Storybook Plan

Resources: VedicFeed, Wikipedia, WisdomLib, Masterchefs of Lore, Recipe for Aviyal, paper copy of the Mahabharata as re-told by William Buck, Scroll, Bheem Ka Laddu Recipe, Times of India, 

Stories:

(these are the same stories as in the previous storybook post, but I have gone though and done more research on the foods that could be paired with each story)

1. Entering the Court at Virata. 

    While I don't this this story has a specific recipe to go with it, I could pair it with a recipe for pistaudana (rice with minced meat), which is a food referenced at other points in the Mahabharata. I chose this recipe in particular since it seems to have been reserved for Brahmins, and since the Pandava are entering a royal court, this seems fitting!

2. Bhima Fighting Jimuta. 

    This is one of Bhima's primary stories in the Virata Parva (at least in the version that I have been reading). This could be paired with a recipe for Bheem Ka Laddu, a sweet that is mentioned in the Mahabharata as being the source of Bhima's strength. This would go well in a story in which he has to wrestle!

3. Creation of Aviyal. 

    This story from the Virata Parva already has mention of a food and also a sort-of recipe (amounts are not clarified- one of the ingredients in simply "a drumstick") in it! I think it would be fun to do a re-telling of this story and try to make aviyal myself! (I'm going to try to make versions of all of these recipes myself, but aviyal sounds especially tasty!)

Storytelling Thoughts: 

    The primary way that these stories will be connected will be with Bhima as the story teller. I think it will be interesting to also include stories from the Virata Parva in which he is not the primary character, but tell it from his perspective. There will be an element of overarching storyline in that all of the stories will be drawn from the Virata Parva. I would like to start the Storybook with the Pandava entering the court at Virata and have it end with them leaving. 

Main Ideas/Messages: 

    One of the primary reasons I chose to do the "cooking" Storybook instead of my other was that I realized I could talk about all of the other things that I found interesting within the context of Bhima's kitchen. I would like to talk about the concept of motherhood and what extremes mothers are willing to go to for their children, free will and whether or not characters have it, and the concept of villainy (does it even exist?). I hope the readers will be able to pick up on all of these messages while also being inspired to embark on some culinary adventures in their own kitchens!

Comment Wall

 Link to Storybook:    

(Bhima Cooking at the Court in Virata. Source: SnappyGoat)

Week 4 Lab

 Jennifer Barnes Ted Talk:

    In writing the past two stories, I have honestly been a bit shocked by just how difficult it has been to produce something that I am moderately happy with. This, truthfully, is just a sign of my own hubris in thinking that writing stories would come naturally.... Therefore, I was really exited to see the Story Lab as an option for this week! 

    I thought that Dr. Barnes brought up a couple of good points- and some that I have been thinking about a lot over the course of the past month or so. Fictional works hold huge power over their audiences, so I think it is irresponsible act as though this were not the case. I think this is what draws me to stories that have morals. Although I think that this comes with its own problems (imposing one set of morals on situation in which those might not apply), I think that at least thinking about the morality of a story is important. 

(Morality- Perhaps Not Quite This Simple.... Source: Pixabay)

Chimamanda Adichie Ted Talk:

    I thought that Chimamanda Adichie brought up a phenomenally important point- that of properly representing people in works of literature. One question that I had, however, was just how I (fundamentally, a white, privileged person) should best go about this. She spoke about writing about her own narrative, but if I were to do the same, wouldn't I just be contributing more to the problem. At its heart, I understand that there is mostly a need for more authors of a diverse background. IN my own writing, however, would it be reasonable/OK to try to represent more diverse voices even though I cannot speak from personal experience. I imagine that any attempt would involve A LOT of thorough research. Perhaps it is not my responsibility to write diverse voices in my own stories, but to do everything in my power to make sure that other authors who are able to represent voices different from my own get the chance to be heard. Is it possible to do both?

