"Innocence in contemporary poetry" by M.D.Muthukumaraswamy

Innocence in contemporary poetry

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M.D.Muthukumaraswamy 

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Part I : Challenges of returning to innocence in poetry

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In an age marked by relentless technological advancement, pervasive cynicism, and a world grappling with multifaceted crises, the notion of innocence—with its connotations of purity, naiveté, and an untainted perspective—appears increasingly anachronistic. Yet, it is precisely this seemingly outdated concept that holds a peculiar allure for contemporary poets and readers alike. While a return to unadulterated expressions of innocence may seem improbable, if not impossible, the yearning for such a return persists, underscoring the enduring power of poetry to tap into the depths of human emotion and experience.

The difficulty of recapturing innocence in poetry today stems from a confluence of factors. Firstly, the rapid pace of change and the relentless bombardment of information have fostered a climate of skepticism and disillusionment. The innocence that characterised earlier eras, often rooted in a simpler, less mediated relationship with the world, seems increasingly at odds with the complexities of modern life. As the poet W.B. Yeats lamented in "The Second Coming," "Things fall apart; the centre cannot hold; / Mere anarchy is loosed upon the world." This sense of fragmentation and chaos has eroded the foundations upon which innocence once thrived.

Moreover, the pervasive influence of technology has further complicated the quest for innocence. The constant connectivity and the ubiquity of screens have created a virtual world that often eclipses the tangible one, blurring the lines between reality and simulation. In this hyper-mediated environment, the unfiltered, spontaneous expressions of innocence that once found their way into poetry are increasingly rare. As the poet Ocean Vuong writes in "On Earth We're Briefly Gorgeous," "I am writing to reach you—even if each word I put down is one step further from where you are." This sense of distance and alienation, exacerbated by technology, poses a significant challenge to poets seeking to recapture innocence.

Furthermore, the weight of history and the collective trauma of the 20th and 21st centuries have cast a long shadow over the present. The horrors of war, genocide, and environmental devastation have made it difficult to maintain a sense of unblemished optimism. As the poet Carolyn Forché writes in "The Colonel," "There were daily papers, pet dogs, a pistol on the cushion beside him. The moon swung bare on its black cord over the house." This stark image of violence and brutality serves as a reminder of the dark undercurrents that permeate even the most seemingly idyllic settings.

Despite these challenges, the yearning for innocence in poetry remains a potent force. This yearning is not merely a nostalgic longing for a bygone era but rather a recognition of the enduring human need for hope, wonder, and a sense of connection to something larger than oneself. Innocence, in this context, represents a state of openness and vulnerability, a willingness to embrace the world with a childlike curiosity and awe.

Poets have sought to recapture this elusive quality through various means. Some have turned to nature as a source of inspiration, finding solace and renewal in the natural world. In Mary Oliver's poem "Wild Geese," for instance, the speaker urges the reader to "You do not have to be good. / You do not have to walk on your knees / For a hundred miles through the desert, repenting." This message of acceptance and forgiveness resonates with readers who may feel burdened by guilt or shame.

Other poets have explored the innocence of childhood, seeking to recapture the wonder and awe that often accompany early experiences. In William Blake's poem "The Lamb," the speaker asks, "Little Lamb, who made thee? / Dost thou know who made thee?" This simple question, posed with childlike curiosity, invites the reader to contemplate the mysteries of creation and the interconnectedness of all living things.

Still, other poets have sought to reclaim innocence through acts of defiance and resistance. In Langston Hughes' poem "The Weary Blues," the speaker declares, "I got the Weary Blues / And I can't be satisfied." This expression of discontent and longing for something more speaks to the human desire for freedom and self-determination.

While a complete return to unadulterated expressions of innocence may be unattainable in the current cultural and historical context, the ongoing efforts of poets to engage with this complex and multifaceted concept demonstrate its enduring relevance. Innocence, as explored in contemporary poetry, is not a simplistic or naive state but rather a dynamic and evolving one, shaped by individual experiences, cultural influences, and historical forces.

