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Updated: Apr 30, 2023


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Archetype → Utopian

Rasa → Adbhutam (अद्भुतं): Wonder, amazement. Presiding deity: Brahma. Colour: Yellow. Śṛṅgāraḥ (शृङ्गारः): Romance, Love, attractiveness. Presiding deity: Vishnu. Colour: light green,

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The crisp brush of his white cotton shirt on my skin.


The smell of the sea on his skin.


That immortal place where everything is at rest, and even the coconut palms leaned comfortably into the call of gravity.


I’ve always known that inside every person, there is a place. Inside my father, there was a place thick with wild lagoon fear and intermittent bays of total abandonment—a lot like the village that he grew up in. In my mother, there’s a clear, cold, calculating lake. In my grandfather, there were rocky mountains with grey peaks; unchanging, silent, intense, and watchful. Inside me, is an abandoned old city, with worn walls bathed in a warm night that would never birth a dawn. Each place was different from the other as we were from one another; but, they were also similar in how all our places shared some form of torment.


But, inside Sunil, there was a place that I dared to call paradise. It was a sunlit ocean shore shaded with tall palms waving in the breeze. You could perhaps even see a little house between the faraway palm groves where the beach curved in the distance—well beyond earshot. Ahead, it blazed hot gold along the stretch of sand. But, under his palms, it was always cool, and the air was free of the sun’s noon frenzy. When my eyes adjusted to the shade, I could see that the sea was no longer made of glimmering diamonds, but a clear blue. I’ve never seen a place quite like Sunil’s shore. It had no shadow of hunger, hurt or fear that I felt in everyone else. On Sunil's shore, I would always sit down and forget to leave. He was where I liked to fall asleep.


I remember the way he thought about it carefully when I asked what his name meant. ‘Sunil? Hm. Clear, cool, water. Something blue...’, he said after much thought.


I’ve now given up trying to forget the way he talked about the sea; how he said he loved to go fishing and swimming in the mornings because the sea nurses a sense of danger that is natural, gentle and latent—something he liked to be reminded of every day. It was such an honest and subtle flirtation with death that it wasn't morbid in any sense. “Everything began in the sea, and everything will end in it,” he’d say in his placid blue voice. When I asked him how he learnt these things, he looked puzzled for a second. “You just watch and you see, isn’t it?”


I haven’t visited the seaside south for four months now; half out of being unable to bear the pain of remaining just a guest and not part of that dream; half out of the fear of looking Sunil in the eye after the things I’ve imagined through the nights in my apartment. But, the voice in my head telling me to resign from the firm and move to the south never rests now.


Today I went to the beach near my city; just to smell the salt air again. Although it was small, dirty, and full of people, I still found traces of Sunil in the smell, sound and sight of the sea. The salinity cleansed me of greyness—and I could long for him again without breaking.


I remember his weight on me. A clear, clean, blue airborne sensation entered at the tips of my hairs and swam all the way through me, making cool sea moisture on my skin. His memory came to rest in me, as apparent, as distant, and as real as the horizon.




 

The story, all names, characters, and incidents portrayed in this production are fictitious. No identification with actual persons (living or deceased), places, buildings, and products is intended or should be inferred.



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Our monthly stories are productions looking to connect people to the magic of stories.

We create supplementary reading lists as a way to give you an insight into the inspirations and thinking behind our monthly stories. These reading lists take you behind the story, revealing the process of its making.

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Rasa → Adbhutam (अद्भुतं): Wonder, amazement. Presiding deity: Brahma. Colour: yellow. Śṛṅgāraḥ (शृङ्गारः): Romance, Love, attractiveness. Presiding deity: Vishnu. Colour: light green


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ArchetypeUtopian


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“I know, I know a place in the sun by the fountain of time,

where the air is kind.

I know, I know, because I hold it in my secret pocket—

a dream taken from between sleep and wake, never to be forgotten.”


There’s something acutely human about the idea of paradise. Other beings like animals and plants don’t seem preoccupied as we humans are with this idea of a place of never-ending peace and happiness. Perhaps, in the sense that they don’t question or compare the perfection of their reality, they never left promised land. Even children unacquainted with life’s harder facets or long-range worries remain in this blissfully innocent dream.


