Interpreter of Maladies

by Jhumpa Lahiri

Sun Temple at Konarak.

The Sun Temple in Konark, India is a 13th-century stone temple dedicated to the Hindu sun god Surya. It's located on the coastline in the state of Odisha, about 35 kilometers northeast of Puri city. The temple is considered a masterpiece of Kalingan temple architecture and a pinnacle of Hindu Orissan architecture. It's also known as Surya Deula or Surya Deul. The temple is designed to look like a giant stone chariot with 12 pairs of wheels, seven horses, and 24 carved wheels that are about 3 meters in diameter. The wheels are decorated with symbolic designs and motifs that represent the seasons and months, as well as human behavior. The temple also features sculptures that depict contemporary life and activities, as well as secular events like royal hunts and military scenes. King Narasimhadeva I of the Eastern Ganga dynasty is thought to have built the temple around 1250 CE. In 1984, UNESCO named the temple a World Heritage Site. The temple is open every day from 6 AM–8 PM. Some say it's a great place for art and archaeology lovers, and that the nearby beach is clean and not too crowded.

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Konarak

India Konark is a medium town in the Puri district in the state of Odisha, India. It lies on the coast by the Bay of Bengal, 65 kilometres from the capital of the state, Bhubaneswar. It is the site of the 13th-century Sun Temple, also known as the Black Pagoda, built in black granite during the reign of Narasinghadeva-I. The temple is a World Heritage Site. The temple is now mostly in ruins, and a collection of its sculptures is housed in the Sun Temple Museum, which is run by the Archaeological Survey of India. Konark is also home to an annual dance festival called Konark Dance Festival, devoted to classical Indian dance forms, including the traditional classical dance of Odisha, Odissi. In February 2019, the Konark Dance Festival (now called Konark Music and Dance Festival) will be hosting its 33rd edition. The state government is also organising annual Konark Festival and International Sand Art Festival at Chandrabhaga Beach of Konark. On 16 February 1980, Konark lay directly on the path of a total solar eclipse. The Sun Temple was built in the 13th century and designed as a gigantic chariot of the Sun God, Surya, with twelve pairs of ornamented wheels pulled by seven horses. Some of the wheels are 3 metres wide. Only six of the seven horse still stand today. The temple fell into disuse after an envoy of Jahangir desecrated the temple in the early 17th century. According to folklore, there was a diamond in the centre of the idol which reflected the sun rays that passed. In 1627, the then Raja of Khurda took the Sun idol from Konark to the Jagannath temple in Puri. The Sun temple belongs to the Kalingan school of Indian temple architecture. The alignment of the Sun Temple is along the east–west direction. The inner sanctum or vimana used to be surmounted by a tower or shikara but it was razed in the 19th century. The audience hall or jagamohana still stands and comprises majority of the ruins. The roof of the dance hall or natmandir has fallen off. It stands at the eastern end of the ruins on a raised platform. In 1559, Mukunda Gajapati came to throne in Cuttack. He aligned himself as an ally of Akbar and an enemy of the Sultan of Bengal, Sulaiman Khan Karrani. After a few battles, Odisha finally fell. The fall was also aided by the internal turmoil of the state. In 1568, the Konark temple was damaged by the army of Kalapahad, a general of the Sultan. Kalapahad is also said to be responsible for damages to several other temples during the conquest.

hanuman,”

