The forest of stories: A review

The background

It can be safely stated and assumed with confidence that no other story captures the imagination of Indians across caste, class, region, religion and borders like the Mahabharata. The sheer range of books, films, television serials, critiques, essays, poems, theatre adaptations, folk dances and performances based on this epic are a mind-boggling testimony to this. Each version brings with it the claim that it is a fresh re-telling or re-interpretation of the Mahabharata, a claim that is true to a certain extent. Each author/poet/director/singer/dancer brings a perspective to the story that is uniquely his/her own in their narration. And yet, each re-telling retains the essence of the story that is the Mahabharata.

Ashok Banker, the latest writer to come out a re-telling of the Mahabharata, is very clear that his version is not a “religious polemic”, or a “historical document” or “itihasa”. It is just a great story told in his voice, a story that he wanted to narrate all his life.

This is simply the Mahabharata of Krishna Dweipayana Vyasa retold by one man.

That man is me, of course. (p.xix)

The book review

The Forest of Stories (Westland, 2012, pp. 352 + xxii, Rs.295/-) is the first of 18 books in the Mahabharata series of Ashok Banker, who prefers to call it the MBA series ! The book is divided into 9 sections or pakshas, and each paksha is further sub-divided. In addition, there is an introduction to the series/book as well as acknowledgements and some information on the forthcoming two books in the series.

The book begins with the arrival of Ugrasrava Lomarsana (also known as Sauti) at Naimisha-sharanya, a school of learning and meditation for young brahmins, which is located deep within the bowels of the hostile and dense forest, Naimisha-van. Sauti is a renowned kusalavya or wandering bard whose renditions of poems and stories and epics have made him famous all over the land. His arrival sends the ashram residents, students and teachers alike, into a tizzy of hope: that they will be fortunate to hear Sauti narrate the epic poem Jaya.

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Puranic tales for cynical people and humour for all

How often do you pick up a book on the basis of its title? I do that sometimes, often to be disappointed. But Puranic Tales for Cynical People (Indialog, 2005), written by Parashuram and translated from the original Bangla by Pradip Bhattacharya and Shekhar Sen, was an exception. I purchased this book in 2005, read it from start to finish, and loved it so much that I was all set to read it a second time. That never happened, and after a while it got shelved with my other books, hidden but not fully forgotten.

Until recently, that is. My brother unearthed it recently during a raid on my bookshelves in search of some reading material. Thanks to him, I was able to once again delight in the book’s sometimes light, sometimes acerbic, and sometimes irreverent humour.

Parashuram was the pen name of Rajsekhar Bose (or Basu, if you please) (1880-1960). Under this nom de plume, he wrote a 100 short stories, which were published in 9 collections. Twenty of these stories have been put together in this collection of Puranic Tales for Cynical People by the translators.

The basic premise of most of these stories revolves around the intriguing possibility of placing “well-known characters from the Puranas in situations that might have been”. In other words, they cater to the question of what happened next or a behind the scene narration of a famous story or incident. For example: what happened to Surpanakha after the Ramayana? Did the celibate Hanuman ever consider matrimony? Did Vishwamitra and Menaka always have a lovey-dovey relationship? Do apsaras always stay young?

In the process, Parashuram pokes fun at everybody—from the Creators (Hindu, Christian and Muslim) themselves, to venerable sages and other characters that any reader who is even reasonably acquainted with Hindu mythology will be able to identify and relate to.

Some of the lesser known characters that Parashuram breathes life into are Yayati (‘Yayati’s Senility’), Revati (‘Revati Gets a Husband’) and Maharishi Jabali (‘Jabali’). Two of the stories actually make caricatures of two of the crankiest,  hot-tempered and feared sages—Durvasa (‘Bharat’s Rattle’), and Vishwamitra (‘The Clay Girdle’).

Two stories explore the possibility of what happens when (i) the creators of the world’s 3 main religions meet (‘Three Creators’); and (ii) the 7 immortal men from the Puranas meet—Ashwatthama, Vyasa, Hanuman, Vibhishana, Kripacharya, Parashuram (the sage that is, not the author), and the Daitya king, Bali—at ‘The Gandhamadan Conclave’. Both these stories are absolutely delightful. While the former hits out at the claim of comparative superiority of one religion over others, the latter story emphasises the fact that all wars are essentially unfair.

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The doubly inspired ‘Rajneeti’

 Rajneeti…—an intense course in ancient Hindi. If d film is a bouncer just remember Godfather and put things in perspective…

I received this text message from my friend Shalini, who watched the film the day it released.

Source: Wikipedia

The Godfather angle was a new one, as all reviews and speculations about Rajneeti was that it was based on the Mahabharata.

Now I had to see this doubly inspired film. So off I went to see Rajneeti.

And…?

 

The first half was well-paced, had some strong  characterisation, and kept me hooked. All this of course changed in the second half. It was downhill all the way, particularly the dialogues.

In fact, I would say that the dialogues are the biggest drawback of the film. I did not have a problem with ‘ancient hindi’, as Shalini had, as it fitted in well with the geographical area that the film is based in. My problem was that the dialogues did not match the character who spoke them. For example, Katrina Kaif’s character suddenly changes from speaking ‘regular Hindi’ to ‘ancient Hindi’.

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