READER: The English Teacher by R K Narayan

Some times some books chose you rather than you choosing them to read. In the three years that I have been reading some lovely books through our 'Sans Serif book club' initiative, this book connected with me at deeper level. The tentative steps taken by R K Narayan - one of the Indian pioneers of writing in English, is endearing and courageous. 

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This book also connected well with all of us in the book club as some of the members have had the privilege to interact with R K Narayan personally while he was alive and gave us beautiful account of their interaction with the author himself. 

Discussing 'The English Teacher' at our Sans Serif Book club
@ Apparao Galleries

The story, seemingly a book about a life of an English Teacher, turned out to be more than a simple story of a person. It moved from being a persons account of tribulations of living to an account of three person's mortality and beyond in case of the death of the English teacher's wife. The connection beyond living, so lovingly brought out by R K Narayan, seemed natural and touching. Some times when we lose some one we love, the bonds remain, sometimes so strong that the person is not able to move on and that's what this story highlighted in its essence. That's the first loss in the book that made the English teacher look into his own life and living. Here I must note that it was one of the best writing skill of the author that even though the loss was immense, he was able to mention in such a subtle way, without the necessary drama of a loss that most of the authors succumb to, that I had to go back and read the lines to convince myself that the English Teacher's wife was really dead.

"After the car (doctor’s) had gone, a stony silence closed in on the house, punctuated by the stentorian breathing, which appeared to me the creaking of the hinges of a prison gate, opening at the command of a soul going into freedom." - R K Narayan in "The English Teacher"

The second loss was of perceived demise of the Head Master. In his going, he had prepared himself to rise above his own short comings and left his home to be reborn again as the teacher he was. Some times the enlightenment comes in different form and this was one the most powerful highlights of the book.

Finally, did the English Teacher die too? Well I will leave this question unanswered as I feel that this discovery is needed to be made by yourself - the reader.

I remember meeting Alexander McCall Smith in this year's Hindu Lit Festival, where he extolled the beauty of R K Narayan's writing and his lament still rings true that we, the Indians, don't appreciate the beauty and the power of an Indian Author's writing in English. I had promised myself after the discussion with him, to read his books and I am so glad that I did. It opened not only my eyes to an era, beyond Malgudi days, to the dirt track of villages, writing letters and making of an ink. A process my grandfather used to employ in my own childhood.

Alexander McCall Smith at Hindu Lit Festival 2016

The another beauty of R K Narayan's writing that comes out so powerfully in this book is the handling of flowering love - an under current that ran through the book so deeply that one wonder's why the new breed of authors have to resort to uncover a body to bring the excitement of love into love making. R K Narayan made love deeper than the river's flow that has breeched the banks. I loved it.

The mystical approach that he took to connect with his departed wife may sound far fetched but I was given to understand by the friends of the family - some of the members of our book club, is real. It seems so too to me. I have had many mystical experiences, while travelling in Himalaya with Sadhu's, Fakirs and wandering monks and could vouch for the connection of the spirits beyond the physical world. Even if it is not true, I personally feel that the experiences shared rings true.

Picture of actual transcendental writing from R K Narayan's departed wife

The best part of reading this book, along with the Sans Serif Book Club members is the fact that you get to hear different perspective, not only about the book, the story but about the author as well. I am so grateful to Prema Ma'am for the insights she gave of the Author, who she used to meet quite frequently in her younger days since he was a family friend.

One of the book club member even highlighted the way he started off with the book as cliched English writing and moved on to immensely powerful portrayal of quaint life.

But in the end, I felt that this was one of the book, in which you can see the transformation of the characters within the pages, growing out to be more fleshed, mature and powerful as the story progressed. What I could actually relate to, was the way the author's love life blossomed within the pages as she took over the day to day life within the house. 

An engrossing discussion at the Book Club @ The English Teacher

It is a beautiful book and if you have not read R K Narayan, not seen Malgudi Days on T V, then I think you should start with this book. 

