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Ravan & Eddie #1
Ravan and Eddie
Ravan and Eddie are the unlikeliest of companions. For one thing, Ravan is Hindu, while Eddie is Catholic. For another, when Ravan was a baby and fell from a balcony, that fall had a dramatic, and very literal, impact on Eddie’s family. But Ravan and Eddie both live in Central Works Department Chawl No. 17—and if you grow up in the crowded Mumbai chawls, you get to participate in your neighbors' lives, whether you like it or not.
As we watch the two unlikely heroes of Kiran Nagarkar's acclaimed novel rocket out of the starting blocks of their lives, leaving earth-mothers and absentee fathers, cataclysms and rock ’n’ roll in their wake, we're compelled to sit up and take notice.
Recently selected by The Guardian as one of the ten best novels about Mumbai, Ravan and Eddie is a comic masterpiece about two larger- and truer-than-life characters and their bawdy, Rabelaisian adventures in postcolonial India. It is also a timeless journey of self-discovery, a quest for the meaning of guilt and responsibility, sin and sex, crime and punishment.
As we watch the two unlikely heroes of Kiran Nagarkar's acclaimed novel rocket out of the starting blocks of their lives, leaving earth-mothers and absentee fathers, cataclysms and rock ’n’ roll in their wake, we're compelled to sit up and take notice.
Recently selected by The Guardian as one of the ten best novels about Mumbai, Ravan and Eddie is a comic masterpiece about two larger- and truer-than-life characters and their bawdy, Rabelaisian adventures in postcolonial India. It is also a timeless journey of self-discovery, a quest for the meaning of guilt and responsibility, sin and sex, crime and punishment.
330 pages, Kindle Edition
First published January 1, 1994
52 people are currently reading
1008 people want to read
About the author
Kiran Nagarkar
27 books147 followersKiran Nagarkar was born in Bombay in 1942. In addition to plays and screenplays, he has written four novels, establishing his reputation as an outstanding representative of contemporary Indian literature. His books are a target of ideological critique due to the hybrid nature of his version of postcolonialism, involving irreverence alongside seriousness.
Nagarkar studied at the Ferguson College in Bombay and then worked as an assistant professor at some colleges, as a journalist and screenplay writer, and, notably, in the advertising industry. He wrote his first book Saat Sakkam Trechalis (1974; Eng. Seven Sixes are Forty Three, 1980) in his mother tongue, Marathi. His bitter and burlesque description of the young Bombayite Kunshank – achieved by means of a fragmented form and rendered in innovative language – is considered to be a milestone in Marathi literature. In his first play Bedtime Story (1978), Nagarkar takes on the subject of modern responsibility by broaching the topic of political crises of the day (for instance the Cuban Crisis, the Vietnam War, and the State of Emergency called for by Indira Gandhi). Due to problems with state censorship as well as religiously motivated restrictions that prevailed over the cultural scene, the play was not staged until 1995. His second book Ravan and Eddie (1994) also met with a hostile response. The story of the childhood of two young boys, one Hindu, the other Christian, from families who live next door to each other yet live in completely different worlds, was criticized both as anti-Hindu and anti-Christian. The fact that Nagarakar chose to write this book and other subsequent writings in English, the language of his education, also encountered objections from his fellow countrymen.
In his subsequent novels, Nagarkar contrasts bigotry and extremism with a tolerance that feeds on doubt and is open to diversity. In Cuckold (1997), this mentality is embodied in a character who looms in Indian historiography. This is the unknown spouse of the famous princess Meera from the 16th century, whose love songs to the God Krishna have passed into popular Indian culture. In God’s Little Soldier (2006), the protagonist, who switches faiths without ever abandoning extremism, stands opposed to his questioning brother. Consistent with the underlying idea of this book as a parable without a message Nagarkar affirms in an interview that we can never stop questioning ourselves, we must bring our convictions out into the light and prove them. Nothing is more dangerous than being too much oneself, being completely sure of oneself, since such a belief will soon develop into an intolerance of others.
Nagarkar was distinguished with the H.N. Apte Award for the best first novel, the renowned Sahitya Award and the Dalmia Award for the furtherance of communicative harmony through literature. He received a Rockefeller grant and was awarded a scholarship by the city of Munich. He lives in Bombay.
Nagarkar studied at the Ferguson College in Bombay and then worked as an assistant professor at some colleges, as a journalist and screenplay writer, and, notably, in the advertising industry. He wrote his first book Saat Sakkam Trechalis (1974; Eng. Seven Sixes are Forty Three, 1980) in his mother tongue, Marathi. His bitter and burlesque description of the young Bombayite Kunshank – achieved by means of a fragmented form and rendered in innovative language – is considered to be a milestone in Marathi literature. In his first play Bedtime Story (1978), Nagarkar takes on the subject of modern responsibility by broaching the topic of political crises of the day (for instance the Cuban Crisis, the Vietnam War, and the State of Emergency called for by Indira Gandhi). Due to problems with state censorship as well as religiously motivated restrictions that prevailed over the cultural scene, the play was not staged until 1995. His second book Ravan and Eddie (1994) also met with a hostile response. The story of the childhood of two young boys, one Hindu, the other Christian, from families who live next door to each other yet live in completely different worlds, was criticized both as anti-Hindu and anti-Christian. The fact that Nagarakar chose to write this book and other subsequent writings in English, the language of his education, also encountered objections from his fellow countrymen.
In his subsequent novels, Nagarkar contrasts bigotry and extremism with a tolerance that feeds on doubt and is open to diversity. In Cuckold (1997), this mentality is embodied in a character who looms in Indian historiography. This is the unknown spouse of the famous princess Meera from the 16th century, whose love songs to the God Krishna have passed into popular Indian culture. In God’s Little Soldier (2006), the protagonist, who switches faiths without ever abandoning extremism, stands opposed to his questioning brother. Consistent with the underlying idea of this book as a parable without a message Nagarkar affirms in an interview that we can never stop questioning ourselves, we must bring our convictions out into the light and prove them. Nothing is more dangerous than being too much oneself, being completely sure of oneself, since such a belief will soon develop into an intolerance of others.
Nagarkar was distinguished with the H.N. Apte Award for the best first novel, the renowned Sahitya Award and the Dalmia Award for the furtherance of communicative harmony through literature. He received a Rockefeller grant and was awarded a scholarship by the city of Munich. He lives in Bombay.
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Displaying 1 - 30 of 92 reviews
May 15, 2008
I read this a few days ago and wanted to wait a few days before i tried to articulate my response.
It takes place in the dwellings (apartment buildings of types) of the lower working class in 1950s and 60s Bombay. The characters are mostly children and their parents.
The book is funny -- in the same league as Heller's Catch-22, Nichols' Milargo Beanfield War, and Rushdie's Midnight's Children. But the way Nagarkar invokes humor is difficult to describe. The child characters are always getting themselves into trouble with parents and other adults. How the children justify their actions and how the adults interpret the children's justifications creates great fun. But within this exchange is a world of tragedy where we are left to wonder just how we came to accept our own assumptions.
Even as the children lie through their teeth, Nagarkar somehow retains their innocence. The result is that parents, teachers, and religious authorities are the ones who seem utterly out of sync with the authenticity of life. The reader laughs loudly but wants to cry at the same time.
Nagarkar's world contains, Hindus -- devout and not, Christians -- devout and not, with Goan roots, bullies, tae kwon do teachers, mothers desperately cooking and selling food or sewing and selling from the apartments in order to make ends meet, prostitutes, con artists, and children of all ages. By the end of the book, is hard to leave this bustling world
Nargarkar's gifts are plentiful. He has a master's eye for detail; every sentence contains the particulars of actual life while eliciting questions about the meaning of life. He shows as the stupidity of cultural chauvinism but while accessing the tender frailty of those cultures. He keeps the reader turning the pages, not with cheap tricks, but with a style of entertaining that seems endless in its variations, and sound in its wisdom.
