this mythology that saw the failing in this perfect Man-God and displays a key element of any authentic relationships – the ability to call out what is wrong even if it’s your own blood and even if no one else questions it!
That is my list! What are your most memorable “fictional” sibling relationships?
Karen is always at the forefront of some amazing reading events and all of them have helped me read books out of my comfort zone, open my mind to new ideas and generally learn more. The #readindies event that she hosts along with Lizzy, every year with is one such event. Often in the media blitz of the bigger publishing houses and colossal corporates like Amazon, the Independent publishers and bookstores get lost and with them we lose on unique distinctive narratives that move away from mainstream or popular culture and speak of things not common. Reading fundamentally, more than just being one of the best entertainments, is about living many lives, exploring uncharted places and making you face things, away from your home ground. It is essential for an enriched soul and a thinking mind and a sensitive heart and these aims are fulfilled when we read what is popular but also what is different, and subaltern or alternative. And reading independent publishers who give voice to this section of the society, atleast in my part of world, therefore becomes even more critical.
This brings me to the independent publishing house of Westland Publications and I want to talk about them a bit before I get into the book I read. Westland Publications was one the first and premier Indian publishing houses of independent India wholly owned and run by Indians. It started way back in 1962 as distributer of books before branching into publishing garnering great reputation among Indian authors and Indian readers for several years. In 2013 it was bought by the Tata Group and in 2017 it was sold off to Amazon. While it became part of larger conglomerate, the spirit of being the voice of India continued unstintingly; they kept catering to what was often not part of the popular culture under the prolific and far sighted leadership of Gautam Padmanabhan, son of the founder, KS Padmanabhan, both icons of Indian literary world. However on Friday, February 1, Amazon announced it will be shutting down Westland Publications. I am sure Amazon can back up with data and numbers as to why it makes sense to shut down Westland, and I am sure they all make perfect business sense. But for Indian readers and authors and the literary world, this is a heavy blow. Westland was a unique agency of bringing forth the nascent world of Indian English literature and powering the publication of books in other native languages. While Penguin and other such giants continue to publish the bigger names of Indian authors, for the marginalized, a strong platform has disappeared taking along with it, many unheard voices and stories. I chose Westland because in essence it has always been #indie in every sense of the term and it’s recent ill fortunes make it even more important, that her books be read and her voice continues to be heard, whether they are physically available on shelves or not.
Now back to regular programing!
Ramayan along with Mahabharat are two of the epics of Indian subcontinent and East Asia. They are the Iliad and Odyssey of the East and every household has atleast one copy of each. They provide religious counsel, philosophy, political insight and entertainment. They have been translated in innumerable languages and been made into films and series and even animation. However what usually get’s narrated is the one of the standing theme of the epics, the battles, and often the other stories which actually give a far more comprehensive picture of the life and times and the philosophy of life, gets left out, providing a very skewed narrative. Ramayan is ostensibly a linear tale of a great virtuous Prince, Ram, who is exiled from his kingdom due to family politics; his stepmother wants her son to be the crown prince and the new ruler of Ayodhya. Ram goes into exile with his beautiful and loyal wife Sita and his youngest half brother Lakshman. In the jungle, a female “giant” becomes enamored of the two Princes and proposes to first Ram and when he spurns her, to Lakshman. Lakshman, the angry young man, is affronted at the audacity of this female giant in making such a suggestion, and chops off her eyes and ears ( A simple No would have sufficed!) The insulted woman, goes back to her brother, who is the King of the powerful state of Lanka, Ravan, who promises to seek revenge. He then plots to get Ram and Lakshman away from their cottage and kidnaps Sita. A battle ensures between the two forces and naturally the “good” forces , i.e. Ram and friends win and return to Ayodhya to take their rightful place. This is the broad outline of the mainstay of the epic , but there are several other associate stories that led to this final plot development, many other voices and several other characters, who were pivotal to this story. And this is what Anand Neelkantan tries to do, in his book Valmiki’s Women.