Now I will leave you with a brief note about the Author and then share some of the words from the book that connected with me and I could relate to...

A Brief Note...

R. K. Narayan (10 October 1906 – 13 May 2001), full name Rasipuram Krishnaswami Iyer Narayanaswami, was an Indian writer, best known for his works set in the fictional South Indian town of Malgudi. He was a leading author of early Indian literature in English, along with Mulk Raj Anand and Raja Rao.

Image curtsy Wikipedia

Narayan's mentor and friend, Graham Greene was instrumental in getting publishers for Narayan’s first four books, including the semi-autobiographical trilogy of Swami and Friends, The Bachelor of Arts and The English Teacher. The fictional town of Malgudi, was first introduced in Swami and Friends. Narayan’s The Financial Expert, was hailed as one of the most original works of 1951, and Sahitya Akademi Award winner The Guide, was adapted for film and for Broadway.

Narayan highlights the social context and everyday life of his characters, and he has been compared to William Faulkner, who also created a similar fictional town, and likewise explored with humour and compassion the energy of ordinary life. Narayan's short stories have been compared with those of Guy de Maupassant, because of his ability to compress a narrative. However, he has also been criticised for the simplicity of his prose.

In a career that spanned over sixty years, Narayan received many awards and honours, including the AC Benson Medal from the Royal Society of Literature, the Padma Bhushan and the Padma Vibhushan, India's third and second highest civilian awards. He was also nominated to the Rajya Sabha, the upper house of India's parliament.

Curtsy Wikipedia

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Some Thoughts and Quotes from the Book - The English Teacher

Sans Serif Book Club Members @ Apparao Galleries

I loved this room because the sun came through a ventilator, bring in a very bright beam of light, and brilliant dust particles floated in it, and the two boys who sat on the second bench looked all aflame.

My father’s letter brought back to me not only the air of the village and all my childhood, but along with it all the facts …

[God said to his assistants, ‘Take this man away to hell’ and they brought him down to the hostel bathroom passage, and God said, ‘torture him’ and they opened the room and pushed him in…]

She watch these containers (carrying rations for the month) as a sort of barometer, the level of their contents indicating the progress of the month. Each had to be at a particular level on a particular date.

There are no more surprises and shocks in life, so that I watch the flame without agitation. For me the greatest reality is this and nothing else…. Nothing else will worry or interest me in life hereafter.

Our nature adapts itself to circumstances with wonderful speed.

Tree twigs have a sense of humor and adopt funny shapes. I think it is one of Nature’s expressions of humor, if only we can see them that way….

It gives on the feeling that it is a place belongs to Eternity, and that it will not be touched by time or disease or decay.

A man takes to drink to forget sad thoughts, but after a while they return with gathered force.

She sees me and perhaps takes in naturally, since children spontaneously see only the souls of persons. Children see spirit forms so often that it is natural to their condition and state of mind.

When I watch them (children), I get a glimpse of some purpose in existence and creation.

For all of us, our possessions turn to mementoes.

Between thought and fulfillment there is no interval. Thought is fulfillment, motion and everything. That is the main difference between our physical state and yours. In your state a thought to be realised must always be followed by effort directed towards conquering obstructions and inertia - that is the nature of material world.

The law of life cant be avoided. The law comes into operation the moment we detach ourselves from our mother’s womb. All struggle and misery in life is due to our attempt to arrest this law or get away from it or in allowing ourselves to be hurt by it. The fact must be recognized. A Profound unmitigated loneliness is the only truth of life. All else is false.

The kitchen is the deadliest arsenal a woman possesses.

This education had reduced us to a nation of morons; we were strangers to our own culture and camp followers of another culture, feeding on leavings and garbage.

Success must be measured by its profit-less-ness, said a French philosopher.

