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Conversations with Aurangzeb: A Novel
'Comprehensively irreverent . . . genre-bending . . . sparklingly witty.' - MANU PILLAI
'Who would have thought Aurangzeb could be so entertaining.' - MANU JOSEPH
A writer hopes to get some primary research done for his new book by interviewing the spirit of Shah Jahan. But the endeavour turns into an obstacle course, with his translator arguing about how to start a novel, a fellow writer giving him unsolicited feedback, and a friend plaguing him with phone calls. Worst of all, Shah Jahan is elbowed out by Aurangzeb, who hijacks the novel. In a series of conversations that touch upon everything from marketing strategies for emperors to mutiny, from Marxism to Sunny Leone, and culminates in two men and a spirit going to a bar, Aurangzeb and various other visitors tell a story no one could have predicted.
Part historical novel, part satire, Conversations with Aurangzeb - by the cult Tamil writer Charu Nivedita and brilliantly translated by Nandini Krishnan - is a biting commentary on our times.
'Who would have thought Aurangzeb could be so entertaining.' - MANU JOSEPH
A writer hopes to get some primary research done for his new book by interviewing the spirit of Shah Jahan. But the endeavour turns into an obstacle course, with his translator arguing about how to start a novel, a fellow writer giving him unsolicited feedback, and a friend plaguing him with phone calls. Worst of all, Shah Jahan is elbowed out by Aurangzeb, who hijacks the novel. In a series of conversations that touch upon everything from marketing strategies for emperors to mutiny, from Marxism to Sunny Leone, and culminates in two men and a spirit going to a bar, Aurangzeb and various other visitors tell a story no one could have predicted.
Part historical novel, part satire, Conversations with Aurangzeb - by the cult Tamil writer Charu Nivedita and brilliantly translated by Nandini Krishnan - is a biting commentary on our times.
- GenresHistory
362 pages, Kindle Edition
Published October 20, 2023
16 people are currently reading
175 people want to read
About the author
Charu Nivedita
80 books147 followersCharu Nivedita (born 18 December 1953) is a postmodern, transgressive Tamil writer, based in Chennai, India. His novel Zero Degree was longlisted for the 2013 edition of Jan Michalski Prize for Literature. Zero Degree was inducted into the prestigious '50 Writers, 50 Books - The Best of Indian Fiction', published by HarperCollins. Vahni Capildeo places Charu Nivedita on par with Vladimir Nabokov, James Joyce and Jean Genet, in her article in the Caribbean Review of Books. He was selected as one among 'Top Ten Indians of the Decade 2001 - 2010' by The Economic Times. He is inspired by Marquis de Sade and Andal. His columns appear in magazines such as Art Review Asia, The Asian Age and Deccan Chronicle.
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Displaying 1 - 25 of 25 reviews
February 1, 2024
Like a Time Machine thrown into a black hole of forgotten history.
Years ago, when Tata Indica was launched, it ran on a very successful ad campaign which had a tagline that baffled me then but I came to understand it over time- More car per car. Conversations With Aurangzeb is more book per book.
For starters, it has 5 prologues and all of which are deliciously wicked.
The book starts with a seance. Author is hoping to get a hold of Shah Jahan’s soul for research but gets Aurangzeb instead who appears with this dialogue- ‘Fie on you all!’ This prompts writer to look around for Tharoor. As per Aurangzeb, he learned English from the other departed souls in the afterlife. To this, author says, ‘Huzoor, I ask that you speak in Urdu. Your English is too complex for this century. I'm not very fluent, and if one goes by the national bestseller lists in India, our readers are even worse.’
The book works as a historical account of lesser known or erased deeds of Mughals in general and Aurangzeb in particular. Author keeps on breaking fourth wall and speaks directly to readers. The book hence becomes meta and quite catty.
Potshots are taken at southern stars and politicians alike and their need to have separate titles for them. Veganism is blasted too. Nivedita spared no one, not even himself. Savage humour drips down from at least a few hundred lines. It is remarkable to combine a subject as touchy as Aurangzeb and slather it with humour.
Nivedita pits the violence of history against that of epic. The various murder and genocides of war and routine everyday royal life is compared to Mahabharata, especially some unheard of stories like killing of Abhimanyu son in womb, the story of Dirghatamaa cursed by Brihaspati who in turn cursed the entire womenfolk.
Nivedita’s humour brings out his political side very cleanly. Without explicitly commenting on the current political climate, he makes a loud statement about the country and the politics. Although the book does give you a lot of unheard of facts about Aurangzeb, I was more surprised by the duplicitous nature of Akbar, as alleged by the other protagonists of the book. Ashoka also was portrayed in a new light.
And a separate note for superb translation. The book runs smoothly, and doesn’t feel like it wasn’t written in English.
Lastly, not a quote but an entire conversation is worth mentioning-
'A break-up?'
It is like talaq, Shahenshah, but without marriage?
I heard in the spirit world of people giving talag on modis phones. A break-up is like that? Thirteen men have don i in this poor woman?'
No, she has done that to thirteen men.'
Women are allowed to give talag nowadays? What has the world come to?'
Years ago, when Tata Indica was launched, it ran on a very successful ad campaign which had a tagline that baffled me then but I came to understand it over time- More car per car. Conversations With Aurangzeb is more book per book.
For starters, it has 5 prologues and all of which are deliciously wicked.
The book starts with a seance. Author is hoping to get a hold of Shah Jahan’s soul for research but gets Aurangzeb instead who appears with this dialogue- ‘Fie on you all!’ This prompts writer to look around for Tharoor. As per Aurangzeb, he learned English from the other departed souls in the afterlife. To this, author says, ‘Huzoor, I ask that you speak in Urdu. Your English is too complex for this century. I'm not very fluent, and if one goes by the national bestseller lists in India, our readers are even worse.’
The book works as a historical account of lesser known or erased deeds of Mughals in general and Aurangzeb in particular. Author keeps on breaking fourth wall and speaks directly to readers. The book hence becomes meta and quite catty.
Potshots are taken at southern stars and politicians alike and their need to have separate titles for them. Veganism is blasted too. Nivedita spared no one, not even himself. Savage humour drips down from at least a few hundred lines. It is remarkable to combine a subject as touchy as Aurangzeb and slather it with humour.
Nivedita pits the violence of history against that of epic. The various murder and genocides of war and routine everyday royal life is compared to Mahabharata, especially some unheard of stories like killing of Abhimanyu son in womb, the story of Dirghatamaa cursed by Brihaspati who in turn cursed the entire womenfolk.
Nivedita’s humour brings out his political side very cleanly. Without explicitly commenting on the current political climate, he makes a loud statement about the country and the politics. Although the book does give you a lot of unheard of facts about Aurangzeb, I was more surprised by the duplicitous nature of Akbar, as alleged by the other protagonists of the book. Ashoka also was portrayed in a new light.
And a separate note for superb translation. The book runs smoothly, and doesn’t feel like it wasn’t written in English.
Lastly, not a quote but an entire conversation is worth mentioning-
'A break-up?'
It is like talaq, Shahenshah, but without marriage?
I heard in the spirit world of people giving talag on modis phones. A break-up is like that? Thirteen men have don i in this poor woman?'
No, she has done that to thirteen men.'
Women are allowed to give talag nowadays? What has the world come to?'
November 19, 2024
Charu's Conversations with Aurangzeb is a unique novel, a conversation that the writer has with the enigmatic Mughal King Aurangzeb. There is a lot unique about this novel, the prologue of the novel rather than detailing about the work itself, digress to explain the writers original intent of a writing a novel about a different person. How he is forced to write this novel out of chance and translation commitments. In a very sense the writer lays bare any sense of imagination that the reader gains from reading a working of fiction. Traditionally works of fiction tries to hide this aspect which enables the reader to imagine living a real life through the words of the writer. Charu as in his other works in his quintessentially post modern style does not hide himself. As the seances progress there are various aspects of the novel that I found it fascinating.