Valmiki was a dacoit and an anti social element, who had a change of heart and became a hermit. One day, he decided to write an epic that would become Ramayan. Mr. Neelkanthan’ first story reimagines the circumstances that led to Valmiki writing this epic, with the running themes of women, land and sacrifice. His next story explores the life of Shanta, the little known and often ignored older sister to Ram and his brothers. Their father King Dashratha is obsessed with the idea of having a son and in that quest, he ignores his only child, his daughter Shanta. The story traces Shanta’s life, highlighting her relationships with her father, her step mother Kaykei, who trains her to be a warrior princess and the final act of obedience, that she is called on to display, to help her father realize his ambitions. The second story focuses on the life of Manthara, lady in waiting to the second Queen of Ayodhya, Kaykei. It is said that it was the constant brain washing by Manthara, that led to Kaykei, demanding that King Dashratha keep his long given blank promised to her, to give her whatever she wants, that led to exile of Ram. In this re-telling, the reader gets an insight into the distressing circumstances Manthara was born into; she was a hunchback and that has traditionally been a subject of derision or suspicion alternatively. The story follows as Manathara is selected to become a governess cum lady in waiting for the young princess, Kaykei and her life as she follows the princess to her married home, the exile of Ram and her last years. The third story is told from the point of view of another “giant” Maricha, who narrates the story of his mother, Tataka, a “giant” princess who had married a man of the forest and with the advance of the Aryan or Ram’s civilization into the natural habitat of northern India, died protecting the flora and fauna. The story follows Maricha’s plan of avenging the death of his parents and how his “disguise” lured first Ram and the Lakshman from their cottage, leaving Sita alone to be kidnapped. The book closes with the final story of Meenakshi, the female “giant” who was besotted by Ram and had to pay the price by becoming disfigured. The story follows her life as she meets Sita who is now about to be exiled alone ( This is the epilogue of Ramayan; where local gossip imputes that Sita was not loyal to Ram when kidnapped, though it is beyond question that she has been so. Embarrassed Ram disowns her and sends her to exile where she bears him two sons and would ultimately be called back. Only she refuses and instead is “gives herself to be enfolded in the earth.”) This interaction between Meenakshi and Sita and a woman from one of Indian tribes closes the narrative, again bringing it back to the theme of land, women and sacrifice.
This is already a long post so I do not want to eulogies on how well written this book was. While there has been a recent trend of re-telling of Indian mythologies and epic, most are sensationalist without any real insight to offer. Mr. Neelkantan does a fabulous job in managing to narrate complex tales in lucid and sparse prose, while making it gripping and wholly absorbing. He is not afraid to break away from the mainstream narrative and give voices and provide perspectives to the marginalized and often demonized characters of the epic. He subtly makes the political point on how Aryans coming from North, i.e. Iran would have viewed the indigenous population of India and branded them as monsters and giants. (India had a flourishing civilization, called the Indus Valley Civilization circa. 5000 BCE. Aryans were actually Iranians came in hordes to India and settled here around 1500 BCE and from them emerged the two epics) He beautifully illustrates the conflict of two different civilizations, without losing his grip on the main story. Most importantly, his compassion for all the overlooked elements of the society, that continues to live on its fringes even in the present day, through the iteration of an age old epic, makes the reader aware of how much still needs to be done for their fellow humans. Simple yet gorgeous, this book is must for anyone interested in India.
In celebration of having finished Chemotherapy, I decided to throw caution to the wind and do some impromptu traveling. I just returned for one such trip and I have another one planned next week; the trip planned next week is to the home of my heart – Himalayas and about which I think I have bored one and all enough, but for today the agenda is to talk about this small town in the north west of India, near the great Thar Desert called Pushkar and share a bit about it!
Pushkar located in the Indian state of Rajasthan, is an old, old town, older than the memory of mankind. Legend has it that it was created when Lord Brahma’s ( one of the many Gods of the Hindu pantheon and one of the top 3 in the hierarchy ) lotus slipped out of his hand and fell to the ground, creating the Pushkar Lake. This lake has been mentioned in the epics like Mahabharat and the depiction of this lake has been found in coins dating back 400 BC ( which compared to the whole breadth of Indian history is like day before yesterday but still!) Needless to say this is an ancient town with many myths and legends. In the days of yore this town was famous for its annual festival called the Pushkar mela or Pushkar fair, where the highlighted event was camel trading but various other crafts and entertainments were also at display. The fair fortunately continues till today though in reduced capacity as these ancient tribes, take on more “modern professions” and leave their traditional nomadic lives behind.
We spent three very happy days exploring the city, it’s culture and it’s food. The township is really small compared to the other places in India. Nestled in the valley of the granite mountains of Aravalli range, the best way to explore this place is on foot. Dotted around the lake are several temples of greater or lesser importance. The most heartening sight is to see a temple, situated adjacent to a mosque and facing a Gurudwara ( place of worship for the Sikh religion ); people forget that everyday people just want to live their lives peacefully and quietly and this is the essence of mankind and my country specifically. We took a wrong route to the lake ( thank you Google ) but that led us to a more secluded part of the lake with a grand vista and none of the craziness of people and business, that are a feature in other banks of the lake. We spent some hours on this quiet spot and then began a leisurely and glorious walk through the lesser known temples, admiring the architecture as we made our way to the commercial part of the town. The Bazaar is filled with some gorgeous handicrafts of metal and leather, the latter being a specialty of this town. The most spectacular feature of this is place is as you keep walking, among modern building and commercial outfits, there is a wide door, and as you peek inside, a magnificent, awe inspiring temple structure greets, you, totally unexpected and completely taking your breathe away! Another memorable item of this trip was the food; we were fortunate enough to have a found an amazing hotel with a wonderful warm staff and a brilliant chef ( Must stay a Hotel Brahma Horizon if here! ) and while all our meals were remarkably delicious, one particular lunch where we had the traditional food of this region was wow! The Rajasthani Thali ( literally meaning plate) that was served to us had 7-8 dishes, displaying the best that this place had to offer! Rajasthan is an arid zone unlike the rest of the more fertile areas of the country and agriculture products are mainly millets and legumes; yet out of these sparse resources, the people of this region have been able to develop a delicious, nutritious and a varied cuisine which we got to sample as part of this thali. We ate Dal Batti ( wheat dumplings with legume curry ) soaked in Ghee ( clarified butter) with Churma (made of flour, sugar and dry fruits ) , Bajra roti ( pearl millet flatbread ) , gatta curry ( steamed dumplings made from chickpea cooked in a spiced yoghurt sauce), Mangodi curry ( deep friend moong bean dumpling curry made with ginger, asafetida and other spices) , panchmel subzi ( mixed vegetable curry ) were some of the items in this meal. One of the best I have ever eaten!
