Sanjiv Behera's Blog
February 21, 2013
What's in a name?
Hi everyone. Sorry for the long hiatus. In any case, I’m glad to be back.
Character names can add a great deal to the overall impact of a story. Some of my favorite ones to date include: Captain Ahab from Moby Dick, Humbert Humbert from Lolita, Shadow from American Gods, Dr. Jeckyll and Mr. Hyde, Voldemort from Harry Potter, Willy Wonka and Miss Trunchbull from Roald Dahl stories. In my opinion though, the most iconic names come from Harper Lee’s To Kill A Mockingbird. When I first read it, the very mention of Scout, Atticus, and Boo Radley conjured such strong ideas about who they were. The names added so much depth to an already profound story.
Naming characters in a book can be an interesting exercise. While writing Vikram… I had an added advantage of using Indian names which always carry literal and implied meanings with them. Here are a few that I used:
Vikram – “worker’s stride”. Implicit meanings include: one that employs purposeful action, and victory to Rama (from the Ramayana). The idea of a “purposeful action” works well with that of Dharma “dutiful action”, a concept which also plays a significant role in the book (the Dharma cube). Its a perfect name for one that embarks on a hero’s journey similar to that of Rama's.
Jai – “victory” or “hail”, as in "Jai Ram". A great name for a supportive brother. Its also the name of one of my all-time favorite characters in Bollywood cinema: Amitabh Bachchan in Sholay. In the film, Jai was the coolest hero/sidekick from the 70’s, and someone I pretended to be in my youth.
Manu – “thinking” or “wise”. But, more commonly known as the first man in Hindu mythology. Many farm laborers from my part of India are descendants of natives known as “adivasis”. They were the first inhabitants of India and endure struggles common to many indigenous people. The name here hints at the character’s ethnic origin.
Kama – “desire”. The king’s name represents a selfish desire for power. The lure of supreme power is enough for the King to pursue it at all costs.
That’s it for now. I'll let you guess at the meaning of the other names in the book.
Again, thanks for reading!
-Sanjiv
Character names can add a great deal to the overall impact of a story. Some of my favorite ones to date include: Captain Ahab from Moby Dick, Humbert Humbert from Lolita, Shadow from American Gods, Dr. Jeckyll and Mr. Hyde, Voldemort from Harry Potter, Willy Wonka and Miss Trunchbull from Roald Dahl stories. In my opinion though, the most iconic names come from Harper Lee’s To Kill A Mockingbird. When I first read it, the very mention of Scout, Atticus, and Boo Radley conjured such strong ideas about who they were. The names added so much depth to an already profound story.
Naming characters in a book can be an interesting exercise. While writing Vikram… I had an added advantage of using Indian names which always carry literal and implied meanings with them. Here are a few that I used:
Vikram – “worker’s stride”. Implicit meanings include: one that employs purposeful action, and victory to Rama (from the Ramayana). The idea of a “purposeful action” works well with that of Dharma “dutiful action”, a concept which also plays a significant role in the book (the Dharma cube). Its a perfect name for one that embarks on a hero’s journey similar to that of Rama's.
Jai – “victory” or “hail”, as in "Jai Ram". A great name for a supportive brother. Its also the name of one of my all-time favorite characters in Bollywood cinema: Amitabh Bachchan in Sholay. In the film, Jai was the coolest hero/sidekick from the 70’s, and someone I pretended to be in my youth.
Manu – “thinking” or “wise”. But, more commonly known as the first man in Hindu mythology. Many farm laborers from my part of India are descendants of natives known as “adivasis”. They were the first inhabitants of India and endure struggles common to many indigenous people. The name here hints at the character’s ethnic origin.
Kama – “desire”. The king’s name represents a selfish desire for power. The lure of supreme power is enough for the King to pursue it at all costs.
That’s it for now. I'll let you guess at the meaning of the other names in the book.
Again, thanks for reading!
-Sanjiv
October 27, 2012
Music Is. . .