But, not all adult humans lose sight of utopia. Some of us hold on to the dream through the grind and still find ways to return to paradise through textures, tastes, sights, smells, stories, places, or people. These natives of promised land are known as the ‘innocent’ or ‘child’ archetype in Jungian psychology. When we use this archetype in storytelling to construct characters, we find it more appropriate to deem it ‘utopian’ to avoid biases. The utopians’ strength is their inextinguishable optimism. Their charm is their innocence. The core desire driving this archetype is returning to paradise—whether it’s something they held and lost, or have only dreamt of. This is the archetype that we used to construct Tanya’s character in this monthly story.


Complementing Tanya’s character, we chose the moods of wonder and beauty for this story. Moods like wonder (adbūtha rasa) and beauty (sringāra rasa) are storytelling tools that we’ve adopted from the eastern performance theory of Rasa, which describes nine elemental moods for all works of art.


This reading list will take you through the ideas, incidents, people, films, music and research that inspired us through the making of this story.


November 2022


  • 1944, Gamperaliya. Martin Wickremasinghe: One of the most iconic stories that communicate the timeless narrative of losing paradise in South Asian literature is Gamperaliya. It captures the story of changing times through a southern village going through a cultural and class system upheaval.

  • Translating between garden and paradise: Gardens have been used as models of paradise for as long as human civilization goes. After the beginning of agriculture, humans seem to have bridged their sense of separation from nature with fantasies of paradise that translated to gardening over time.

  • 1955, Orson Welles interview excerpt. Persistence of Cinema: Welles talks about how his innocence of the film craft and naive optimism about what a camera could capture in cinema led to one of his greatest successes as a new director.

  • 2009, Panpsychism in history, an overview. David Skrbina: Panpsychism is the idea that consciousness doesn’t stop at living things, that it did not develop to meet survival needs, nor that it emerged when animal brains evolved to be complex enough. Instead, consciousness is inherent to matter—all matter. Stones and stars, electrons and photons, and even quarks have consciousness.

  • 2021, The Conscious Universe. Joe Zadeh. Noema Magazine: The radical idea that everything has elements of consciousness is reemerging and breathing new life into a cold and mechanical cosmos.

  • Love and erotic expression are perhaps the most widely explored emotions and experiences in all types of art forms throughout the world. Sringāra rasa ( the aesthetic mood described as romance, love, and beauty) is sometimes known as the mother of all rasas and has remained one of the most popular rasas of all time. It has two base points—union and separation.

  • The 43 Group led by Lionel Wendt was at the forefront of Sri Lanka’s modernist movement, depicting Ceylonese life at the time, and bearing witness to the culture of this country with great artistic truthfulness. Their work, depicting people, moments, fantasies, landscapes and everyday life played an important role in refreshing Sri Lanka’s reputation as an island paradise.

  • 2022, Picturing Paradise, the hereafter in art and religion panel discussion with Pujan Gandhi, Amy Landau, Ben Quash, and Melissa Raphael: Our cultural and devotional imagination is enriched by the ongoing attempts artists make to visualize the invisible, and in this symposium, historians and curators specializing in Buddhist, Hindu, Jewish, Christian and Islamic art will account for the diversity of these beliefs about paradise through the lens of art both historic and contemporary. Scroll down to watch the video recording (documentation) of this online event.

  • 1993. Expressionist utopias: paradise, metropolis, architectural fantasy. Benson, Timothy, O. Frisby, David. Calif, Los Angeles County Museum of Art.

  • 2011, Alison Carroll: Gauguin And The Idea Of An Asian Paradise: Paul Gauguin not only offered the world a fresh view of itself but also suggested that there may well be places where paradises existed. That place was the South Seas. Much inspired by Gauguin’s example, many artists sought out Southeast Asia as their paradise.

  • 2021, Within the Known: Wonder That Comes from Understanding. Amanda Vick: Is understanding contradictory to wonder? There are two sub-moods of the Adbhuta Rasa (the mood of wonder) in the eastern Rasa theory. The first includes wonder that occurs when there is a lack of understanding of an experience that could be understood. The second sub-mood comes from not understanding experiences that cannot be understood. What is the possibility of understanding leading to or supporting experiences of wonder? To explore the concept of wonder, thirty interviews were conducted in this study.

  • Paradise is reflected in Islamic art and culture in distinctive ways with remarkable ideological continuity in the Muslim world. The concept of paradise, a part of the Islamic cosmos, is put forth in the Quran through ayat or "signs for men possessed of mind". The term used to describe Paradise often is Jannat or gardens. The Islamic garden mirrors this idea of paradise.