Hanuman (/ˈhʌnʊˌmɑːn/; Sanskrit: हनुमान्, IAST: Hanumān), also known as Maruti, Bajrangabali, and Anjaneya, is a deity in Hinduism, revered as a divine vanara, and a devoted companion of the deity Rama. Central to the Ramayana, Hanuman is celebrated for his unwavering devotion to Rama and is considered a chiranjivi. He is traditionally believed to be the spiritual offspring of the wind deity Vayu, who is said to have played a significant role in his birth. In Shaiva tradition, he is regarded to be an incarnation of Shiva, while in most of the Vaishnava traditions he is the son and incarnation of Vayu. His tales are recounted not only in the Ramayana but also in the Mahabharata and various Puranas. Devotional practices centered around Hanuman were not prominent in these texts or in early archaeological evidence. His theological significance and the cultivation of a devoted following emerged roughly a millennium after the Ramayana was composed, during the second millennium CE, coinciding with the advent of Islamic rule in the Indian subcontinent. Hanuman's abilities are partly attributed to his lineage from Vayu, symbolizing a connection with both the physical and the cosmic elements. Figures from the Bhakti movement, such as Samarth Ramdas, have portrayed Hanuman as an emblem of nationalism and defiance against oppression. According to Vaishnava tradition, the sage Madhvacharya posited that Vayu aids Vishnu in his earthly incarnations, a role akin to Hanuman's assistance to Rama. In recent times, the veneration of Hanuman through iconography and temple worship has significantly increased. He epitomizes the fusion of "strength, heroic initiative, and assertive excellence" with "loving, emotional devotion" to his lord Rama, embodying both Shakti and Bhakti. Subsequent literature has occasionally depicted him as the patron deity of martial arts, meditation, and scholarly pursuits. He is revered as an exemplar of self-control, faith, and commitment to a cause, transcending his outward Vanara appearance. Traditionally, Hanuman is celebrated as a lifelong celibate, embodying the virtues of chastity. Various scholars have suggested that Hanuman may have influenced the conception of Sun Wukong, the central figure in the Chinese epic Journey to the West. India Sankata Mochana, "the remover of dangers, hardships, or hurdles" (sankata) Māruti, "son of Maruta" (another name of Vayu deva) Kapeeshwara, "lord of monkeys." Rama Doota, "the messenger (doota) of Rama" Mahakaya, "gigantic" Vira, Mahavira, "most valiant" Mahabala/Mahabali, "the strongest one" Vanarkulathin Thondaiman, "descendant of the Vanar clan" (Tamil) Panchavaktra, "five-faced" Mukhya Prana Devaru, "Primordial Life Giver" (more prominent amongst followers of Dvaita, such as Madhwas) The earliest mention of a divine monkey is in hymn 10.86 of the Rigveda, dated to between 1500 and 1200 BCE. The twenty-three verses of the hymn are a metaphorical and riddle-filled legend. It is presented as a dialogue between multiple figures: the god Indra, his wife Indrani and an energetic monkey it refers to as Vrisakapi and his wife Kapi. The hymn opens with Indrani complaining to Indra that some of the soma offerings for Indra have been allocated to the energetic and strong monkey, and the people are forgetting Indra. The king of the gods, Indra, responds by telling his wife that the living being (monkey) that bothers her is to be seen as a friend, and that they should make an effort to coexist peacefully. The hymn closes with all agreeing that they should come together in Indra's house and share the wealth of the offerings

He wondered if Mr. and Mrs. Das were a bad match, just as he and his wife were. Perhaps they, too, had little in common apart from three children and a decade of their lives. The signs he recognized from his own marriage were there—the bickering, the indifference, the protracted silences.

Nagamithunas,

Nagamithunas are half-human, half-serpent couples that are said to live in the ocean's depths and hoard great wealth. They are imaginary figures that decorate the middle row of the Konark Temple, along with other figures like Gajasardula (lion on an elephant) and Naravyala (lion on a man) Maithuna (Devanagari: मैथुन) is a Sanskrit term for sexual intercourse within Tantra (Tantric sex), or alternatively for the sexual fluids generated or the couple participating in the ritual. It is the most important of the Panchamakara and constitutes the main part of the grand ritual of Tantra also known as Tattva Chakra. Maithuna means the union of opposing forces, underlining the nonduality between human and divine, as well as worldly enjoyment (kama) and spiritual liberation (moksha). Maithuna is a popular icon in ancient Hindu art, portrayed as a couple engaged in physical loving. Maithuna entails male-female couples and their union in the physical, sexual sense as synonymous with kriya nishpatti (mature cleansing). Just as neither spirit nor matter by itself is effective but both working together bring harmony so is maithuna effective only then when the union is consecrated. The couple become for the time being divine: she is Shakti and he is Shiva, and they confront ultimate reality and experiences bliss through union. The scriptures warn that unless this spiritual transformation occurs, the union is incomplete. However, some writers, sects and schools like Yogananda consider this to be a purely mental and symbolic act, without actual intercourse. Yet it is possible to experience a form of maithuna not solely just through the physical union. The act can exist on a metaphysical plane with sexual energy penetration, in which the shakti and shakta transfer energy through their subtle bodies as well. It is when this transfer of energy occurs that the couple, incarnated as goddess and god via diminished egos, confronts ultimate reality and experiences bliss through sexual union of the subtle bodies.