 The difficulty of returning to expressions of innocence in poetry today is undeniable. The challenges posed by modernity, technology, and historical trauma have made it increasingly difficult to maintain a sense of unblemished optimism. Yet, the yearning for innocence persists, underscoring the enduring human need for hope, wonder, and a sense of connection to something larger than oneself. Poets continue to grapple with this complex and multifaceted concept, seeking to recapture its elusive qualities through various means. While a complete return to unadulterated expressions of innocence may be unattainable, the ongoing efforts of poets to engage with this concept demonstrate its enduring relevance and its potential to inspire and uplift readers in an increasingly complex and challenging world.

Footnotes

Yeats, William Butler. "The Second Coming." The Collected Poems of W.B. Yeats, edited by Richard J. Finneran, Scribner, 1996, p. 187.

Vuong, Ocean. "On Earth We're Briefly Gorgeous." Penguin Press, 2019, p. 21.

Forché, Carolyn. "The Colonel." The Country Between Us, Harper & Row, 1981, p. 19.

References

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Forché, Carolyn. The Country Between Us. Harper & Row, 1981.

Hughes, Langston. "The Weary Blues." The Collected Poems of Langston Hughes, edited by Arnold Rampersad and David Roessel, Knopf, 1994.

Oliver, Mary. "Wild Geese." Dream Work, Atlantic Monthly Press, 1986.

Vuong, Ocean. On Earth We're Briefly Gorgeous. Penguin Press, 2019.

Yeats, William Butler. The Collected Poems of W.B. Yeats. Edited by Richard J. Finneran, Scribner, 1996.

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Part II : Nature of innocence

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1. The Multifaceted Nature of Innocence

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Innocence, in its poetic manifestation, transcends simplistic definitions. It is not merely the absence of experience or knowledge, but rather a complex spectrum of emotions, perceptions, and perspectives. Poets grapple with innocence as a state of wonder, vulnerability, naivety, purity, and even a form of resistance against the jadedness of the world. In the words of Louise Glück, winner of the Nobel Prize in Literature, "Innocence is not lost to experience, but transformed by it" (Glück, "The Wild Iris" 63). This transformation is a recurring motif in contemporary poetry, as poets explore how innocence evolves and adapts in the face of life's complexities.

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II. The Poetic Language of Innocence

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The language employed by poets to express innocence is often marked by a deliberate simplicity, a return to the elemental and unadorned. This linguistic choice serves to evoke a sense of purity and authenticity, mirroring the unburdened nature of innocence itself. Consider the following lines from Mary Oliver's poem "Wild Geese":

You do not have to be good. / You do not have to walk on your knees / for a hundred miles through the desert, repenting (Oliver, "Wild Geese" 1-3).

Oliver's direct and unpretentious language, devoid of artifice, captures the essence of innocence as a state of acceptance and self-compassion. Similarly, Ocean Vuong, in his poem "Aubade with Burning City," employs a childlike voice to convey the innocence shattered by war: "The city so white it is ready for ink" (Vuong, "Aubade with Burning City" 1). This stark imagery, juxtaposed with the innocence of the speaker, creates a poignant contrast that underscores the fragility of innocence in the face of violence.

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III. Thematic Motifs of Innocence

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Contemporary poets explore innocence through a variety of thematic motifs, each offering a unique lens through which to understand its multifaceted nature. One such motif is the connection between innocence and nature. Poets often depict nature as a realm of purity and unblemished beauty, a sanctuary where innocence can flourish. In Wendell Berry's poem "The Peace of Wild Things," the speaker finds solace in the natural world: "When despair for the world grows in me / and I wake in the night at the least sound / in fear of what my life and my children's lives may be, / I go and lie down where the wood drake / rests in his beauty on the water" (Berry, "The Peace of Wild Things" 1-5). Nature, in this context, becomes a refuge for the innocent soul seeking respite from the anxieties of modern life.