1. The novel is recorded as seances through which the author is having a series of conversations with the spirit of Aurangzeb. Through these conversations, the novel humanizes Aurangzeb, it feels like two human beings are getting to know the times in which they are living. The writer probes, Aurangzeb his motives, his reasons for his actions, the explanations provided by him offer his side of history. He defends his acts as those that are necessary to rule an empire. He explains his justifications, he bemoans his lack of interest in advertising himself towards posterity that which has ensured Ashoka or Akbar to seen in positive light. What is even more fascinating is the writer explaining the present to Aurangzeb. This contrasts are very funny. So much has changed in these three hundred years, yet there are aspects that haven't changed so much. Especially the alacrity with which our public personalities are called addressed with various titles. Although we live in a democratic world which is drastically surprising to Aurangzeb, there are feudal hangovers we still carry that the writer wants us to remember. Through these conversations we get to know Aurangzeb across time.
2. Another fascinating aspect about the novel is it questions the idea of a historic narrative, it questions what is known or taught as history. We tend to judge say Emperor Ashoka favorably based on his stone inscriptions, if that is so history becomes a tool to white wash the past. How do we even understand these historic records which are composed by the king itself. In the present day we see how people in power tend to focus in creating hagiographic histories about themselves. In such a scenario how do we even know ascertain the truth.
3. There is also a clear theme that runs in the entire novel which is critical of the falsity in society's attitudes towards morality. Charu is deeply critical of our society's contradictory nature, we tend to believe in lofty ideals, in art and literature our society expects great morals and ideals yet these are completely lacking in the everyday. We glorify valor in movies, yet rarely we back this up with action. Hence the writer finds Aurangzeb to be someone who is relatively straightforward, he does not claim to follow something contradictory to his actions. In that sense maybe Charu finds him a kindred soul, someone misunderstood and enigmatic.
4. The novel's form also is a critique in itself about historic grand narrations and in general about written history. In general historical accounts of great kings that we read look like organic seamless creations, yet they were created, reviewed, sections deleted these aspects are hidden to us. The book comes to us as a complete work of fiction, where as in this book contains the meta narrative about how this book will be perceived or the fear if this may result in bans and threats etc.
5. Aurangzeb comes out as a deeply flawed man but the author successfully humanizes him by showing how people in power, yearn to be loved and remember well. The guilt of Aurangzeb comes from the fact the fact that he will not be remembered as he wished. It also showcases the paradox of power, the more we try to control, the more we are isolated and loose the human connection. The loneliness that Aurangzeb suffers from, his sons leave him as he had once betrayed his father, he had to imprison his own sister in the pursuit of power. Deep down he feel the emptiness of ambition and the immense loneliness power bestows on people wielding it.
1. The novel is recorded as seances through which the author is having a series of conversations with the spirit of Aurangzeb. Through these conversations, the novel humanizes Aurangzeb, it feels like two human beings are getting to know the times in which they are living. The writer probes, Aurangzeb his motives, his reasons for his actions, the explanations provided by him offer his side of history. He defends his acts as those that are necessary to rule an empire. He explains his justifications, he bemoans his lack of interest in advertising himself towards posterity that which has ensured Ashoka or Akbar to seen in positive light. What is even more fascinating is the writer explaining the present to Aurangzeb. This contrasts are very funny. So much has changed in these three hundred years, yet there are aspects that haven't changed so much. Especially the alacrity with which our public personalities are called addressed with various titles. Although we live in a democratic world which is drastically surprising to Aurangzeb, there are feudal hangovers we still carry that the writer wants us to remember. Through these conversations we get to know Aurangzeb across time.
2. Another fascinating aspect about the novel is it questions the idea of a historic narrative, it questions what is known or taught as history. We tend to judge say Emperor Ashoka favorably based on his stone inscriptions, if that is so history becomes a tool to white wash the past. How do we even understand these historic records which are composed by the king itself. In the present day we see how people in power tend to focus in creating hagiographic histories about themselves. In such a scenario how do we even know ascertain the truth.
3. There is also a clear theme that runs in the entire novel which is critical of the falsity in society's attitudes towards morality. Charu is deeply critical of our society's contradictory nature, we tend to believe in lofty ideals, in art and literature our society expects great morals and ideals yet these are completely lacking in the everyday. We glorify valor in movies, yet rarely we back this up with action. Hence the writer finds Aurangzeb to be someone who is relatively straightforward, he does not claim to follow something contradictory to his actions. In that sense maybe Charu finds him a kindred soul, someone misunderstood and enigmatic.
4. The novel's form also is a critique in itself about historic grand narrations and in general about written history. In general historical accounts of great kings that we read look like organic seamless creations, yet they were created, reviewed, sections deleted these aspects are hidden to us. The book comes to us as a complete work of fiction, where as in this book contains the meta narrative about how this book will be perceived or the fear if this may result in bans and threats etc.
5. Aurangzeb comes out as a deeply flawed man but the author successfully humanizes him by showing how people in power, yearn to be loved and remember well. The guilt of Aurangzeb comes from the fact the fact that he will not be remembered as he wished. It also showcases the paradox of power, the more we try to control, the more we are isolated and loose the human connection. The loneliness that Aurangzeb suffers from, his sons leave him as he had once betrayed his father, he had to imprison his own sister in the pursuit of power. Deep down he feel the emptiness of ambition and the immense loneliness power bestows on people wielding it.
October 31, 2023
1.
Let me start where I am. I have not completely read the book. But, I thought let me do this piecemeal.
I once, saw Charu's talk about a book "Bahirathiyin Madhiyam" by Ba. Venkatesan and he pointed out that whenever he saw the protagonist's struggle to be understood he saw himself. Everybody who saw his art saw nothing. They just saw lines and nothing else. In that plight of being not seen, Charu saw himself. Someone relegated to dark corners of society. Whose work which means more than world to him, sent to the depths of oblivion by the masses. Who is forever misunderstood or unseen.
Is it just a coincidence he is writing about an Emperor who is one of the misunderstood and hated (unjustly? - a lot of wrongdoings pointed towards him are not something that is specific to him) without being given a proper chance of consideration by the masses? Does he again see himself in a being who wants to be seen for who he is and given a fair trial in a world who has already passed a judgment on him? Would that be the reason that propelled Charu to give a chance as Mark Antony to the wounds of dead Caesar?
It is once said, every piece of writing is a memoir. These are not facts that I am writing right now but my experience. Bodhi tree did not make Buddha. But, Buddha's enlightenment made Bodhi tree. Why is fiction fought over when it is nothing but made up things? Why does it matter? Why do people get crazy when it does not align with their life and morals? Why seek your reality in a device which ultimately is... not real? As any good actor's job is to sell his act, to be true to the falseness that binds him to the viewer. To sell a narrative. Lot of postmodern works tries to subvert this by making the narrative structures obvious, bringing them to the foreground or making the narrative too fantastical that it is contrasting the very nature of reality. It sells a narrative that it is selling a narrative.
Charu brings another layer to this in much of his fiction - he writes about the writer himself. Lots of references of his life and his fiction a shadow of his life. It is impossible to know in the scattered narrative - the distinction between the reality and fiction blurs.
It is still there. The prologue has nothing about titular character but about finding what is the right words to start this novel that is currently being read! We are led through the events in the author's life and discussions with the editor about what has to be done. But, I don't know if the plot would lend itself to this when the novel continues, since, when Aurangzeb talks we know that it is not true but fiction but again it is a real historical figure, who is so meticulously researched. But, it is an exciting artistic fun nonetheless. Would it have been different if it is not written in an episodic way? Since, it is written as a task to be read for the people in an app that has published works of many authors. Cause, the thing that is stimulating when read piecemeal might just become unfitting when read together as a single piece of work.
