Dipavali Sen, author of the book. “Rishika” was very excited to do an interview with LitGleam as much as she was excited about her new novel. The interview took off from her describing the process of writing as an experience. “Writing for me is a releasing experience. It gives vent to my deep-seated thoughts and feelings. It enables me to soften harsh reality with imagination and re-interpretation.
For me, writing is rejuvenating, therapeutic”, she says. She had written a significant number of short stories for children in her early twenties. She published her first book, “Kusum” for children when she reached forty years of age. But it hasn’t been as easy as it might seem. Being a teacher and a mother and simultaneously aspiring to be a published author had been quite a challenge. But now time favours her stars and she emerges herself in creative writing with a fresh zeal. Though she began writing for children, this book marked her first book for adults.
She hopes for the readers to be attracted to the link between past and present drawn in her novel. Her protagonist, Ila is a working woman living alone in the rapidly developing city of Gurgaon. But one sleepless night, she reads about the rishikas or women sages of ancient India – Gargi, Apala and a lot more. As if in a fantasy, she relives their lives as well as extends their experience from her own perspective. She realizes that she has a lot in common with those women about whom we really know much less than their male counterparts – the rishis. This link or resonance with the past is what she wishes the modern reader will hopefully find interesting.
Moving on, the interview took a serious note. When questioned about how she thinks her book will impact readers she says that it might affect them in a way that will lead them to develop an interest in the rich heritage of the ancient texts of India. It might as well inspire readers to read these stories on their own- at least as a translated version. In the process of re-discovering old, familiar, ossified characters as people of flesh and blood like themselves, people will understand India’s philosophy and traditions better. She also talks about how women, while being given prominent roles in today’s contemporary art, were not of much importance in the works of the past. Women are indeed being given more prominent roles in the contemporary world but very often it is associated with stories of broken family life, loneliness, bitterness, anger and pain. Rishikas in Vedas, Upanishads, Puranas and the epics also led isolated, solitary lives – sometimes, like Shikhandini, harbouring thoughts of revenge. Their untold stories should be retold. ”Rewritten” stories about women sages may help the working women of today in finding inspiring parallels.
When asked about her inspiration for the novel she admits that all those who have taught her to love Sanskrit and Indian mythology. Her grandparents, school-teacher Mr. Lahiri, her colleague Dr Ashok Rudra, and her mentor Dr G.B.Palsule (the then Director of the ‘Bhandarkar Oriental Research Institute’, Pune). They had all passed away by the time she wrote this book but their encouragement was the soul of her inspiration and to this she adds her personal experiences. Fonding over her book like any other author would, she quotes her favourite excerpt from the chapter, ‘Ila In Wonderland’.
“Ila put a hand to her head. It was throbbing but it was still there. Not blown away like Gargi’s .
What had happened to her?
She seemed to have merged into a world whose characters she had never met and barely knew the names of. She relived those experiences, as it were, with her own twenty-first century mind. The ancient events had been recorded in a certain way, but the way she reacted was her own. Somewhere, there was similarity, or rather, unity. But there was also a difference—a distinction.
Had she become Charles Dodgson’s Alice in a new Wonderland, passing through the Looking Glass into another Existence? Had she mounted H.G.Wells’ Time Machine? No, it was more than that. It was as though she had become Gargi herself. Was it then the working of Amartya Sen’s Principle of Extended Sympathy that the Delhi School of Economics had taught her? Was it an extension of the Sakshi Chaitanya – the single consciousness that goes through myriad experiences without getting involved in any?”
When talking about the journey of publishing and the process involved she enthusiastically says, “The publication journey with Blue Rose has been an enjoyable experience. Everyone from every department has been understanding as well as efficient. It has also been a learning experience for me.” Even a few years back self-publishing or hybrid publishing were hardly there. But now it has brought new life into the publishing industry. It is a different and very refreshing experience for her who, after all, has been writing for decades. Submitting a manuscript, waiting endlessly –perhaps for a rejection, having little say in the matter of proof-correction or designing. But now a few organizations like BlueRose have made the journey smooth and unforgettable. On a closing note, Dipavali remarks that when the book was published and handed on to her hands she felt “like a mother holding her newborn! Even though it is not the first child.”
