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Four things that India can learn from the battle of Rezang La

Posted on October 28, 2021 by kavyawahi

On 18 November 1962, the Charlie Company of the 13 Kumaon Battalion, Kumaon Regiment, fought a Chinese attack at Rezang La Pass in Ladakh, India. The company comprised 120 soldiers and was led by Maj. Shaitan Singh. Of these soldiers, 110 were martyred in the attack.

The Indian search party, which visited the battlefield on 10 February 1963, made a startling discovery-the frozen bodies of the men who had died were still holding guns in their hands, having taken bullets on their chests. The valour of the Charlie Company not only successfully stopped China’s advance, but it also resulted in the Chushul airport being saved, thereby preventing a possible Chinese occupation of the entire Ladakh region in 1962.

The battle, although rarely mentioned or recounted in books, has many lessons to offer to the willing listener. After all, those who do not learn from history, continue to repeat their mistakes.

The Battle of Rezang La || Kulpreet Yadav

1. A nation’s internal issues can quickly make it vulnerable to outside attack.

China attacked India on 20 October 1962. Six office bearers, who were holding the top positions of decision-making in New Delhi, were not present at their offices in the final few months before the attack. Who are these and where were they? Let’s start from the top. Prime Minister Jawaharlal Nehru left New Delhi on 8 September 1962 to attend the Commonwealth Prime Ministers’ Conference and returned on 2 October 1962, but once again departed on 12 October 1962 for Colombo from where he returned only on 16 October 1962, i.e., just four days before the war. The defence minister, Krishna Menon, was in New York from 17 September 1962 to 30 September 1962 to attend the UN General Assembly meeting. Lt Gen. B.M. Kaul, the Chief of General Staff, was on holiday in Kashmir till 2 October 1962, and the Director of Military Operations (DMO), Brig. D.K. Palit, was away on a cruise on the naval aircraft carrier Vikrant. This underlines the government’s apathy towards nation’s security resulting from a complete intelligence failure.

Jawaharlal Nehru didn’t trust Krishna Menon when it came to China due to the latter’s leftist leanings and therefore, the prime minister had ordered certain matters to be brought up directly to him. Lt Gen. B.M. Kaul and Krishna Menon were not on talking terms as explained by Brig. D.K. Palit in his memoirs. Gen. P.N. Thapar was in awe of Lt Gen. B.M. Kaul due to the latter’s proximity to Jawaharlal Nehru, who was also related to Gen. Kaul. These interpersonal issues further compounded the organizational structure at the top.

2. A nation should proactively strengthen its security forces to prepare for any untoward strike on its sovereignty, while simultaneously aiming to resolve conflicts peacefully first.

It’s a well-known fact that Prime Minister Jawaharlal Nehru abhorred violence. But the fact that he allowed his personal choice to eclipse the security needs of the nation by downsizing the army after 1947 was the real reason why India had to face humiliation at the hands of the Chinese in 1962. Nehru was indeed one of the finest global leaders of the time and the principal architect of the nation that Indians even today owe a lot to, but his complete dislike for the army can be deduced from this anecdote from the biography of Maj. Gen. A.A. Rudra written by Maj. Gen. D.K. Palit: ‘Shortly after Independence, General (Robert) Lockhart as the army chief took a strategic plan to the prime minister, asking for a government directive on the defence policy. He came back to Jick’s (Rudra’s) office shell- shocked. When asked what happened, he replied, the PM took one look at my paper and blew his top. “Rubbish! Total rubbish!” he shouted. “We don’t need a defence plan. Our policy is ahimsa (non-violence). We foresee no military threats. Scrap the army! The police are good enough to meet our security needs.”

3. It’s critical for a nation to rightly gauge the enemy’s intention and the scope of their preparation in order to win the war.

The intensity of the shelling and the diversity of the weapons used by the Chinese were an indication of the determination to take the position at any cost. To destroy bunkers, they wheelbarrowed anti-tank guns to the flanks of our (Indian) positions and fired them massively. The four-feet-deep craters found in solid rock around company headquarters were a clear indication that they even used a certain number of big rockets. The shelling was indeed a spectacular display of the Chinese at night. An officer watched it from 4 miles away. ‘I saw missiles,’ he later said, ‘with flaming red tails falling on Rezang La. The spectacle was so weird, we thought the entire Rezang La was on fire.’ Another soldier at a post 4 miles south reported, ‘The explosions were so great that the walls of our cookhouse collapsed.’