Reading Notes: Narayan's Ramayana, Part D

Bibliography: Narayan's Ramayana. Story: "Interlude/Coronation" (Again, the link is for web research of the story, I am reading from a paper book)

Notes: When I was reading through the Interlude, I was REALLY angry with Rama. There seems to be a common theme in the Ramayana (at least Narayan's version), of victim blaming and mistrust. When tragedy befalls women, they are not welcomed back with open arms. Instead they are viewed as "impure," even if they have literally been kidnapped, tortured, or raped. Truly, its enough to make just about any woman's blood boil. 

           I was somewhat placated that the "Coronation" section of the book started off with the gods acknowledging Rama's hypocrisy. They, at least, recognized that Rama had changed. If not changed, then at least had changed his morals completely when it came to himself. I was fully expecting some sort of scene in which the gods talked to him about this change, but I was disappointed. Perhaps this is again an issue of severe abbreviation, but I thought this would be an area in which I could elaborate with a story of my own. 

           I don't really know what might cause someone to have such a reversal of character. Maybe earlier life experience that would cause such mistrust? What is the story about Rama's mother? If she were to have had an affair, this might be the reason that Rama would have one set of morals for others, but that when it comes to himself he would not be objective. Then there is the question of what the gods might say to deal with this. Perhaps they could arrange for some kind of meeting with his mother in which she were to explain the reason behind her infidelity. While I don't condone the act, I can easily come up with reasons why it might be easily explained and reasonable. Perhaps Rama hearing this might cause him to rethink his morals when it comes to Sita. 

(The Marriage of Rama and Sita. Source: Wikimedia)

Reading Notes: Narayan's Ramayana, Section C

 Bibliography: Narayan's Ramayana. Story: "Sugreeva's Story" (Again, the link is for web research of the story, I am reading from a paper book)

Notes: When reading this story, I was mostly struck by the tragedy of it. The brothers Sugreeva and Vali could have had such a chance to form a strong bond, considering that they have both undergone largely similar experiences (both being "illegitimate" sons and being both cast out and cursed by Sage Gautama), and therefore might be truly the only people in the world who could understand one another. However, as is so often the case for people who have undergone traumatic experiences in early childhood, the cycle of abuse continues (in this story, it might be more accurate to say- the "cycle of tragedy") 

            I also thought that this story cloud be easily modified to make some pretty poignant commentary on the horrors of war when veterans return home. It sounds like the two brothers actually started out by having a relatively functional relationship (the Narayan story does not really describe it, but they were at least both inhabiting the same kingdom). Vali's experiences could be modernized and related to time spent at war. The part in which he is presumed dead would not have to be changed much, but I think it would be interesting to spend most of the story dealing with the interactions that Sugreeva and Vali have after he returns. I don't know if this is merely a consequence of the severe abbreviation of the Narayan version, but I thought that a lot of the strife would have been avoided with better attempts at communication. Why couldn't Sugreeva have written Vali a letter explaining what happened once they had been separated? However, if Vali is suffering from PTSD that causes him to not trust anything that Sugreeva says (bringing the battleground and struggle for power/survival home with him) this would provide, at least to me, a better argument as to the falling out for the two brothers and also a better understanding of why Sugreeva might feel that he has no choice but to have Vali killed (though, I have to admit, I can't really think of any fundamentally good reason to commit fratricide...).

(Sugreeva challenging Vali. Source: Wikimedia)

Feedback Strategies

 Article #1: How to Provide Feedback When You're Not in Charge

    I think that there were a lot of good points in this article. In many of the relationships that we will have (either personal or professional), we will not necessarily be "in control," but it will still be important to give and receive feedback well. I thought that what they said about giving specific praise to motivate a particular behavior and teaching feedback though action (accepting feedback yourself and demonstrating the actions you want to see) were especially good suggestions. 

Article #2: How to Give Negative Feedback Without Sounding Like a Jerk

    This is the real question, isn't it? Somehow, the golden standard is being able to give feedback and have the people still like you afterwards. I thought this post brought u two really good points. First the concept of taking yourself off of a pedestal was perhaps most important. It is easy to fell prey to self-serving bias and fundamental attribution error in assuming that, essentially, we are perfect and others aren't. Being able to acknowledge that (surprise, surprise) this isn't that case is the first step in not sounding condescending and alienating. I also though that explaining the "why" behind the feedback was important- a true understanding of the problem is (in my opinion) the only real way to fix it. 