Perhaps Nargarkar's greatest gift is his story telling. After 330 pages, I thought that here is a book that I really needed to be 1400 pages; I could read it for a whole summer. The ending is a little tidy for me but that is a small critique.
I had the fortune to meet the author and listen to him read from his latest book (God's Little Soldier -- not yet available outside of India, although I was able to get my hands on one of two copies he had). He is absolutely the best reader I have ever heard. Kiran is nearly pathologically shy. But put an audience in front of him and he becomes a full acting troupe all by himself.
Remember this name: Kiran Nagarkar. I don't think Sir Salman Rushdie has anything over Kiran. Please, please seek out his work. His treasures are too important to be hoarded by a few.
I know I am gushing. I thought if I waited a few days, I wouldn't. But no.
Special thanks to Anjali Nerleker for bringing the author to Ithaca College and to Ithaca.
It takes place in the dwellings (apartment buildings of types) of the lower working class in 1950s and 60s Bombay. The characters are mostly children and their parents.
The book is funny -- in the same league as Heller's Catch-22, Nichols' Milargo Beanfield War, and Rushdie's Midnight's Children. But the way Nagarkar invokes humor is difficult to describe. The child characters are always getting themselves into trouble with parents and other adults. How the children justify their actions and how the adults interpret the children's justifications creates great fun. But within this exchange is a world of tragedy where we are left to wonder just how we came to accept our own assumptions.
Even as the children lie through their teeth, Nagarkar somehow retains their innocence. The result is that parents, teachers, and religious authorities are the ones who seem utterly out of sync with the authenticity of life. The reader laughs loudly but wants to cry at the same time.
Nagarkar's world contains, Hindus -- devout and not, Christians -- devout and not, with Goan roots, bullies, tae kwon do teachers, mothers desperately cooking and selling food or sewing and selling from the apartments in order to make ends meet, prostitutes, con artists, and children of all ages. By the end of the book, is hard to leave this bustling world
Nargarkar's gifts are plentiful. He has a master's eye for detail; every sentence contains the particulars of actual life while eliciting questions about the meaning of life. He shows as the stupidity of cultural chauvinism but while accessing the tender frailty of those cultures. He keeps the reader turning the pages, not with cheap tricks, but with a style of entertaining that seems endless in its variations, and sound in its wisdom.
Perhaps Nargarkar's greatest gift is his story telling. After 330 pages, I thought that here is a book that I really needed to be 1400 pages; I could read it for a whole summer. The ending is a little tidy for me but that is a small critique.
I had the fortune to meet the author and listen to him read from his latest book (God's Little Soldier -- not yet available outside of India, although I was able to get my hands on one of two copies he had). He is absolutely the best reader I have ever heard. Kiran is nearly pathologically shy. But put an audience in front of him and he becomes a full acting troupe all by himself.
Remember this name: Kiran Nagarkar. I don't think Sir Salman Rushdie has anything over Kiran. Please, please seek out his work. His treasures are too important to be hoarded by a few.
I know I am gushing. I thought if I waited a few days, I wouldn't. But no.
Special thanks to Anjali Nerleker for bringing the author to Ithaca College and to Ithaca.
June 22, 2012
I had never heard of this book- which was first published way back in 1995- until its sequel- "The Extras" was released sometime in the first half of this year. That too i learnt when i stumbled upon a TV interview of its writer. Thus, before i could get introduced to anything about Ravan and Eddie, i was intrigued by the man who created them- Kiran Nagarkar.
Dressed in a crumpled white kurta- pajama and still radiating 'class'... Nagarkar seemed to me an exceptionally intelligent man with a sharp sense of observation. The creases on his face revealed that the man had seen some interesting high's and lows and his benign smile sealed the fact that he was still a child at heart!!
The book thus was precisely what i expected. Its 300 pages of some brilliant and sharp writing full of keen observations, sly wit and candor. The entire story stays and revolves around Mumbai's CWD shawl (which i believe is an alias for Worli's BDD chawls). These chawls form an endless yet cramped labyrinth of human habitat where no matter the difference in culture, habits and beliefs; every life is bound to entwine into the other. Born and growing in this milieu, Nagarkar notes the various events in Ravan's Hindu and Eddie's Christian life. Through their story he smirks at the various beliefs and notions formed by our beloved society and enthralls us by presenting his point of view through the ten year olds in the story!
Also, at various points in the story, Nagarkar often strays away to elaborate a certain point. Two of my favorite such diversions are when he writes about the basic difference between a Hindu and Christian life. It is extremely true and hence hilarious! and Another time he transgresses to talk about Shammi Kapoor and his madness. You will feel like calling for a Shammi Kapoor DVD as you read this! These few pages in the book are enough to give you an idea about the kind of trip you may expect in the book.
The writing is so lucid and yet sharp that at times you just feel like reading a page all over again for the sake of fun!
However, one needs to note that although this book has a beginning, it has NO middle and NO end!!!
It just keeps drifting through the lives of Ravan and Eddie. Making observations, passing comments but reaches no conclusion. At times it gives an inkling of some event that may occur, an event that could change the pace and direction of the story but no such event occurs.
The writing does keep you glued but then at some point past page 300 the book simply ends! Just like that! :)
Dressed in a crumpled white kurta- pajama and still radiating 'class'... Nagarkar seemed to me an exceptionally intelligent man with a sharp sense of observation. The creases on his face revealed that the man had seen some interesting high's and lows and his benign smile sealed the fact that he was still a child at heart!!
The book thus was precisely what i expected. Its 300 pages of some brilliant and sharp writing full of keen observations, sly wit and candor. The entire story stays and revolves around Mumbai's CWD shawl (which i believe is an alias for Worli's BDD chawls). These chawls form an endless yet cramped labyrinth of human habitat where no matter the difference in culture, habits and beliefs; every life is bound to entwine into the other. Born and growing in this milieu, Nagarkar notes the various events in Ravan's Hindu and Eddie's Christian life. Through their story he smirks at the various beliefs and notions formed by our beloved society and enthralls us by presenting his point of view through the ten year olds in the story!
Also, at various points in the story, Nagarkar often strays away to elaborate a certain point. Two of my favorite such diversions are when he writes about the basic difference between a Hindu and Christian life. It is extremely true and hence hilarious! and Another time he transgresses to talk about Shammi Kapoor and his madness. You will feel like calling for a Shammi Kapoor DVD as you read this! These few pages in the book are enough to give you an idea about the kind of trip you may expect in the book.
The writing is so lucid and yet sharp that at times you just feel like reading a page all over again for the sake of fun!
However, one needs to note that although this book has a beginning, it has NO middle and NO end!!!
It just keeps drifting through the lives of Ravan and Eddie. Making observations, passing comments but reaches no conclusion. At times it gives an inkling of some event that may occur, an event that could change the pace and direction of the story but no such event occurs.
The writing does keep you glued but then at some point past page 300 the book simply ends! Just like that! :)
October 2, 2015
This is one of the most incredible books I've ever read and definitely one of my all-time favorites. It's set in early post - Independence India in the city of Bombay in one of its many chawls and it revolves around the early life and times of Ravan (born Ram but renamed by a doting mother, as a villain is better protected from the evil eye than a milquetoast mythological hero) and Eddie.
Interestingly the Marathi Hindu and the Goan Catholic characters in the tale share not only their chawls but also their lives in a communal way that only Bombay made possible.
So do Ravan and Eddie's lives run parallel to each other and Nagarkar slyly hints, that they also intersect if not in this book, then in the next one.
For the principal characters in this novel, the first of a trilogy, are mirrors of each other - the Hindu boy learns tae kwon do and swoons as he watches Shammi Kapoor dancing while the Catholic boy learns mallakhamb, reads tales out of the Mahabharata and becomes a star student in the RSS stand-in Sabha.
They both have long-suffering yet strong mothers, physically/mentally absent fathers and an utter lack of interest in academia and a thoroughly amusing ability to get in and out of scrapes throughout the book.
