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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.
