INTERVIEW

Teaching, writing

Ms Chitra Divakaruni Banerjee is a professor at the University of Houston's creative writing department. Although she wears many hats ~ acclaimed writer, activist, mom ~ this is the avatar in which many know her best. Sitting in a circle with graduate students in the master fiction workshop, where each student's short story collections or novel drafts are critiqued, she guides discussions, praises strengths, points out what she sees as weaknesses, and suggests changes. Most importantly, she gives advice about the ruthless world of publishing, about how to write a synopsis for an agent, how to pick a title for the novel, how to arrange stories for a collection. Invaluable advice from someone who's realised most writers' dreams ~ published over a dozen books, published in 16 languages, had two books made into movies, and is a tenured professor at a prestigious creative writing programme in the US. Ms Divakaruni's latest book, The Palace of Illusions, a retelling of the Mahabharata, from the point of view of Draupadi, is a departure from her other adult novels which deal primarily with immigration. But once again it draws attention to some of the themes and issues that Ms Divakaruni seems compelled by gender politics and women's rights, elements of mysticism and the supernatural. She speaks to Oindrila Mukherjee about her writing, teaching, and about the beliefs and ideas that inform them both.

Let's talk about Palace, your latest book. Even though some of your earlier novels dealt with mystical elements, they were primarily set in the contemporary world. This one's more in line with your children's trilogy, The Conch Bearer, set in a fantasy world. What made you choose this subject?
I have loved the Mahabharat ever since my grandfather told me the stories from it in my childhood. I was always most fascinated by the women's stories ~ but there never was enough about them ~ their inner lives, their thoughts, their motives ~ to satisfy me. So in Palace of Illusions, I have tried to imagine Panchaali's life.

What sort of research did you do?
My main sources were Kamala Subramanium's translation, Rajagopalachari's translation, and Kashiram Das's Bengali version. I also researched novels written on the subject, critical essays and information provided about the lifestyle of the period.

How much of the novel is fictionalised? Did you want to stick to the original tale as much as possible, or were there places where you deliberately wanted to embellish?
All the main actions are taken from The Mahabharat. I mostly wanted to add Panchaali's thoughts and motives. I have sometimes created characters who are close to her, such as the nurse, Dhai Ma, or embellished on things mentioned briefly, such as the close relationship with her brother, or her attraction to Karna, which has surprised many readers.

Would you call Draupadi a feminist? Is this a feminist reading of the Mahabharata?
Feminism has become such loaded word that I don't think it is useful to apply it to the novel. I wanted to write a story with a woman at its centre, with a woman's concerns. Draupadi is already, in the original, a very strong woman, so I didn't have to add anything there. I also wanted to focus on how women see war (which is in my opinion quite different from how men see it) and the impact of war on women.

Of all your books, this one perhaps might be more suited for an Indian audience? Did you think of a Western non-Indian audience when writing it? Do you think familiarity with the Mahabharata is required to enjoy this book fully?
I think familiarity certainly would enhance enjoyment. Therefore, Indian audiences would enjoy it at a deeper level. They would also be aware of the creative angles of my presentation ~ for instance, Draupadi humiliates Karna at her swayamvar. But my Draupadi does it for a clearly different motive. Overall, reviews in the West have been very positive, I think that's because the Mahabharat is such a great story ~ timeless and universal ~ and everyone can relate to it.

So the question that Indian writers writing in English are asked all the time: What's your primary audience generally? Indian or Western?

I'm greedy. I want them both. And readers in other countries, too. I believe a good book transcends borders, and that's what I'd like to aim for. We live in a global world ~ in terms of books, too.

Compared to a lot of Indian writers writing in English, your work isn't read as widely in India. Why?
Who knows why one book is more popular than another. I can only guess. It might partly be because I live abroad and don't have an Indian presence like some of the others. Also, I think the problem has been partly one of publication and distribution ~ my publisher for Indian books so far (because of contractual issues) has been British, which means the books are more expensive ~ almost twice as much as books printed in India. I've been fighting that for a long time, but I really didn't have much control. Still, with the last couple of books they were on the India Today bestseller list). That's one reason I'm very excited about my children's books being published by Indian publishers and being competitively priced. Let's see if that affects the readership.

Your critics level two charges at you: first, that you cater to Western audiences by "exoticising" India and by writing about things like arranged marriages which are stereotypica.l
It's not a matter of catering to Western audiences ~ even in the US, a large segment of my readership is Indian. Besides, as a writer you know that one has to write about things we know and are passionate about. And that's what I do. A lot of my writing is about the immigrant experience ~ and about the second generation. Mistress of Spices and Vine of Desire and Queen of Dreams are set in the US and bring up many issues and challenges that the immigrant community faces. QD deals with violence faced by our community after 9/11. Sister of My Heart is set in two continents and deals with some very realistic issues.
Second, that your depiction of India is a bit dated and not contemporary and that your books don't always reflect the changed realities of urban India today.
My books are set in the 1970s (at least the Indian parts) and this is made quite clear in the texts. This is the India I grew up in and know best and can write about authoritatively. My short stories are sometimes more contemporary. I certainly hope to write about today's India someday, after spending extensive periods there, hopefully once my children go off to college.

What projects are you working on?
I am working on a children's novel, the third and final one in the Conch Bearer series, It is titled Shadowland and is set in a futuristic India.

You have a PhD from Berkeley, and are a successful writer. You teach creative writing. You're involved with South Asian women's organisations, and you also manage to spend time with your family. How do these roles contribute to your growth as a writer?
Studying English literature gave me a strong background because I was exposed to so many good writers. But too much reading of lit criticism can actually be a negative. I find that it creates prescriptive editorial voices in my head. As for teaching creative writing, it makes me much more aware of craft and also keeps me current. Doing community work, especially with battered women, is very important for me. As of course is being a mother and wife, I think all these things enrich my life and my writing, and they give me more issues, ideas and subjects to write about. For example, I don't think I could write about mother-child relationships in quite the same way, or about women in situations of domestic violence, if I didn't have those areas in my life and I think having been involved with Pratham (an education-promoting NGO) made me much more aware of children who don't get an education ~ and that led to a scene early in The Conch Bearer.

As a professor in a creative writing faculty, do you think such programmes are useful? Should Indian students apply to these if they are interested in writing?
I feel creative writing programmes are useful. They provide community, guidance, and a lot of focused reading and writing. The students have to provide the talent.

We get advice and feedback from you and other faculty. But most new writers don't have that luxury. What practical advice would you give the growing number of people who want to be successful writers.
Read widely and carefully, as a writer would. Write regularly and join a class or a writer's group so that you can get intelligent and informed feedback. Don't give up ~ sometimes the path to publication can be slow.

(The interviewer is a doctoral
student in literature and
creative writing at
the University of Houston)