Excuse me for the really weird comparison, but I have seen this in translation of manga to anime particularly when it is done frame by frame. The problem is they are written for weekly runs and they should have dialogues even when it is about action because you keep people occupied with such things when it is rendered on quickly drawn black and white boxes and published. It has to fit in 20 pages. And it should end in a cliffhanger - again and again, so the next issue will be bought.
I do not dare say it is such - this is a formidable work of fiction. But, lending to the interest of the current page is visible. Since, I have not read the original runs - I cannot comment on what has changed or left the same in the novel form. I will chug along for now.
2.
Almost half of it now. It takes time to read an English book. Particularly, one that involves just so many pages of a 400 year old soul. Great that it did not go the 'Mason & Dixon' route (Nothing against M&D. I loved as much as I could read (70 and so pages). But, a novel about ancient voyage in Renaissance era English is hard to go on for a dumb wit.)
Let me get the first thing out of the way - prologues. This book has 5 prologues! Apart from the first prologue about the author pondering about how to start the book - others were... mildly amusing? The aim was to set the rules for what the book could be, laying out the framework of the fantastical fiction. I guess, the aim was to dwell on the cultural shock one would experience when they land in an age much farther away from the world of their own - particularly wondering about the decadence of modern age. The results, while page turning, never takes us to places that we don't expect, which Charu is always known for - deriving wild experiences and shocking perspectives even from mundane circumstances of a man.
But, once the ball gets rolling - it is a gripping ride. What we are to experience are confessions, musings, reflections of a man who weary of the worlds and times. It is formidable how aware he is.
He repeats, sometimes in defense, sometimes in exhaustion, again and again, towards the judgment of his people, time and history - why he is not a cruel, bloodthirsty, terrible man. He is not. But, somehow he lost himself to his own awareness. He lost his morality to his own discipline and faith. His monologues and speeches are so convincing, articulate and sensitive.
It defines him. He could never be home. Banished from home to rule over faraway places, he is hoarding in his heart a solitude, bravery, discipline, fear of god and certain mindless violence. He had and could trust only himself. And novel is really what it says - conversations with this warrior, who is fighting even beyond his end. A sprawling epic that darts across the pages of Indian history examining him against any other person who came before and after him.
This novel is a harbinger in that sense. How even a well meaning man, sometimes can become a demon. He is not an evil man because he is, but he accepts the terms the evil seeks as very own fabric of his reality and rationalizes them. It might be the only reason he could survive. Hard to argue with him. I think, from our times, it is easy to look back at him and these rulers and call them sick and barbaric. But, it took a certain sickness to survive those times, as we require certain other sicknesses to survive our time. When any deviance from this path is either death or loss of throne would any 20th century man have chosen otherwise?
This is a story, how times, circumstances, chances and even his very own consciousness can make him choose his path to be the one who will be remembered as a heartless monster. A tragic hero who could never see his own tragedy.
Let me start where I am. I have not completely read the book. But, I thought let me do this piecemeal.
I once, saw Charu's talk about a book "Bahirathiyin Madhiyam" by Ba. Venkatesan and he pointed out that whenever he saw the protagonist's struggle to be understood he saw himself. Everybody who saw his art saw nothing. They just saw lines and nothing else. In that plight of being not seen, Charu saw himself. Someone relegated to dark corners of society. Whose work which means more than world to him, sent to the depths of oblivion by the masses. Who is forever misunderstood or unseen.
Is it just a coincidence he is writing about an Emperor who is one of the misunderstood and hated (unjustly? - a lot of wrongdoings pointed towards him are not something that is specific to him) without being given a proper chance of consideration by the masses? Does he again see himself in a being who wants to be seen for who he is and given a fair trial in a world who has already passed a judgment on him? Would that be the reason that propelled Charu to give a chance as Mark Antony to the wounds of dead Caesar?
It is once said, every piece of writing is a memoir. These are not facts that I am writing right now but my experience. Bodhi tree did not make Buddha. But, Buddha's enlightenment made Bodhi tree. Why is fiction fought over when it is nothing but made up things? Why does it matter? Why do people get crazy when it does not align with their life and morals? Why seek your reality in a device which ultimately is... not real? As any good actor's job is to sell his act, to be true to the falseness that binds him to the viewer. To sell a narrative. Lot of postmodern works tries to subvert this by making the narrative structures obvious, bringing them to the foreground or making the narrative too fantastical that it is contrasting the very nature of reality. It sells a narrative that it is selling a narrative.
Charu brings another layer to this in much of his fiction - he writes about the writer himself. Lots of references of his life and his fiction a shadow of his life. It is impossible to know in the scattered narrative - the distinction between the reality and fiction blurs.
It is still there. The prologue has nothing about titular character but about finding what is the right words to start this novel that is currently being read! We are led through the events in the author's life and discussions with the editor about what has to be done. But, I don't know if the plot would lend itself to this when the novel continues, since, when Aurangzeb talks we know that it is not true but fiction but again it is a real historical figure, who is so meticulously researched. But, it is an exciting artistic fun nonetheless. Would it have been different if it is not written in an episodic way? Since, it is written as a task to be read for the people in an app that has published works of many authors. Cause, the thing that is stimulating when read piecemeal might just become unfitting when read together as a single piece of work.
Excuse me for the really weird comparison, but I have seen this in translation of manga to anime particularly when it is done frame by frame. The problem is they are written for weekly runs and they should have dialogues even when it is about action because you keep people occupied with such things when it is rendered on quickly drawn black and white boxes and published. It has to fit in 20 pages. And it should end in a cliffhanger - again and again, so the next issue will be bought.
I do not dare say it is such - this is a formidable work of fiction. But, lending to the interest of the current page is visible. Since, I have not read the original runs - I cannot comment on what has changed or left the same in the novel form. I will chug along for now.
2.
Almost half of it now. It takes time to read an English book. Particularly, one that involves just so many pages of a 400 year old soul. Great that it did not go the 'Mason & Dixon' route (Nothing against M&D. I loved as much as I could read (70 and so pages). But, a novel about ancient voyage in Renaissance era English is hard to go on for a dumb wit.)
Let me get the first thing out of the way - prologues. This book has 5 prologues! Apart from the first prologue about the author pondering about how to start the book - others were... mildly amusing? The aim was to set the rules for what the book could be, laying out the framework of the fantastical fiction. I guess, the aim was to dwell on the cultural shock one would experience when they land in an age much farther away from the world of their own - particularly wondering about the decadence of modern age. The results, while page turning, never takes us to places that we don't expect, which Charu is always known for - deriving wild experiences and shocking perspectives even from mundane circumstances of a man.
But, once the ball gets rolling - it is a gripping ride. What we are to experience are confessions, musings, reflections of a man who weary of the worlds and times. It is formidable how aware he is.
He repeats, sometimes in defense, sometimes in exhaustion, again and again, towards the judgment of his people, time and history - why he is not a cruel, bloodthirsty, terrible man. He is not. But, somehow he lost himself to his own awareness. He lost his morality to his own discipline and faith. His monologues and speeches are so convincing, articulate and sensitive.
It defines him. He could never be home. Banished from home to rule over faraway places, he is hoarding in his heart a solitude, bravery, discipline, fear of god and certain mindless violence. He had and could trust only himself. And novel is really what it says - conversations with this warrior, who is fighting even beyond his end. A sprawling epic that darts across the pages of Indian history examining him against any other person who came before and after him.
This novel is a harbinger in that sense. How even a well meaning man, sometimes can become a demon. He is not an evil man because he is, but he accepts the terms the evil seeks as very own fabric of his reality and rationalizes them. It might be the only reason he could survive. Hard to argue with him. I think, from our times, it is easy to look back at him and these rulers and call them sick and barbaric. But, it took a certain sickness to survive those times, as we require certain other sicknesses to survive our time. When any deviance from this path is either death or loss of throne would any 20th century man have chosen otherwise?
