The success of Amish Tripathi’s abilities to combine history, fiction and modernity in a haunting mythical space with the Shiva trilogy has opened avenues for his latest release, The Scion of Ikshvaku . His knack of taking fictional liberties with mythology has earned him acclaim and brickbats alike. Yet he doesn’t part with his trademark in this book too.
In this, his liberties have extended to the portrayal of Manthara as a successful businesswomen over a dasi, emphasising the implementation of policies in the Saptasindhu region. His women characters have anyway been strong figures but here he paints them in a fresher perspective altogether.
“I grew up idolising women: my mother, sister and now also my better half. Generally, their representation is more true-to-life with regard to the way they lived, in the past. In fact, there’s adequate proof of 30 Rishikas in the Rig Veda,” he says adding that Lakshman Rekha, contrary to popular belief, didn’t really exist in Valmiki’s Ramayana and is a myth that developed over ages.
His works have consistently featured the rise and the doom of many masculine and feminine civilisations, which, he confesses, have their own share of strengths and weaknesses. “This, more than the gender, is about the ways of life. While masculine kingdoms have their focus set on laws, order and justice, the feminine side brings to the fore freedom, passion and beauty,” Amish elaborates.
With the Shiva trilogy and in the placing of Hanuman, how did the characterisation of Nagas, especially with the thread surrounding the physical deformities, evolve? “I’m a lover of science. I was going through a scientific journal about the use of a drug, thalidomide that helped women overcome morning sickness during their pregnancy phases. This, however, selectively caused a series of deformities in children with the legs, hands, arms and many other parts of the body. The result stuck in my mind for quite a while,” he reveals.
Speaking about the much debated good-evil transition, he points to references from the past averring, “In the past, things were quite nuanced and the demarcation wasn’t direct. Even in the Amar Chitra Katha, you see Asuras being portrayed as someone dark, short and Suras as tall, fair which weren’t the case in actuality. There’s a contradiction when you talk about Ravana’s portrayal in Valmiki’s Ramayana and the Ram Charit Manas. Krishna too then, whose name itself signifies skin colour, was also another name of Draupadi. Varuna, in a different context is also an Asura. The transition was gradual, but it’s tough to project when the differences were out in the open.”
Last year Karan Johar announced his intent to adapt The Immortals of Meluha for a film. So, did the move give any element of cinematic turn to his latest book? “I never think of those aspects, or even my readers when I write. I’m in a parallel zone in such situations, which I also believe is a blessing. I’ll go about it only the way it comes to me,” he assures.