  • 1808, William Blake. Illustrations for Paradise Lost: As a poet and artist, William Blake had a highly personal response to John Milton’s Paradise Lost (1667). He produced books inspired by the poet, designs for Milton’s Comus (1801), as well as pencil sketches, paintings and three sets of illustrations of Paradise Lost. These are archived in the Boston Museum of Fine Arts, Huntington Library and the Victoria & Albert Museum.




Updated: Apr 30, 2023


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ImageLionel Wendt (1900-1944)

Archetype → Creator

Rasa → Śṛṅgāraḥ (शृङ्गारः): Romance, Love, attractiveness. Presiding deity: Vishnu. Colour: light green, Adbhutam (अद्भुतं): Wonder, amazement. Presiding deity: Brahma. Colour: yellow

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Yesterday echoes in me; traces of its faces and voices sweep in through my seaside window, retelling stories and laughing. Like a song, they lift me to heights of rapture at times and cease altogether at another moment, dropping me back to Earth, only to begin again. I had been let into a secret world on this island so far from my home.


It was when I visited a house named Alborada in Colombo—my first social gathering since moving to Ceylon eight weeks ago. Taking a liking to my writing, Alborada’s owner had invited me to an evening of drinks. Upon entering, I was transported by a goddess statue framed between the leaves and roots of a philodendron creeper climbing the walls of Alborada. Her ethereal form—atop a lotus, holding an instrument of music—shone through the earthliness of the red clay that it was crafted from. She emanated a beauty that I can only describe as sanctified—beyond the grasp of human desire. It bathed the world in a light of sacred delight. I walked from room to room, drinking cooled tea and arrack insisted upon me, drifting between the many paintings of seascapes and the wilderness that are as exuberant as they were sincere. I shifted dreamlike between photographs of beautifully sun-coloured men and women—their skin more akin to bronze than flesh—and meeting their real-life counterparts visiting Alborada that evening. Artistic savants, oriental misfits, musicians who pronounce your name like a song, writers, actors—all resting comfortably between east, west, classical, and neoteric. They befriended me with ease, opening new layers of the quiet, natural extravagance inherent to this place. I realized that, along Albarado’s leafy verandas and courtyards, I’ve encountered Colombo’s bohemia—a secret island within an island.


Back here at my house by the edge of the sea—where my only companions are Muthu the cook and Kalu the feline—the brief world at Alborada seems like a daydream. I long for my next invitation to revisit. But, in a sense, I remain part of that world with its allusions overwhelming me still. Outside my window is the miracle that is the sea. In the way the sea rebirths old rocks and sand trembling anew with its salty fluids, I remember the textures of a particularly beautiful painting at Alborada. The way the sea glimmered this morning—with fish throbbing in bright yellow, ultramarine, streaks of sanguine, and gleaming fertile greens like forests come alive—left coloured stains on my mind. The curves of the woman selling fruits blended gracefully with those of the mangoes, guavas and sapodillas in her basket; the rhythm of her walk and the rise and fall of her breasts were timed with the chorus of the ocean. Watching the fishermen—their browned muscles as taut as the ropes pulling their sails— I recalled the many nudes pinned up in the photography studio room of my host at Alborada. I can no longer help seeing a sense of natural innocence in everything that is sensual.


I think of the goddess at Alborada. Someone said she was Saraswatī—a divine symbol of life’s ever-persistent will to create beauty. I feel her again and again in the call to absorb sights, chroma, taste, and scents that flood my senses and in the revel of pouring it out through my pen.


I realize how much the encounters at Alborada had changed me. I no longer feel like an outsider on a faraway island; I’m no longer limited to a house by the sea and the work of the embassy. Instead, I find myself an unwitting devotee of Saraswatī who had chanced upon her playground. It makes me feel like a child and a king, all at once.


Although I’m alone, the colors of the fish, the taste of tea, and the memory of being made part of a secret world surround me. I allow myself to get lifted with the smell of frangipani, scatter in the rustle of palm leaves, and melt into the call of Saraswatī.




 

The story, all names, characters, and incidents portrayed in this production are fictitious. No identification with actual persons (living or deceased), places, buildings, and products is intended or should be inferred.



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