The cast of secondary characters is no less stunning - Parvatibai and Shobhan, being my absolute favourites.
Nagarkar writes of these women with tenderness and he treats them with respect in a way several so-called feminist authors possibly never could. They appear to be sketched from real-world women who work hard and love deeply and expect nothing in return. There is a kindness about Shobhan and Ravan's relationship with her has a core of purity and trust, although they never quite escape the squalor of their lives.
His writing is at-times bawdy, frequently entertaining and occasionally, achingly innocent and profound. The coda at the end of the book moved me to tears.
This book is a masterpiece and is much recommended to any who love Bombay and its chaos.
My half Goan half Maharashtrian heritage makes it feel like I'm witnessing the two halves of my identity finally fusing into one acrimonious yet intact whole in the course of reading this truly wonderful book. Felt nothing like it before!
Interestingly the Marathi Hindu and the Goan Catholic characters in the tale share not only their chawls but also their lives in a communal way that only Bombay made possible.
So do Ravan and Eddie's lives run parallel to each other and Nagarkar slyly hints, that they also intersect if not in this book, then in the next one.
For the principal characters in this novel, the first of a trilogy, are mirrors of each other - the Hindu boy learns tae kwon do and swoons as he watches Shammi Kapoor dancing while the Catholic boy learns mallakhamb, reads tales out of the Mahabharata and becomes a star student in the RSS stand-in Sabha.
They both have long-suffering yet strong mothers, physically/mentally absent fathers and an utter lack of interest in academia and a thoroughly amusing ability to get in and out of scrapes throughout the book.
The cast of secondary characters is no less stunning - Parvatibai and Shobhan, being my absolute favourites.
Nagarkar writes of these women with tenderness and he treats them with respect in a way several so-called feminist authors possibly never could. They appear to be sketched from real-world women who work hard and love deeply and expect nothing in return. There is a kindness about Shobhan and Ravan's relationship with her has a core of purity and trust, although they never quite escape the squalor of their lives.
His writing is at-times bawdy, frequently entertaining and occasionally, achingly innocent and profound. The coda at the end of the book moved me to tears.
This book is a masterpiece and is much recommended to any who love Bombay and its chaos.
My half Goan half Maharashtrian heritage makes it feel like I'm witnessing the two halves of my identity finally fusing into one acrimonious yet intact whole in the course of reading this truly wonderful book. Felt nothing like it before!
January 19, 2019
Twitter review: Vibrant premise. Promising buildup. Crazy characters. Parallel worlds. Dry wit. Wet dreams.
Exciting setup: Ram is a product of soporific Shankar & voluptuous Parvati. A freak accident converts baby Ram into a murderer(!!), gets him newly coined as Ravan (to ward off the evil eye) and unwittingly links his life forever with Eddie, son of the ‘murdered’ Victor. Aha!
Parallel criss-cross lives: Ravan is coaxed towards Hinduism and Eddie towards Christianity. Instead, both rebel and trespass into other’s territory.
Ravan gets into Eklavya-mode and finds his tutor Dronacharya in a Taekwondo master. Eddie masters malla-khamb under a Hinduist tutor and gets fascinated with Mahabharata and Krishna. They even gravitate towards Shammi Kapoor & Elvis Presley respectively.
Hindu-Christian chawl: Ravan and Eddie are suitably juxtaposed on different floors of same chawl. This paves the way for ‘farcical, bawdy and self-deprecatory’ notes (in author’s own words) on bathing, praying, mourning, eating, dating customs. It makes for a fascinating cultural peek for outsiders and a cheeky comfort zone for insiders.
Chawl life is painted in broad strokes (They lived private lives in public spaces) with all its ensuing claustrophobia; visceral depictions of tap water battles (the water pipe went into epileptic spasm, vomited 17 drops of brown goo before it shuddered to shoot out venomous jet of water).
Post colonial Indian obsessions: are depicted precisely & faithfully. From fair skin (It is on par with virginity, is more precious than Nirvana or immortality), to English language (It’s absence turned the tables on Hindus, made them feel like untouchables) and silver screen Bollywood-Hollywood idols.
Teenage boys: There are massive homages to raging hormones, blowjobs, masturbations, incest, ragging, clandestine bathroom encounters and black magic boasts.
2 Mothers : Parvati and Violet are far more interesting than their respective titular sons.
I would have loved to know the secret behind Violet’s enigmatic refusal (The reasons are mine and mine alone) of suitable suitor in favor of dour Victor. Her smoldering resentment shows in ‘To her dying day, she would not stop mourning the man she could never forgive,’ but yet leaves her persona unexplained and unexplored.
Same with sweaty & sensuous Parvati. I really egged her on to out-trick Shankar’s mistress. Instead her final choice of weapons were 1} her ample, taut, towering breasts and 2} her sharp vili , a scythe like kitchen tool. So, why wait till page 305 to use the weapons she possessed since page 1?
Parvati uses her sensuality to save her home while Violet curbs her sensuality for the exact same reason – a study in contrasts?
Verdict : 4 stars for whacky characters, evocative visual language, cheeky humor and heightened expectations.
Much like a film screen that says ‘Interval’ rather than ‘The End’. Awaiting Part 2. I hope R&E grow up. On second thoughts, I hope they don’t grow up.
Exciting setup: Ram is a product of soporific Shankar & voluptuous Parvati. A freak accident converts baby Ram into a murderer(!!), gets him newly coined as Ravan (to ward off the evil eye) and unwittingly links his life forever with Eddie, son of the ‘murdered’ Victor. Aha!
Parallel criss-cross lives: Ravan is coaxed towards Hinduism and Eddie towards Christianity. Instead, both rebel and trespass into other’s territory.
Ravan gets into Eklavya-mode and finds his tutor Dronacharya in a Taekwondo master. Eddie masters malla-khamb under a Hinduist tutor and gets fascinated with Mahabharata and Krishna. They even gravitate towards Shammi Kapoor & Elvis Presley respectively.
Hindu-Christian chawl: Ravan and Eddie are suitably juxtaposed on different floors of same chawl. This paves the way for ‘farcical, bawdy and self-deprecatory’ notes (in author’s own words) on bathing, praying, mourning, eating, dating customs. It makes for a fascinating cultural peek for outsiders and a cheeky comfort zone for insiders.
Chawl life is painted in broad strokes (They lived private lives in public spaces) with all its ensuing claustrophobia; visceral depictions of tap water battles (the water pipe went into epileptic spasm, vomited 17 drops of brown goo before it shuddered to shoot out venomous jet of water).
Post colonial Indian obsessions: are depicted precisely & faithfully. From fair skin (It is on par with virginity, is more precious than Nirvana or immortality), to English language (It’s absence turned the tables on Hindus, made them feel like untouchables) and silver screen Bollywood-Hollywood idols.
Teenage boys: There are massive homages to raging hormones, blowjobs, masturbations, incest, ragging, clandestine bathroom encounters and black magic boasts.
2 Mothers : Parvati and Violet are far more interesting than their respective titular sons.
I would have loved to know the secret behind Violet’s enigmatic refusal (The reasons are mine and mine alone) of suitable suitor in favor of dour Victor. Her smoldering resentment shows in ‘To her dying day, she would not stop mourning the man she could never forgive,’ but yet leaves her persona unexplained and unexplored.
Same with sweaty & sensuous Parvati. I really egged her on to out-trick Shankar’s mistress. Instead her final choice of weapons were 1} her ample, taut, towering breasts and 2} her sharp vili , a scythe like kitchen tool. So, why wait till page 305 to use the weapons she possessed since page 1?
Parvati uses her sensuality to save her home while Violet curbs her sensuality for the exact same reason – a study in contrasts?
Verdict : 4 stars for whacky characters, evocative visual language, cheeky humor and heightened expectations.
Much like a film screen that says ‘Interval’ rather than ‘The End’. Awaiting Part 2. I hope R&E grow up. On second thoughts, I hope they don’t grow up.
