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(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)