This is a story, how times, circumstances, chances and even his very own consciousness can make him choose his path to be the one who will be remembered as a heartless monster. A tragic hero who could never see his own tragedy.
June 28, 2025
I really liked the premise of this book. I love historical fiction, and a book about the ghost of Aurangzeb reflecting on the events of his life sounds like something right up my alley. However, the execution fell short for me. I often found both Aurangzeb and the katib's narrative to be rambling and hard to follow. While the trip to Chile was humorous, it was also not fleshed out properly and missed the mark. The prefaces were too long and pointless, and the jokes often a little sexist. I also wish there was more space given to other historical figures narrating their life stories. The few cameos we got left me wanting more.
What I did like was the way he managed to bring this fictional, repentant Aurangzeb to life in tone and personality. I loved learning more about the Mughal Empire in richer detail- the facts, the fiction, the rumours; a much more colourful and memorable read than the monotone in our history textbooks. This is also why I often turn to historical fiction, and will keep coming back to it again and again.
What I did like was the way he managed to bring this fictional, repentant Aurangzeb to life in tone and personality. I loved learning more about the Mughal Empire in richer detail- the facts, the fiction, the rumours; a much more colourful and memorable read than the monotone in our history textbooks. This is also why I often turn to historical fiction, and will keep coming back to it again and again.
February 12, 2024
History rendered with an-other voice. Recounting the fall of an empire.
February 6, 2024
Book: Conversations With Aurangzeb
Author: Charu Nivedita
Translator: Nandini Krishnan
Publisher: HarperCollins India
Pages: 348
Conversations With Aurangzeb by Charu Nivedita, translated from Tamil by Nandini Krishnan is a genre-blending fiction book. In the story, the writer while researching for his new novel about Catarina de San Juan, Shah Jahan's first cousin stumbles upon an Aghori who could summon into his body the spirit of anyone whom one wishes to speak, and so the writer tries to speak to the spirit of Shah Jahan. But Shah Jahan is elbowed out by Aurangzeb and turns the trajectory of the research and the novel of the writer completely. And thus this book takes place through a series of conversations. Read the book to see the "spirit" side of Aurangzeb.
This was one of the most anticipated reads for me because I got to know about the book when I visited the HarperCollins India office in September last year, and I was intrigued by the title and its description.
The book has a lot of humorous and fun moments. From Aurangabad mentioning lingos like "bro" and "dude" and making fun of them, being offended by a media's favourite child who shares his name with His ancestor Taimur, to discussing Priyanka Chopra or Tamil Superstars, there is a lot of humour and satire in it, and the writing makes it more captivating and interesting. Also, it was the first time where I had seen a book with Prologue 0 to 5, covering around 50 pages and giving a whole new dimension to the book.
The conversation between Aurangzeb and Honourable Katib(as Aurangzeb's spirit addresses the writer) focuses on a plethora of topics - democracy, genocide, taxes, rituals, heroism, Babur, Akbar, and Shah Jahan's reign, Aurangzeb's contemporaries and his comparisons with them, his "image" and Jawahar Lal Nehru, music, love, and things beyond Mughal's Dynasty, giving it a flavour of contemporary fiction and making it much more than historical fiction.
The author refers to several other resources, readings, artists, and pieces of evidence that analyze the claims of Aurangzeb's spirit, and at the same time, leaves many things for the understanding of the readers and makes them go a mile beyond to look for a few things further by themselves, making it a collaborative experience.
In the Translator's Note, Nandini Krishnan writes, "I do hope it alarms, frightens, and makes you want to throw it across the room. It is rather heavy, though, so I also hope you choose a worthy target to aim it at." And I can say that the book succeeded in its aim.
It would be a very absurd analogy to give, but the way Aurangzeb's conversation was written looked like Sajid Khan's appearance in Big Boss(IYKYK!). And so many times when Aurangzeb's spirit was talking about Ashoka, Shivaji, and others, I can imagine him saying the viral dialogue by Shehnaaz Gill- "Twada Kutta Tommy, Sadda Kutta Kutta"
Although the writing remains fascinating, after a point, the conversation looks repetitive and the interest starts to fade if I can say! The conversation looks like ranting and what looks humorous at the beginning becomes irritating!
Overall, this is a book that cannot be molded in any existing structures and makes a way on its own with the genre-blending, thought-provoking, diverse themes, narratives, and writing style and makes the readers look at things from an entirely new perspective. So if you want to read anything that's out of the box, this one can fulfill that requirement.
Author: Charu Nivedita
Translator: Nandini Krishnan
Publisher: HarperCollins India
Pages: 348
Conversations With Aurangzeb by Charu Nivedita, translated from Tamil by Nandini Krishnan is a genre-blending fiction book. In the story, the writer while researching for his new novel about Catarina de San Juan, Shah Jahan's first cousin stumbles upon an Aghori who could summon into his body the spirit of anyone whom one wishes to speak, and so the writer tries to speak to the spirit of Shah Jahan. But Shah Jahan is elbowed out by Aurangzeb and turns the trajectory of the research and the novel of the writer completely. And thus this book takes place through a series of conversations. Read the book to see the "spirit" side of Aurangzeb.
This was one of the most anticipated reads for me because I got to know about the book when I visited the HarperCollins India office in September last year, and I was intrigued by the title and its description.
The book has a lot of humorous and fun moments. From Aurangabad mentioning lingos like "bro" and "dude" and making fun of them, being offended by a media's favourite child who shares his name with His ancestor Taimur, to discussing Priyanka Chopra or Tamil Superstars, there is a lot of humour and satire in it, and the writing makes it more captivating and interesting. Also, it was the first time where I had seen a book with Prologue 0 to 5, covering around 50 pages and giving a whole new dimension to the book.
The conversation between Aurangzeb and Honourable Katib(as Aurangzeb's spirit addresses the writer) focuses on a plethora of topics - democracy, genocide, taxes, rituals, heroism, Babur, Akbar, and Shah Jahan's reign, Aurangzeb's contemporaries and his comparisons with them, his "image" and Jawahar Lal Nehru, music, love, and things beyond Mughal's Dynasty, giving it a flavour of contemporary fiction and making it much more than historical fiction.
The author refers to several other resources, readings, artists, and pieces of evidence that analyze the claims of Aurangzeb's spirit, and at the same time, leaves many things for the understanding of the readers and makes them go a mile beyond to look for a few things further by themselves, making it a collaborative experience.
In the Translator's Note, Nandini Krishnan writes, "I do hope it alarms, frightens, and makes you want to throw it across the room. It is rather heavy, though, so I also hope you choose a worthy target to aim it at." And I can say that the book succeeded in its aim.
It would be a very absurd analogy to give, but the way Aurangzeb's conversation was written looked like Sajid Khan's appearance in Big Boss(IYKYK!). And so many times when Aurangzeb's spirit was talking about Ashoka, Shivaji, and others, I can imagine him saying the viral dialogue by Shehnaaz Gill- "Twada Kutta Tommy, Sadda Kutta Kutta"
Although the writing remains fascinating, after a point, the conversation looks repetitive and the interest starts to fade if I can say! The conversation looks like ranting and what looks humorous at the beginning becomes irritating!
Overall, this is a book that cannot be molded in any existing structures and makes a way on its own with the genre-blending, thought-provoking, diverse themes, narratives, and writing style and makes the readers look at things from an entirely new perspective. So if you want to read anything that's out of the box, this one can fulfill that requirement.
June 6, 2024
The is a conversation between the author and the spirit of Aurangzeb (SOA) translated by Nandini Krishnan. If you can get past the initial unfunny flirting's between the author and his translator the book is a good one time read.
The SOA bemoans his bad marketing tactics and tells history from his point of view. The spirits of Murad Baksh, Jahanara, Zeb-un-Nisa, someone Sexena and Durgavati have another point of view.
SOA has a grouse that people name their kids after Ashoka and not him.