4. A strong and dynamic intelligence unit is key to ensuring a nation-state’s welfare and safety.

On 21 October 1962, when an Indian transport aircraft flying over Ladakh reported a 2-mile-long column of Chinese military vehicles heading towards Chushul along the road from Rudok in Tibet, alarm bells started to ring in the army headquarters and the defence ministry. Until then, the Indian intelligence didn’t have any idea about the military build-up on the Chinese side of the Ladakh border. This was going to cost India heavily. The Indians were ignorant of the aggressive road-building activity of the Chinese that had connected all their border posts to their support bases in the deep. Due to this, the PLA’s mobility of troops, artillery and stores was swift. Compared to this, the Indians in Ladakh had just completed the road that connected Srinagar to Leh. A jeepable road that connected Leh with Chushul was also made weeks before the Chinese attacked India as we have seen before. All other thirty-six forward Indian posts were still connected by mule tracks, which took days to reach and had obvious load-carrying restrictions.

In The Battle of Rezang La, Kulpreet Yadav evocatively narrates the untold story of the soldiers of the Charlie Company who valiantly fought the Chinese till their last breath.

Five evergreen songs by Gulzar that will turn your day around

Posted on October 25, 2021October 25, 2021 by prhi-dev

Gulzar Saab’s poetry has carried us through many difficult days, his lyrics a balm to the weary soul. His songs have filled our days with light and love, given us strength to go on when all seemed lost and reminded us of the myriad gifts that life has to offer.

In his latest memoir Actually… I Met Them, Gulzaar Saab goes down memory lane to bring to light his relationship with the doyens of cinema, music and literature, who he had known and worked with over a long period of time.

We bring to you five of the evergreen songs that he talks about in the book, sharing nostalgic stories of how they came to be.

Mora gora ang lei le… (Take away my fairness and…)

This was the first song that Gulzar wrote for Bollywood. Penned for Bimal Roy’s Bandini, the song gave us a glimpse of his genius early on. Created with undertones of Vaishnav bhajans, this soft melody had a depth that few can manage to conjure.

This song led to what was to be Gulzar’s first encounter with legendary Bimalda. Gulzar was in awe of the simplicity that the film directed exuded, despite his stature in the film industry.

Talking about the song sequences Bimalda’s movies had, Gulzar had the following to say:

‘Bimalda believed he was not very good when it came to directing song sequences. Consequently, he worked on every such sequence with so much attention to detail that they became exemplary. If in the middle of a song a musical arrangement was changed or a new one introduced, he would immediately say, ‘Change the shot. How can the rhythm or the instrument remain the same in the shot?’’

Humne dekhi hai in aankhon ki mahekti khushboo (I have seen the fragrance in these eyes…)

Perhaps one of his most iconic songs, Humne dekhi hai in aakhon ki mahekti khushboo beautifully puts to use synesthesia to play with sight, smell and touch that are characteristic of the literary device.

A lesser-known fact about the song that Gulzar reveals in his memoir, Actually… I Met Them is that the song was written from the point of view of a man. However, Hemantada, who had composed the song, felt that the song would suit Lata Mangeshkar’s voice. Though Gulzar was aghast at the decision at first, he later realised that Hemantada’s music and power of observation were magical.

Mera kuch saamaan… (I left some of my things with you . . .)

Quintessentially ‘Gulzarish,’ Mera kuch saamaan’s poetic imagery is why Gulzar’s lyrics are deeply cherished by his fans. Seemingly mundane in its theme, the song is a deceptively beautiful ode to heartbreak and lost love.

Musafir hoon yaaron… (I am a wanderer . . .)

A short, sweet melody, Musafir hun yaaron… evokes the journey of life and how it asks of us to keep moving forward, no matter the circumstances.

This was the first song of Gulzar that Pancham set to music and the rest, as we know, is history.

Ek hi khwaab… (Just this one dream…)

In his memoir Actually… I Met Them, Gulzar reveals the hilarious reaction that the song’s lyrics elicited from Pancham, the song’s composer.

‘What are these lines? You call this poetry? How can song lines be so trite? Gullu, can’t you write stuff properly? And you’re asking me to put these lines to music?’

He went on to tell Gulzar to put the lyrics into a scene, asking him to write a different song.

To this, Gulzar calmly responded with,

‘Pancham, I can always do that. But the thing is, when I work with you, we do it because we want to do something unconventional, isn’t it? So…’

Isn’t it wonderful that this splendid duo stuck to the original lyrics?

p-book-cover — Actually…I Met Them by Gulzar

Chatty, anecdotal and deeply personal, this book of memories chronicles Gulzar Saab’s life and career through different eras of Indian cinema as he successfully transcended commercial and critical arts.

Studded with rare photographs, Actually .. I Met Them will be a treat for his huge and devoted fan base.

Tête-à-tête with Kulpreet Yadav

Posted on October 20, 2021October 20, 2021 by prhi-dev

Kulpreet Yadav’s The Battle of Rezang La documents the bravery, gallantry, and patriotism of the soldiers who fought for India in 1962 war. The soldiers chose to hold their ground to the end, despite the fearful odds, defending their nation. We got the opportunity to ask him a few questions. Here are excerpts from our conversation with him.