Another prevalent motif is the loss of innocence, often depicted as a painful but inevitable rite of passage. Poets grapple with the disillusionment and disenchantment that accompany the transition from innocence to experience. In Yusef Komunyakaa's poem "Facing It," the speaker confronts the Vietnam Veterans Memorial, a stark reminder of the loss of innocence inflicted by war: "I'm stone. I'm flesh. / My clouded reflection eyes me / like a bird of prey, the profile of night slanted against morning" (Komunyakaa, "Facing It" 1-3). The poem's fragmented language and unsettling imagery mirror the shattered innocence of the speaker, who grapples with the trauma of war and its enduring impact on his psyche.

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IV. Innocence as Resistance

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In the face of societal pressures, political turmoil, and environmental degradation, contemporary poets often portray innocence as a form of resistance. By embracing and celebrating innocence, poets challenge the cynicism and apathy that can pervade modern life. In Warsan Shire's poem "Home," the speaker, a refugee, clings to the memory of innocence as a source of strength and resilience: "No one leaves home unless / home is the mouth of a shark" (Shire, "Home" 1-2). The poem's raw and visceral language, coupled with its unflinching portrayal of displacement and trauma, underscores the power of innocence as a means of survival and hope.

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V. The Emotional Impact of Innocence in Poetry

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The expression of innocence in contemporary poetry elicits a wide range of emotional responses in readers. It can evoke nostalgia for a simpler time, a yearning for purity and authenticity, or a sense of empathy for the vulnerable and marginalised. The emotional impact of innocence is often amplified by the poetic devices employed by poets, such as imagery, metaphor, and rhythm. In Natalie Diaz's poem "From the Desire Field," the speaker's longing for innocence is palpable: "I want to be the one / who finds you in the dark, / not the dark itself" (Diaz, "From the Desire Field" 1-3). The poem's sensual imagery and rhythmic cadence create a sense of intimacy and yearning, drawing the reader into the speaker's emotional landscape.

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VI. Innocence in the Cultural Context

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The expression of innocence in contemporary poetry is deeply intertwined with the cultural context in which it emerges. Poets respond to the social, political, and environmental challenges of their time, offering a unique perspective on the meaning and significance of innocence in a rapidly changing world. In a society grappling with issues such as climate change, social injustice, and political polarisation, the expression of innocence can serve as a powerful reminder of our shared humanity and our interconnectedness with the natural world.

In the realm of contemporary poetry, innocence is a multifaceted and enduring theme, explored through a rich variety of language, motifs, and cultural contexts. Poets grapple with innocence as a state of wonder, vulnerability, naivety, purity, and even a form of resistance. Through their verses, they illuminate the complexities of human experience, offering a glimpse into the depths of our emotions and the resilience of the human spirit. The expression of innocence in contemporary poetry is a testament to the enduring power of art to inspire, challenge, and transform our understanding of ourselves and the world around us.

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References

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Berry, Wendell. "The Peace of Wild Things." The Selected Poems of Wendell Berry, Counterpoint, 2014, pp. 77.

Diaz, Natalie. "From the Desire Field." Postcolonial Love Poem, Graywolf Press, 2020, pp. 16.

Glück, Louise. The Wild Iris. The Ecco Press, 1992.

Komunyakaa, Yusef. "Facing It." Dien Cai Dau, Wesleyan University Press, 1988, pp. 48.

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Part III : The Language of Innocence in Contemporary Poetry

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In an age characterised by its cynicism and disillusionment, contemporary poetry offers a poignant refuge in its expressions of innocence. These expressions are not merely nostalgic reveries of a bygone era but articulate a profound yearning for authenticity, vulnerability, and hope. This section will delve into the diverse manifestations of innocence in contemporary poetry, exploring its emotional resonance, its socio-cultural implications, and its enduring significance in the human experience.

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1. Innocence as Authenticity

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The concept of innocence in contemporary poetry is often intertwined with authenticity. It is a rejection of artifice and pretence, a return to a state of unvarnished truth. Ocean Vuong, in his poem "On Earth We're Briefly Gorgeous," encapsulates this idea with stark simplicity:

"Tell me it was for the hunger & nothing less. For hunger is to give / the body what it knows / it cannot keep." (Vuong 45)

Vuong's lines resonate with a raw honesty that eschews embellishment. The hunger he speaks of is not merely physical but a primal longing for connection and belonging. This yearning for authenticity is a recurring motif in contemporary poetry, a testament to the human spirit's enduring quest for meaning in a world often shrouded in ambiguity.