The SOA bemoans his bad marketing tactics and tells history from his point of view. The spirits of Murad Baksh, Jahanara, Zeb-un-Nisa, someone Sexena and Durgavati have another point of view.
SOA has a grouse that people name their kids after Ashoka and not him.
November 7, 2023
A must-read, beyond history and Mughal, the book is a function of managerial and psychological knowledge. Absolutely stunning, from Zeb-un-Nissa's poems to "theory of need", it is a cosmic decoction for everyone to clear the foggy history we carry and the assumptions we have about ourselves and the world.
It took several nights and two pens to read this book. Still, I haven’t completed it, but this particular chapter urged me to immediately write what I feel about this masterpiece. This work doesn’t gradually develop; it just takes you off, just like that. The chapter when he talks about his daughter, like in the middle of a storm, the breezy poetic session caresses the soul of the reader.
Many times, if you have read Charu Nivedita’s writings before, you will be confused or amused peering at the spirit of Aurangzeb because you will definitely see Charu’s spirit in Aurangzeb’s voice, a solid work of brilliance. Blasphemy, politics, music, and history, and when the spirit considers some of the big names as bozos, I wanted to be angry but the spirit has specific points, which I would call rational persuasion. At the same time, there is no controversy at all; even though Charu and the spirit become sceptical about a few topics they discuss, it is a clean, unbiased historical exemplary. “Idiotic fad like democracy” or “we are happy with the illusion" The stories and references just weave the history with the present, and bang, you will realise that the history and the present aren't really different. Just like the state of the heroes and the villains written over and over again in specifically different colours. Just like a personality trait that has been attached to any human, thanks to several meaningless tests taken up by several youngsters to identify their own personality type as if one particular trait exists! The entire book defies the notion of how humans think about themselves and the species as such. You could possibly find a dynamic personality rainbow in Aurangzeb’s trait. Rainbow is just a figure of speech here; he is not confused, I think, until where I am reading. He is narcissistic, clear, and strategic. Again, narcissism, unlike what the average public thinks of, is not an undesirable trait. Chapter by chapter, you will see a different personality intertwined with history and traditions. When I said traditions, there is a particular instance where the spirit describes a woman being carried to perform sati. That incident is the epitome of how writing can hit you right in your stomach. No glossy words, and you will be just there. You could feel the heat of unforgiving flames, smell the burnt corpse. This was the second time I could feel this deathly atmosphere after “Things fall apart”.
However, when you believe and start to nod to the spirit’s argument again and again, the writer comes out and breaks the worship then and there by making the spirit mortal and flawed. Take a bow for not making the readers stick to the worship of the character but to understand the grayest matters in specific details. One of my favourite lines...” It is not actions but appearances—forgive the pun—that strike a chord with people”. Brilliant! In a world where people call for networking, network exposure, weak ties, and strong ties and assume that network is your net worth, we cannot deny the power of appearances. But the point here in the book, as sharp as a knife, will help you understand the bitterness behind this power of appearances.
The comparison between Karl Marx and himself, the spirit; the book uses such simple language as if you were reading a book like Animal Farm, but is far more conceptual and treats the complicated history with respect. Comparisons with Krishna, Hitler’s concentration camps, and Che’s downfall: the encapsulation of the world’s notorious people and events is astounding.
Again, a spectacular narration of why Aurangzeb chose the title “The Man Who Jailed His Own Father" will keep you buried in the book, as racy as any other internationally acclaimed fiction.
And beyond history, culture, and other things, the book is constantly dotted with technical concepts like Machiavellianism and utilitarianism principles. Sometimes, I feel like Steve Jobs has taken over Aurangzeb’s position! A must-read.
It took several nights and two pens to read this book. Still, I haven’t completed it, but this particular chapter urged me to immediately write what I feel about this masterpiece. This work doesn’t gradually develop; it just takes you off, just like that. The chapter when he talks about his daughter, like in the middle of a storm, the breezy poetic session caresses the soul of the reader.
Many times, if you have read Charu Nivedita’s writings before, you will be confused or amused peering at the spirit of Aurangzeb because you will definitely see Charu’s spirit in Aurangzeb’s voice, a solid work of brilliance. Blasphemy, politics, music, and history, and when the spirit considers some of the big names as bozos, I wanted to be angry but the spirit has specific points, which I would call rational persuasion. At the same time, there is no controversy at all; even though Charu and the spirit become sceptical about a few topics they discuss, it is a clean, unbiased historical exemplary. “Idiotic fad like democracy” or “we are happy with the illusion" The stories and references just weave the history with the present, and bang, you will realise that the history and the present aren't really different. Just like the state of the heroes and the villains written over and over again in specifically different colours. Just like a personality trait that has been attached to any human, thanks to several meaningless tests taken up by several youngsters to identify their own personality type as if one particular trait exists! The entire book defies the notion of how humans think about themselves and the species as such. You could possibly find a dynamic personality rainbow in Aurangzeb’s trait. Rainbow is just a figure of speech here; he is not confused, I think, until where I am reading. He is narcissistic, clear, and strategic. Again, narcissism, unlike what the average public thinks of, is not an undesirable trait. Chapter by chapter, you will see a different personality intertwined with history and traditions. When I said traditions, there is a particular instance where the spirit describes a woman being carried to perform sati. That incident is the epitome of how writing can hit you right in your stomach. No glossy words, and you will be just there. You could feel the heat of unforgiving flames, smell the burnt corpse. This was the second time I could feel this deathly atmosphere after “Things fall apart”.
However, when you believe and start to nod to the spirit’s argument again and again, the writer comes out and breaks the worship then and there by making the spirit mortal and flawed. Take a bow for not making the readers stick to the worship of the character but to understand the grayest matters in specific details. One of my favourite lines...” It is not actions but appearances—forgive the pun—that strike a chord with people”. Brilliant! In a world where people call for networking, network exposure, weak ties, and strong ties and assume that network is your net worth, we cannot deny the power of appearances. But the point here in the book, as sharp as a knife, will help you understand the bitterness behind this power of appearances.
The comparison between Karl Marx and himself, the spirit; the book uses such simple language as if you were reading a book like Animal Farm, but is far more conceptual and treats the complicated history with respect. Comparisons with Krishna, Hitler’s concentration camps, and Che’s downfall: the encapsulation of the world’s notorious people and events is astounding.
Again, a spectacular narration of why Aurangzeb chose the title “The Man Who Jailed His Own Father" will keep you buried in the book, as racy as any other internationally acclaimed fiction.
And beyond history, culture, and other things, the book is constantly dotted with technical concepts like Machiavellianism and utilitarianism principles. Sometimes, I feel like Steve Jobs has taken over Aurangzeb’s position! A must-read.
January 6, 2025
My first read of 2025, and what a thought-provoking book it turned out to be! As a history buff, the title of the book piqued my curiosity, and I was glad I jumped into this rather delightful romp of a read.
At a superficial level, Conversations with Aurangzeb, as the title goes, is freewheeling conversations of a writer with the spirit of one of India’s most maligned emperors touching upon some of the controversial aspects of Aurangzeb’s reign (his demolishing Hindu temples, the jizya tax, bigotry, etc.) and other nuggets of Mughal history. But these conversations are interspersed with discussions on a range of issues such as religious intolerance, democracy, Tamil culture (aggrandizing titles accorded to film stars aka the new royalty today as against writers in Tamil Nadu being on par with stray dogs), Marx and our very own Nadodi Mannan or to be politically correct, Puratchi Thalaivar (MGR). Other notable personalities such as Ashoka (referred to as the great marketer by Aurangzeb!), Rani Durgavati, Rani Mangammal, Shivaji, Velupillai Prabhakaran besides Bhishma, Krishna, and Shakuni from the Mahabharata also make an interesting cameo. The part where the writer, his friend and Aurangzeb teleport to a bar in Santiago, Chile was wild and as absurd as it could get and kudos to the author for weaving it all in in a highly entertaining and irreverent manner!