Thoughts on Feedback Strategies in General:

    One of the constant themes that I noticed in a lot of the articles was that praise (if done incorrectly) is not actually valuable. As a performer, I can totally identify with this. General praise doesn't actually help all the time. I value specific praise (what in particular I should try to re-create) and criticism. This criticism, however, has to include a "how to fix it." If only told that something was not done well, this isn't helpful. Being given suggestions on how it might be possible to do it better, however, is extremely valuable. 

(How NOT to Give Negative Feedback. Source: Wikimedia)

Topic Research: In Bhima's Kitchen

Story #1: Pandava Pravesaparva

Resource: VedicFeed, Wikipedia

    This part of the Virata Parva tells the story of how the Pandavas first enter the royal court of Virata. While Bhima is not necessarily the primary character in this story, if the project is going to center on Bhima's time in Virata, this seems like a natural place to start! This story could include Bhima's reactions to the choices that his brothers make for the positions that they will occupy in court, as well as his thoughts on the course of events that has made him have to be in Virata. 

Story #2: Samayaplana Parva

Resource: VedicFeed, WisdomLib

    This was one of the stories in the Virata Parva where Bhima really got the chance to shine. While Bhima is not necessarily cooking in this particular story, it would be possible to start it with Bhima in the midst of cooking some delicacy and then being summoned to fight Jimuta. How does Bhima feel about having to revert his role back to his fighting self? 

Story #3: Creation of Aviyal

Resource: Masterchefs of Lore, Recipe for Aviyal

    In this story, there are surprise guests at the court in Virata, and Bhima is asked to make a feast. Caught off guard, he is forced to make one dish with only the ingredients on hand- this dish becoming known as Aviyal! I would really like to include a recipe with each of my blog posts, and this story already had one built in! It seems perfect for this cold weather too....

(Bhima Cooking. Source: Snappy Goat)

Week 3 Story: My Mistress' Eyes

  Soorpanaka wailed. She screamed. She growled and gurgled her fury. So long has she waited, alone and cut off (she had to smile at herself- the irony there was hard to be ignored), and now she was alone again. Again!

     She scrambled to the main room, tearing through chests and boxes. It had to be here somewhere. 

     She could feel the events of the past few days trying to push their way into her mind, but she was determined not to let them overwhelm her. 

     Whispered promises made in the dark. Love song carried on hushed breath. Then the clash of war bells. 

Soorpanaka hastily brushed a traitorous tear from her cheek. Here it was- the last thing that Tharna had given her, and the key to finding him. Her eyes still stinging, she read: 

     "My mistress' eyes burn terribly as the sun;

      her lips coal black, not rosy red;

      Her stature is short, and her breasts are none;

      A grimace so foul, all would surely dread. 

      I have smelt lilies fair, both pink and yellow;

      no such perfume from my lady comes;

      A battle cry she shouts, a bellow;

      No harps are heard, but only drums.  

      And yet, by heaven, I think my love as rare

      As any she belied with false compare."

     There might yet be a time for tears, but Soorpanaka would not let it be today. Tharna had made her feel once more like a woman, but she was a demon still. Those who fought against him would learn what that truly meant. All her life, Soorpanaka had fought her world. Today, she fought with purpose. She fought for her world. Hurtling down the mountainside, Soorpanaka threw back her head, moonlight illuminating the grisly holes where her nose and ears had been, and howled her battle cry. 

(Shakesperian Demon. Source: Flickr)

Authors Notes: This week, while I was reading from the Narayan version of the Ramayana, I was particularly interested in the story of Soorpanaka the demoness from the "Encounters in Exile" portion. Her story is pretty grizzly one. After having been rejected by Rama, she tries to kill Sita. In return she is mutilated by Lakshmana, who cuts off her nose, ears, and breasts. 