Astachala-Surya,”

Astachala Surya is a sculpture of the setting sun, or evening sun, located on the northern wall of the Konark Sun Temple in Odisha, India. The sculpture is also known as "Haritasva" and depicts the sun god Surya riding a tired horse after a hard day's work. The Konark Sun Temple is a 13th-century Hindu temple on the Bay of Bengal coast, about 22 miles northeast of Puri city. The temple is a representation of the sun god Surya's chariot, with 24 symbolically decorated wheels and six horses. The temple is also known for its floating sun idol, which is suspended in the air using magnets.

In its own way this correspondence would fulfill his dream, of serving as an interpreter between nations.

Udayagiri

Udayagiri is a town in Udayagiri Mandal in the Nellore district of the state of Andhra Pradesh in India. First known history of the city is from 14th century. It was the capital of the local kingdom of Langula Gajapati, chieftain to Gajapatis of Odisha. It came under rule of Krishna Deva Raya of Vijayanagara around 1512. The Udayagiri fort, constructed by Langula Gajapati was inaccessible on most sides. It could be only penetrated only by a jungle track in the east side and a pathway on the west side. The siege by Krishna Deva Raya lasted for 18 months and resulted in defeat for Prataparudra Deva of the Gajapatis. During the reign of Gajapatis and the Vijayanagara Empire, the fort was extended. The entire city and the surrounding hill of 1000 feet height were encircled with walls. The fort consisted of thirteen buildings, with eight of them on the hill and five below. It also consisted of several beautiful temples and gardens. After the fall of the Vijayanagara Empire, it was ruled by sultan Ahamed Proxy of Abdullah Arafath.The mosque on top of the hill has two Persian inscriptions that credits the construction of the mosque and the planting a nearby garden to Then it came under the rule of Abdullah Arafath in 1682,His descendants controlled it till 1859. It was formerly a place of immense importance. The walls which once encircled the town have almost entirely disappeared, but much of the fortifications on the neighbouring hill to the west still remains. The fort originally consisted of thirteen separate strongholds, eight on the hill and five below. Inside the walls are the ancient remains of tombs, temples, and palaces. A part of the hill is so precipitous and thus inaccessible, the cliffs being in places nearly 1,000 feet high, and every path up to the fort was commanded by lines of defence forces. Other structures include Chinna Masjid and Pedda Masjid. A great Sufi saint belonging to the 18th century, Rahamathulla Nayab Rasool, got absorbed in the higher-self here. Every year the Sandal Festival is celebrated on the 26th of the Rabi-Ul-Aval month. Mahaboob subhani sandal s also celebrated every year.

Khandagiri,

Udayagiri and Khandagiri Caves, formerly called Kattaka Caves or Cuttack caves, are partly natural and partly artificial caves of archaeological, historical and religious importance near the city of Bhubaneswar in Odisha, India. The caves are situated on two adjacent hills, Udayagiri and Khandagiri mentioned as Kumari Parvata in the Hathigumpha inscription. They have a number of finely and ornately carved caves built during the 1st century BCE. It is believed that most of these caves were carved out as residential blocks for Jain monks during the reign of King Kharavela. Udayagiri means "Sunrise Hill" and has 18 caves while Khandagiri has 15 caves. The caves of Udayagiri and Khandagiri, called lena or leṇa in the inscriptions, these were taken out mostly during the reign of Kharavela for the abode of Jain ascetics. The most importance of this group was Ranigumpha in Udayagiri which is a double storeyed monastery. Other important caves include Hathi Gumpha, Ananta Gumpha, Ganesha Gumpha, Jaya Vijaya Gumpha, Mancapuri Gumpha, Bagha/Byaghra/Vyaghra Gumpha and Sarpa Gumpha. The Archaeological Survey of India (ASI) has listed that Udayagiri and Khandagiri Caves in the list of "Must See" Indian Heritage. The Udayagiri and Khandagiri Caves are listed as one of the Adarsh Smarak Monument by ASI.