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II. Innocence as Vulnerability

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Innocence in contemporary poetry is not synonymous with naivety. It is a state of openness and vulnerability, a willingness to embrace the world with all its joys and sorrows. Warsan Shire, in her poem "Home," captures this vulnerability with poignant eloquence:

"no one leaves home unless / home is the mouth of a shark." (Shire)

Shire's words are a stark reminder of the harsh realities that often compel individuals to leave their homes. Yet, amidst the pain and displacement, there is an underlying innocence in the act of seeking refuge, a trust in the possibility of finding safety and solace elsewhere. This vulnerability is a testament to the resilience of the human spirit, its capacity to endure and hope even in the face of adversity.

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III. Innocence as Hope

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In the face of cynicism and despair, contemporary poetry offers a glimmer of hope through its expressions of innocence. Ada Limón, in her poem "The Carrying," articulates this hope with a quiet optimism:

"Isn't there a miracle in the simplest things? The way the light enters the window, / the way the dust motes swirl, / the way you turn and say my name." (Limón)

Limón's words remind us of the beauty and wonder that permeate even the most mundane aspects of existence. This appreciation for the simple joys of life is an act of defiance against the forces of darkness and despair. It is a testament to the enduring power of hope, its ability to sustain and uplift even in the bleakest of circumstances.

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IV. Socio-Cultural Implications

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The expressions of innocence in contemporary poetry are not merely personal reflections but resonate with broader socio-cultural implications. In a world increasingly characterised by polarisation and conflict, these expressions offer a counter-narrative of empathy, compassion, and understanding. They remind us of our shared humanity, our common vulnerabilities, and our collective hopes for a better future.

The language of innocence in contemporary poetry is a testament to the enduring power of the human spirit. It is a celebration of authenticity, a recognition of vulnerability, and an affirmation of hope. In its myriad manifestations, it offers a poignant refuge from the cynicism and disillusionment of our times, reminding us of the beauty, wonder, and resilience that reside within each of us.

The exploration of innocence in contemporary poetry reveals a multifaceted concept that transcends simplistic notions of naivety and purity. It is a dynamic force that encompasses authenticity, vulnerability, and hope, offering a profound commentary on the human condition. The poets discussed in this essay, through their evocative language and insightful observations, have enriched our understanding of innocence and its enduring significance in the human experience. Their works serve as a testament to the power of poetry to illuminate the complexities of our emotions, our relationships, and our place in the world.

References

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Limón, Ada. "The Carrying." Milkweed Editions, 2018.

Shire, Warsan. "Home." Teaching My Mother How to Give Birth, Mouthmark, 2011.

Vuong, Ocean. "On Earth We're Briefly Gorgeous." Penguin Press, 2019.

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Indian Folklife- Call for Papers- ‘Translating Texts, Translating Cultures’

 Call for Papers - Indian Folklife   ‘Translating Texts, Translating Cultures’

“Translation is the performative nature of cultural communication” (Homi Bhabha )

 

The process of translation and the interpretation of any given text are intimately intertwined with the notion of culture. In the past two to three decades, translation has undergone a notable transformation, emerging as a more creative and noticeably active discipline. Translations go beyond mere translation of words and sentence structures; they encapsulate ideologies, values, and ways of life specific to a particular culture. In traditional discussions on translation, the challenges, often labeled as "culture-specific," centre around crucial elements that pose intricate difficulties in conveying them with precision.

 

Literary translation stands out as a primary means of communication across cultures. It is imperative to acknowledge that literary texts are essentially cultural constructs, where language functions as the medium for cultural expression. Literary texts as such exhibit numerous linguistic nuances, along with reflections of social and cultural aspects of our lives. The translation of a literary text is thus no longer a mere exchange between two languages but a nuanced negotiation between two distinct cultures. The ability of culture to engage in translation is therefore a crucial aspect to be considered at this point. Cultural dynamics predominantly operate through translational activities as the incorporation of new texts is essential for cultural innovation and the recognition of its distinctiveness.  