When searching for inspiration in terms of writing, often times I turn to music. Music is a catalyst that sparks my imagination. It helps set the mood of my scenes, the tone in my voice, and the meaning in my message.
One genre in particular, has contributed more to my inspiration than any other. That genre is Asian Underground music. This form of song is electronic-heavy combined with older, often times classical, Indian music.
I remember being first introduced to these sounds in the mid-90’s with Talvin Singh’s Anokha compilation. My reaction to the album as I heard it was nothing less of sheer bewilderment. The music “spoke” to me unlike any other.
The genre itself is a mash-up of sorts, taking something old (classical Indian sitar ragas and tabla rhythms), and mixing it with new electronic drums and bass, creating something entirely unique and enchanting altogether.
Likewise, I like to look at my writing as following the same vain: taking Indian folktales and mythology from the past and adding a modern element to create my stories. In Azad (a collection of short stories), Varuna (the ancient sea-god) meets an indignant gondolier, bewitched dancing bells end up in the hands of a young girl, and a Djinn grants wishes to a wall-street banker through bizarre means.
Here, I’ll leave you with a few of my favorite tracks. And I encourage you to investigate more sounds from the Asian Underground on your own.
Thanks for following,
Sanjiv
A few of my favorites:
Traveler by Talvin Singh: http://tinyurl.com/8tsjsaj
Ganga Dev by Cheb I Sabbah: http://tinyurl.com/yfnsd7d
Music Is by State of Bengal: http://tinyurl.com/8odorzr
One genre in particular, has contributed more to my inspiration than any other. That genre is Asian Underground music. This form of song is electronic-heavy combined with older, often times classical, Indian music.
I remember being first introduced to these sounds in the mid-90’s with Talvin Singh’s Anokha compilation. My reaction to the album as I heard it was nothing less of sheer bewilderment. The music “spoke” to me unlike any other.
The genre itself is a mash-up of sorts, taking something old (classical Indian sitar ragas and tabla rhythms), and mixing it with new electronic drums and bass, creating something entirely unique and enchanting altogether.
Likewise, I like to look at my writing as following the same vain: taking Indian folktales and mythology from the past and adding a modern element to create my stories. In Azad (a collection of short stories), Varuna (the ancient sea-god) meets an indignant gondolier, bewitched dancing bells end up in the hands of a young girl, and a Djinn grants wishes to a wall-street banker through bizarre means.
Here, I’ll leave you with a few of my favorite tracks. And I encourage you to investigate more sounds from the Asian Underground on your own.
Thanks for following,
Sanjiv
A few of my favorites:
Traveler by Talvin Singh: http://tinyurl.com/8tsjsaj
Ganga Dev by Cheb I Sabbah: http://tinyurl.com/yfnsd7d
Music Is by State of Bengal: http://tinyurl.com/8odorzr
August 14, 2012
Fear and Loathing . . .
My two-year-old is in a funk. Call it a phase. Call it a transitional period. Call it what you will. But, he is definitely in a state.
He was once brave, willing to dash into deep swimming-pools without floaties, eager to climb to top shelves without fear of falling, wanting to wrestle any dog that came across his path. But now, he is a quivering scaredy-cat, utterly afraid of…well…everything! Flies, dogs, strangers, the dark, and worse, Elmo.
I understand separation anxiety and the developing mind. But, the sudden change intrigued me enough to look into my son's swelling fear.
It turns out that the aforementioned fears (except for the Elmo part) are quite common in children. One article attributed the rise in childrens' fears during that age to a development of the imagination.
Imagination…that place inside one's mind where anything and everything can exist and happen. I admit that after reading that paper, I was extremely curious to know what kind of imaginative thoughts (if any) floated through my two-year-old's brain. Then it struck me that his older siblings may have had a role in shaping some of his more terrifying notions.