What inspired you to write about the battle of Rezang La?

The story of Rezang La is very popular in Haryana, particularly South Haryana, from where most of the soldiers who laid down their lives in the battle came from. I hail from that part of the country and since my childhood, I have been hearing about this brave last stand of the Indian soldiers. But, at school, at college, and later as an officer in uniform, I realised that no one had heard of this battle. Somehow, due to lack of information, these brave men who sacrificed their lives for the nation had remained heroes for only the people of the villages they belonged to. After writing a dozen books, around 3 years ago, I thought, I must bring this true story of valour before the nation. The Indians, particularly the youth of the country, need to know the story of Rezang La.

What kind of research did you undertake before writing the book and did you face any particular challenges during the process?

I found out the addresses of the 4 survivors from 13 Kumaon battalion. Then I drove down to meet them. Their personal accounts were as moving as they were informative. I then started to read all the available books on the 1962 war with China and there are quite a few. This took me more than a year. The next step was to read the articles in defence journals and web portals. These articles were written by either those who had participated in the 1962 war or had information about the Ladakh sector through their colleagues. I also accessed the newspaper articles from the period just preceding or during the war. The memoirs written by the officers who were involved in the war either at the headquarters or in the field, further added to my understanding of the battle.

I also visited the 13 Kumaon battalion headquarters a few times. Since the Rezang La museum is co-located with the battalion headquarters, it became a good resource for me. The CO’s team successfully located the old war diary and when I was shown this old, hand-written account of the battle, I could get a better grasp of some of the events. I also read the official MoD’s account online. I also met and spoke over the phone to some of the officers and family members of those who were directly involved in the battle. Finally, there were a few private researchers who had been collecting information about this battle for a long time and I’m grateful that they shared the information with me. I have thanked each person by name in the acknowledgement section of the book.

What kind of emotional trajectory did you go through while writing about such a painful period in history, where we lost so many of our soldiers to the war?

It was tough. Since two of the soldiers who sacrificed their lives were related to me, it was emotionally exhausting to relive their final moments. But reliving the battle was important to write honestly and authoritatively. I had to be strong and travel back in time to see all the events through my mind’s eye. As I expanded my research, it was easy to imagine the sequence of events. I also spent a lot of time thinking about the individual soldiers, their respective positions (section post / platoon post / command post / LMG det / mortar section / Listening post (LP) / Observation post (OP) etc.) in the battle and what they must have been thinking in their final moments. To appreciate their unimaginable courage better, I also researched about their families. All of this was disturbing, but it turned my resolve to write this book that much stronger. If earlier I was sad that Indians didn’t know about this true story, by the end of my research, I was mad about why the nation didn’t know about it. Now that the book has been written and it’s available for everyone to read, all I feel is the deepest respect for these soldiers.

In what ways did you find writing a book about war different from the other books you have written?

Every book is different and takes the writer on a different journey, both internally and externally. Comparing the genres would not be the right thing to do. Let me give you an example. When I wrote my first romance novel called “The Last Love Letter”, I was confident that I would not be able to write a book that has no antagonist. But, as I started to write, it helped me discover a part of me I didn’t understand that well. Whether we write a book or read a book, books have the power to change us. To answer the question specifically, this book was different because it required me to research a lot, so it took longer and every aspect needed to be double-checked for correctness before putting it down on paper.

What do you hope readers will take away from your book?

The readers would perhaps value freedom more after reading this and realise that they need to become better citizens. That would be the proper homage to these martyrs. And one doesn’t need to be in the army to serve the nation. Each one of us needs to do what is expected out of us — in our professions and at home — and that is enough. The bottom line is, these soldiers fought and died for our motherland because they loved her. We, the readers, need to dive deeper into ourselves and learn to love our motherland more, and respect the freedom we have. Last, but not least, I would request all the readers to travel to Chushul in Ladakh at some point in their lives and pay homage to the war martyrs at the memorial called the “Ahir Dham, Chushul” that’s maintained by 13 Kumaon there.

A guide to Novoneel’s crime thrillers and Obsession Trilogy

Posted on October 13, 2021 by prhi-dev

Since the past few decades, India has seen a rise in the number of young Indian novelists and while most of them write stories about youth, love and family, there has been one author who has managed to change the face of the genre of Indian thrillers. Indian book stalls’ thriller section has often been graced by the famous Sidney Sheldons and Agatha Christies through years now but Novoneel Chakraborty is the one who seemed to transform everything.

He has managed to write over 20 novels, many of which have gone on to become bestsellers, some have been translated into 6 languages and a few have even been converted to web series productions online! With his latest novel Whisper to me your lies hitting the shelves, we bring you some of his past novels and a guide to step into Novoneel’s world before picking up his latest book.