 

Translation is a process for folklore ethnographic research as well. The translation of folk literature necessitates an exploration into the thought processes of the narrator, the translator, and the reader. More so in the native contexts. Clearly, these considerations merit discussion within the context of translating both texts and cultures. There appears to be an imminent need to safeguard and reserve a modest space for the translations of folk literature and folklore ethnography in this postcolonial-postmodernist era, where constant innovation arises through the lens of cultural translation. In the new century, there exists an increased understanding of the cultural significance of translated texts, especially on folk literature and folklore ethnography, in relation to their influence on the identity of the receiving culture.

 

Indian Folklife a Quarterly quasi-research Journal [https://indianfolklore.org/index.php/if] invites original, unpublished research/reflective papers for the forthcoming issue (June 2024). The theme for the papers is on ‘Translating Text, Translating culture’ within the context of folklife in general. The word limit for the papers is 1500-2000. 

Indian Folklife Archive

https://indianfolklore.org/index.php/if/issue/archive 

 

Contributions in English should be submitted in MSWord (.docx or.doc) to jocicausa@gmail.com [Dr JP Rajendran- Special Editor] and muthu@indianfolklore.org [ CC to Dr MD Muthukumaraswamy - Director, NFSC] on or before 31st March 2024. Indian Folklife follows the latest MLA Stylesheet. For article submissions, please follow the guidelines in the website. https://indianfolklore.org/index.php/if/about/submissions 

Indian Folklore Research Journal -Call for Papers - Rethinking Universality in Medical Diagnosis in Mental Health: A Call for Pluralistic Approaches. (Medical Anthropology Special Edition 2024)

 Call for Papers - Medical Anthropology

 

Call for Papers - Rethinking Universality in Medical Diagnosis in Mental Health: A Call for Pluralistic Approaches. (Medical Anthropology Special Edition 2024)

 

‘We never judge anything without secretly considering it in relation to our own self … It has been quite correctly observed that if triangles were to make themselves a god, they would give him three sides’ (Montesquieu, Persian Letters, p.57, 1722).

 

Concept Note: Medical / Biological Anthropology

Central Theme: Rethinking Universality in Medical Diagnosis: A Call for Pluralistic Approaches

Background:

Medical anthropology explores the intersection of culture and health. Traditionally, medicine strives for universally-applicable diagnostic categories and treatment plans. However, this approach has limitations.  Humanities scholarship critiques the limitations of universal diagnostic models, emphasising the subjective and cultural aspects of illness experiences. This concept note examines the tension between these two approaches.

 

Key Issues:

Incorporation of counter-narratives: To what extent are patient narratives and cultural perspectives included in medical school training and diagnosis?

Phenomenology vs. Classification: How can medical models integrate the subjective experience of illness with established classification systems?

Data and the Individual: Does the focus on large-scale data collection in medicine neglect the individual patient's experience?

Ideographic vs. Universal Care: Can personalised care be achieved within a system driven by standardised diagnoses and treatment protocols?

Hegemony of Medical Jargon: Does standardised medical language hinder effective communication between patients and healthcare providers?

Pluralism vs. Chaos: Can acknowledging diverse illness experiences improve care, or lead to confusion in diagnosis and treatment?

 

Call for Papers:

The Indian Folklore Research Journal's 2024 special issue invites articles that explore these issues. We encourage submissions that:

Analyse the limitations of universal diagnostic models.Examine the role of cultural perspectives in mental illness narratives.

Propose methods for integrating patient narratives into medical training and practice.

Investigate the impact of digital technologies on medical diagnosis in mental health.

Explore the potential of personalised care within standardised medical systems.

Advocate for incorporating a pluralistic approach to healthcare.

This special issue aims to bridge the gap between the universalising tendencies of medicine and the importance of individual and cultural experiences in healthcare.