Reading Group Guide Maladies both accurately diagnosed and misinterpreted, matters both temporary and life changing, relationships in flux and unshakeable, unexpected blessings and sudden calamities, and the powers of survival—these are among the themes of Jhumpa Lahiri’s extraordinary, Pulitzer Prize-winning debut collection of stories. Traveling from India to New England and back again, Lahiri charts the emotional voyages of characters seeking love beyond the barriers of nations, cultures, religions, and generations. Imbued with the sensual details of both Indian and American cultures, they also speak with universal eloquence and compassion to everyone who has ever felt like an outsider. Like the interpreter of the title story—which was selected for both the O. Henry Award and The Best American Short Stories—Lahiri translates between the ancient traditions of her ancestors and the sometimes baffling prospects of the New World. Including three stories first published in The New Yorker, Interpreter of Maladies introduces, in the words of Frederick Busch, “a writer with a steady, penetrating gaze. Lahiri honors the vastness and variousness of the world.” Amy Tan concurs: “Lahiri is one of the finest short story writers I’ve read.

Questions for Discussion What kinds of marriage are presented in the stories? One reviewer has written that Lahiri’s “subject is not love’s failure, . . . but the opportunity that an artful spouse (like an artful writer) can make of failure . . .” Do you agree or disagree with that assessment? Lahiri has said, “As a storyteller, I’m aware that there are limitations in communication.” What importance in the stories do miscommunication and unexpressed feelings have? In “When Mr. Pirzada Came to Dine,” what does the ten-year-old Lilia learn about the differences between life in suburban America and life in less stable parts of the world? What does she learn about the personal consequences of those differences? For Mrs. Sen, “Everything is there” (that is, in India). What instances are there in these stories of exile, estrangement, displacement, and marginality—both emotional, and cultural? What characterizes the sense of community in both the stories set in India and stories set in the U.S.? What maintains that sense, and what disrupts it? Another reviewer has written, “Food in these stories is a talisman, a reassuring bit of the homeland to cling to.” How do food and meal preparation maintain links to the characters’ homelands? What other talismans—items of clothing, for example—act as “reassuring bits of the homeland”? The narrator of “The Third and Final Continent” ends his account with the statement, “Still, there are times I am bewildered by each mile I have traveled, ea...

A Conversation with Jhumpa Lahri Q) What inspired the book’s title? A) The title came to me long before the book did, or, for that matter, the story to which it refers. In 1991, during my first year as a graduate student at Boston University, I bumped into an acquaintance of mine. I barely knew him, but the year before, he had very kindly helped me move . . . to a one-bedroom apartment. When I asked him what he was doing with himself, he said he was working at a doctor’s office, interpreting for a doctor who had a number of Russian patients who had difficulty explaining their ailments in English. As I walked away from that brief conversation, I thought continuously about what a unique position it was, and by the time I’d reached my house, the phrase “interpreter of maladies” was planted in my head. I told myself, one day I’ll write a story with that title. Every now and then I struggled to find a story to suit the title. Nothing came to me. About five years passed. Then one day I jotted down a paragraph containing the bare bones of “Interpreter of Maladies” in my notebook. When I was putting the collection together, I knew from the beginning that this had to be the title story, because it best expresses, thematically, the predicament at the heart of the book—the dilemma, the difficulty, and often the impossibility of communicating emotional pain and affliction to others, as well as expressing it to ourselves. In some senses I view my position as a writer, in so far as I at...

JHUMPA LAHIRI was born in London. In addition to Interpreter of Maladies, she is the author of The Namesake, Unaccustomed Earth, and The Lowland, which was a finalist for the Man Booker Prize. She has written three books in Italian, including In Other Words, a meditation on language, and Dove mi trovo, a novel. She is also the editor of The Penguin Book of Italian Short Stories. Her accolades include the PEN/Hemingway Award, the PEN/Malamud Award, a Guggenheim fellowship, and a National Humanities Medal. She has been a finalist for the National Book Award as both a novelist and a translator. DOMENICO STARNONE was born in Naples and lives in Rome. He is the author of thirteen works of fiction, including First Execution and Via Gemito, winner of Italy’s most prestigious literary prize, the Strega. Ties, a New York Times Editors’ Choice and Notable Book of the Year, and Trick, short-listed for both the National Book Award and the PEN Translation Award, were translated into English by Jhumpa Lahiri.