Marry me, Stranger All yours, Stranger Forget me not, Stranger

The Stranger Trilogy is one of his initial major successes traces the story of Rivanah Bannerjee, a regular, young Bengali woman working and living in Mumbai and her life’s intersection with a stalker she refers to as Stranger. Marry me, Stranger, All yours, Stranger and Forget me not, Stranger– all unveil several mysteries and their relationship unfolds in front of the reader’s eyes where the annoying stranger becomes a romantic interest for Rivanah, while constantly bringing mystery, thrill and drama to her life. If you’re into mysteries, this one will surely keep on you edge.

Forever is a lie Forever is true

Forever is a lie and Forever is true are part of the popular thriller Forever series by Chakraborty and traces the life of an 18-year-old girl studying mass communication in Bangalore and the story of a dark romance that ensues between her and a man she falls in love with. The second part of the book narrates the twisted past of the man and what deadly limits one can go to because of a ruined childhood.

Roses are blood red Cross your heart, take my name Whisper to me your lies

His book Roses are Blood Red, (2019) and Cross Your Heart, Take My Name (2020) are the first two books in the Obsession Trilogy whose third book Whisper to me your lies is finally being released on the 18^th October, 2021. After Vanav and Nihira’s encounters with obsessive crime, it’s now time to listen to Ekantika’s story of facing a murderer, who could perhaps be the Cellotape Killer of the 90s!

On Karma and spirituality: A chat with Acharya Prashant

Posted on September 30, 2021October 4, 2021 by kavyawahi

Acharya Prashant, a Vedanta philosopher, an Advaita teacher, and the author of Karma, talks about his transition from the corporate world to the spiritual world. He also answers questions about Karma, a word as common in the spiritual lexicon as in the popular parlance.

After studying at IIM and working in the corporate sector, you took respite into the world of wisdom and spirituality. How did you overcome the difficult period of ‘sorrow, longing, and search’?
The basic inner challenge that life presents to us remains the same, no matter what the circumstances are. The one all pervasive and ubiquitous challenge is to keep doing the ‘right thing’ even in the most difficult situations. So whether one is an MBA student or a corporate employee or a spiritual leader, one has to act rightly – which simply means to not act from a personal centre of greed and/or fear.

There has never been any tectonic shift in my life as such. As an individual, I have always aimed at gradually trekking higher and higher. So, this movement from being a consultant in the corporate world to leading PrashantAdvait Foundation, is to be understood as a process of elevation and not of renunciation. The shift was only towards something higher, towards something more critical and of higher caliber. And the search . . . it has not ended; it is very much there. But yes, the destination has changed.

Your book, Karma, was first spoken and written later. What made you pen down hundreds of questions that you’ve verbally answered in a decade?
Every project that the Foundation undertakes is in tandem with the needs and requirements of those for whose sake it exists. As an organisation and as a socio-spiritual mission, PrashantAdvait Foundation exists to serve and transform contemporary society. And one of its prominent objectives is to liberate spirituality from superstition; which could not have been possible without a total repudiation of the false beliefs linked with the concept of Karma – and this, we know, has been quite successfully achieved with the book. Because the Foundation believes in harnessing each and every medium/platform for the Mission, the idea to write books (and make them reach the masses on a wide scale) occurred quite naturally to us.

Why do you think what people know about Karma is wrong?
Unfortunately, today there is hardly any concept in spirituality which has not been both misinterpreted and misrepresented. The same tradition to which we owe gems like Sri Bhagwad Gita, has sadly become a vehicle for misappropriation. Real meanings and implications of concepts linked with spirituality stand obfuscated and distorted by centuries of misplaced expositions and self-appeasing translations.
So, instead of asking what is wrong in the contemporary definition of Karma, we should be skeptical enough to ask: is there really anything at all that is right about it? Because had there been even a single grain of truth in it, we humans couldn’t have been the way they are – violent, chaotic, depressed, loveless, faithless, and what not!

In your book, you’ve mentioned that one must do what is right and forget about the result. Is there an ideal way to work without expecting results?

It is not the expectation that is to be dropped, but the one with the expectation that must transform. If the actor – the doer, the centre from where the action is happening – is itself the one with desires and expectations, then no attempt to work without expecting results would be successful.
So do not look at the expectations, look at the one who is expecting. And having looked at it attentively, you might find the key to ‘Nishkama Karma’.

In one of the chapters, you have said, ‘Just be wisely selfish and help others’. Can you elaborate on what you mean by being ‘wisely selfish’? Does being selfish not count as bad Karma?

Selfishness is bad when the self is petty; but when the self reaches spiritual heights and the relationship with the other is of Love, then being selfish gets redefined as being compassionate.

Do you plan on writing another book? If yes, what would you like to focus on?

All I can say right now is that I will keep addressing issues that require attention, and books on those issues/topics/concepts will continue to be circulated to the masses.