 

Indian Folklore Research Journal invites Articles for Submission for its forthcoming Special Edition on Medical Anthropology 2024. Contributions in English, not exceeding 7000 words should be submitted in MS Word (.docx or.doc) to jocicausa@gmail.com [Dr JP Rajendran- Special Editor] and muthu@indianfolklore.org [ CC to Dr MD Muthukumaraswamy - Director, NFSC] on or before 31st October 2024. Indian Folklore Research Journal follows the latest MLA Stylesheet. For more details on article submissions, please follow the guidelines in the website. https://indianfolklore.org/index.php/ifrj/about/submissions 

Indian Folklore Research Journal Archive

https://indianfolklore.org/index.php/ifrj/issue/archive

 

 

Indian Folklore Research Journal (IFRJ) publishes original and unpublished research papers, book reviews, resource reviews, and announcements in the field of Indian Folklore and allied disciplines. IFRJ is published annually and edited by M.D.Muthukumaraswamy on behalf of National Folklore Support Centre (NFSC). This  Special issue on Medical Anthropology is edited by Dr Jayaprakash Rajendran.

"Roberto Calasso's Ka: Stories of the Mind and Gods of India" by M.D.Muthukumaraswamy

Roberto Calasso's Ka: Stories of the Mind and Gods of India

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M.D.Muthukumaraswamy

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Introduction

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Roberto Calasso's Ka: Stories of the Mind and Gods of India is an audacious, luminous exploration of Indian mythology and thought. It is a text that does not merely narrate, but embodies the sinuous, cyclical rhythms of Hindu cosmology. Calasso, with his characteristic erudition and poetic sensibility, invites us into a world where gods and humans, time and eternity, the mundane and the metaphysical, are interwoven in an intricate pattern of breathtaking complexity.

In Ka, the reader is plunged into a universe where stories are not mere narratives but living entities, the very fabric of reality. The book's title itself, "Ka," is the Sanskrit word for "Who," the secret name of Prajapati, the lord of creatures. This enigmatic question, "Who," reverberates throughout the text, prompting us to question our own identities, our place in the cosmos, and the nature of existence itself.

Calasso does not attempt to explain or simplify Hindu mythology. Instead, he immerses us in its labyrinthine depths, its paradoxes, its ambiguities. He writes, "The Indian mind does not proceed by exclusions: it includes, gathers, accumulates."¹ This approach is evident in his exploration of the multifaceted nature of the gods, who are at once creators and destroyers, benevolent and terrifying, immanent and transcendent.

The book's opening lines set the tone for this immersive experience: "In the beginning, Desire arose. It was the primal seed, born of the mind."² These words echo the ancient Vedic hymns, yet they are also startlingly contemporary. Calasso reminds us that the fundamental human questions about desire, creation, and meaning are as relevant today as they were millennia ago.

The narrative of Ka unfolds in a series of interconnected episodes, each a self-contained world, yet part of a larger, cosmic cycle. We encounter creation myths, tales of gods and demons, stories of love, loss, and redemption. We witness the birth of the universe, the churning of the ocean of milk, the epic battles of the Mahabharata.

One of the most striking aspects of Ka is Calasso's ability to evoke the otherness of Indian thought while simultaneously revealing its universality. He writes, "The Indian mind has a taste for the extreme, the excessive, the immeasurable."³ Yet, he also shows us how these extremes reflect the vastness of human experience, the boundless potential of the human imagination.

Calasso's prose is richly textured, evocative, and often enigmatic. He uses language not merely to describe, but to create an atmosphere, to conjure a mood. His sentences are like brushstrokes, each contributing to a larger, intricate picture. Consider this passage describing the god Shiva:

"Shiva is the god of contradictions. He is the ascetic who sits in meditation for eons, yet he is also the wild dancer who destroys the universe with his frenzied movements. He is the lord of death, yet he is also the source of all life.”⁴

This passage encapsulates the paradox at the heart of Shiva's nature, his simultaneous embodiment of creation and destruction, stillness and movement, life and death.

Another notable aspect of Ka is Calasso's attention to detail. He delves into the minutiae of rituals, the symbolism of gestures, the nuances of language. He writes, "In India, everything is a sign, everything speaks."⁵ This emphasis on the interconnectedness of all things, the significance of even the smallest detail, is a hallmark of Indian thought.