December 27, 2019
I heard about this book when my parents were watching an interview of the author on TV. As I listened to Kiran Nagarkar speak, I knew I wanted more of his words and his books were immediately added to my TBR. After almost 4 years, I got my hands on this book.
Ravan and Eddie are two boys living in a Bombay chawl during the 1960s. They are separated only by one thin floor but their lives are very different. Ravan lives in a Hindu household where his father spends his entire day sleeping and his mother earns for the house by making tiffins. Eddie, on the other hand, lives in a Christian house with his grana, mother and sister. The book does not have a linear plot as such but many incidents from the lives of these two ordinary boys living in those times. The author has to be applauded for sketching the context in a colourful manner which mentions the architecture of the chawls, the zero privacy policy that is followed by its members, the caste and religious distinctions followed to the T by most people, the tales and rumours that travel by tongue like fire, the pure people that are to be found in every nook and cranny, the mothers who dream monumentally for their sons and strive to make good men out of them and the children who want to mimic the stars they watch on the big screens.
I really loved the book. There are so many wise observations about the Indian society that made me laugh out loud and reluctantly agree. There are small digressions from the main story where the author gives you information about many topics like Bollywood, the Rashtriya Swayamsevak Sangh, the Portugal occupation of Goa, the importance of languages, etc. The thing I loved about these digressions is that generally authors add footnotes to explain a few things in short, but Nagarkar sir does not shy away from expanding on these juicy topics and giving well-informed opinions. I enjoyed the style of writing which is interspersed with lofty and hilarious metaphors. I also had to open the dictionary several times to look for meanings of new words. Many new words! The best thing about the book is that the story of Ravan and Eddie does not come to an end here and I look forward to read the next book in the trilogy.
Ravan and Eddie are two boys living in a Bombay chawl during the 1960s. They are separated only by one thin floor but their lives are very different. Ravan lives in a Hindu household where his father spends his entire day sleeping and his mother earns for the house by making tiffins. Eddie, on the other hand, lives in a Christian house with his grana, mother and sister. The book does not have a linear plot as such but many incidents from the lives of these two ordinary boys living in those times. The author has to be applauded for sketching the context in a colourful manner which mentions the architecture of the chawls, the zero privacy policy that is followed by its members, the caste and religious distinctions followed to the T by most people, the tales and rumours that travel by tongue like fire, the pure people that are to be found in every nook and cranny, the mothers who dream monumentally for their sons and strive to make good men out of them and the children who want to mimic the stars they watch on the big screens.
I really loved the book. There are so many wise observations about the Indian society that made me laugh out loud and reluctantly agree. There are small digressions from the main story where the author gives you information about many topics like Bollywood, the Rashtriya Swayamsevak Sangh, the Portugal occupation of Goa, the importance of languages, etc. The thing I loved about these digressions is that generally authors add footnotes to explain a few things in short, but Nagarkar sir does not shy away from expanding on these juicy topics and giving well-informed opinions. I enjoyed the style of writing which is interspersed with lofty and hilarious metaphors. I also had to open the dictionary several times to look for meanings of new words. Many new words! The best thing about the book is that the story of Ravan and Eddie does not come to an end here and I look forward to read the next book in the trilogy.
September 23, 2017
I almost became a fan of the author on reading Cuckold . Nagarkar has his own brand of satire which feels very close to nihilism. Unfortunately, an overdose of nihilism in this book has also turned it meaningless and root-less.
There are some good scenes, but it all seems to be a bunch of meaningless digressions. Digressions which seem all the more meaningless because it had begun very well and the first 25% of the book was a delight. Unfortunately, the second half was a drag. Thankfully, the book was much better than God's Little Soldier which was a drag all along. I called him India's most under-rated author but I think he himself is to blame. Dont have the heart to pick one by him again !
There are some good scenes, but it all seems to be a bunch of meaningless digressions. Digressions which seem all the more meaningless because it had begun very well and the first 25% of the book was a delight. Unfortunately, the second half was a drag. Thankfully, the book was much better than God's Little Soldier which was a drag all along. I called him India's most under-rated author but I think he himself is to blame. Dont have the heart to pick one by him again !
April 30, 2007
if you want to understand the cultural fabric of bombay, you cant miss this book
August 10, 2015
I'm terribly disappointed that I waited for the release of the third book in the trilogy of to read this. But I'm glad I did.
Ravan and Eddie has the humor of Angela's Ashes, and the gravitas of Behind the Beautiful Forevers. It's sound and rich and frothy and a page turner all at the same time. I loved the book, because it made pain and heartbreak funny enough to be bearable. Because the two true heroes of the story are not - as the titles may represent - Raavan and Eddie. They're the mothers, Parvati and Violet. Because of the perverse and relentless way they look beyond all miseries to do the best and kindest they know how.
I wonder who the heroes in the next book will be. A woman, I suspect.
Ravan and Eddie has the humor of Angela's Ashes, and the gravitas of Behind the Beautiful Forevers. It's sound and rich and frothy and a page turner all at the same time. I loved the book, because it made pain and heartbreak funny enough to be bearable. Because the two true heroes of the story are not - as the titles may represent - Raavan and Eddie. They're the mothers, Parvati and Violet. Because of the perverse and relentless way they look beyond all miseries to do the best and kindest they know how.
I wonder who the heroes in the next book will be. A woman, I suspect.
July 23, 2018
Was an entertaining read in the beginning and seemed losing it's charm in the midway.
August 7, 2022
Bombay as a backdrop — loved reading about places my parents took me as a child (elephanta caves) and things they’ve talked endlessly about (makar sankrant kite fights)
July 20, 2017
Las historias de dos niños, que transcurren paralelamente, cada uno con sus propios problemas, que si uno es hindu y el otro catolico, es lo de menos, hay mas cosas que los hacen similares. El libro es facil de leer, tiene momentos muy divertidos, se burla de todo, parece no hay algo sagrado para el autor) es buen libro, aunque me parece de repente no lleva a ningun lado, pero, es que tiene que ir a alguno? En fin, muy divertido)
October 3, 2020
I remember plucking out this book from the shelf at the British Council Library with great excitement.
I had read and really loved "Cuckold". I still think it is one of the best books, ever.
But Ravan and Eddie was disappointing. It had its good parts, but..... it was just not what I had expected.
Nothing to compare with 'Cuckhold' which was beautiful!!
Much later I spoke to some people who had lived in 'chawls' as I got new insights into the lives much like Naem from Goodreads had suggested...
I think I should not compare the two novels, besides I was in Bombay when I read the book, the 'chawls' as these apartments are called are all over.
After some time, strangely, you get used to them or you get angry at your own feelings of impotence.
I know a person from these chawls, who speaks with such nostalgia about his days there, the friendship and the happiness although there are so many problems.
I remember him telling me that every festival is is celebrated with gusto. Yes I will read the book, maybe now that I am out of Mumbai I can view the chawls in a different perspective.
I had read and really loved "Cuckold". I still think it is one of the best books, ever.
But Ravan and Eddie was disappointing. It had its good parts, but..... it was just not what I had expected.
Nothing to compare with 'Cuckhold' which was beautiful!!
Much later I spoke to some people who had lived in 'chawls' as I got new insights into the lives much like Naem from Goodreads had suggested...
I think I should not compare the two novels, besides I was in Bombay when I read the book, the 'chawls' as these apartments are called are all over.
After some time, strangely, you get used to them or you get angry at your own feelings of impotence.
I know a person from these chawls, who speaks with such nostalgia about his days there, the friendship and the happiness although there are so many problems.
I remember him telling me that every festival is is celebrated with gusto. Yes I will read the book, maybe now that I am out of Mumbai I can view the chawls in a different perspective.
October 24, 2016
Not sure why I hadn't heard of this book until recently. Absolutely loved it. I think the best thing about Nagarkar is that he says it like it is; never shy of something scandalous, never employing a deliberate euphemism. The brazen innocence of his narrative is almost child-like, and that makes sense given the protagonists of the novel. The reality of Mazagaon chawl and its residents is laid bare, open for your scrutiny, just like how their lives are to each other.