You see, the two-year-old rules the roost in our house. He forbids his three elder siblings from doing anything (coloring, playing with toys, reading, etc.) without his expressed consent. When he disapproves of their behavior, he simply lets out a sharp and shrill scream, a noise that has us all covering our ears in agony. Needless to say, this has caused a bit of loathing among the king's constituency.
One method that the siblings have recently used to taper His Highness' outbursts is to invoke the name of Bhaga Mamoo (literally translated as "tiger uncle"). Bhaga Mamoo is a central villain in many Indian folktales, especially those used by parents to teach their children to behave, much like the wolf in Red Riding Hood. Now, I have told a few Bhaga Mamoo stories in my day, but not enough to scare my children for life. Or so I thought. Imagine my surprise when I first heard our eldest warn the two-year-old that Bhaga Mamoo would come to our home if he screamed again. What's more surprising is that the two-year-old listened! That initial response has elicited a liberal use of Bhaga Mamoo scare tactics by the siblings. "Don't use my crayons or Bhaga Mamoo will get you!" or "Don't go into my room, because Bhaga Mamoo is in there."
My son is yet to hear and comprehend the meaning of a true Bhaga Mamoo story. So what does he think Bhaga Mamoo looks like? (Elmo perhaps?) Does Bhaga Mamoo reside in the dark? What will Bhaga Mamoo do to him if he doesn't behave?
It will be fascinating to watch my son over the next few years, as he tries to get over his fear of Bhaga Mamoo (not to mention flies, strangers, the dark, and Elmo). And while my wife and I have since placed a moratorium on all Bhaga Mamoo references by the siblings, it did get me thinking.
We all have our fears, real and imagined. But, I think, stories from our childhood (like a Bhaga Mamoo story) play an important role in helping us address them.
The stories we hear at a young age introduce us to gallant and terrifying beings, teaching us that both indeed exist. Through them, we are forced to think about how we might act when faced by the likes of a Minotaur, a Rakshasa, the Joker, a Voldemort, or a wicked stepmother. The stories ask if we could live up to the ideals set forth by heroes and heroines like Theseus, Rama, Batman, Harry Potter or Snow White. And if we can't, shouldn't we at least try?
In the end, these stories instill a need to conquer personal fears to achieve a greater good. And, in some sense, doesn't conquering our fears equate to conquering life itself?
Thanks for reading.
- Sanjiv
PS. Check out indiereader.com's review of Vikram... here:
http://indiereader.com/2012/08/vikram...
He was once brave, willing to dash into deep swimming-pools without floaties, eager to climb to top shelves without fear of falling, wanting to wrestle any dog that came across his path. But now, he is a quivering scaredy-cat, utterly afraid of…well…everything! Flies, dogs, strangers, the dark, and worse, Elmo.
I understand separation anxiety and the developing mind. But, the sudden change intrigued me enough to look into my son's swelling fear.
It turns out that the aforementioned fears (except for the Elmo part) are quite common in children. One article attributed the rise in childrens' fears during that age to a development of the imagination.
Imagination…that place inside one's mind where anything and everything can exist and happen. I admit that after reading that paper, I was extremely curious to know what kind of imaginative thoughts (if any) floated through my two-year-old's brain. Then it struck me that his older siblings may have had a role in shaping some of his more terrifying notions.
You see, the two-year-old rules the roost in our house. He forbids his three elder siblings from doing anything (coloring, playing with toys, reading, etc.) without his expressed consent. When he disapproves of their behavior, he simply lets out a sharp and shrill scream, a noise that has us all covering our ears in agony. Needless to say, this has caused a bit of loathing among the king's constituency.
One method that the siblings have recently used to taper His Highness' outbursts is to invoke the name of Bhaga Mamoo (literally translated as "tiger uncle"). Bhaga Mamoo is a central villain in many Indian folktales, especially those used by parents to teach their children to behave, much like the wolf in Red Riding Hood. Now, I have told a few Bhaga Mamoo stories in my day, but not enough to scare my children for life. Or so I thought. Imagine my surprise when I first heard our eldest warn the two-year-old that Bhaga Mamoo would come to our home if he screamed again. What's more surprising is that the two-year-old listened! That initial response has elicited a liberal use of Bhaga Mamoo scare tactics by the siblings. "Don't use my crayons or Bhaga Mamoo will get you!" or "Don't go into my room, because Bhaga Mamoo is in there."