The novel is rather unique and genre-bending as within the broad historical narrative, different narratives are thrown around to make one think, and then question the way history gets written- who gets revered as a hero, who castigated as a villain and who gets pushed to the margins, barely remembered as a footnote. Towards the end, we have Jahanara’s spirit wondering how “women’s bodies are always the battlefields for men’s egos”. For the uninitiated, Jahanara, Shah Jahan’s daughter, the Padshah Begum of the Mughal Empire was one of the most powerful and richest women of her times but being unmarried, she was subjected to salacious rumours of incest/affairs while she lived as a devotee of a Sufi pir. Not much seems to have changed since the Mughal period!
Overall, a compelling, humorous and satirical read reflecting the times we live in!
At a superficial level, Conversations with Aurangzeb, as the title goes, is freewheeling conversations of a writer with the spirit of one of India’s most maligned emperors touching upon some of the controversial aspects of Aurangzeb’s reign (his demolishing Hindu temples, the jizya tax, bigotry, etc.) and other nuggets of Mughal history. But these conversations are interspersed with discussions on a range of issues such as religious intolerance, democracy, Tamil culture (aggrandizing titles accorded to film stars aka the new royalty today as against writers in Tamil Nadu being on par with stray dogs), Marx and our very own Nadodi Mannan or to be politically correct, Puratchi Thalaivar (MGR). Other notable personalities such as Ashoka (referred to as the great marketer by Aurangzeb!), Rani Durgavati, Rani Mangammal, Shivaji, Velupillai Prabhakaran besides Bhishma, Krishna, and Shakuni from the Mahabharata also make an interesting cameo. The part where the writer, his friend and Aurangzeb teleport to a bar in Santiago, Chile was wild and as absurd as it could get and kudos to the author for weaving it all in in a highly entertaining and irreverent manner!
The novel is rather unique and genre-bending as within the broad historical narrative, different narratives are thrown around to make one think, and then question the way history gets written- who gets revered as a hero, who castigated as a villain and who gets pushed to the margins, barely remembered as a footnote. Towards the end, we have Jahanara’s spirit wondering how “women’s bodies are always the battlefields for men’s egos”. For the uninitiated, Jahanara, Shah Jahan’s daughter, the Padshah Begum of the Mughal Empire was one of the most powerful and richest women of her times but being unmarried, she was subjected to salacious rumours of incest/affairs while she lived as a devotee of a Sufi pir. Not much seems to have changed since the Mughal period!
Overall, a compelling, humorous and satirical read reflecting the times we live in!
October 29, 2023
This novel presents a seamless and witty fusion of satire and amusement, making it the most engaging and humor-filled piece in my literary experience of the last decade.
Contrary to the conventional historical novel, 'Conversations with Aurangazeb' is a captivating blend of historical and contemporary elements. Within its pages, Aurangazeb traverses realms beyond history, delving into discussions about GOT, Ashoka, music, love, Sunny Leone, the current government, the writers' lives, and more. It's as if Aurangazeb strolls through the streets of India and Chile, engaging in candid conversations that unveil his obscured history and refute false narratives.
Charu Nivedita emerges as a unique post-modernist in world literature, effortlessly weaving prose that flows like a serene river. The charm and ease within the narrative captivate from start to finish. Aurangazeb, known for his notoriety, is painted in vivid shades, offering insight into the factors that shaped him, his wit, and his transition from an emperor to a life akin to a beggar until his death. Charu Nivedita introduces a new dimension, largely unexplored and unknown, shedding light on the iconic sources that underpin this monumental work. It stands tall among all historical fiction in the literary realm. This work heralds a new wave emerging from the South of India, promising to enrich the sub-continent with truth and courage.
"It is often said that 'It's the responsibility of intellectuals to speak the truth and expose lies,' a famous quote attributed to Noam Chomsky. 'Conversations with Aurangzeb' stands as a testament to this quote.
Regrettably, the intellectual community, academia, and writers, to a large extent, seem reluctant to discuss or address Aurangzeb. It's quite unfortunate. Even a great statesman like Nehru depicted a negative image of Aurangzeb (remember that Nehru printed his marriage invitation in Urdu). Essentially, there's a prevailing reluctance to touch upon the subject of Aurangzeb. It seems beneficial to steer away from this fiery discourse.
Contrary to the conventional historical novel, 'Conversations with Aurangazeb' is a captivating blend of historical and contemporary elements. Within its pages, Aurangazeb traverses realms beyond history, delving into discussions about GOT, Ashoka, music, love, Sunny Leone, the current government, the writers' lives, and more. It's as if Aurangazeb strolls through the streets of India and Chile, engaging in candid conversations that unveil his obscured history and refute false narratives.
Charu Nivedita emerges as a unique post-modernist in world literature, effortlessly weaving prose that flows like a serene river. The charm and ease within the narrative captivate from start to finish. Aurangazeb, known for his notoriety, is painted in vivid shades, offering insight into the factors that shaped him, his wit, and his transition from an emperor to a life akin to a beggar until his death. Charu Nivedita introduces a new dimension, largely unexplored and unknown, shedding light on the iconic sources that underpin this monumental work. It stands tall among all historical fiction in the literary realm. This work heralds a new wave emerging from the South of India, promising to enrich the sub-continent with truth and courage.
"It is often said that 'It's the responsibility of intellectuals to speak the truth and expose lies,' a famous quote attributed to Noam Chomsky. 'Conversations with Aurangzeb' stands as a testament to this quote.
Regrettably, the intellectual community, academia, and writers, to a large extent, seem reluctant to discuss or address Aurangzeb. It's quite unfortunate. Even a great statesman like Nehru depicted a negative image of Aurangzeb (remember that Nehru printed his marriage invitation in Urdu). Essentially, there's a prevailing reluctance to touch upon the subject of Aurangzeb. It seems beneficial to steer away from this fiery discourse.
August 11, 2025
A Disappointing Book on Aurangzeb
By looking at the title, cover page, and 4+ Goodreads ratings, one would expect an engaging and informative read about Aurangzeb. Unfortunately, this book fails to deliver on almost every count.
Yes, the author may be renowned in his field, but this work is shallow, superficial, and often boring. Most importantly, it is not even exclusively about Aurangzeb.
🧱 Structure and Content Issues:
The book is 330 pages long, but it begins with 5 prologues totaling 50 pages — full of cringe-inducing humor and pointless digressions. These seem designed more to inflate page count than add value.
Only about 4–5 chapters (120 pages) genuinely focus on Aurangzeb — and those are indeed interesting.
The rest of the book is diluted with conversations not with Aurangzeb but with his siblings, historians, and fictional characters.
We are randomly served the Sri Lankan conflict, a Chilean travelogue, and tales of an imaginary friend named Kokarukku — all of which feel forced and irrelevant.
😒 Authorial Self-Indulgence:
The most annoying aspect of the book is the author’s constant self-boasting and attempts to portray himself as a "cool", charming, Casanova-like figure. Instead of sticking to history, the author uses the book as a platform for personal grandstanding and image makeover — which feels deceptive to readers who came for Aurangzeb.
If the author is so keen to talk about himself, perhaps he should write an autobiography, rather than mislabeling a book as historical non-fiction.
✅ Better Alternative:
If you're genuinely interested in Aurangzeb, I strongly recommend Audrey Truschke’s book on the subject — it is short, crisp, rational, and to the point.
By looking at the title, cover page, and 4+ Goodreads ratings, one would expect an engaging and informative read about Aurangzeb. Unfortunately, this book fails to deliver on almost every count.
Yes, the author may be renowned in his field, but this work is shallow, superficial, and often boring. Most importantly, it is not even exclusively about Aurangzeb.
🧱 Structure and Content Issues:
The book is 330 pages long, but it begins with 5 prologues totaling 50 pages — full of cringe-inducing humor and pointless digressions. These seem designed more to inflate page count than add value.