Calasso's exploration of Indian mythology is not limited to the well-known stories. He also delves into lesser-known myths, unearthing hidden gems. For instance, he recounts the tale of the demon Kabandha, a monstrous creature with no head or neck, whose mouth is in his belly. This grotesque figure, with its absurd, surreal qualities, is a reminder of the boundless creativity of the Indian imagination.

Throughout Ka, Calasso weaves in philosophical reflections, drawing connections between Indian thought and Western philosophy. He notes the similarities between the Indian concept of maya, or illusion, and the Platonic notion of the cave. He also compares the Indian idea of the Atman, or individual soul, with the Western concept of the self.

Calasso's insights are not always easily digestible. He challenges us to think beyond our familiar categories, to embrace the paradox, to accept the unknowable. He writes, "The Indian mind does not seek solutions; it seeks questions."⁶ This open-endedness, this willingness to embrace uncertainty, is a refreshing antidote to the dogmatism that often plagues contemporary discourse.

Ka is a book that demands to be savoured, reread, and pondered. It is a text that rewards the patient reader with a deeper understanding of Indian mythology and thought, as well as a renewed appreciation for the power of story. It is a book that challenges us to rethink our own assumptions, to question our own certainties, to embrace the mystery that lies at the heart of existence.

In the end, Ka is a testament to the enduring power of myth. It reminds us that stories are not merely escapist fantasies, but essential tools for understanding the world and our place in it. As Calasso writes, "Myth is not an explanation of the world; it is the world itself, seen in its inexhaustible richness and complexity.”⁷

Footnotes

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¹ Roberto Calasso, Ka: Stories of the Mind and Gods of India (New York: Alfred A. Knopf, 1999), 35.

² Calasso, Ka, 3.

³ Calasso, Ka, 87.

⁴ Calasso, Ka, 125.

⁵ Calasso, Ka, 213.

⁶ Calasso, Ka, 352.

⁷ Calasso, Ka, 421.

References

Calasso, Roberto. Ka: Stories of the Mind and Gods of India. New York: Alfred A. Knopf, 1999.

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Critical reviews

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Roberto Calasso's Ka: Stories of the Mind and Gods of India has captivated literary critics and scholars alike, sparking a discourse on its unique approach to mythology, its philosophical depth, and its literary merit. Critics have hailed it as a masterpiece of storytelling, a profound exploration of the human condition, and a testament to the enduring power of myth.

Wendy Doniger, a renowned scholar of Hinduism and mythology, lauds Ka as "the very best book about Hindu mythology that anyone has ever written."⁸ Her endorsement, prominently featured on the book's cover, speaks volumes about the work's scholarly rigour and literary appeal. Doniger praises Calasso's ability to capture the essence of Hindu mythology, its complex symbolism, and its profound philosophical implications.

In his review for the New York Times, William Dalrymple describes Ka as a "tour de force," a "work of extraordinary erudition and imagination."⁹ He notes that Calasso "does not merely retell the ancient stories; he reimagines them, imbuing them with a fresh perspective and a contemporary relevance." Dalrymple also commends Calasso's "lyrical prose," which "evokes the sights, sounds, and smells of ancient India.”

J.M. Coetzee, the Nobel Prize-winning novelist, offers a more nuanced perspective on Ka. In his essay "Roberto Calasso and the Indian Mind," Coetzee acknowledges the book's "erudition and ambition," but also expresses reservations about its "elliptical style" and its "lack of a clear narrative thread."¹⁰ He writes, "Calasso's approach is more poetic than scholarly, more suggestive than explanatory." While Coetzee admires Calasso's "ability to conjure the atmosphere of ancient India," he finds the book's overall effect to be somewhat “disorienting."

In his essay "The Mythical Method of Roberto Calasso," literary critic Michael Wood explores Calasso's unique approach to mythology. Wood argues that Calasso "does not simply retell myths; he re-enacts them, allowing them to unfold within the reader's imagination."¹¹ He notes that Calasso's "prose is not merely descriptive, but performative," creating a "sense of immediacy and engagement." Wood also highlights Calasso's "deep understanding of the symbolic language of myth," which allows him to "penetrate to the heart of the human condition."