My son is yet to hear and comprehend the meaning of a true Bhaga Mamoo story. So what does he think Bhaga Mamoo looks like? (Elmo perhaps?) Does Bhaga Mamoo reside in the dark? What will Bhaga Mamoo do to him if he doesn't behave?
It will be fascinating to watch my son over the next few years, as he tries to get over his fear of Bhaga Mamoo (not to mention flies, strangers, the dark, and Elmo). And while my wife and I have since placed a moratorium on all Bhaga Mamoo references by the siblings, it did get me thinking.
We all have our fears, real and imagined. But, I think, stories from our childhood (like a Bhaga Mamoo story) play an important role in helping us address them.
The stories we hear at a young age introduce us to gallant and terrifying beings, teaching us that both indeed exist. Through them, we are forced to think about how we might act when faced by the likes of a Minotaur, a Rakshasa, the Joker, a Voldemort, or a wicked stepmother. The stories ask if we could live up to the ideals set forth by heroes and heroines like Theseus, Rama, Batman, Harry Potter or Snow White. And if we can't, shouldn't we at least try?
In the end, these stories instill a need to conquer personal fears to achieve a greater good. And, in some sense, doesn't conquering our fears equate to conquering life itself?
Thanks for reading.
- Sanjiv
PS. Check out indiereader.com's review of Vikram... here:
http://indiereader.com/2012/08/vikram...
June 26, 2012
Writing Vikram - Oh, the places you'll go!
One of the things that excited me about writing Vikram... was the number of settings I had to choose from for the story. India is a phenomenal country, filled with so many fascinating places of both cultural and historical significance, that is was easy to draw inspiration for many parts of the book.
For example, the cave of murals is derived from the monastic caves at Ajanta, the temple in the jungle from the sun temple at Konark, the palace on the lake from Lake Pichola Palace in Udaipur, and the Buddhist sanctuary from Sarnath. Even the village and jungle scenes were derived from places that I have actually been to!
But, out of all the settings in Vikram…, one in particular continues to beg the most questions from readers. "What's with the two trees?" or "What do the trees mean?"
In the story, while on their adventure, Vikram and his friends stop to rest next to two towering Neem trees: one rich with lush leaves and teeming wildlife, and the other, barren and skeletal. Here's a brief excerpt from the novel:
This setting was depicted to exhibit the stark contrasts found in India. During my visits there, I clearly remember the poor being extremely poor. And the rich being filthy rich. India was home to gorgeous and wild forests. But minutes away, vibrant metropolitan cities flourished. Ascetics shared the streets with small-time pickpockets. Bitter melon and sweet papayas were both consumed by people with equal fervor. And in the middle of a hot, cloudless day, monsoon rains would appear within a flash.
So at an early age, I was taught that the world was full of contrasts, each incredible in their own right. The biggest lesson however, was tolerance. If a single country could tolerate such broad extremes, we as people should be able to tolerate a few differences between us.
That's all for this time. Thanks for reading!
-Sanjiv
For example, the cave of murals is derived from the monastic caves at Ajanta, the temple in the jungle from the sun temple at Konark, the palace on the lake from Lake Pichola Palace in Udaipur, and the Buddhist sanctuary from Sarnath. Even the village and jungle scenes were derived from places that I have actually been to!
But, out of all the settings in Vikram…, one in particular continues to beg the most questions from readers. "What's with the two trees?" or "What do the trees mean?"
In the story, while on their adventure, Vikram and his friends stop to rest next to two towering Neem trees: one rich with lush leaves and teeming wildlife, and the other, barren and skeletal. Here's a brief excerpt from the novel:
Vikram couldn't decide which one he liked better. The live tree, at first glance, was kinder on the eye. Its leaves were a beautiful shade of green, and there were birds and squirrels perched on many of its branches. The bare tree, on the other hand, had nothing to hide. It was transparent; each one of its flaws was clear for him to see.