Terrific twelve: The ultimate guide to Namita Gokhale’s wonderfully witty world

Posted on September 29, 2021September 30, 2021 by prhi-dev

Few authors capture the oddities of a zeitgeist, not just the soaring spirit but the awkwardness, the tiny contradictions that make life both messy and loveable as charmingly as Namita Gokhale— social commentator extraordinaire. Her books are as diverse as her host of unforgettable characters—from incisively witty dissections of individuals against a range of social backdrops to retellings and examinations of Indian mythology.

Adding to this behemoth of a bibliography is her latest novel, The Blind Matriarch, which sketches a vivid portrait of an Indian joint family against the backdrop of the first and second waves of the pandemic, of the world in flux that we have inhabited for the last two years.

Before you read The Blind Matriarch here’s a quick list to help you acquaint yourself with some of Namita Gokhale’s oeuvre. Go ahead and fill up your to-read list for the month!

Paro by Namita Gokhale — Paro|| Namita Gokhale

Paro: Dreams of Passion

First published in 1984, to both notoriety and critical acclaim, Paro remains a social comedy without parallel in contemporary Indian writing. Paro, heroic temptress, glides like an exotic

bird of prey through the world of privilege and Scotch that the rich of Bombay and Delhi inhabit, amidst her motley court of admirers including Lenin, the Marxist son of a cabinet minister; the fat and sinister Shambhu Nath Mishra, Congress Party eminence grise; Bucky Bhandpur, test cricketer and scion of a princely family to name but a few!

Priya

India is shining, and Suresh Kaushal, the stout lawyer -of sober habits’, has propelled himself up the political ladder to become Minister of State for Food Processing, Animal Husbandry, Fisheries and Canneries. His wife Priya can’t believe their luck and, determined to ensure it doesn’t run out, struggles valiantly with -social vertigo, infidelity and menopause. In this wickedly funny, occasionally tender, book, Namita Gokhale resurrects some unforgettable characters from her 1984 cult bestseller Paro, and plunges them neck-deep into Delhi’s toxic waste of power, money and greed.

Shakuntala by Namita Gokhale — Shakuntala: The Play of Memory|| Namita Gokhale

Shakuntala: The Play of Memory

On the ghats of Kashi, the most ancient of cities, a woman confronts memories that have pursued her through birth and rebirth. In the life she recalls, she is Shakuntala of the northern mountains-spirited, imaginative, but destined like her legendary namesake to suffer ‘the samskaras of abandonment’. Stifled by social custom, hungry for experience, she deserts home and family to travel far and wide with a Greek horse merchant she meets by the Ganga. But an old restlessness compels her to forsake this life as well-and court tragedy.

God, Graves and Grandmother|| Namita Gokhale

Gods, Graves and Grandmother

‘Before mother left, in a long-ago time, we had been very rich. My grandmother had been a great singer, a kothewali whose voice was more liquid and beautiful than Lata Mangeshkar’s. Eleven nawabs and two Englishmen were besotted with the love of her.’ From these great heights, Gudiya’s world plunges into the depths of almost complete penury when she arrives in Delhi with her ancient grandmother, Ammi, fleeing small-town scandal and disgrace. Just when all seems lost, Ammi works a miracle: a slab of green marble stolen from a building site, and five rounded pebbles from a sahib’s garden, are transformed by the power of her singing voice into an inviolable place of worship. As we follow the twists and turns of Gudiya’s story, we see unfold before us the peculiar dance of chance and will that is human existence.

A Himalayan Love Story|| Part 1 of the Himalayan Trilogy

A Himalayan Love Story- Book I of the Himalayan Trilogy

A study in unrequited love, with its terrible irony and tragic urgency, told through the tale of two exiles. Parvati is young, beautiful and seemingly doomed; blooming early yet unable to find lasting love. Orphaned in adolescence and adopted by her headmaster uncle, Parvati escapes the constraints of this temporary home but, like many young women before her, finds a new prison in marriage. So when Mukul Nainwal, the local boy who has always loved her, returns to Nainital, he finds Parvati changed—she is a new challenge to his ideals, despite all his worldly success

The Book of Shadows: Book 2 of The Himalayan Trilogy

The Book of Shadows— Book II of the Himalayan Trilogy

Part ghost story, part erotic romance, The Book of Shadows is an ambitious book that investigates the nature of reality, love and faith. Scarred by her lover’s suicide and an acid attack that has left her permanently disfigured, Rachita Tiwari has sought refuge in a remote house in the Himalayan foothills. In this rambling house, built by a foolhardy missionary over a hundred years ago, she lives alone with an ancient and mysterious manservant, Lohaniju. As she retreats into herself, battling for her sanity and fearful of a world she no longer trusts, a different dimension claims her and the tremendous history of the house is played out before her.