1. How do you describe writing as an experience?
Writing for me is a releasing experience. It gives vent to my deep-seated thoughts and feelings. It enables me to soften harsh reality with imagination and re-interpretation.For me Writing is rejuvenating, therapeutic.
2. At what point in life did you decide to become an author?
I had written short stories for children even in my twenties. My first book (Kusum for children) was published in my forties. But then I was also a teacher and had to take care of my young children. Now I have more time at hand and decided to devote myself to creative writing with fresh zeal. Earlier I had written basically for children. This is my first book for adults.
3. According to you, what about the book will attract the readers to it?
I am hoping that the readers will be attracted to the link between past and present drawn in my novel. Ila is working woman living alone in the growing city of Gurgaon. But one sleepless night she reads about the Rishikas or women sages of ancient India – Gargi, Apala and so on. As if in a fantasy, she relives their lives as well as extends their experience from her own perspective. She realizes that she has a lot in common with those women about whom we really know much less than their male counterparts – the rishis. This link or resonance with the past is what the modern reader will hopefully find interesting.
4. Do you think your readers who read this book will be impacted in any way by it? And in what way?
I think that the readers may develop an interest in our rich heritage of ancient texts, read them on their own- at least in translation, and in the process re-discover old, familiar, ossified characters of as people of flesh and blood – like themselves. If they do so, theywill understand India’s philosophy and traditions better.
5. What are your thoughts on rewritten stories like yours in today’s contemporary world in Which women are given prominent roles in contrast to the epics like the Mahabharata?
Women are indeed being given more prominent roles in the contemporary world but very often it is coming associated with broken family life, loneliness, bitterness, anger and pain. Rishikas in Vedas, Upanishads, Puranas and the epics also led isolated, solitary lives – sometimes, like Shikhandini, harbouring thoughts of revenge. Their untold stories should be retold. ”Rewritten” stories about women sages may help the working women of today in finding inspiring parallels.
6. Who or what was the inspiration behind the book Rishika?
All those who have taught me to love Sanskrit and Indian mythology. My grandparents, my school-teacher Mr. Lahiri, my colleague Dr Ashok Rudra, and my mentor Dr G.B.Palsule (then the Director of the Bhandarkar Oriental Research Institute, Pune). They had all passed away by the time I wrote this book but theirs was the inspiration. And, of course, my personal experience.
7. Could you share with us a quote or excerpt from the book which is closest to your heart?
From the chapter ‘Ila in Wonderland’ Ila put a hand to her head. It was throbbing but it was still there. Not blown away like Gargi’s .
What had happened to her?
She seemed to have merged into a world whose characters she had never met and barely knew the names of. She relived those experiences, as it were, with her own twenty-first century mind. The ancient events had been recorded in a certain way, but the way she reacted was her own. Somewhere, there was similarity, or rather, unity. But there was also a difference—a distinction.
Had she become Charles Dodgson’s Alice in a new Wonderland, passing through the Looking Glass into another Existence? Had she mounted H.G.Wells’ Time Machine? No, it was more than that. It was as though she had become Gargi herself. Was it then the working of Amartya Sen’s Principle of Extended Sympathy that the Delhi School of Economics had taught her? Was it an extension of the Sakshi Chaitanya – the single consciousness that goes through myriad experiences without getting involved in any?
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8. Could you share with us a bit about your publication journey? Was it easy? Difficult? or confusing? How did you feel throughout?
The publication journey with Blue Rose has been an enjoyable experience. Everyone from every department has been understanding as well as efficient. It has also been a learning experience for me. Even a few years back self-publishing or hybrid publishing was hardly there. But now it has brought new life into the publishing industry. It is a different and very refreshing experience for me who, after all, has been writing for decades: submitting a manuscript, waiting endlessly –perhaps for a rejection, having little say in the matter of proof-correction or designing.
8. How did you feel when you first held the completed and published book in your hand?
Like a mother holding her newborn! Even though it is not the first child.
