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The Great Indian Novel, by Shashi Tharoor, Shashi Tharoor
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The Great Indian Novel takes its title not from the auther's estimate of its contents but in deference to its primary source of inspiration, the ancient epic the Mahabharata.
- Sales Rank: #1016255 in Books
- Published on: 1989-04
- Original language: English
- Number of items: 1
- Dimensions: 7.76" h x .98" w x 5.04" l, 1.10 pounds
- Binding: Paperback
- 423 pages
From Publishers Weekly
The delightfully suspect and satirical tone of Tharoor's title informs and enlivens his monumental tale. In an opening disclaimer, the author cites the Mahabharata , an ancient Hindu epic, as the source of his inspiration. The story he retells, however, is also a thinly veiled account of the people and events that shaped India during the struggle for independence from British rule. Tharoor recasts these in a mythological, fictive realm, skillfully interweaving elements of traditional Eastern and Western literature. The epic, the sonnet, the novel and the folk tale all help to shape the narrative, just as history and myth, dream and reality intertwine in every chapter, calling into question the validity of categories. "One must be wary of history by anecdote," warns the narrator; one must be wary of "history" itself, suggests Tharoor. Despite his stereotypical treatment of British and Indian characters, he animates history with the imagination of an artist and the philosophy of a sage. Throughout, Tharoor appropriates titles, phrases and figures from the work of a pantheon of "first-world" writers, ranging from E. M. Forster and Rudyard Kipling to Ernest Hemingway and Arthur Koestler (and even including his contemporary Salman Rushdie)--a subtle but potent reversal of the traditional tide of cultural colonialism.
Copyright 1991 Reed Business Information, Inc.
From Library Journal
Basing his convoluted story on the Mahabharata , with its 18 chapters or Parvans and similar incidents or characters (e.g., a blind king; five brothers sharing one wife), Tharoor coalesces myth, dreams, folklore, religion, and legend in this first-person, near-death life narration of Ved Vyas. The reader suspends disbelief as the garrulous old man omnisciently relates secret conversations, lustful couplings, the assassination of Ganga Data (read Ghandi), and the intimacies of Lord and Lady Drewpad (read Mountbatten). Overambitious Tharoor amalgamates the epic's components with India's freedom struggles with Great Britain. Intermittently humorous, satiric, and fantastic, with word-play and recurrent verse, this work is most effective when discussing Data/Ghandi: his enemas, celibacy, hunger strikes, and tragic failure to bring peace and well-being to India, where today corruption and double-dealing insidiously multiply.
- Glenn O. Carey, Eastern Kentucky Univ., Richmond
Copyright 1991 Reed Business Information, Inc.
Review
“
Shashi Tharoor’s first novel ranks him with political satirists such as Skvorecky, Aksyonov, Voinovich, Fuentes.
” (Washington Post Book World)Most helpful customer reviews
0 of 0 people found the following review helpful.
A great novel.
By Tarun Gudipaty
Love the book. This is my second copy as I left my original at home with my parents. A must read for anyone interested in Indian politics. Tharoor is one great writer.
0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
Great book
18 of 19 people found the following review helpful.
Nothing new under the sun.
By Patrick Carroll
For me, the book works in a number of ways:
1. Recasting the Mahabharata into modern India.
Two bits struck me: the story of Karna, the driver's son, and Drona teaching the Panduva. The first because of the way personal brilliance can be discounted on the basis of family tree; the second for the retelling of aiming at the crow and Drona's promise to Arjuna.
2. The names.
Apart from the characters from the Mahabharata, there's also whole new cast of characters who reflect the modern world. Two names stand out in my mind. "Gaga Shah" is the story's name for the Aga Kahn. Given the antics of the various Aga Kahns, "Crazy Emperor" is not a bad characterization. Then there's Zinna as Karna - "The Hacker Off" - hacking off Pakistan - "Karnistan" - for himself.
3. Showing the relevance of myth.
Personally, I have a tendency to discount the mythos in favor of the logos, but mythos comes first, and recurs. Casting the Mahabharata onto modern history is a great way to show there's nothing fundamentally new under the sun.
This book made for a great over-Christmas, by-the-fire-with-an-adult-beverage read.
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