                          Yet even after this mutilation, she goes back to Rama and says "So, do not hesitate. No one will dare say that I have no nose or ears or breasts. I still have eyes, which can feast upon your broad chest and shoulders, and my arms are intact to embrace you. I love you madly." This passage felt almost Shakespearian in nature, and I was caught off-guard by this really strange moment of beauty in a story that was otherwise pretty brutal. 

                          I thought this might be an interesting basis for a story. So, the sonnet in the story is an adaptation of Shakespeare's Sonnet 130. I also tried to write the story in such a way that Soorpanaka could be the heroine of the story, so that (even though it contains a discount Shakespearian love sonnet) it would not just read as a traditional soppy love story.

Bibliography: "Encounters in Exile" from "The Ramayana" by R. K. Narayan. Web Source (the link is for a research source- I am reading from a paper book)

Reading Notes, Narayan's Ramayana, Section B

Bibliography: Narayan's Ramayana. Story: "Encounters in Exile" (Again, the link is for web research of the story, I am reading form a paper book)

Notes: The first thing that I noticed about this passage was one of the "beautiful sentences" that was talked about in the reading notes strategies. When Soorpanaka is pleading with Rama after she has been mutilated by Lakshmana, she says "So, do not hesitate. No one will dare say that I have no nose or ears or breasts. I still have eyes, which can feast upon your broad chest and shoulders, and my arms are intact to embrace you. I love you madly." 

This passage feels almost like a really messed-up Shakespearian sonnet (though, to be fair, Shakespeare was not un-familiar with mutilating his characters). What caught me off-guard was that it was this really strange moment of beauty in a story which was otherwise pretty brutal. 

I thought this might be an interesting basis for a story. If you were to continue the story of Soorpanaka past her time with Rama, you could write a love story. Is her lover also mutilated? Is he not, but loves her with her appearance? One of the things that I have been noticing is that many of the women in the Ramayana are described as "flawless" or "perfect." It could be interesting to have this aspect of what makes a woman "desirable" removed so that the story can expand upon other character traits that make people love one another. Expanding on the idea of the sonnet, this story could include sonnets or be written entirely on sonnet form. 

In researching Soorpanaka's story, I found a resource (the one listed above) that said that Soorpanaka and Sita met and became friends years after the events in the "Encounters in Exile" story. There might also be an interesting story to tell there, considering that they were pretty much pitted against each other in this story. 

(Lakshmana cutting off Soorpanaka's nose. Source: Wikimedia)

Reading Notes, Narayan's Ramayana, Section A

 Bibliography: Narayan's Ramayana. Story: "Ahalya's Story" (Link is for web research of the story, I am reading form a paper book)

(Ahalya and Indra. Source: Wikimedia)

Notes: When I was reading through part A of the Ramayana, this story elicited by far the most emotional reaction in me. I have to admit, it wasn't a good one. Although this story proclaims to be "Ahalya's Story," she seems to be a side character to her own tale. Things are done to her, and not by her. Not only that, but she is judged for the things that she does as though she were the primary actor in these plots. There is a lot of victim blaming that happens, and I thought it was a particular sting that Gautama lessens Indra's curse before Ahalya's curse is reversed, even though Indra (at least in this version) is the real "villain' here. 

What really gets me about this story though is that Ahalya is essentially creased to be this completely perfect and irresistible being, but she is then punished for being so. She has no real control over her own narrative, as she is both created and (in a sense) trained to be who she is. This leads to another off-putting part of the narrative, which is that Gautama raises her, and then she is given to him as his wife. I can understand, however, that this may simply be a cultural difference that I am reacting to. 

I think it woudl be interesting to do a re-telling in which we see Ahalya take more control. It would be my guess that she didn't want to be married to someone over which she had no control. Some versions of the story have Ahalya be aware that she is having relations with someone who is not her husband, and I think expanding on that narrative (letting a young woman who was designed to be a object of infatuation actually explore her sexual identity) would be interesting. 

Feedback Thoughts

 Article #1: Make Good Art

    I have always liked Neil Gaiman as an author, so seeing this article, I had to click. Gaiman did not disappoint. I had never seen this speech before, but really liked what it had to say. There is no way to control what slings and arrows we are given by life, but we can control our response. Either we can become beaten down or we can "make good art." As my grandfather would say: "Its only a mistake if you don't learn from it."