Only about 4–5 chapters (120 pages) genuinely focus on Aurangzeb — and those are indeed interesting.
The rest of the book is diluted with conversations not with Aurangzeb but with his siblings, historians, and fictional characters.
We are randomly served the Sri Lankan conflict, a Chilean travelogue, and tales of an imaginary friend named Kokarukku — all of which feel forced and irrelevant.
😒 Authorial Self-Indulgence:
The most annoying aspect of the book is the author’s constant self-boasting and attempts to portray himself as a "cool", charming, Casanova-like figure. Instead of sticking to history, the author uses the book as a platform for personal grandstanding and image makeover — which feels deceptive to readers who came for Aurangzeb.
If the author is so keen to talk about himself, perhaps he should write an autobiography, rather than mislabeling a book as historical non-fiction.
✅ Better Alternative:
If you're genuinely interested in Aurangzeb, I strongly recommend Audrey Truschke’s book on the subject — it is short, crisp, rational, and to the point.
December 17, 2023
Its not very often you come across a book you REALLY want to give 5 stars to...fortunately, this turned out to be one of those!
The book is setup in the context of the writer organising a seance with Shah Jahan (the last great Mughal ruler), but ends up having this party crashed by Aurangzeb's spirit who wants to have his say and set the record straight.
The author ends up having a frank discussion with Aurangzeb's spirit, the fun bit being that its not simply his spirit being dropped into today, but his spirit that has "survived" the last 400 years, and hence is up to speed with modern day context, current literature etc. This includes what has been written and said about him. This book is an ideal answer to the stereotypical MBA question of "Which historical figure would you like to invite to a dinner party and what would you talk about?".
This book also exemplifies so much of the cliche that history is a narrative/story, and completely dependent on the observer. It beautifully tackles how Aurangzeb felt he was justified in what he did, how his actions been viewed completely out of context today, and that his vilification by today's historians and politicians is unjustified. It tries to present a counter point to this narrative as well by inviting other historical figures to the seance, who were on the receiving end of his atrocities/were very close in his court.
I really also liked the book because it re-introduced me to the genres of re-imagined historic fiction (historic facts, but re-imagined or retold with a different lens). Think of the "Mahabharata told by Duryodhan". Secondly, the conversational style of writing (Aurangzeb talking about prostitutes and cell phones) was extremely effective.
Readers may agree or disagree with the view point in the book, this is a complete gem in its style and content. Strongly recommended!
The book is setup in the context of the writer organising a seance with Shah Jahan (the last great Mughal ruler), but ends up having this party crashed by Aurangzeb's spirit who wants to have his say and set the record straight.
The author ends up having a frank discussion with Aurangzeb's spirit, the fun bit being that its not simply his spirit being dropped into today, but his spirit that has "survived" the last 400 years, and hence is up to speed with modern day context, current literature etc. This includes what has been written and said about him. This book is an ideal answer to the stereotypical MBA question of "Which historical figure would you like to invite to a dinner party and what would you talk about?".
This book also exemplifies so much of the cliche that history is a narrative/story, and completely dependent on the observer. It beautifully tackles how Aurangzeb felt he was justified in what he did, how his actions been viewed completely out of context today, and that his vilification by today's historians and politicians is unjustified. It tries to present a counter point to this narrative as well by inviting other historical figures to the seance, who were on the receiving end of his atrocities/were very close in his court.
I really also liked the book because it re-introduced me to the genres of re-imagined historic fiction (historic facts, but re-imagined or retold with a different lens). Think of the "Mahabharata told by Duryodhan". Secondly, the conversational style of writing (Aurangzeb talking about prostitutes and cell phones) was extremely effective.
Readers may agree or disagree with the view point in the book, this is a complete gem in its style and content. Strongly recommended!
November 20, 2023
"I had the privilege of delving into the Indian 'Game of Thrones' through the eyes of none other than Aurangzeb himself. The infusion of a captivating sense of humor into this otherwise serious narrative of bloody political warfare is astonishing and lends a lightness to the read. Exploring Akbar's lifestyle, especially in comparison to the Mughal women of the same era, proves to be a fascinating journey.
The accounts of the lengths to which Shah Jahan and Jahangir went to ascend the throne are riveting. The narrative skillfully addresses the complex theme of escaping guilt for mistakes, delving into the psychological aspect of rationalizing errors rather than accepting them. It raises thought-provoking questions about the human inclination to repeat mistakes and the willpower behind such decisions.
Having initially experienced the original Tamil version upon its release, I decided to explore the translated edition, more appropriately described as a 'transcreation.' This translation not only preserves the essence of Charu Nivedita's narrative but also introduces captivating new chapters and a compelling new character, Baahubilli. The book, in its translated form, continues to be a rich and engaging experience, offering a fresh perspective on the intrigues of Mughal history."
The accounts of the lengths to which Shah Jahan and Jahangir went to ascend the throne are riveting. The narrative skillfully addresses the complex theme of escaping guilt for mistakes, delving into the psychological aspect of rationalizing errors rather than accepting them. It raises thought-provoking questions about the human inclination to repeat mistakes and the willpower behind such decisions.
Having initially experienced the original Tamil version upon its release, I decided to explore the translated edition, more appropriately described as a 'transcreation.' This translation not only preserves the essence of Charu Nivedita's narrative but also introduces captivating new chapters and a compelling new character, Baahubilli. The book, in its translated form, continues to be a rich and engaging experience, offering a fresh perspective on the intrigues of Mughal history."
January 2, 2024
The translator's note to the book says that if it makes you want to throw the book across the room as you read it, the writer (and translator) would be elated.
Because that's what the book wants. And believably, the book has a mind of its own. It is a conversation between Aurangzeb and the fictionalized version of the author (one hopes) about the former's reign of terror, but it cumulatively adds to become an incredibly delectable and irresistible love-at-first-sight lover. Of course it has games up its sleeves, like all beautiful things.
This is immensely refreshing—in places revolting— metafiction, done with such intelligence that you cannot stop reading it. Nivedita is known for his autofiction, and the way that voices in the novel blend with the voices in his head, what a cacophonous bliss.
The writing is sharp as a whip, and it hits you in the right places.
No story has only two sides. And the stories in this book will completely enthral you (not to use the word unwisely, given Aurangzeb etc.).
Because that's what the book wants. And believably, the book has a mind of its own. It is a conversation between Aurangzeb and the fictionalized version of the author (one hopes) about the former's reign of terror, but it cumulatively adds to become an incredibly delectable and irresistible love-at-first-sight lover. Of course it has games up its sleeves, like all beautiful things.
This is immensely refreshing—in places revolting— metafiction, done with such intelligence that you cannot stop reading it. Nivedita is known for his autofiction, and the way that voices in the novel blend with the voices in his head, what a cacophonous bliss.
The writing is sharp as a whip, and it hits you in the right places.
No story has only two sides. And the stories in this book will completely enthral you (not to use the word unwisely, given Aurangzeb etc.).
October 19, 2024
Genre bending. Metafiction. Engaging. At times bravely uninhibited.
Lands straight to my favorites.
This worked as the perfect appetizer to delve into Indian history around the Mughal era.
Captured my interest right from the Prologue! I wish the prologue didn't end so soon (wish granted!)
What I loved most was the caricature and depiction of the human side of Aurangzeb. Convincing tone to set the records straight.
Other things I loved:
1.The idea - summoning the soul of Aurangzeb. Perfect execution.
2. Narration - frivolous gossip tone, with apt historical references. Full on entertainment!
3.Subtle satire on current Indian politics.
4.Takes on other Mughal rulers, siblings, Mongols, Rajput kings, Ashoka, Shivaji.
5.Thoughts on Sufism and its influence in "conversion".
6.Bringing in Mahabharata for out of the box contrasts and comparisons!
What didn't work:
1.Kokkarakko - It was a major disappointment! A spirit dampener which managed to kill the momentum.