Things To Leave Behind|| Part 3 of the Himalayan trilogy

Things to Leave Behind— Book III of the Himalayan Trilogy

Kumaon, 1856. History has already begun its steady march. Six native women clad in black and scarlet pichauras huddle around Naineetal Lake, attempting to cleanse it of ominous influences. Amidst a theatre of British impunity, feisty young Tilottama Dutt, whose uncle is hung when he protests the reigning order, and her daughter, Deoki, confront change as Indians and as women. Here is a fascinating historical epic illuminating with painstaking detail the mixed legacy of the British-Indian past.

Lost In Time: Ghatotkacha And The Game Of Illusions

Young Chintamani Dev Gupta, on holiday in a bird camp near Lake Sattal, is transported via a wormhole to the days of the Mahabharata. Trapped in time, he meets Ghatotkacha and his mother, the demoness Hidimba. But the gentle giant, a master of illusion and mind-boggling rakshasa technology, wields his strength just as well as he knows the age-old secrets of the forest and the elemental forces. And in his enlightening company, Chintamani finds himself in the thick of the events of the most enduring Indian epic. This unusual take on YA literature offers an intense yet tender look at a rare friendship as well as the abiding puzzles of the past.

The Puffin Mahabharata

‘Told and retold a million times, the story of the Mahabharata is about defeat as much as victory, about humility as much as courage. It is the greatest story ever told.’

Like a modern-day suta or storyteller, Namita Gokhale brings alive India’s richest literary treasure with disarming ease and simplicity. She retells this timeless tale of mortals and immortals and stories within stories, of valour, deceit, glory, and despair, for today’s young reader in a clear, contemporary style.

The Book Of Shiva

Shiva: Destroyer and Protector, Supreme Ascetic and Lord of the Universe. He is Ardhanarishwara, half-man and half-woman; he is Neelakantha, who drank poison to save the three worlds-and yet, when crazed with grief at the death of Sati, set about destroying them. Shiva holds within him the answers to some of the greatest dilemmas that have perplexed mankind. Who is Shiva? Why does he roam the world as a naked ascetic covered with ash? What was the tandava? What is the story behind the worship of the linga and what vision of the world does it signify? Namita Gokhale examines these questions and many others that lie within the myriad of stories about Shiva. Even as she unravels his complexities, she finds a philosophy and worldview that is terrifying and yet life-affirming—an outlook that is to many the essence of Indian thought.

In Search Of Sita: Revisiting Mythology (Edited by Malashri Lal and Namita Gokhale)

Sita is one of the defining figures of Indian womanhood, yet there is no single version of her story. Different accounts coexist in myth, literature and folktale. Canonical texts deify Sita while regional variations humanize her. However, she is remembered, revered or written about, Sita continues to exert a powerful influence on the collective Indian psyche. In Search of Sita presents essays, conversations and commentaries that explore different aspects of her life-offering fresh interpretations of this enigmatic figure and her indelible impact on our everyday lives.

Jaipur Journals

Partly a love letter to the greatest literary show on earth, partly a satire about the glittery set that throngs this literary venue year on year, and partly an ode to the millions of aspiring writers who wander the earth with unsubmitted manuscripts in their bags, Jaipur Journals is a light-footed romp that showcases Gokhale’s unsparing eye for the pretensions and the pathos of that loneliest tribe of them all: the writers. Told from multiple perspectives, set against the backdrop of the vibrant multilingual Jaipur Literature Festival, Jaipur Journals features diverse stories of lost love and regret.

Meet the characters from the historical epic Asoca

Posted on September 23, 2021 by malika

Asoca-often spelled Ashoka-was hailed as Ashoka the Great, the emperor who ruled most of the Indian Subcontinent and was pivotal in the spread of Buddhism from India to other parts of Asia in the third century BC. But his life as emperor was not always led by non-violence. History has it that he masterminded one of the biggest and deadliest wars ever fought, and it was the insurmountable grief he experienced at the sight of the people dying and dead on the battleground that made him turn to Buddhism and take a vow of ahimsa.

Who was the man, and who was the king? What were his demons, and what gave him strength? Asoca: A Sutra, drawn from research and portrayed with energy and complexity, transports the reader to the era of the Mauryan dynasty with atmospheric vividness and insight.

Here are 5 memorable characters from Irwin Allen Sealy’s historical novel

Asoca – The nonconformist, mighty emperor of the Mauryan empire. A contrarian by nature, he is stubborn but thoughtful. He may not the most good-looking man, but for his mother he is her ‘little rhizome.’

‘From early childhood words were a game, and the pleasures of this game were those of reshaping the world… Rule your speech and you rule the world. My voice owed a little to every person and place I had known and admired, but the mix was mine alone.’

‘The hardest part, I found, was sitting there at all once all your factotums had left: alone with empire, imagining the extent of it off to one side and then the other way and then forward and backward on every side till you felt yourself positively abandoned.’