(Trying Again. Source: Feedback Cats)

Article #2: Why It's So Hard to Hear Negative Feedback

    Classical Voice is a major in which it is important to both be able to give and receive negative feedback. While I always try to be cognizant of how I give critical feedback, I had never really thought about the fact that a big part of why it is so hard to receive negative feedback is that we are so bad at giving it. Honestly, now that i have read it, it makes total sense. I will definitely take care to think even more about my feedback presentation in the future!

Topic Brainstorm

1. The Mothers of the Mahabharata

    As I mentioned in one of my previous blog posts, I have always been particularly interested in Gandhari's story. This is largely because I always find it interesting to think about what actions become re-defined as "reasonable" when done in the name of protecting children. I have also been pleasantly surprised by how large a role mothers have played in the versions of the Mahabharata that I have read/watched. I think that in stories, too often. mothers act simply to give birth to the hero, and then play no further role. The fact that mothers have a huge impact on the development of their children is given no heed. I think it would be interesting to dive even further into the stories of the mothers of the Mahabharata- delving deeper into their thoughts and what motivates them.

Link: Ink and Post

(A Rendering of Kunti from the Tropenmuseum. Source: Wikimedia)

2. The Food of the Mahabharata

    This idea came largely from a hobby that I have recently been delving into. Over winter break, I got really into making Moroccan food. My pantry has since become stuffed with preserved lemons, ageing butter, and spice concoctions. I have really gotten into expanding my palate and trying new things. Therefore, when I saw a "food" post in the "Readings and Resources" page, I was instantly intrigued. What new flavors might I find within the pages of the Mahabharata? Could the stories from the Mahabharata be told from the perspectives of a chef?

Link: Readings and Resources

3. The Villains of the Mahabharata 

    Much like I discussed in my author's note for the interpretation of "Goblin City," I have always wondered about the motivations behind villains of stories. Too often, I have found that the "bad guy" in a tale is far to flat to be believable. I think it is so much more interesting when I can understand what is driving a character. While I think it is hard to point to one traditional "villain" within that Mahabharata, there are certainly characters who do acts that I would describe as villainous in nature. What made them choose do do such things?

Link: Medium

4. Free Will vs Determinism in the Mahabharata

    Then there is the age-old question- did they even have the luxury of choosing? How does it change the audience's perception of a character and their actions if the story is told through a deterministic lens vs one of free will? Here, I think it would be most interesting to take a couple of notable scenes from within the Mahabharata and do two retellings of them, one as if the character has free will, and another as if the character does not. 

Link: Boloji

Week 2 Story: The Other Side

 "Sneaking, Slimy, Savage Men

who dare to come into my den!

My eggs, my kin, my only treasure

those stinking men want for their pleasure. 

My children they do seek to steal

so I will have them for a meal!"

     Grashti chanted to herself as she scuttled down the shore, looking for anything that could be of use among the wreckage. The human ship had crashed on the rocks the week before, and their small town needed every bit of salvage that it could get. The disappearance of the husbands two years before meant that labor had to be divided among the few remaining townsfolk. Food was scarce. 

     Grashti was old- too old to be dealing with the humans that had been picked up from the shores. For that at least, she was grateful for her age. Although she took no pleasure in picking through the remains of the ship, it was a far better fate than having to pretend for those beasts. The very idea sent shivers down her spine. And still, it had to be done- the men had to be stopped. Across the Great Sea, goblin eggs were seen as treasure. For years, they had been sought out, stolen, and taken back to the royal courts to be worn around the necks of noblewomen or set into the hilts of swords. The goblin race was slowly dying out while the humans paraded the corpses of her kind's young as their spoils. The ignorance, the brutality of it chilled Grashti to her core. She set her back to the wind and continued on with her work. 