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Shashi 

ॐ नमः शिवाय

Om Namah Shivaya

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Key to Sculptures of South India - by Heritage Vigilante Vijay Kumar

A four lecture series by  famous Heritage vigilante - Vijay Kumar, organised by Apparao Galleries

Over the years of my association with Apparao Galleries, specially with Chennai’s leading cultural activist, Sharan Apparao, I have learned a lot about South Indian heritage and culture. Outreach programs of Apparao Galleries connected me with stalwarts of various art and cultural streams of India. I have gained valuable insights with lecture series of Dr. Chithra Madhavan, Dr. Anita Ratnam etc., which otherwise would have taken a lifetime to understand. The lecture series on the Sculptures of South India was one such opportunity, in which Mr. Vijay Kumar - based out of Singapore, took us on an exquisite historical journey among beautiful stone and bronze sculptures.

1000 years old stolen Ardhanareeshwar
Sculpture from Tamil Nadu
Image Curtsy The Hindu

The unassuming Vijay Kumar, whose soft demeanor hides the passion and the perseverance with which he goes after the smugglers of our Art and Heritage artifacts, across the world. You will not even suspect that he is the passionate vigilante, who had worked in close co-ordination with ‘The Indiana Jones’ of Homeland Security Investigation - USA, Special Agent Brenton Easter to bring back home several artifacts along with the Prime Minister Modi on his return from USA recently.  Vijay Kumar, over the period of last 10 years, has been instrumental in creating great awareness of our sculptural heritage through his page on Face Book - 'Poetry In Stone' in addition to being the prime mover in repatriating the stolen sculptures to India, through his online vigilante platform - India PrideProject.

During the four lecture series, spread over two days (11-12th June, 2016), we learned the various methods employed by the smuggling gangs, the subterfuge and the connivance of various dealers and warehouses. But this post is not about that, as they are all widely reported across the mainstream newspapers etc. (You can find few here). I am going to focus about certain keys that Vijay gave us to understand the value of our heritage, the exquisite beauty of our ancient craftsmenship and share some of the keys to know the period of the sculptures we all see, as we go on our pilgrimages, spiritual outings and on meditation trips.

I have been on a lot of spiritual treks in Himalaya, South India, even in North Indian Buddhist circuit and whenever I come across the sculptures, Idols and deities in the dark enclaves of sanctum sanctorum, I always felt them to be enveloped in mystery, beyond an invisible boundary that separated us.  Not to be touched or explored with enquiring eyes, but they were out there, ensconced in devotion and spiritual energy, to be watched from a distance with reverence. I always wandered around the temple premise, keenly looking at the various sculptures dotting the place, trying to figure out what they are trying to tell me in their exquisite but mute postures. I always wonder about the history behind those beautifully carved eyes, or how the standing three-inflexion point pose came to be? Why there is a clear difference between two sculptures standing next to each other? And as the four lecture series came to an end, things begin to fall in place and some hidden insights were unlocked.

 
So here I am sharing some of the keys to understanding the South Indian Sculptures, I have had gathered from the session. Hope it will also help you to unravel an exquisite past as you walk around a Heritage site across South India.

 

A) Evolutionary style

Pallava Period sculpture is a free form work of art.

Early Chola sculptures were in a set style, that used to be replicated across the south Indian Peninsula.

Late Chola  period sculptured developed more intricate form of carving and casting. They were more Ornamentally decorated with intricate details and carving, with Karanda Mukuta, Ratha Patta, Kundla, Skand Mala etc.

Image curtsy The Indian Pride Project - Vijay Kumar

B) Attributes of Sculpture

As Vijay Kumar explained, in order to understand an idols identity and /or period it comes from, the first thing to do is to look at the various postures the sculpture displays. See what attributes it has, especially what are the things it carries in the various hands. All these attributes unravel the place, the period and the mythological background it comes from. It is very important to understand that the mythological stories play an important role in understanding and identifying a sculpture, as most of the time a simple panel will depict a full mythological story.

Some of the key attributes and signs to look for in a sculpture.