This setting was depicted to exhibit the stark contrasts found in India. During my visits there, I clearly remember the poor being extremely poor. And the rich being filthy rich. India was home to gorgeous and wild forests. But minutes away, vibrant metropolitan cities flourished. Ascetics shared the streets with small-time pickpockets. Bitter melon and sweet papayas were both consumed by people with equal fervor. And in the middle of a hot, cloudless day, monsoon rains would appear within a flash.
So at an early age, I was taught that the world was full of contrasts, each incredible in their own right. The biggest lesson however, was tolerance. If a single country could tolerate such broad extremes, we as people should be able to tolerate a few differences between us.
That's all for this time. Thanks for reading!
-Sanjiv
May 17, 2012
Writing Vikram – One comic to rule them all
For those who have never heard of The Ramayana, it is one of the two great epics in Hindu mythology. It involves a hero's quest, much like Homer's Odyssey, or Virgil's Aeneid.
The story follows an exemplary prince whose wife is abducted by a demon-king. His search for her takes him and his loyal brother through a forest where he befriends a band of monkeys. They join forces and go on to wage war on the demon-king and his island kingdom. In its most basic form, it is the consummate tale of good vs. evil. (Actually, it is a story of extremes – the good are sometimes far-too-good-to-be-true, and the evil are, well, let's say you wouldn't want to run into them in the light of day, let alone a dark alley).
It's safe to say that we Indians are exposed, and perhaps overexposed, to the Ramayana at an early age. It's a story that resonates with kids. It has princes with bows and arrows, evil demons that are larger than life, a ten-headed demon-king, magical powers bestowed on people by gods, and monkeys that can fly! And, it does provide parents with fodder for reinforcing good behavior – i.e. "Prince Rama always obeyed his parents," or "Prince Rama never fought with his siblings."
Children are bombarded with the Ramayana in a number of forms. It is depicted in plays, television shows, cartoons, books, movies, sculpture, paintings, and, my favorite, comic books.
My first exposure to the Ramayana was through a comic book. I remember reading that particular comic over and over again, enchanted by the depictions of massive demons, brave human-like monkeys, and flying chariots. I recall imagining what it would be like to be part of the story; to be Rama, or his brother Laxman. It was my Star Wars, before the film was released. It was my Lord of the Rings, before I could ever read the trilogy. And, despite having since read a number of versions of the classic myth, watching the television series, and seeing countless plays about it, I am still enthralled by the Ramayana. It is one of those stories that I will never get tired of.
Hence, I wanted to share some of that affinity through Vikram. . . Some of the similarities between the stories are obvious, and some, not so much. But basically, my thought while writing the book was, What better way to connect an Indian boy with his heritage than through a Ramayana-like quest?
I really wanted the book to capture that "comic-book" feel to it. So, there are thirteen illustrations done by comic-book artist Atula Siriwardane. He also did the original cover (my profile picture).
Here are some links to a few of my favorite Ramayana-themed comics:
http://www.amarchitrakatha.com/rama-504
http://www.liquidcomics.com/titles/ra...
http://www.holycow.in/ravanayan/
Have a great day, and thanks for your interest!
-Sanjiv
The story follows an exemplary prince whose wife is abducted by a demon-king. His search for her takes him and his loyal brother through a forest where he befriends a band of monkeys. They join forces and go on to wage war on the demon-king and his island kingdom. In its most basic form, it is the consummate tale of good vs. evil. (Actually, it is a story of extremes – the good are sometimes far-too-good-to-be-true, and the evil are, well, let's say you wouldn't want to run into them in the light of day, let alone a dark alley).