‘Every kingdom needs an honest, fearless man…to show up both the charlatan who seizes power and the incumbent who has lost his way.’

Uncle K – The shrewd strategist of Mauryan legacy, the creator of the immense Arthashastra, Asoca’s Uncle K is always by the King’s side. The King’s chief advisor, Uncle K talks like a book and his eyes, ears and mind are everywhere.

“Crooked as his name portends, bent in every part, twisted from hairpiece to toenails, this aged crow makes blackness look grey. Guile is younger—the hills are younger—than Kautilya, maker and keeper of kings.”

“The arch-monarchist for whom the kingdom was more important than his tenure as prime minister, than his own position as kingmaker, than life itself.”

Bindusara, the Dotted – He is the handsome Mauryan King, the man of virtues who prefers reconciliation to war. He grew up to rule—and to rue the day he was born.

‘My father Bindusara was a handsome man. Good looks were important to him, and they reappeared in his firstborn like vindication. Susima was a mirror in which he saw his chief virtue displayed, and father and son took it less as a gift of nature than as a divine right: it was a mark of approval, even, you would think, accomplishment.’

‘Father, whose sword leapt from its scabbard in the course of every rousing speech, whose lusty verses were applauded in the gardens at the annual festival, and whose concubines lived in terror of a visit on any given night, this man was crying.’

Madhumitta – Her name implies nectar of the gods. She is Asoca’s Queen Bee, his anchor, the woman he loved and desired.

‘The look in her eye said she would serve the truth. Such assurance burns in the elect; it is what creates disciples. Her determination awed me. Service was to me an abstract concept, a secular, almost departmental thing. For Madhumitta it was an article of faith.’

‘Madhumitta, dear wife, I cannot believe you have forgotten me in your nunnery. I have forgotten nothing, not the tender abstraction on your forehead, not the soft broom in your gentle hand of a morning, not the silent reproof to an erring child or errant husband, not the loving kindness you spread through that house you ruled.’

Susima – The eldest son of Bindusara, heir apparent of the empire. The apple of everyone’s eyes, he become Asoca’s arch-rival in his quest for the throne.

‘He [Susima] was, truth be told, the noblest of us all. He didn’t lie or cheat or push and shove and scramble. But then, he didn’t have to. He carried himself as if the crown were a settled thing.’

‘Susima, ultimate theoretician, wrapped in birchbark scroll for armour. He was still the master of the cool shot, born of meditation and intellect; I was the poor guerilla. A Susiman universe was the opposite of mine.’

Asoca: A Sutra leaves the reader breathless with the full-bodied richness of Sealy’s prose, his trademark whimsy and his imaginative modern reconstruction of that enigmatic and brilliant ruler of the Indian subcontinent.

Immerse yourself in the prismatic wonders of a 19th century royal festival

Posted on September 13, 2021September 13, 2021 by prhi-dev

The Incomparable Festival (Musaddas Tahniyat-e-Jashn-e-Benazir) by Mir Yar Ali (whose pen name was Jan Sahib) is a little-known but sumptuous masterpiece of Indo-Islamic literary culture, presented here for the first time in English translation. This extended poem celebrates the royal festival popularly called jashn-e-benazir(the incomparable festival), inaugurated in 1866 by the Nawab Kalb-e-Ali Khan (r. 1865-87) with the aim of promoting art, culture and trade in his kingdom at Rampur in northern India. The task of commemorating the sights and wonders of the festival was given to the hugely popular writer of rekhti verse, that tart and playful sub-genre of the ghazal, reflecting popular women’s speech, of which Jan Sahib was one of the last practitioners.

The poem is a world album depicting various classes on the cusp of social upheaval ranging across legendary khayal singers, percussionists, and instrumentalists, courtesans, boy-dancers, poets, storytellers (dastango) and reciters of elegies (marsiyago). It brings to light their culinary tastes, artisanal products, religious rituals and beliefs, and savoury idioms, delineating identities of caste and gender in early modern society.

Read on to step into another, more colourful world from the past and immerse yourself in the chaotic, prismatic brilliance of the jashn-e-benazir.

A wine-girl from Aminabad, to Rampur have I come.

I am the only one whom his presence considers

welcome.

As for the others, on my appearance their allure has

become—

The difference between hellfire and light, O sweet

kingdom!

May he shower me with bounty every year and always!

The nameworthy Nawab may he survive always!

[31]

The train of us wine-girls will always be the rarest.

To the seat in the royal crimson pavilion we are nearest.

With hookahs made of gold and silver are we blest.

Sending blessings upon the rich, puff away the humblest.

We charge two gold coins for one fill of the hookah.

They come here to smoke, from the rajah to the fellah.

[32]

How well their stalls the moneychangers have decorated!

Gold and silver ornaments on sheets lie uncounted.

Without a fear of thieves, they are happily exhibited.

