During my childhood, I used
to read one of the greatest of Indian epics, the
Mahabharata, in Telugu, as a comic-book in black-on-white (Balala
Bommala Bharatamu - బాలల బొమ్మల భారతము). I lost count of how many times I read it, never getting
satiated.
There were heroes,
there were villains, there were heroines, there were Gods and angels; all
characters clearly etched, leaving no room for doubt. The Pandavas were the heroes, despite the subterfuges they indulged in,
in the name of dharma. The Kauravas were the villains, despite the
noble acts they committed. The heroines were chaste, despite being promiscuous,
power-hungry, and polyandrous. No questions asked. No answers given.
Right through my life,
from childhood until now, I have been hearing people - erudite savants - categorise the Indian epic, the Mahabharata, as the treatise on politics and power, but I have never looked at it
from that angle, having accepted the “uncritical conventional renderings of the
epic” handed down from generation to generation.
It is in this back
ground and mindset that I read the book “Ajaya
Book I – Roll of the Dice” by Mr. Anand Neelakantan.
How do I find it?
Simply, brilliant.
The language is
flowery, as is befitting the epic that it is. The descriptive prose is
meticulous with an uncanny eye for detail. The storytelling is masterly, making
the book a compelling page-turner. Well, all this is in the realm of the
mundane. Is it controversial? Of course it is. The angle from which he looks at
the epic makes it so - from the “villain’s” point of view. “Nothing succeeds like success,” is the
adage. It was true in Dur(Su)yodhana’s case. It is true today.
However, the greatest
achievement of the author is the demythologising of the characters, the
significant incidents, and the story itself. I see that a lot of research has
gone into the work. The power play, the caste equations, the class prejudices,
the political manoeuvres, the interpretation of raja dharma by various players to suit their needs, have all been
brilliantly depicted through the narration, giving the reader a glimpse of the
goings-on behind the royal curtains. This has unequivocally exhibited why this
great epic is still topical.
One issue that is a
little jarring (to me) is the frequent references to India as one united nation
during the ancient Mahabharata times;
the ancient name of Jambu Dweepa or Bharata Khanda or Bharata Varsha might have been more appropriate. This, along with
some modern-day expressions and grammatical errors, mentioning which will be
inappropriate in the context of the excellence of the work, are the minor
faults I could see.
I congratulate
Leadstart Publishing for bringing out this excellent work and the author for
creating it.
I wish Mr. Anand Neelakantan would, even if temporarily, loan
me his magical literary quill.