It is nearly impossible to not recall the images of actors Ramya Krishna and Sathyaraj from the Baahubali movies while reading writer Anand Neelankantan’s Chaturanga (published by Westland), the second book in the prequel trilogy Baahubali: Before the Beginning .
The story takes off where Book 1, The Rise of Sivagami , ended. Young Sivagami wants to avenge her father’s death, and a young Kattappa is at crossroads of serving the king and preserving his family honour. Chaturanga is a page turner, drawing readers into Mahishmati that is in the middle of a political whirlwind.
Edited excerpts from an interview:
What made you choose Sivagami for the trilogy?
Greyness in any character fascinates me. In the world of Baahubali, the hero is almost flawless and the villain is as dark as coal. I found shades of grey in Sivagami and Kattappa; these characters that have layers are fun to peel off. A woman who is ruthless enough to order the assassination of her beloved ‘son’ and a slave who is loyal enough to kill his beloved ‘nephew’ and ‘master’ are worth writing about.
We see Kattappa and Sivagami as middle-aged people on screen. Did that give you more freedom to develop their childhood and adolescence?
I had to move away from the film’s realm and yet stay close to it, as this is an official prequel. Adolescence is the period that forms character. What made Sivagami and Kattappa the personalities they are in the film... that is what my story is about.
In the films, the cold relationship that Sivagami shares with Bijjaladeva hints at an uneasy back story. Did writer Vijayendra Prasad or director Rajamouli share this story with you?
They gave me complete creative freedom and did not interfere with my writing process. I developed these characters’ adolescence and youth in the way I saw it appropriate.
Chaturanga, second book of Baahubali:Before the Beginning trilogy
Mahishmati is a fictitious kingdom in an undisclosed time period. How did you establish the time for a trilogy that pre-dates this era?
Though the period is not specified in the film, there are enough indications about the era. The middle-eastern merchant who comes to Kattappa with a sword, the architecture of the sets, social structure and the costumes talk about the period. In my mind, I fixed it as 8th-Century Deccan, and my research centred on that period. Otherwise it is difficult to orient the story world, which is essential for such historic fiction.
In your book, Mahishmati is dark, vicious and has secrets to hide. How did you construct this gloomy kingdom?
I wanted to stay away from an idealistic world. I don’t believe that it exists. I wanted to bring out all the glory and gory facets of the medieval era. In the novel, the dystopian world of Mahishmati is deliberate. It is a reflection of our times too. It gives me the freedom to create fleshed-out characters with many layers and give valid agendas for each character.
Tell us about your writing process; how did you want to engage readers who would have picked up your book primarily because of the films?
My writing has always been visual. I am a film buff; though I read a lot, I consume stories more in a visual format. Even when I write stories, I think of camera angles, frame setting, lighting, mood and the expressions of the character. The visual quality of my writing gave me the opportunity to work with some of the best film directors.
Also, this trilogy is soon going to be a Netflix series and is a continuation of the Baahubali story. I believe a film fan would have no issues in seeing a film in her mind while reading the book, as my writing style is more visual than poetic.
In Chaturanga, Sivagami is the lone woman in an administrative position and has a tough time making her presence felt. Did you consider archetypes of women in history while shaping her character?
I love history. It is so full of lies, and it is the diet of any fiction writer. Sivagami is based on archetypes of women who made a mark in history. From Draupadi to Cleopatra through Razia Sultana, Indira Gandhi and Jayalalithaa, there are many women who made it big in the ruthless world of men. Their stories fascinated me, and Sivagami has a slice of many of these historical characters in her.
Socio-political commentary, like how Somadeva and Bijjaladeva use religion/spirituality to divert attention from the failings of the government seem contemporary...
Using religion for power is nothing new. Pop Spirituality is a glittering cloak worn by the power-hungry. The marriage of religion and power is eternal. So, no wonder when I mention it in my books, you feel it is contemporary. Even after a thousand years, this relation between religion and politics will remain relevant.
When can we expect Book 3?
I have finished 90% of Book 3. I am waiting for some reader feedback to wrap up the trilogy. I expect it to be out by December 2020.
Published - August 21, 2020 04:44 pm IST