Image Curtsy The India Pride Project - Vijaya Kumar

a) A head crown is a sign of Gods

b) Matted Locks depicts Lord Shiva

c) If the Sacred Thread goes over elbow is most of the times indication for Pallava Sculpture

d) Usually a single anklet is sign of Kings

e) Deity’s hands are usually shown in Abhaya, Kartari, Simha, Karna, Sukhasana

Dhanur Hasta, Ardha Chandra Hasta forms.

e) Four hands separating at Elbow depicts early Pallava period while, if they are separating at shoulders depicts at Chola period sculptures.

f) Shiva has antelope in one hand.

g) Usually the in the Chola Period, the rings are shown worn in 2nd phalanx of fingers

g) Ajana Bahu i.e. long hands, reaching or crossing knees in sculptures usually a sign of King.

h) Hair curling at the back is often from late Chola period

i) A pot of fire in the hands of the deity was depicted up to 9th century, later it turned into fire without a pot.

j) Concept of triple flexion at the style of standing posture of idols.

 

C) Height, Eye length and Forehead size of the sculptures.

Image curtsy The India Pride Project - Vijay Kumar

Vijay suggested in the lecture that as the artisans and tools developed of their trade, their sensitivity and expertise also changed toward creating those exquisite sculptures.  Starting from bare stone structures, they moved to creating more artistic and detailed postures. He said that even creating a panel in type of 2 - dimensional structure, they were able to give 3-D feeling, as he gave an example of the feet being fully formed, shown in the panel from the back, unlike the ancient European stone sculptures, where the feet and the body were usually depicted straight and facing forward.

i) Classic Chola deity’s face is long  and thin. The crown is more conical and ornamentally decorated (1000 AD Bronze Idols.)

ii) While Chola period (1200 AD) sculptures have a more boyish face and have small but much more pronounced conical crown.

3) Tell Tale Signs

During the lecture series, I have a small list of some signs that will identify a sculpture with certain amount of surety.

i) Right chest having an inverted triangle, depicts Lakshmi on Vishnu Idols on early periods and a fully formed Lakshmi on the later period of bronze idols. While Shiva gave his half of the body to Parvati

ii) Human deity always have two hands apart from Purushotam Rama, incarnation of Vishnu as the perfect human being.

iii) Lord Shiva is never shown with folded hands as in praying.

iv) Any aspect of Shiva as Bhairava is depicted with fangs, while in rare places as Dakshinamurthy, Shiva has been depicted with fangs.

v) Agni is with three legs, 2 heads and 7 hands

4) How to know that a sculpture is an old idol

Vijay gave us a practical tool to identify authenticity of a sculpture, “if by some miracle the temple priest allows you to do, what I am going to tell you”. He said that the maximum bronzes tend to loose their cherubic charm over the years, so to identify an old sculpture, first wash your hand, pray and then if allowed feel the face of the idols, you will have soft feeling of the face. It is because, as over the centuries of care of the idol by the temple priest, brushing the idols with soft tamarind to anoint and decorate the idols, it gives that ‘soft feeling in the face’ effect.

At the end of the lecture, I realised that the reason Vijay is known in the Heritage circles as a fierce vigilante, is the fact that he has a deep-rooted pride for our ancient heritage and culture in his heart. He abhors the way these gangs are operating with impunity in India. So almost a decade back he set about what he can does best. He started talking about it in various seminar, exposing these people on his social media platforms and online communities, and educating people to know the value of safe guarding our ancient monuments and sculptures. He created and manages a great online community of vigilante’s like him, called “The India Pride Project”. Please do join if you are interested in the same.

 

Vijay and me at Apparao Galleries - Chennai

When I asked to take a picture along with him, he said that it is quite dangerous to have a picture with him as many ‘not so good’ people watch him all the time. Well this is my one small step to end ‘not so good’ people’s story. Hope you have enjoyed it.

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Shashi 

ॐ नमः शिवाय

Om Namah Shivaya

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