Heaps of rupee and gold coins lie everywhere deposited.

They are eager to raise loans of pice and cowries.

‘Come!’ they holler if you want to change your monies.

[33]

There the jewellers’ shops are, about which here’s the

statement:

Weighing precious stones, Mr Ruby-Pearls makes an

assessment.

Two brokers he has but their partnership causes some

bafflement:

Emerald says to diamond, about our value how can

there be agreement?

Madams Nose-Ring and Ruby some jewels have they

bought.

With the munificence of His Highness, gratis have they

got.

[34]

The drapers have their shops so well-carpeted,

That the satin sky observing them is impressed.

Such pieces of brocades and damask are on display

spread!

And bundles of golden lace lie about unwrapped.

All the fairgoers, whether from near or far, declare:

Pieces of muslin embroidery spread around a glare.

[35]

The status of each retailer is told by his ware.

All his ware from home is brought here to the fair.

At throwaway rates, a fixed price is tagged nowhere.

He doesn’t have to ask: how many would you care?

Well, when the nameworthy Nawab is recompensing,

What shopkeeper would not make a killing!

[36]

Abundance at no price is the fair’s condition.

A player beg for alms? That is out of the question.

With a smile on their face, each player shows perfection.

The prince is a connoisseur and they’re sure of his

appreciation.

The wheel of heaven stops with their magical tricks,

Turning a hide into a cat, and other feather-into-a-

pigeon tricks.

Introducing you to China Room’s Characters

Posted on July 22, 2021 by malika

In this unique tale of suppression and suffering the distinctive traits of the characters is what holds the attention of the reader and brings poignance to the narration. Here’s a quick look at the characters that make China Room the fascinating tale that it is.

China Room FC — China Room||Sunjeev Sahota

Mehar

Mehar is the first character we are introduced to in the book. She enjoys a life as carefree as any child until news breaks that she is to be married to a man she has never met at the age of 15. Following this marriage, she starts living in a small room with two other women. The three of them were married to three brothers in a single ceremony, but they cannot identify their husbands. Mehar constantly develops tests and theories despite the risk to determine which one is hers. Any questions related to the identity of the brothers are rebuffed, and Mehar soon discovers that all her efforts for clarity and independence only bring danger and threats.

Mehar is one of the two protagonists of China Room.

The Great Grandson

Fast forward to 1999 and an unnamed young man from the UK, lonely, alienated and isolated, ground down by the relentless racism (overt and hidden) and the violence of the life he has experienced, culturally estranged, finds himself in the throes of a heroin addiction. Despite knowing little of India, he finds himself in the family home in the Punjab to address his addiction prior to starting university. During his stay he meets a young local woman who he strikes up a friendship with and this changes the path his life takes thereafter.

He is Mehar’s great grandson and even though his story unfolds in less detail than hers, he is the second protagonist of China Room.

Mai

Mai, being a widow, is the matriarch and prototypical overbearing mother-in-law to three new brides. She is a hard and unrelenting task master to everyone she comes across including her own sons. She has sequestered the girls from contact with the men—except when she summons them to a darkened chamber at night in the hope that they become pregnant with a son. She is a tyrannical figure who makes everything about the young girls’ lives oppressive and hard, the work, the claustrophobic veils and small suffocating areas that they had to work in and sleep. She guards the identities of her sons from her daughters-in-law fiercely.

Harbans and Gurleen

The other two new brides that married into the family along with Mehar. Gurleen is a meek and diligent worker, while Harbans likes to grumble and banter. They, along with Mehar, spend their days doing chores. Mehar considers them both her sisters.

The Three Brothers

The three brothers, of which one is our protagonist Meher’s husband, are an enigma in this story. The author doesn’t reveal too much about them so they are as much of a mystery to the readers as to their spouses, but they seem to be detestable characters. They are described as individuals who are sweaty and carry strong odours, to the extent that it is their individual body odours that Meher uses to identify them. They work hard all day and physical labour is their main contribution to the family’s economy, but there is something quite despicable about their overt masculinity.

6 Quotes You Must Read on Gender and Sexuality

Posted on June 3, 2021June 3, 2021 by Penguin India

While many use religion to justify why they are being unfair to a person’s gender and sexuality, Devdutt Pattanaik in his books The Pregnant King and Shikhandi And Other Queer Tales They Don’t Tell You shows how mythologies across the world appreciate what we deem as queer.
Here are 6 quotes on what it means to be a man, a woman, or a queer.
What it feels to be a woman

Repercussion of Patriarchy

The meaning of queer in different mythologies

Should the queer hide or be heard like the thunderous clap of the hijra?

The functions of the forms

Traces of feminism in Hindu mythology

Read Devdutt Pattanaik’s The Pregnant King and Shikhandi And Other Queer Tales They Don’t Tell You and make sense of queerness and the diversity in society.

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