Nagarkar's humour & writing style reminded me of Jerome's in Three Men In A Boat - sure they're very different books but I find them similar in spirit.
Nagarkar's humour & writing style reminded me of Jerome's in Three Men In A Boat - sure they're very different books but I find them similar in spirit.
July 2, 2019
Kiran Nagarkar, I am realizing now, despite being fairly well known is a seriously underrated author. This masterpiece makes you laugh at serious situations and breaks your heart in the softest way possible at the childhood traumas we all carry. One way or the other, everyone will relate one or the other way with Ravan and Eddie. The story is set in Bombay, which makes it even closer to the heart. Whoever has spent their school years in Bombay/Mumbai (which I haven't but still enjoyed a lot), will 100% enjoy this ride fully.
September 7, 2012
Amazed. At the language, at the narrative, at the characters... Spell bound.
January 9, 2020
Reading Ravan & Eddie is like seeing a movie in your head. Being a writer myself, I cannot help but be in awe of a writer who can write in pictures. Life in a Mumbai chawl comes to life while reading this book. One can hear the kids yelling, the women squabbling and see the men relaxing with a newspaper with their banyan rolled up on Sunday mornings. Amidst descriptions of this chaotic existence, the story of two boys from different communities is woven in and we see life in a chawl from the Hindu and Christian perspectives. I had almost forgotten what it was like to be a child until I was given a glimpse into the minds of Ravan & Eddie. There is something mystical about it all.
If you are looking for a structured story then this book is not for you. But yes there are little stories sprinkled throughout the book and I enjoyed each one although one is not really sure what happens next.
A few years ago I might have given this book 4 stars but now I am in a place where brilliant writing does it for me. True there are parts of this book written in a documentary style and those parts dragged. But I cannot give this book 4 stars and feel I have done justice to Nagarkar.
If you are looking for a structured story then this book is not for you. But yes there are little stories sprinkled throughout the book and I enjoyed each one although one is not really sure what happens next.
A few years ago I might have given this book 4 stars but now I am in a place where brilliant writing does it for me. True there are parts of this book written in a documentary style and those parts dragged. But I cannot give this book 4 stars and feel I have done justice to Nagarkar.
November 26, 2021
Ravan and Eddie tells the story of, well, Ravan and Eddie and the strange way in which the lives of the two are intertwined.
Both live in Bombay's Chawl No 17, in the post Independence era. Ravan is a Hindu while Eddie is a Catholic - two diverse sides of the Chawl spectrum.
Ravan begin his life as Ram but when, as a one-year-old, he survives a freak accident he is promptly christened Ravan to ward off the evil eye. The accident also, inexorably, connects his life to that of Eddie.
Nagarkar's story-telling is rich and detailed with liberal dashes of humour. This one's a must read specially if you have any kind of of a Bombay connection.
Both live in Bombay's Chawl No 17, in the post Independence era. Ravan is a Hindu while Eddie is a Catholic - two diverse sides of the Chawl spectrum.
Ravan begin his life as Ram but when, as a one-year-old, he survives a freak accident he is promptly christened Ravan to ward off the evil eye. The accident also, inexorably, connects his life to that of Eddie.
Nagarkar's story-telling is rich and detailed with liberal dashes of humour. This one's a must read specially if you have any kind of of a Bombay connection.
June 22, 2017
When I was doing my postgraduatiom, we frequently worked with the residents of Mumbai chawls. This book brought that world alive - a true microcosm of pulsating humanity. Strangely reminded me of Malgudi Days.
June 10, 2022
It's about: A comic take on lives of Ravan and Eddie, both living in a chawl in late fifties Bombay. Not just these two, but the lives around them, form crucial parts as characters.
What I liked: Bombay, ofcourse. Whenever the city is put to words, it's a treat to experience, whether the period is current or historical. Add to this, a few chapters that have sub-chapters having commentary or history about the city and its people. Author doesn't spare anything to make you chuckle or laugh, even religious and jingoistic satire is at best at places. But..
What I didn't: The overuse of ornamental language hinders flow of reading, in the end the 300+ pages book seems 500+ long. The jokes that make you laugh during the initial pages, can't hold together as we reach midway. Thankfully, again towards the end, the novel gathers momentum. This could have been way better if it was designed as different chapters (stories) instead of a novel, as there is no single storyline that runs through.
Recommended for: Lovers of the city, Bombay.
What I liked: Bombay, ofcourse. Whenever the city is put to words, it's a treat to experience, whether the period is current or historical. Add to this, a few chapters that have sub-chapters having commentary or history about the city and its people. Author doesn't spare anything to make you chuckle or laugh, even religious and jingoistic satire is at best at places. But..
What I didn't: The overuse of ornamental language hinders flow of reading, in the end the 300+ pages book seems 500+ long. The jokes that make you laugh during the initial pages, can't hold together as we reach midway. Thankfully, again towards the end, the novel gathers momentum. This could have been way better if it was designed as different chapters (stories) instead of a novel, as there is no single storyline that runs through.
Recommended for: Lovers of the city, Bombay.
December 11, 2017
After many many days I finally came across a cover that was something to write home about. It shows a baby seemingly whooshing through the air with a look of utter happiness on his face. It is just such an intriguing picture that seems to have no real easily decipherable meaning, that is until you start reading and understand it completely. It certainly needed a little more finessing, but there is no doubt that it is an excellent cover. It made me think of Alien abductions for one thing. For some reason though, the cover doesn't show-up on the Kindle edition.
Ravan and Eddie was the first book by Kiran Nagarkar that I have read, after hearing rave reviews of ‘Cuckold’ by the other members of the book club. The title was no help in figuring out what the story would be about. Religious drama, split personality syndrome, Meera bai kind of devotion to a deity or alien abductions as mentioned above. Yes, those were the things I thought it might be about. It certainly has a bit of religious commentary, but its more about two little boys growing up in a Bombay chawl. No signs of split personalities or even a God complex.
So Ravan and Eddie are two boys born a few months apart in a post independence Bombay chawl and are divided by more than the floors of the chawl, their religious backgrounds and their cultural differences. A strange and tragic incident, when Ravan was an infant and Eddie was still to make an appearance, ensures that never the twain shall meet. At least as long as their mothers are alive. There lives run almost parallel as they grow up, look for ways to expend their energies, learn to handle the dramas at home, begin understanding their sexuality and do most of the normal things that boys do growing up.
This novel was a literary introduction into chawl life for me, since Bollywood movies are full of visual references to it. But reading about it and watching snippets of the hero emerging from the dilapidated tenements are two very different things. The religious divides and then those on the basis of caste seem to decide the social life of the residents of the chawl. The difficulty of conducting all of life’s affairs in the full glare of the society one lives in must need a formidable sense of confidence in oneself or perhaps brazenness. A hard life indeed.
The characters that Nagarkar has etched find instant connect with the reader. One begins to feel for Ravan and Eddie as if they were old friends. And, one must say, admire their resourcefulness. The lives of their respective mothers is hard and seems to have turned them both bitter and angry to almost the same degrees. And yet they are managing their lives in ways they know best. One would of course be free to judge and condemn their actions and the many mistakes they seem to be making in handling their sons, but that is always too easy to do. Trying to live the lives that these women are living seems harrowing. And yet, there are millions doing the same every single day. ‘There but for the grace of God’ seems a good phrase to contemplate on at such times.
The best part of the book were these essays that the author has put between the text to explain some of the idiosyncrasies of Indian culture and living. His take on Bollywood movies was an especially educating read. These little essays are nice little detours to take while reading the book. It's almost like having a conversation with the author himself. By the end of the book, one feels that he/she knows the author almost as well as the characters that he has introduced to us.