Further topics to explore:
Dara Shukoh
Peacock Throne
Overall:
Highly recommended.
Lands straight to my favorites.
This worked as the perfect appetizer to delve into Indian history around the Mughal era.
Captured my interest right from the Prologue! I wish the prologue didn't end so soon (wish granted!)
What I loved most was the caricature and depiction of the human side of Aurangzeb. Convincing tone to set the records straight.
Other things I loved:
1.The idea - summoning the soul of Aurangzeb. Perfect execution.
2. Narration - frivolous gossip tone, with apt historical references. Full on entertainment!
3.Subtle satire on current Indian politics.
4.Takes on other Mughal rulers, siblings, Mongols, Rajput kings, Ashoka, Shivaji.
5.Thoughts on Sufism and its influence in "conversion".
6.Bringing in Mahabharata for out of the box contrasts and comparisons!
What didn't work:
1.Kokkarakko - It was a major disappointment! A spirit dampener which managed to kill the momentum.
Further topics to explore:
Dara Shukoh
Peacock Throne
Overall:
Highly recommended.
October 31, 2023
Upon delving into the writings of Dalrymple and other famous historians, I've consistently found a clear distinction between the art of narrating history and crafting a novel. Charu Nivedita's earlier works, known for their experimental and groundbreaking narratives and ideas, piqued my interest. With that in mind, I eagerly purchased this book.
Even for highly acclaimed, best-selling authors, tackling history can be a formidable challenge. However, this author effortlessly blurs the line between historical narration and the art of novel-writing. It's an absolute revelation, a literary masterpiece that caters to both fiction enthusiasts and history buffs.
This book is nothing short of a triumph in comprehending Indian history. It delivers a resounding blow to those who harbor prejudice against minority communities.
Even for highly acclaimed, best-selling authors, tackling history can be a formidable challenge. However, this author effortlessly blurs the line between historical narration and the art of novel-writing. It's an absolute revelation, a literary masterpiece that caters to both fiction enthusiasts and history buffs.
This book is nothing short of a triumph in comprehending Indian history. It delivers a resounding blow to those who harbor prejudice against minority communities.
February 9, 2024
4.5/5
Drawn instantly by the premise, witnessing a twisted Aurangazeb-nama unfold in lucid prose, given the absence of an original felt even more intriguing the deeper it went.
This reimagination of an underserved point of view, like that of the വടക്കൻ പാട്ട് (Vadakkan Paattu) but with a bigger 'villain' than ചന്ദു (Chandhu) with sardonic thamizh-pop-cult bashing smattered in between is probably one of the most enjoyable things I've read recently (this may have been a bit overdone by the end of the book though).
Docking half a star, for a few historical inaccuracies (such as omitting Aurangazeb's sons role in building the Bibi Ka Maqbara, to take an instance) since it would've been personally more enjoyable if all of it was something that could be interpreted as reading between the lines.
Drawn instantly by the premise, witnessing a twisted Aurangazeb-nama unfold in lucid prose, given the absence of an original felt even more intriguing the deeper it went.
This reimagination of an underserved point of view, like that of the വടക്കൻ പാട്ട് (Vadakkan Paattu) but with a bigger 'villain' than ചന്ദു (Chandhu) with sardonic thamizh-pop-cult bashing smattered in between is probably one of the most enjoyable things I've read recently (this may have been a bit overdone by the end of the book though).
Docking half a star, for a few historical inaccuracies (such as omitting Aurangazeb's sons role in building the Bibi Ka Maqbara, to take an instance) since it would've been personally more enjoyable if all of it was something that could be interpreted as reading between the lines.
April 2, 2024
Aurangzeb has always been portrayed as the bloodthirsty emperor the villain of an era unparalleled by any of his time.
Choosing Aurangzeb Alamgir as a subject is quite surprising looking at how times are now. I felt amazed reading this book as soon as Aurangzeb started speaking. It is half historical half satire.
The book starts with a writer researching for his next book. He tries to call the spirit of Shahjahan with the help of a tantric for his research but the seance takes a turn when Aurangzeb hijacks the conversation and elbows Shajahan out.
Every story has not only two but many sides, and who else can tell you the side better than the emperor himself?
I loved the insights into the Mughal Empire and the relationship between Mughals, from names like Babar to Zeb un nissa.
Lesser known historical facts have been knitted nicely with the story. The book not only talks about the Mughal history but also contemporary politics and geopolitics and some other historical events as well. It gave me a new point of view on the Mughal and ancient Indian history.
From Rani Durgavati to Murad Baksh and from Sri Lanka to Chile it gives a glimpse of everything. Although I didn't like their Chile expedition. The Kokkarakko chapter was annoying, I crawled through the chapter.
It makes you think how history or should I say historians have been kind to some and cruel to others. The irony and the hypocrisy were called out bravely. The writer tried to offend everyone with no discrimination. Many spirits came up with different stories which was a surprise.
Overall a very good but slow and fun read. But The books sometimes felt boring and the humour looked forced at some points. The book can and will offend you at some point or other.
I have never read something like this.
Choosing Aurangzeb Alamgir as a subject is quite surprising looking at how times are now. I felt amazed reading this book as soon as Aurangzeb started speaking. It is half historical half satire.
The book starts with a writer researching for his next book. He tries to call the spirit of Shahjahan with the help of a tantric for his research but the seance takes a turn when Aurangzeb hijacks the conversation and elbows Shajahan out.
Every story has not only two but many sides, and who else can tell you the side better than the emperor himself?
I loved the insights into the Mughal Empire and the relationship between Mughals, from names like Babar to Zeb un nissa.
Lesser known historical facts have been knitted nicely with the story. The book not only talks about the Mughal history but also contemporary politics and geopolitics and some other historical events as well. It gave me a new point of view on the Mughal and ancient Indian history.
From Rani Durgavati to Murad Baksh and from Sri Lanka to Chile it gives a glimpse of everything. Although I didn't like their Chile expedition. The Kokkarakko chapter was annoying, I crawled through the chapter.
It makes you think how history or should I say historians have been kind to some and cruel to others. The irony and the hypocrisy were called out bravely. The writer tried to offend everyone with no discrimination. Many spirits came up with different stories which was a surprise.
Overall a very good but slow and fun read. But The books sometimes felt boring and the humour looked forced at some points. The book can and will offend you at some point or other.
I have never read something like this.
January 18, 2025
I read this English translation of the Tamil book, curious to know what new facts it would unearth. I found the format interesting, and it also had several lesser known facts about Aurangazeb as well as the Mughal period! The writer encounters the much-reviled Mughal in a seance session, and the latter is very keen to get an image makeover, or at least a fairer deal. That's the setting. The author uses this conversation to extract many less-discussed aspects of the Mughal period without denying the excesses of the time, but more pertinently, draws attention to the shenanigans of current day rulers which are no less egregious but still get glossed over! However, the novelty of the narrative structure wears out soon, and then the story gets a little flat.
May 27, 2024
What a delightful read!! kept me smiling throughout. The book wittingly tries to uncover the mysteries of a mysterious man. Humorous, thought provoking and satirical, the book stands apt in presenting history with a modern and post-modern touch.
A recommended one, for history lovers out there.
A recommended one, for history lovers out there.
February 22, 2024
Effortlessly flitting between Mughal times & current times using multiple caste for narrative , counter narrative & satirising the current mores it's a gripping and thought provoking read.
March 18, 2024
Aurangzeb, a despot and tyrant, as history makes him to be, or a highly misunderstood emperor? Read this narrative and marvel on the contradictions.
April 8, 2024
Satire, humour, history, varying perspectives, widely diverse themes - all beautifully put together!
June 22, 2024
A touch boring, often fascinating, sometimes amusing, all in all interesting.
December 9, 2024
It is full of very mind bending, provocative facts and comparisons. But more importantly, it is very funny. A must read.
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