Vanara
The legend of Baali, Sugreeva and Tara
Anand Neelakantan
Today, we live in a world where we are trying to get rid of the caste system, gender bias, and discrimination. We live in a world where we see the coming of an end of prejudice, so to speak. Ever wondered what it would have been like to live during the beginning of such a system? More so, as a person from the very lowest strata of said system?
OVERVIEW
Baali and Sugreeva are orphans, brothers, and mostly slaves. They belong to the Vana Nara (people of the forest) tribe. Caught between the never-ending war between the Devas in the north and the Asuras in the south, the brothers navigate their way of life, superstition, and customs. This leads to probably the world’s first rebellion against discrimination. Tired of being treated like dirt, Baali with the help of his beloved brother takes things into his own hands. He builds a country, Kishkinda, for his people where no one will ever be treated unjustly. Where every person irrespective of their caste, creed, color, gender will be given a home.
The ever-changing dynamics of parenthood towards the brothers change the way they perceive things and the decisions they then take in life.
Amidst this, comes complication in the form of the beautiful and sought-after Tara, the tribe physician’s daughter. Thus, it begins what could be said as the story of the first love triangle to be told.
They say that love makes the world go round and so, Tara suddenly becomes the center of a revolution. The story unwinds itself around the love and lust of Baali and Sugreeva.
Questions of God, culture, and education are raised. The Vana-Nara tribe has lived as the forest people for time immemorial, and changes in lifestyle and the concept of right and wrong confuses them. This confusion persuades them to root for their kingdom; a country made of Baali and Sugreeva’s blood, sweat, and dreams.
The Vanara grow out of their molds and dare to dream big. However, we soon see how with time, dreams tend to change color, and life comes full circle.
WRITING AND CHARACTERS
Anand Neelakantan is a master storyteller in the sense that he can make a seemingly insignificant mythological sequence into an important real-time insert. He’s known for his work Bahubali, where he gives a voice to Sivagami and Duryodhana in the Ajaya series.
In Vanara, he gives a voice to the most underrated yet important characters of the Ramayana: Baali and Sugreeva. Their relationship is complex as are their characters. The story outlines the age-old issues of jealousy and entitlement that comes easy to siblings. He gives an authoritative and idealistic voice to Baali while Sugreeva is more timid, confused, and real.
While reading this book, you’ll realize that the beauty in his writing is simply in the thought processes of his characters. He has captured the emotions of love, lust, and betrayal exceptionally. The confused and decision making monologues of his characters are something to look out for.
Neelakantan has brought to light a lot of social issues and the fact that no matter what day and age, injustice will always be thwarted when there is a will to change.
CONCLUSION
“ Man strives to be God when he couldn’t even match [the love and loyalty] of animals.” — Tara
The story tests love, loyalty, and everything in between.
Neelakantan gives you raw emotions and experiences that seem too real for an idealistic story setting such as the Ramayana.
Sometimes systems are created only because men are afraid of things they cannot control. This book is one giant truth bomb about our societal structure slyly tucked into a mythological fiction.
We see the twists and turns not only in the story but also in our mindset. As readers, we start to pick sides. We flit from one side to another to none at all. This roller-coaster of a ride is the biggest reason this book is worth the buy.
An ancient story with a new face, this book is still as relevant and interesting as the day it was first told.
Thank you for putting up with this read and getting here.
Appreciation is always appreciated.