The jarring note for me was the sexual exploitation of Ravan by the school gunda. It was disturbing and seemed very out-of-place, not because it isn’t something that could not happen but because of the way it happens and the number of people it encompasses and the matter-of-fact way that Ravan seems to accept it. Even extremely innocent 11-year-olds know when something gross is being done to them, even those who lived 60 years ago.
Some may take exception to the obvious religious disdain the author shows towards the various Hindu Gods and the Catholic ways of life, but he is sufficiently even-handed in criticizing both sides to comes across more of an atheist than anything else. And one should certainly be able to take criticism when it is mostly true. Maybe console yourself with the fact that things are changing all the time and hope for better things ahead.
Overall, this was an interesting read. And now that I know it has a sequel, I would certainly like to know what happened to Ravan and Eddie. Did they live up to their potentials? Did they become friends? Did they find love? Did they relive the lives of their parents or did they do things differently? Whatever, the next book may bring, this one was certainly good enough as a standalone novel too.
Ravan and Eddie was the first book by Kiran Nagarkar that I have read, after hearing rave reviews of ‘Cuckold’ by the other members of the book club. The title was no help in figuring out what the story would be about. Religious drama, split personality syndrome, Meera bai kind of devotion to a deity or alien abductions as mentioned above. Yes, those were the things I thought it might be about. It certainly has a bit of religious commentary, but its more about two little boys growing up in a Bombay chawl. No signs of split personalities or even a God complex.
So Ravan and Eddie are two boys born a few months apart in a post independence Bombay chawl and are divided by more than the floors of the chawl, their religious backgrounds and their cultural differences. A strange and tragic incident, when Ravan was an infant and Eddie was still to make an appearance, ensures that never the twain shall meet. At least as long as their mothers are alive. There lives run almost parallel as they grow up, look for ways to expend their energies, learn to handle the dramas at home, begin understanding their sexuality and do most of the normal things that boys do growing up.
This novel was a literary introduction into chawl life for me, since Bollywood movies are full of visual references to it. But reading about it and watching snippets of the hero emerging from the dilapidated tenements are two very different things. The religious divides and then those on the basis of caste seem to decide the social life of the residents of the chawl. The difficulty of conducting all of life’s affairs in the full glare of the society one lives in must need a formidable sense of confidence in oneself or perhaps brazenness. A hard life indeed.
The characters that Nagarkar has etched find instant connect with the reader. One begins to feel for Ravan and Eddie as if they were old friends. And, one must say, admire their resourcefulness. The lives of their respective mothers is hard and seems to have turned them both bitter and angry to almost the same degrees. And yet they are managing their lives in ways they know best. One would of course be free to judge and condemn their actions and the many mistakes they seem to be making in handling their sons, but that is always too easy to do. Trying to live the lives that these women are living seems harrowing. And yet, there are millions doing the same every single day. ‘There but for the grace of God’ seems a good phrase to contemplate on at such times.
The best part of the book were these essays that the author has put between the text to explain some of the idiosyncrasies of Indian culture and living. His take on Bollywood movies was an especially educating read. These little essays are nice little detours to take while reading the book. It's almost like having a conversation with the author himself. By the end of the book, one feels that he/she knows the author almost as well as the characters that he has introduced to us.
The jarring note for me was the sexual exploitation of Ravan by the school gunda. It was disturbing and seemed very out-of-place, not because it isn’t something that could not happen but because of the way it happens and the number of people it encompasses and the matter-of-fact way that Ravan seems to accept it. Even extremely innocent 11-year-olds know when something gross is being done to them, even those who lived 60 years ago.
Some may take exception to the obvious religious disdain the author shows towards the various Hindu Gods and the Catholic ways of life, but he is sufficiently even-handed in criticizing both sides to comes across more of an atheist than anything else. And one should certainly be able to take criticism when it is mostly true. Maybe console yourself with the fact that things are changing all the time and hope for better things ahead.
Overall, this was an interesting read. And now that I know it has a sequel, I would certainly like to know what happened to Ravan and Eddie. Did they live up to their potentials? Did they become friends? Did they find love? Did they relive the lives of their parents or did they do things differently? Whatever, the next book may bring, this one was certainly good enough as a standalone novel too.
October 11, 2016
I find I'm not easily impressed by books these days, but this one definitely swept me off my feet.
I had heard of Kiran Nagarkar's name a couple of times before, but had never read anything by him. "Cuckold" is his more famous book, a historical fiction about Meera Bai. It sounded from the blurb like "Cuckold" would be very serious and sad, and I need my books to be irreverent and fun. So I looked up other books by him and discovered Ravan and Eddie, which seemed like a fun read. The book appeared in the 1990's, but was first conceived in the early 1980's as a screenplay for a Bollywood movie. Unfortunately for Bollywood, the story was too far ahead of its time and the director backed out.
The book is set in Bombay of the 1960's in a chawl in Mazgaon. The two principal characters are two schoolboys residing in that chawl, Ravan and Eddie. The book brought to mind other books set in Bombay or about Bombay. Em and the big Hoom, a lovely book by Jerry Pinto, came to mind immediately. Jerry Pinto captured the cadences and sounds of the English spoken by the Roman Catholic community in Bombay between the pages of a book, and Nagarkar has a similar deft feel for the local languages, dialects and inflections. The technique in his writing is so superb that you mostly don't even notice it.
Another book that came to mind was Manu Joseph's Serious Men. Both books try to describe chawl life in Bombay, and where Manu Joseph falls flat, Kiran Nagarkar gets it oh so right! This is the best description of chawl-life that I have read in a book. Nagarkar interrupts his story-telling with some brilliant asides, arranged as essays within the novel, commenting on whatever takes his fancy, including the role of water in chawl life, and the history of the Portuguese in India. He uses this technique superbly. These seemingly irrelevant short asides add a dimension of meaning to what is transpiring in the story, and allow us as readers to discover the connections and ironies we are intended to discover.
What struck me from page one was the book's good-humoured irreverence. Nagarkar makes writing look so simple and natural, and never gets in the way of his book with pretentious word-play. There are many astonishing things about this book. I found myself laughing out loud and then sobbing my heart out, sometimes at the same sentence. The characters are beautifully and lovingly sketched. Every character is simultaneously evil and noble, disgusting and endearing, flawed and transcendental, God and human. Characters develop in ways that will surprise you, but will feel completely natural at the same time.
This book is light-hearted, but is not a farce. It is a heavy-hitting light-hearted book. It is not afraid to tackle the most serious issues, but does so with a deft and light touch, and by showcasing them in an ironic manner. It is a lot of fun to read, but it is also a true masterpiece! It is one of the best books I have ever read. I would place it right up there along with the great works of world fiction. An absolute must-read!
I had heard of Kiran Nagarkar's name a couple of times before, but had never read anything by him. "Cuckold" is his more famous book, a historical fiction about Meera Bai. It sounded from the blurb like "Cuckold" would be very serious and sad, and I need my books to be irreverent and fun. So I looked up other books by him and discovered Ravan and Eddie, which seemed like a fun read. The book appeared in the 1990's, but was first conceived in the early 1980's as a screenplay for a Bollywood movie. Unfortunately for Bollywood, the story was too far ahead of its time and the director backed out.
The book is set in Bombay of the 1960's in a chawl in Mazgaon. The two principal characters are two schoolboys residing in that chawl, Ravan and Eddie. The book brought to mind other books set in Bombay or about Bombay. Em and the big Hoom, a lovely book by Jerry Pinto, came to mind immediately. Jerry Pinto captured the cadences and sounds of the English spoken by the Roman Catholic community in Bombay between the pages of a book, and Nagarkar has a similar deft feel for the local languages, dialects and inflections. The technique in his writing is so superb that you mostly don't even notice it.
Another book that came to mind was Manu Joseph's Serious Men. Both books try to describe chawl life in Bombay, and where Manu Joseph falls flat, Kiran Nagarkar gets it oh so right! This is the best description of chawl-life that I have read in a book. Nagarkar interrupts his story-telling with some brilliant asides, arranged as essays within the novel, commenting on whatever takes his fancy, including the role of water in chawl life, and the history of the Portuguese in India. He uses this technique superbly. These seemingly irrelevant short asides add a dimension of meaning to what is transpiring in the story, and allow us as readers to discover the connections and ironies we are intended to discover.