It's safe to say that we Indians are exposed, and perhaps overexposed, to the Ramayana at an early age. It's a story that resonates with kids. It has princes with bows and arrows, evil demons that are larger than life, a ten-headed demon-king, magical powers bestowed on people by gods, and monkeys that can fly! And, it does provide parents with fodder for reinforcing good behavior – i.e. "Prince Rama always obeyed his parents," or "Prince Rama never fought with his siblings."
Children are bombarded with the Ramayana in a number of forms. It is depicted in plays, television shows, cartoons, books, movies, sculpture, paintings, and, my favorite, comic books.
My first exposure to the Ramayana was through a comic book. I remember reading that particular comic over and over again, enchanted by the depictions of massive demons, brave human-like monkeys, and flying chariots. I recall imagining what it would be like to be part of the story; to be Rama, or his brother Laxman. It was my Star Wars, before the film was released. It was my Lord of the Rings, before I could ever read the trilogy. And, despite having since read a number of versions of the classic myth, watching the television series, and seeing countless plays about it, I am still enthralled by the Ramayana. It is one of those stories that I will never get tired of.
Hence, I wanted to share some of that affinity through Vikram. . . Some of the similarities between the stories are obvious, and some, not so much. But basically, my thought while writing the book was, What better way to connect an Indian boy with his heritage than through a Ramayana-like quest?
I really wanted the book to capture that "comic-book" feel to it. So, there are thirteen illustrations done by comic-book artist Atula Siriwardane. He also did the original cover (my profile picture).
Here are some links to a few of my favorite Ramayana-themed comics:
http://www.amarchitrakatha.com/rama-504
http://www.liquidcomics.com/titles/ra...
http://www.holycow.in/ravanayan/
Have a great day, and thanks for your interest!
-Sanjiv
April 21, 2012
Writing Vikram - This seal doesn't swim
Hello everyone! Thanks for following.
Invariably, every author has his/her reasons for why they write, and what they write about. For me, the rationale is quite simple.
I write for my children. You could say that I had a Billy Crystal "City Slickers" moment while my wife was pregnant with our first child. I thought about how I would explain my line of work (software business development) when my child asked what I did. Would the answer intrigue her? Would it excite her? Or, would it put her to sleep?
So, I set forth to writing stories, in the hopes that they would interest my children more than any marketing forecast could.
My first novel, Vikram and the Enchanted Seals, was written for the purpose of introducing my kids to everything I love about our Indian heritage. The novel touches on India's history, mythology, art, architecture, natural settings, philosophy, and societal values.
The first question that prospective readers may have about the book is, "What does a story about India have to do with furry sea mammals?" But the 'seals' in question here are something entirely different than the sea-faring animals that share the same name.
Seals are among the first artifacts found from the Indus Valley Civilization, the earliest of South-Asian civilizations. The following British Museum link actually provides a great explanation of what a "seal" is.
http://tinyurl.com/74sodgu
Enjoy!
And thanks again for your interest!
-Sanjiv
Invariably, every author has his/her reasons for why they write, and what they write about. For me, the rationale is quite simple.
I write for my children. You could say that I had a Billy Crystal "City Slickers" moment while my wife was pregnant with our first child. I thought about how I would explain my line of work (software business development) when my child asked what I did. Would the answer intrigue her? Would it excite her? Or, would it put her to sleep?
So, I set forth to writing stories, in the hopes that they would interest my children more than any marketing forecast could.
My first novel, Vikram and the Enchanted Seals, was written for the purpose of introducing my kids to everything I love about our Indian heritage. The novel touches on India's history, mythology, art, architecture, natural settings, philosophy, and societal values.
The first question that prospective readers may have about the book is, "What does a story about India have to do with furry sea mammals?" But the 'seals' in question here are something entirely different than the sea-faring animals that share the same name.
Seals are among the first artifacts found from the Indus Valley Civilization, the earliest of South-Asian civilizations. The following British Museum link actually provides a great explanation of what a "seal" is.
http://tinyurl.com/74sodgu
Enjoy!
And thanks again for your interest!
-Sanjiv
