I was reading Cuckold over the weekend. I had just been to Strand Book exhibition and picked up more than a handful of books. I had left out Cuckold out of consideration for my already-exceeded budget. But one is always more eager to read the books that one didn’t buy. So it was with Cuckold. I was able to lay my hands on the book within a week at the library and started reading it, even while all the books that I had bought moved away from my bedside to the book shelf.
Not many people will write a review on a half-read book (or do they, one can’t be sure in such things). But I can’t wait to write this post till I finish the book. And the point is not to write a review for a 10-year old book, it is to make my point. So here I go.
The book is gripping. There is absolutely no doubt about that. It has a charm that only historicals can reproduce. And it is much more than a historical. Probably something more on the lines of War and Peace in terms of its philosophical content in the face of war or a Lord of the Rings in bringing a new world in front of your eyes. Ever since I ‘graduated’ to read heavy modern literary works, such a book is a rarity.
It again raises that taboo question in my mind. What is the objective of a novel? What is more important – form or content, style or story? There are so many books (that are part of most Top 100 lists) that I have read with admiration for the linguistic and creative skills of the author, almost usually at a snail’s pace. The story doesn’t drag you in – you are always outside it, looking at it in awe of the author. I have been reading Joyce’s Ulysses for the last four years – it challenges my intellect but doesn’t satiate my yearning for a story.
Cuckold is different. I was taken back to my school days when I always wanted to finish any book in a single sitting, how muchever long that sitting took. The days when a Dickens or Scott or Stevensen or Kalki was able to take me along with them to a bygone era. Kiran Nagarkar has been able to do that to a much more intellectually-demanding adult mature reader. (And I am demanding – I can’t read a Sidney Shelton or Jeffrey Archer anymore.)
There are enough innovations in language, style and form. I don’t think anybody has ever attempted to tell a historical tale so authentically using contemporary language. Sometimes it reads like an Eliyahu Goldratt bestseller or a Dilbert strip. I completely buy into his point. We dont know for sure what kind of language was used by historical characters in their converations – we might as well stop speculating and write in contemporary style. This approach has given the author unlimited liberty and he has been to tear away all shackles that a historical novel can impose on his writing.
It is interesting to think from the viewpoint of the husband of Meera, who was insanely in love with a God. History has been kind to her. She has been immortalized because of her love for God. But spare a thought for the man who married her. She was in love with someone else even if it was a God. She was persecuted by the family for not acting like a royale? But for the man, what would have been more important was that she didn’t love him. ‘We can exorcise the devils, how do we get rid of a god’ is what the protoganist would have thought and that is what he thinks in this book (so far!).
I had to tear myself away from the book to come to office and now I am itching to go back home to hear more from Mewar.
I think that is the real success of an author. The reader should be yearning to go back to finish the book. Such books stand the test of time. I think this book will.
Books unread
December 26, 2007Everytime I step into a bookstore – and that is quite often, I have to buy something. The urge is insurmountable. The books, thus accumulated, are lying in a cluttered book shelf waiting to be devoured by me one day. If you judge me by the books that I have, I must be a voracious reader with delectable literary taste. Voracious reader, I once was. My delectable taste cannot be disputed either – it is something that I pride myself on. Unfortunately, my reading has not kept pace with the longingness to read. Lost in the corporate world, busy fighting everyday battles and recuperating when not busy, it is not easy to read. The more exotic one’s taste gets, the tougher it is to satiate it with a quick read. Most good literature deals with depressing topics and a depressing literary voyage is not the ideal recipe for a weekend rest for a mind already ravaged throughout the week.
However, little by little, I do get to undertake those literary voyages once in a while. In sudden spurts of inspiration or desperation (when I see a mountain of books that I have bought new), I manage to cover good ground. The latest books to be converted from my ‘books unread’ column to ‘books read’ catergory are two ‘Indian’ books – Identity and Violence by Amartya Sen and Khushwant Singh’s Train to Pakistan.
Amartya Sen’s book was a new attempt for me. I have never been a great reader of non-fiction outside of newspapers and magazines. This book told me why. It is a great book, no doubt. I agreed with most of what he said and there were some deep insights which leave a lasting mark on you. But, the book could have been compressed into a quarter of what it is – there is so much repitition of ideas that can help you pass an exam on the book. Amartya’s core philosophy or theory is intriguing – famines are caused not because there is not sufficient food for everyone but because sufficient food is not (made) available for everyone. Democratic governments, however irresponsible they are, will prevent famines to a great extent. Having seen Krishna and Chandrababu Naidu governments getting toppled because of farmer suicides, one has to agree with this view. Democratic societies will not allow people to die of hunger even while being blind to millions living with hunger.
Amartya also touched on the woes of partition. Khushwant Singh painted a complete picture in his novel. A very powerful story, simply told – interspersed with a few unnecessarily explicit narrations of sexual encounters (one must expect this in a Khushwant Singh book) and commentary on India (for the Western readers). A linear story told without plainly any jugglery of literary techniques. Raises questions on whether literature has been lost to technique in the last century. Even for my ‘delectable’ literary taste, a powerful story based on real life, narrated in a simple style, does have its attractions.