What struck me from page one was the book's good-humoured irreverence. Nagarkar makes writing look so simple and natural, and never gets in the way of his book with pretentious word-play. There are many astonishing things about this book. I found myself laughing out loud and then sobbing my heart out, sometimes at the same sentence. The characters are beautifully and lovingly sketched. Every character is simultaneously evil and noble, disgusting and endearing, flawed and transcendental, God and human. Characters develop in ways that will surprise you, but will feel completely natural at the same time.
This book is light-hearted, but is not a farce. It is a heavy-hitting light-hearted book. It is not afraid to tackle the most serious issues, but does so with a deft and light touch, and by showcasing them in an ironic manner. It is a lot of fun to read, but it is also a true masterpiece! It is one of the best books I have ever read. I would place it right up there along with the great works of world fiction. An absolute must-read!
December 27, 2012
I was expecting something entirely different when I started reading this book - perhaps that's why it was so disappointing. I thought it was going to be about two friends growing up in the slums of Mumbai. I had high hopes for the story.
But instead, it was about 2 boys who lived in the same building, who were enemies (but it was rarely mentioned) because of an accident that happened days before Eddie was born. It was about all the trouble that precocious boys will get into in Mumbai. Basically, it wasn't anything like I expected.
The writing was good, to be honest - a little bit prosy at times, where I'd have to read and reread a sentence to understand what it was talking about. I liked both Ravan and Eddie most of the time, and felt bad when their mothers misunderstood their behavior and beat them for it. There was one sickening scene with Ravan and another (older) boy that made me want to throw up, but I loved the scenes about kite running.
The author would go off on tangents and at first I thought they were newspaper articles or something, but then during them he started including Ravan and Eddie's names in them, which made it really odd. These inserts told the story of Mumbai and were at times quite boring. I found myself skimming them to get back to the story - which eventually led nowhere.
I realize that not every book has action, and I'm OK with that. I wasn't expecting action, but I was hoping the whole time that SOMETHING would happen. But instead it's just about daily life and goes on and on - and then ends. So, while the story was beautiful for sharing the customs and lifestyle of the people of Mumbai, the story as a whole just didn't do it for me.
But instead, it was about 2 boys who lived in the same building, who were enemies (but it was rarely mentioned) because of an accident that happened days before Eddie was born. It was about all the trouble that precocious boys will get into in Mumbai. Basically, it wasn't anything like I expected.
The writing was good, to be honest - a little bit prosy at times, where I'd have to read and reread a sentence to understand what it was talking about. I liked both Ravan and Eddie most of the time, and felt bad when their mothers misunderstood their behavior and beat them for it. There was one sickening scene with Ravan and another (older) boy that made me want to throw up, but I loved the scenes about kite running.
The author would go off on tangents and at first I thought they were newspaper articles or something, but then during them he started including Ravan and Eddie's names in them, which made it really odd. These inserts told the story of Mumbai and were at times quite boring. I found myself skimming them to get back to the story - which eventually led nowhere.
I realize that not every book has action, and I'm OK with that. I wasn't expecting action, but I was hoping the whole time that SOMETHING would happen. But instead it's just about daily life and goes on and on - and then ends. So, while the story was beautiful for sharing the customs and lifestyle of the people of Mumbai, the story as a whole just didn't do it for me.
February 5, 2018
Note: I'm definitely not a good enough writer to do a review of this book justice, but I'm going to give this a go...
A few weeks ago, while reviewing my year in books, I was horrified to see that I'd read next to no Indian fiction or non-fiction. Granted, I'm primarily a reader of fantasy fiction (and historical romances), neither of which genres seems to have a lot of active, current Indian writers*. So for 2018, I've decided to widen my horizons and read more Indian writing in English. (Sadly, years of schooling and employment with English as a primary mode of communication has left me less than competent at reading in Hindi or Tamil, the only other languages I speak.) I'm not particularly interested in reading very 'heavy' and/or depressing fiction - there's enough of that in life, thank you very much! So a very good friend and avid bibliophile recommended Ravan and Eddie as a starting point in my quest, and what a recommendation it was!
Ravan and Eddie was a quite a departure for me genre-wise, given its relevance to contemporary India, and lack of any fantasy elements. Now I get what I've been missing out on by sticking to just one type of fiction.
The story is, simply, about Ravan and Eddie, born 11 months apart in a Bombay chawl in newly-independent India. The book is told in third person from either Ravan or Eddie's perspective, and is peppered with humorous, informative and relevant asides from the author in the form for short chapters. There isn't an overarching plot except that the boys get older, and we get to see a sort of highlight reel of their lives from ages 0-15. But in the process we get an incredible (and incredibly hilarious!) perspective into the community, religion and caste divides of post independence India (a perspective that is painfully relevant today); and a glimpse into the daily lives of the different families who live in the chawl.
Here are the highlights:
-- The book is really well written. Nagarkar can capture the feel of place and a person, and paint a vivid picture of a moment in time. The book has many of these moments, these snapshots - funny, poignant, uncomfortable or painfully sad
-- It's hilarious. Really. Honest to goodness laugh-out-loud funny
-- There are many Frasier-esque scenes, where everything comes to a head, or there's an unexpected twist in the tale or in the writing that elevates a scene from being merely interesting to being unfuckingbelievably funny (or unfuckingbelievably sad)
-- He has a very refined sense of irony, and his timing is impeccable, ensuring that one doesn't get drown in all the distressing moments - he's quick to provide the reader comic relief or a pick-me-up at exactly the right time to keep the story moving forward without being overwhelming
-- This book has all the feels! Ravan and Eddie both go through or witness many difficult, even brutal moments. Somehow Nagarkar manages to let the reader understand exactly what is happening while preserving the innocence of the protagonists, which adds to the poignancy (or hilarity) of the entire situation
-- The characters are vibrant and rich and none of them are one-dimensional. The main cast of characters have so much depth, and they grow and change in reaction to their circumstances. And all that in just 300-odd pages! (Special shout out to poor Father D'Souza!)
When the book was first published, it was denounced by both Hindus and Christians as being anti-Hindu and/or anti-Catholic. That, I think, is a good sign of how well done and true to life it is. Highly recommended for anyone who wants to get an unflinching slice-of-life view into India and the often confusing Indian mindset.
(Personally, I wasn't offended by the book at all. If the truth is going to offend Hindus or Catholics, or Indians in general, then its their problem and their responsibility to change.)
* If you're interested in Indian fantasy fiction, Samit Basu and Indra Das are great starting points, and have wildly different styles.
A few weeks ago, while reviewing my year in books, I was horrified to see that I'd read next to no Indian fiction or non-fiction. Granted, I'm primarily a reader of fantasy fiction (and historical romances), neither of which genres seems to have a lot of active, current Indian writers*. So for 2018, I've decided to widen my horizons and read more Indian writing in English. (Sadly, years of schooling and employment with English as a primary mode of communication has left me less than competent at reading in Hindi or Tamil, the only other languages I speak.) I'm not particularly interested in reading very 'heavy' and/or depressing fiction - there's enough of that in life, thank you very much! So a very good friend and avid bibliophile recommended Ravan and Eddie as a starting point in my quest, and what a recommendation it was!
English was the thorn in the side of the Hindus. Its absence was their cross, their humiliation and the source of their life-long inferiority and inadequacy. It was a severely debilitating, if not fatal, lack that was not acknowledged, spoken of or articulated. It was the great leveller. It gave caste-Hindus a taste of their own medicine. It made them feel like untouchables. It also turned the tables. The former outcastes could now look down upon their Hindu neighbours.
Sigh. Too true. And now, more than 50 years later, I have the opposite problem.