    Just then, she heard the horn blow. The low, gurgling sound grew, signaling with it a warning. Three tolls on the gong confirmed what she had suspected: escape. A shadow fell upon the moon, and as Grashti looked up she saw what looked to be a winged horse. Upon it, she could barely make out the figures of men. Their whoops of victory echoed through the night, but Grasti could feel that none of the children flew with them. This time at least, the young were safe. 

"Off you go and don't come back. 

Return, and I your bones will crack. 

Spread the story of goblins vile,

we may evade your attack a while. 

But I shall not forget your crimes. 

Not now, nor 'till the end of times."

(Grashti muttering her warning. Source: Pixabay)

Authors Note:

    I have always been interested in understanding the motives of the "villains" of stories. I think that black and white representations of good and evil are far too simplistic- real life is complicated. So, when reading about the "wicked" goblins, I immediately wanted to know what was driving their behavior. So, I wrote my own motive. 

Bibliography: "Goblin City." From "The Giant Crab and Other Tales from Old India" by W.H.D. Rouse. Web Source

Reading Notes: Week 2 Anthology

 Author: W.H.D. Rouse

Title: Goblin City

Link: Goblin City

Notes: When I read this story, I think immediately of the goblins that I know of from the world of Terry Pratchett. As he is one of my favorite authors, I have read plenty of his books. In them, the goblins are represented as a misunderstood and mistreated species who people both seem to fear and look down upon (how typically human...). Pratchett gives the goblins motive for the actions that others deem as terrifying or strange, and I think it would be interesting to try to do a retelling of this story from the perspective of the goblins. 

            Important questions to answer here might be: What happened to the He-Goblins? What sort of social hierarchy has been established by the She-Goblins? What characteristics do the She-Goblins have in common with human women, and what characteristics are different? What human practices do the goblins distain? 

            Then comes the most important question: what reason could the She-Goblins possibly have to gobble up human men? I think that one of the most intriguing motives that exists in many of the book that I have read is the lengths that mothers will go to for their children (this is part of why I am so interested in Gandhari's story). Perhaps the He-Goblins went to explore the land of humans and were killed (giving the She-Goblins ample reason to distain humans). Since then, the goblins land has become barren, and the She-Goblins turn to man-flesh to feed their children. 

          Alternately, the She-Goblins could be acting to try to protect their children. Although it would be slightly strange for the humans to have come to Ceylon to take the children themselves, if the goblins were to lay eggs this would seem like just the thing that some careless human might view as "treasure." If the He-Goblin part is kept, then that would explain why the She-Goblins have no qualms about just eating the human men rather than imprisoning's them or something similar when trying to protect their eggs. I think I prefer this motive- it feels slightly less strange/forced. 

(A Very Protective She-Goblin Mama. Source: Wikimedia)

Week 2 Reading Overview

Chosen Version: Narayan

    I am most interested in this version because, although I realize that it will be impossible to get a truly authentic version of a story when reading a translation, I want my initial exposure to the epic to be as close to the "real thing" as possible. 

Comic Book #1: Karna: Brave, Generous, Ill-Fated Prince

    I was intrigued by this comic because, when preparing for this course, I watched the Peter Brooks version of the Mahabharata with my family. In that version, Karna is certainly not depicted as "brave" or "generous." Indeed, the movie seemed to portray him as something of a villain. As such, I thought it would be interesting to delve deeper into his character. 

Comic Book #2: Gandhari, a Mother Blinded by Love

    While the Peter Brooks Mahabharata does introduce Gandhari, not much time is spent on her character. I think there is a lot to delve into, not only with her relationship with her sons, but also her relationship with Kunti, and her decision to blindfold herself. 

(Gandhari. Source: Wikimedia)

Video #1: Symbols of Divinity

    When I was 14, my family and I were able to take a trip to India and Nepal. While there, I had the honor of working in a painting workshop, where I learned how to paint mandalas. I still continue to pain them, and always try to remain true to the huge amounts of symbolism that exist within them. As such, this video seemed just my speed!

Video #2: Rama and the Ramayana: Crash Course World Mythology #27

    Man have I ever watched a lot of Crash Course! In everything from chemistry to biology to not mythology- Crash Course never fails to disappoint. I honestly sometimes just watch Crash Course for fun.