By Dhanuka Dickwella

Well known for some of the brilliant literature works such as “Marginal Man, To Byzantium, A Turkey Travelogue, Unfaithfully Yours, Morgue Keeper and Towards a Third Cinema, Charu Nivedita is the author of more than sixty works in Tamil. From poetry to short stories to essay collections to novels, his interest lies in autofiction and metafiction. He has been classified as a postmodern, transgressive writer. In some circles he is called a cult Tamil writer. Owing to the brilliance of his work, the novel Zero Degree, was longlisted for the 2013 edition of Jan Michalski Prize for Literature and has found a place in several academic syllabi in India and overseas. We capture the conversation Charu had with “The Asin Reviews “ here.

1.Can you share some insights into what inspired you to write “Conversations with Aurangzeb”  How did the idea for this novel come about, and what motivated you to explore the character of Aurangzeb?

Throughout my life, I have used my personal experiences as the raw material for my stories, a genre commonly referred to as autofiction. Life unfolded before me with unbelievable events and extraordinary twists, resembling the plot of a thriller. About a decade ago, during one of my routine morning walks along Santhome High Road, near the renowned San Thome church, I was in prayer outside its premises. Unexpectedly, a friend encountered me and inquired about the reddish hue of my eyes. Without hesitation, I confessed that I had been intimate with a woman three times just an hour ago, resulting in my current state. His astonishment was evident. Honesty has always been my policy; after all, lying requires careful planning, doesn’t it? This incident occurred when I was sixty years old.Such was the nature of my life. However, a few years later, my relationship with my girlfriend ended, and my life became mundane, devoid of any celebration to inspire my writing. In search of new openings, I turned my attention to the life of a saint named Tyagaraja, who held a special place in my heart. To delve into his story, I embarked on research about the Thanjavur Maratha kings, which ultimately led me to the life of Shivaji. The story of Shivaji is incomplete without Aurangzeb as the two were intricately connected.

During this period, I delved into the hundreds of letters Aurangzeb wrote to his sons and lieutenants. The experience was profound. These letters were penned during the final stage of Aurangzeb’s life, between the ages of 85 and 89. This revelation prompted me to set everything else aside and dedicate my time to writing about Aurangzeb.

2. Could you describe your writing process for this novel? Did you face any unique challenges during the writing phase? How did the collaboration with the translator, Nandini Krishnan, impact the final version of the book?

One of my son’s friends was running an online magazine called Bynge. He requested me to contribute, and I chose to share the story of Aurangzeb every week. Originally planned as a weekly feature, the overwhelming response from readers led me to deliver three chapters every week, crafting a chapter on alternate days. You can imagine the challenge. I wrote like a devil in those days and had to undergo a lot of research.This continued for a year, resulting in a novel spanning 140,000 words.However, my English publishers expressed concerns about the novel’s length, suggesting that it might not gain attention given my relatively lower popularity among non-Tamil readers.

Consequently, the novel had to be condensed by one-third of its original length. My collaboration with Nandini, a talented fiction writer, was exceptional. Her expertise in translation was evident, and the final product has garnered widespread acclaim.

3. Aurangzeb is a complex historical figure. How did you approach developing his character,   and what kind of research did you undertake? Were there specific historical sources or texts  that influenced your portrayal of Aurangzeb in the novel?

As mentioned earlier, Aurangzeb’s collection of letters, provides sufficient insight into the complexities of the man. There were numerous sources available, with Jadunath Sarkar being a pivotal figure who undertook monumental work on the Mughal era by translating original Persian sources into English—work upon which I heavily relied. Additionally, I referred to the works of contemporary historians and historical writers such as Sanjay Subramanian and William Dalrymple.

4. The novel is titled ‘Conversations with Aurangzeb’ Can you elaborate on the significance of the conversational style and how it contributes to the storytelling? What themes or messages do you hope readers will take away from the novel?

All my works of fiction, in my perspective, involve a dialogue with my readers as well as with the Creator. As a postmodern writer, I intentionally avoid creating closed texts. Therefore, I have provided a platform for Aurangzeb to express his life freely as he envisioned it. The narrative of Aurangzeb serves as a cautionary tale for both rulers and the general populace, highlighting the consequences of nationalism leading to bloodshed. Aurangzeb engaged in warfare for more than forty years, in stark contrast to his predecessors who enjoyed life in places like Kashmir. He and his commanders spent their time in bloody conflicts in the Deccan. In his final days, he lamented this choice, viewing himself as a sinner. He cautioned his sons against following his path, the advice they ignored, much like he did in his youth. This serves as a poignant lesson for us in these mad times. In the contemporary context, many Indians perceive nationalism as the solution to their woes, akin to how Germans did in the 1930s. We witnessed the consequences then, and Indians may soon experience them. At this critical juncture, the story of Aurangzeb becomes a cautionary tale.

5. How did you balance historical accuracy with the creative elements of the novel? Were there any deliberate deviations from historical facts for artistic reasons?

The balance between historical accuracy and creative flair unfolded seamlessly as the lives of the Mughals, akin to a gripping contemporary web series, offered a rich canvas for exploration. And I gave importance to evolving the intricate tapestry of character’s; inner selves and their spiritual evolution. Consider Jahan Ara Begum, an enigmatic figure lost to the unavailability of sources. Her autobiography, composed in Persian, remains a treasure trove locked behind linguistic barriers. Undeterred, I delved into a multitude of narratives, reconstructing her essence piece by piece. A true Sufi, she unfolded before me, and I created her character based on her Sufi writings with the assistance of Persian scholar friends. A similar veil of mystery shrouded the life of Zeb-un-Nissa, Aurangzeb’s daughter, leaving only her poems as a testament to her existence. Armed with the lyrical whispers of her verses, I embarked on a journey to breathe life into her character. Throughout this narrative, one can find the undercurrent of Mughal women’s stories, a directive from Aurangzeb himself to the writer. Among them, is the tale of Nadira Banu, the wife of Dara Shikoh echoes with intrigue. A moment crystallizes when desperate for aid, she offers a glass of water to King Swarup Singh, urging him to perceive it as his mother’s milk—an act of profound symbolism. This anecdote, shared by Aurangzeb within the novel, serves as a reminder of the lengths these women went to secure their loved ones’s; safety in the face of Aurangzeb’s pursuit.

06.Can you share any details about your upcoming projects or works in progress? Do you plan to explore similar themes or historical periods in your future writing?

I have numerous plans for upcoming projects. Recently, my novel ‘Petiyo’ was released in Tamil, drawing inspiration from my experiences in the northern province of Sri Lanka. During another visit to Sri Lanka, I had the opportunity to explore the cultural scene with a group of Sinhalese writers, artists, musicians, dramatists, and actors. This experience led to my latest novel, ‘Ullasam, Ullasam’. In this I am currently working on incorporating my experiences in Japan into the novel, which will now be released as a two-part series, ‘Ullasam, Ullasam’, and Ropongi Nights. In addition to these, I’m also working on several historical novels. One focuses on Tyagaraja, which is nearly complete, another on Asoka, and yet another on the 1857 massacre at Bibi Garh, among others.

As a closing note, let me gratefully remind Rahul Soni of Harper Collins who help me immensely in editing the novel.