Needless to say, this was an amazing way to close out my chemo affair! I absolutely loved this city and I leave you with some pictures of my adventures.
Wener Herzog in his masterful book on art and filmmaking, A Guide for the Perplexed, referring to the filmmaker’s broader cultural responsibility said that, “We need images in accordance with our civilization and innermost conditioning, which is why I appreciate a film that searches for novelty, no matter what direction it moves and what story it tells….” In an era of increased flash and dash and superimposed imagery, regularly churned from the mills of Hollywood or even from the shores of Bollywood, films which captures such ideals of reflections of civilizations and its conditioning are far and few to come by. If they do, they are often slotted under the broad category of” Cinema” or “Parallel Films” making one wonder, what is the true difference between “Cinema” and a “Movie” and what is parallel to the this parallel films. Rarely, does one come across, a film that combines the reflections of societal norms with a narrative, comparable to the plot lines of the more popular and what is termed as “Commercial Cinema”.
Panchaali, a film made under the flagship of Pumpkin Entertainment, produced by Shweta Saraf and directed by Saurabh Bali, seems to fulfill this balanced nuance of reflecting the masochist tribal norms that still inflict, the Indian society in many parts as well a gripping narrative, that leaves the viewers breathless with a “what-happens-next” feeling. The film opens with 5 men waiting, for someone, on road, just off the main thoroughfare, of the big metropolis. Through their banter, it unfolds that they are all brothers and deal in land and politics. A white vehicle is then spotted by one of them and within a few minutes, all its passengers’ albeit one are killed due to non-payment of an old debt. This one survivor, the daughter of the family killed is taken hostage by the brothers and taken to their home. There the mother of the five brothers decides the faith of this girl, setting off a chain of events that would forever change this family and its history!
For those familiar, with Indian mythology, the resonance of the Draupadi’s tale from Mahabharata is very clear from the onset; however, that is where the parallel ends! The story then takes on a life of its own, wonderfully combining the details of an ancient myth and the modern day settings and reaction of both society and individual. It conveys the still traditional society of northern India, where a woman count for little and guns and violence still rules the day and makes for what is deemed as powerful. At the same time, the film smartly in less than 40 minutes takes the viewers through a cataclysmic narrative, all the while clearly delineating the characters of plot, something many fail to achieve even in full length cinema! It is to the credit of the magnificent cast that this nearly impossible feat is achieved and despite an exceptionally talented ensemble, that competes for the viewers’ attention, by turns, outshining one another, with their talent, some callouts are necessary! Manav Mehra, who plays the eldest of the 5 brothers, is an experienced theater actor, who brings all his mastery of the craft to the screen; one cannot quite describe the eerie feeling, every time he looks into the camera. Bhanu Rana is yet another worthy talent and in his portrayal as the second brother, displays such strong raw raging emotions that come through palpably and the viewer feels both sympathy and irritation with him in turns. Nitin Rao as third of brother gives a strong controlled performance as the man, who knows he is better than his brothers and destined to be the king, but cannot quite bring himself to unhinge from the filial binds, though, he knows he stands to gain the most! However, the star of the film remains Nishtha Paliwal Tomar, conveying all the range of emotions that a woman torn from her moorings can convey. She is an absolute genius using who is able to express a range of powerful feelings sharing with her the viewer her fear, angst and anger, making them cheer her on to survive, as she navigates through the most traumatic experience, that a woman can be forced into. The settings of the film convey exactly what it is meant to convey – vastness, desolation and captivity. The sights and sounds of a semi-rural culture in India, not too far from the metropolis, caught between ancient traditions and modern greed, assaults your senses, in every fine twist of the plot. While, there is much to appreciate in the film, there are some weak chinks in what can be seen as solid armor; most of the cast is tenured and bring all their expertise to camera, but some of the actors fail to emote anything and one wonders, that except for the one standard sly grin, which is expected to showcase everything from anger to lust, what does this particular character want to say to the audience. Also due to the duration of the film, some of the transition and changes of sentiments are not given enough time and the viewers expected to adapt to the changing psychological landscape of the character within minutes, which may make it slightly difficult to follow. But, despite some these minor shortcomings, the film is a brilliant effort, which is a testimony to the fact that with creativity, vision and a talented crew, an old story can be reinvented into a gripping modern tale.