A witty peep into desire, shame and freedom in modern India
By Mita MistryJul 21, 2022
Aravind Jayan discusses his new book and love for writing
Terrific new Asian authors tackling taboo topics and, subsequently, expanding the literary horizon is illustrated perfectly by newly published novel Teen Couple Have Fun Outdoors.
The fearless debut from 27-year-old Indian writer Aravind Jayan revolves around a scandal that breaks out when an anonymously filmed sex clip of a young couple goes viral and triggers a scandalous tsunami of events. The story looking at issues like shame, desire, family loyalties, freedom and growing up in modern India, combines wit with bittersweet emotion. It has also been described as a sparkling debut, full of tenderness and mischief.
Eastern Eye caught up with the author, based in Trivandrum, Kerala, where this story is partly set, to discuss his debut novel and close connection to writing.
What connected you to creative writing?
The answer to this is sort of moronic, but I began writing seriously because I started suspecting that I was sort of good at it. If I’d been good at, say, carpentry or accounting or music, I might just as easily have done that instead.
Tell us about the story of your book?
Teen Couple is about how a middle-class family’s anxiously acquired status is threatened when the eldest son and his girlfriend (both in their early twenties) appear on a secretly-filmed porn clip posted online. The couple try their best to put the whole thing behind them, but their parents find this impossible. What follows is an intergenerational battle, which in turn becomes a news sensation that brings buried tensions to the surface and tests familial bonds. It’s narrated by the younger son who has to play the thankless role of the middleman. To me it’s about how different people and generations deal with shame, in a country where shame dictates quite a lot of things.
What inspired your debut novel?
I was always curious about these videos floating around the internet, even back in school. I mean, everyone was, and they’d always have these questions; who are these people, where are they now, how did they deal with this? So, in a sense, I wanted to try playing out that scenario and see what came out of it. Another thing was the subject of shame. When I first started this book, I was in London enrolled in a creative writing course. I was very embarrassed to be doing something so frivolous while my other friends were doing things like engineering or medicine. I think that played into the book as well.
Is any of it based on real experiences?
Not really! But the fact that the couple in the story decide to meet outdoors is not so uncommon, I think. Finding a convenient place where you can be alone with your significant other is often a problem, especially when you’re young and broke. Even more so if you’re in your hometown. That is something that I had to deal with in college as well, at least for a while, despite the fact that I had left home and was in Pune.
What kind of readers are you hoping will connect with this story?
I’m hoping the story and emotions in it are more or less universal, even if the circumstances are specific. I think it might especially resonate with people who have had to deal with stifling family atmospheres or with people who have had to put on a brave face when things are going wrong. Actually, I think a category who might enjoy it even more is siblings who’ve had to play the role of go-betweens.
What inspired the interesting title?
It is based on how porn videos are often titled. Plus, I liked the fact that it was catchy, noticeable, and inaccurate (because the couple aren’t even teenagers).
What is your own favourite part of the book?
That would be the voice of the unnamed narrator, and well, the narrator himself. I like how confused, anxious, and lost he is. He is also, to some degree, unreliable and grey. He doesn’t seem to know where family ends and self begins.
Did you learn anything new while writing the book?
I did learn that it’s hard to get everything right the first time around, so you have to throw away even more than what you actually end up keeping.
How much does the praise you have received mean to you?
It means a tremendous amount. I’m so very grateful for it. Practically speaking, even praise from an anonymous reader on Goodreads is validation in the bank. I can use that to fuel more writing.
What can we expect next from you?
I’m working on a book that’s largely about cowardice (political and otherwise), relationships and masculinity.
What books do you enjoy, and do you have a favourite?
Right now, I’m reading Chilean Poet by Alejandro Zambra, which I’m enjoying a lot. I usually read everything I can get my hands on, even if it means I end up reading quite a lot of things I don’t like. I especially enjoy reading short stories that are published in local online magazines.
In terms of writing, what is the best advice that you ever got?
That even the world’s nicest reader is an extremely impatient one. If they give you the time of the day, you ought to hurry up and get to the meat of the story. Actually, I’m not sure if this is advice I received or just something I have internalised.
What inspires you as a writer?
Reading or watching or listening to another story. I am very much inspired whenever I encounter good work.
Why should we pick up your book?
I would pick it up for the unusual and neurotic narrator. If nothing, the cover is really nice. It’ll look good on a shelf.
Teen Couple Has Fun Outdoors by Aravind Jayan is published by Serpent’s Tail at £12.99 hardback and ebook
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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