Ravan and Eddie was a quite a departure for me genre-wise, given its relevance to contemporary India, and lack of any fantasy elements. Now I get what I've been missing out on by sticking to just one type of fiction.
The story is, simply, about Ravan and Eddie, born 11 months apart in a Bombay chawl in newly-independent India. The book is told in third person from either Ravan or Eddie's perspective, and is peppered with humorous, informative and relevant asides from the author in the form for short chapters. There isn't an overarching plot except that the boys get older, and we get to see a sort of highlight reel of their lives from ages 0-15. But in the process we get an incredible (and incredibly hilarious!) perspective into the community, religion and caste divides of post independence India (a perspective that is painfully relevant today); and a glimpse into the daily lives of the different families who live in the chawl.
In India, as in other poor countries, we have a line that is invisible and abstract and yet more powerful and pervasive than anything the West or the Japanese have invented. It is called the poverty line. Above the poverty line are three meals a day. Below it is a spectrum that stretches all the way from 2.99 to zero meals. As familiar as a clothes-line, most people in India spend their entire lives trying to reach out beyond it. It is their greatest aspiration. If you are fortunate, if the gods smile and you are lucky, you may get a glimpse of it. You can’t see the line, you can’t touch it, and five hundred million people are trying to get to it.On Poverty
Rains are an act of God in India. And God as we know is a law unto himself. He is not responsible, neither is He accountable. That is the essence of God: He gives with two hands and takes away with eight more. Why else would Indian gods and goddesses have several pairs of hands?
On the capriciousness of the weather.
Here are the highlights:
-- The book is really well written. Nagarkar can capture the feel of place and a person, and paint a vivid picture of a moment in time. The book has many of these moments, these snapshots - funny, poignant, uncomfortable or painfully sad
-- It's hilarious. Really. Honest to goodness laugh-out-loud funny
-- There are many Frasier-esque scenes, where everything comes to a head, or there's an unexpected twist in the tale or in the writing that elevates a scene from being merely interesting to being unfuckingbelievably funny (or unfuckingbelievably sad)
-- He has a very refined sense of irony, and his timing is impeccable, ensuring that one doesn't get drown in all the distressing moments - he's quick to provide the reader comic relief or a pick-me-up at exactly the right time to keep the story moving forward without being overwhelming
-- This book has all the feels! Ravan and Eddie both go through or witness many difficult, even brutal moments. Somehow Nagarkar manages to let the reader understand exactly what is happening while preserving the innocence of the protagonists, which adds to the poignancy (or hilarity) of the entire situation
-- The characters are vibrant and rich and none of them are one-dimensional. The main cast of characters have so much depth, and they grow and change in reaction to their circumstances. And all that in just 300-odd pages! (Special shout out to poor Father D'Souza!)
When the book was first published, it was denounced by both Hindus and Christians as being anti-Hindu and/or anti-Catholic. That, I think, is a good sign of how well done and true to life it is. Highly recommended for anyone who wants to get an unflinching slice-of-life view into India and the often confusing Indian mindset.
Even the Hindu neighbours had no way of figuring out what the priest recited, though it was in their mother tongue, Marathi. He didn’t give a damn about the meaning of the words, the feeling behind them, the poetry of the language or the complex manoeuvres of the plot line. He had no thought for metaphysical implications nor time to translate them in terms of everyday life. He was telescoping words, sentences, paragraphs, hurtling through chapter after chapter. He was vomiting all over the place, choking on his own breathless mess. What came forth were huge boulders and sharp and clangorous bits and parts of iron pistons and bridges and girders.
Describing a Satyanarayan Puja at Ravan's home. This is a pretty apt description!
The body and blood of Jesus Christ. Not real. Just make-believe. Symbolic, Father D’Souza had said. He felt worse than a cannibal, eating and drinking God. The wave gathered itself to a towering height, pierced the heavens and broke. His vomit had spattered all over his shirt and Father D’Souza’s embroidered, gold and silver chasuble. Whenever Eddie went for the sacrament of the communion he gagged, his intestines churned and he choked. He could never get over it. The Romans had killed Jesus almost two thousand years ago, that’s twenty times hundred, and they were still drinking his blood and eating his body and forcing him to do the same.
Eddie's experience of mass. Except for the throwing up, this sums up a discussion amongst friends at school when we were trying to figure out what exactly 'the body of Christ' meant.
(Personally, I wasn't offended by the book at all. If the truth is going to offend Hindus or Catholics, or Indians in general, then its their problem and their responsibility to change.)
* If you're interested in Indian fantasy fiction, Samit Basu and Indra Das are great starting points, and have wildly different styles.
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February 21, 2012Nagarkar has done a fantastic job in describing the Chawls of Mumbai. Infact, the life of Mumbai chawls(around 60's and 70's) comes out to be one of the strongest characters of the book. It's victories, agonies, shared tragedies, struggles and how people continue to live through it is very well described.
This book to is an ode to the tenacious animal(whose evolution can defy darwinism)-called the Mumbaikar, where Ravan and Eddie act as prisms to show the various facets of lower middle class Mumbai.
Especially hilarious are the sequences where Nagarkar describes the RSS's way of dressing and the water wars of the chawl. Even though the book is in English, you can feel the undercurrent of the marathi language running althrough it.
This book can proudly call itself a member of the Mumbai gang of books(including Shantaram and other). A throughly enjoyable read for sure.
This book to is an ode to the tenacious animal(whose evolution can defy darwinism)-called the Mumbaikar, where Ravan and Eddie act as prisms to show the various facets of lower middle class Mumbai.
Especially hilarious are the sequences where Nagarkar describes the RSS's way of dressing and the water wars of the chawl. Even though the book is in English, you can feel the undercurrent of the marathi language running althrough it.
This book can proudly call itself a member of the Mumbai gang of books(including Shantaram and other). A throughly enjoyable read for sure.
January 29, 2021
This is the first book of Ravan and Eddie series. It’s the story of two boys who live in same chawl but has different culture and family background. Both protagonists have their own life and struggles. Both stories run in parallel in same timeline but totally different from each other. This book showcases life of both Hindu and Catholic in Mumbai . Author also wrote short history of Mumbai and Portuguese in this book which enlightened me. Along with the story of Ravan and Eddie, Kiran successfully showed the era of 50s and 60s and his political thoughts to us. I enjoyed this book because of its humorous writing style.
Well written entertaining book.
Well written entertaining book.
January 31, 2020
Ravan and Eddie is a story of two kids belonging to two different worlds, their ways of life are different right from religion to their daily routines but yet they are kind of parallel and similar to each other. The story is quiet hillarious but at times also a little gloomy. Somehow you get lost in to the lives of characters as you go on reading, it keeps the interest of the reader intact till the end. The writing I will describe as very honest, the choice of words and story telling is amazing. It quite paints a picture in your mind.
April 3, 2016
Keeping aside my bias for books with the backdrop of Bombay, Ravan & Eddie is a stellar example of how great stories are built on great characters. I'm just wowed by the life of these two young boys who never knew how to give up on life. You feel for them, you cry for them and then you laugh on their unintentional misfortunes. It reminded me so much of Suketu Mehta's Maximum City and Katherine Boo's Behind The Beautiful Forevers, yet this one is a class in its own league.
May 26, 2013
I was surprised reading the mixed reviews about this book. Ravan and Eddie is one of my all-time favourite reads, and a book I recommend to friends very often.
It is evocative, emotional and beautifully descriptive. A story about self-discovery and coming-of-age, set in the crowded chawls of Mumbai.
It is evocative, emotional and beautifully descriptive. A story about self-discovery and coming-of-age, set in the crowded chawls of Mumbai.
September 3, 2015
This book kept beating me against all odds, tempting me with chances to call it off and put it down for an entire day but I wasn't able to. A sparkling black book about Marathi coming of age. Ravan and Eddie is innocence that has raven blood.
June 25, 2014
I found it quite ordinary. Nothing worth recommending. if you don't read it, you are not missing anything
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