Other critics have focused on the philosophical implications of Ka. In her essay "Calasso and the Philosophy of India," scholar Ranjini Obeyesekere examines Calasso's engagement with Indian philosophical concepts such as karma, dharma, and maya.¹² She argues that Calasso's approach is "not merely academic, but experiential," as he "seeks to embody the wisdom of Indian thought in his own writing." Obeyesekere praises Calasso's "ability to bridge the gap between Eastern and Western thought," and his "profound insights into the nature of reality, consciousness, and the human spirit.”

In a more critical vein, scholar Richard Gombrich expresses reservations about Calasso's interpretation of Hindu mythology.¹³ In his review for the Times Literary Supplement, Gombrich argues that Calasso's approach is "too subjective and idiosyncratic," and that he "takes too many liberties with the source material." Gombrich also criticises Calasso's "lack of engagement with contemporary scholarship on Hindu mythology," which leads him to "make some questionable assumptions and interpretations."

Despite these criticisms, Ka has been widely praised for its literary merit. Critics have lauded Calasso's "poetic prose," his "vivid imagery," and his "ability to create a sense of wonder and enchantment." The book has been compared to the works of Jorge Luis Borges, Italo Calvino, and other masters of literary fabulism. 

In a review for the London Review of Books, scholar Patrick French writes, "Ka is a work of extraordinary beauty and power, a testament to the enduring relevance of myth in the modern world."¹⁴ French praises Calasso's "ability to weave together disparate strands of narrative into a cohesive whole," and his "profound insights into the human condition." He concludes, "Ka is a book that deserves to be read and reread, a book that will continue to resonate with readers for generations to come.”

In conclusion, Roberto Calasso's Ka: Stories of the Mind and Gods of India has garnered a wide range of critical responses, from effusive praise to more measured appraisals. While some critics have expressed reservations about Calasso's idiosyncratic approach and his interpretation of Hindu mythology, most agree that Ka is a work of extraordinary literary merit. The book's poetic prose, its philosophical depth, and its evocative imagery have captivated readers around the world, making it a modern classic of mythological literature.

Footnotes

⁸ Wendy Doniger, blurb on the cover of Roberto Calasso, Ka: Stories of the Mind and Gods of India (New York: Alfred A. Knopf, 1999).

⁹ William Dalrymple, "India's Immortal Gods," New York Times, December 12, 1999.

¹⁰ J.M. Coetzee, "Roberto Calasso and the Indian Mind," Inner Workings: Literary Essays 2000-2005 (New York: Viking, 2007), 121-135.

¹¹ Michael Wood, "The Mythical Method of Roberto Calasso," The New Republic, February 28, 2000.

¹² Ranjini Obeyesekere, "Calasso and the Philosophy of India," The Journal of Asian Studies 60, no. 4 (November 2001): 1099-1117.

¹³ Richard Gombrich, "Ka by Roberto Calasso," Times Literary Supplement, January 21, 2000.

¹⁴ Patrick French, "Gods and Monsters," London Review of Books, March 2, 2000.

References

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Calasso, Roberto. Ka: Stories of the Mind and Gods of India. New York: Alfred A. Knopf, 1999.

Coetzee, J.M. "Roberto Calasso and the Indian Mind." In Inner Workings: Literary Essays 2000-2005. New York: Viking, 2007.

Dalrymple, William. "India's Immortal Gods." New York Times, December 12, 1999.

French, Patrick. "Gods and Monsters." London Review of Books, March 2, 2000.

Gombrich, Richard. "Ka by Roberto Calasso." Times Literary Supplement, January 21, 2000.

Obeyesekere, Ranjini. "Calasso and the Philosophy of India." The Journal of Asian Studies 60, no. 4 (November 2001): 1099-1117.

Wood, Michael. "The Mythical Method of Roberto Calasso." The New Republic, February 28, 2000.