Oct 15, 2010 05:47 PM
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Shantaramhas amassed a public appeal that has got nothing to do with the writing prowess of the author. For a product that comes under the category of “book”, this is a great disservice as the entire novel is just words and nothing else. For a book not to be popular for its content, it is a great insult – like an actor who is regarded as a celebrity, rather than be respected for his acting talent. I was hesitant to approach it when I came out, as I am critically disillusioned with anything that gets more than its fair share of attention. Experience has taught me that over hyped hysteria is often a prelude to disappointment, be it our Hindi movies or the literary world. I consider a book to be good if the words in it are worth their weight. So all the sideshow circus about the author being an ex-convict, ex drug addict and Johnny Depp, Amitabh Bacchan being rumoured to play roles in a film adaptation, the showcase of the ‘real’ India (that was before Slumdog Millionairemade its mark) etc had to be kept aside. I read it when it released, and re-read it as a stress buster for my exams. For once, I’m glad that my fears were proven wrong. Shantaramremains popular for all the wrong reasons. Evidently, I had forgotten how incredibly enjoyable the book is.
Plot:
Shantaramis a book of simple foundations. First and foremost – a strong plot. In fact, there is a lot happening in the 933 odd pages. The story never lags, and for a book of that length, it is the biggest compliment. It reminded me of Anna Kareninaby Tolstoy at some instances, especially the way in which the writer comments on human relationships. Roberts compared with Tolstoy? No, you are definitely not seeing things. Though I should add that the comparison is in spirit only, for vocabulary wise and even social commentary wise, Tolstoy remains unmatched. I’ve actually raised Roberts to a higher pedestal rather than bring Tolstoy down.
The sheer tenacity of the plot is such that it is impossible to cover it in its entirety. The protagonist who goes by the name of Lin is a convict who has escaped an Australian prison and comes to India on a forged passport and starts to live in the slums or the ‘underbelly’ of Mumbai. He falls in love, gets shown around town by Prabhakar, the tour guide with a big smile and gets himself involved in our desi mafia, led by Kader Khan. Still not content and always on the run, he gets arrested, smuggles goods for the Mujaheddin and still has time to learn Hindi and Marathi. In contrast, he becomes a revered saint for the slum dwellers, when he treats victims from a fire accident. After the incident, he is christened with the name – Shantaram.However, Lin realises that he needs to turn his life around and become an honest man. The change of heart is gradual, but surprisingly, not at all clichéd.This is probably because the constant retrospection that Lin subjects himself to. It is in these retrospective moments that the book reaches its zenith, mixing dilute armchair philosophy about life, relationships, happiness, pain, sorrow, regret and the nature of the human condition with acute humour, acidic cynicism, and detailed description. The volume of the descriptive detail in Shantaramis overwhelming. As a reader, you simply cannot complain of being bored.
Tone, structure and stylistic features:
The voice of Lin, the protagonist is omniscient. We see the world through his eyes and pick up bits of Hindi and Marathi, his first impressions of India – which is somewhat confronting if not true. The book is divided into 5 parts and follows chronologically for the most part, except for minor time shifts.I am not fond of time shifts in the written medium and often feel they work better on canvas than on paper. Shantaramimpresses with it simple, free – flowing lucidity. There is an air of precision about it which is aesthetically eloquent. This can be due to the fact that Roberts draws inspiration from nature for a lot of his symbolic imagery. The chronology lends clockwork cohesion as the reader wields his way along Lin’s journey. There is a lot happening to keep track of in every scene but Roberts makes sure that he gives due attention to every minute detail. Yet detailing is not cumbersome as every detail contributes either to the narrative arc, setting, dialogue, scene, characterisation or plot structure. Shantaramis an example of textual integrity at its finest.
Re-readability factor:
All things said, Shantaramis one book which can be read and re-read plenty of times without losing its charm. First of all, that is because at first reading, there are simply a lot of nuances, descriptive detail and situations to take in so it’s easy to miss out some things. Secondly, the book is great in its simplicity. It isn’t Hemingway or Chetan Bhagat. Nor does it try to be. There are no long winding sentences in which the reader can get lost in, thus appealing to only an academic milieu, nor is there any excessive testosterone starved sensationalism. Shantaramhas the edginess of James Hadley Chase and Perry Mason thrillers whilst retaining the aesthetic appeal of natural simplicity. Also, Shantaramcreates memorable situations through dialogue and characterisation. Even though the characters themselves might not be memorable, the situations definitely are. One particularly important theme regards the relationship between master and slave; much of Shantaram is devoted to exploring the philosophical paradox, perhaps most famously expressed by the German philosopher Hegel, that the slave has mental or spiritual freedom despite being chained and beaten in body, and that this mental freedom amounts to a form of power over the master.
I am not saying that the philosophical element is strong. Quite on the contrary, Shantaramasks the readers to test the water before they take the plunge. There is no heavy philosophy but great insight into human relationships and what life really is (oh my God, there isexistentialism, no wonder I recommended it!). There may be times where you might read a line, pause for a few moments and reflect, as can be seen by the opening paragraph which I’ve read out loud in the video review. It offers a tease of soul searching, which makes the book a lot more interesting than just any other racy, edge of the seat masala fare.
In conclusion, Shantaramis rightfully popular, but for all the wrong reasons! If it has been promoted as masala fare, then the stereotypical classification certainly doesn’t do justice to the depth of the book’s content. It is also a great insult to the author Roberts, who took 13 years to finish this book, the sweat which really shows in the clever intricacy with which the book has been handled. Five stars and a must read. Leave Slumdog Millionaire,this book has all the elements to satisfy fans of every genre. Long before the fascination the ‘real’ India (and its dark side) began, Shantaramhad accomplished the same with great aplomb.
