From the beggar boy to successful flute player – which sounds like an American success story reads very different if such a social advancement succeed in society of India. Even the title of Manisha Jolie amine debut novel “The Sound of Our Lives” ( “Dancing to the Flute”, translated by Ursula Grafe) directs the reader to a sensual, emotional level. Amine novel relies on empathy
“longing.” – this is a meaningless term pregnant from the German Romanticism. As painful suffering sounds with; Desire and way more important than the destination (in any case unattainable); from the tendon grows spiritual beauty.
The art form of desire is the music – without a word, nonconceptually, acting on a feeling, mystical
The sound of the flute playing also writes the culture of India to metaphysical forces. it combines with ancient myths, esoteric soul walks.
In the Indian Hastinapur a ten year old boy is abandoned by his parents. None of the rattle-dry, emaciated boy can remember, he does not even know his name.
A home-style lady Ganga Ba, read it from the street, gives him the name Kalu and lets him daily rich some milk. In return, he performs for them errands, of course, always barefoot. One day he injured severely; it develops a painful, purulent inflammation. But to a doctor he will not, although Ganga Ba is willing to bear the cost: Most are drunkards, they would simply amputate his foot. He is, as he can no longer work, have to beg from now on.
Kalu climbing a tree, formed from a sheet of a tube and blows into it.
The man who studied under the tree shade and rest, hears the bright, sweet tone. If the boy playing for the gods, he asks him. But this is his hungry stomach closer than the gods, and he asks the stranger for a small donation.
This fate encounter turns Kalus life. The stranger is a “Vaid”, a healer, and against a promise he saves his foot. Convinced of the special gift of the boy, he takes him to the mountains, where his friend, a great musician and guru in his field, has retired after a drastic event. Who wants nothing and see no one – and certainly not a street kid who can not read or write about. But after Kalu Master has played a few notes on a plastic flute, the two seal a year of probation with a handshake
Kalu now makes a hard school by:. Breathing exercises, scales, languages, rules of etiquette are just a few of the hurdles he has to take until it first a few notes of Alap, the meditative slow on a bamboo flute, initiation of a traditional raga learned. Over the years, conquered Kalu not only his game, but also by its lovable, empathetic beings the heart of distanced himself from the final World Teacher and artist. In the bitterest hours he weighs the boy in his arms – caresses, both of which have hardly felt in life …
As a trained flautist and mature man pulls Kalu out into the world, but after Hastinapur he always returns back again. Here he has his best friends: Bal, the buffalo shepherd who was sold as a young boy by his parents to a farmer, and Malti, lowest a servant in the house of Ganga Bas. Her life consists only of washing and cleaning. Their modest income they send home, so that you can study brother. It is married and makes it a better match than she ever dreamed. But one suspects early on that she will meet a cruel fate.
In many changing sequences tells us Manisha Jolie Amin from the lives of her characters. The sense of longing, the intimate desire to overcome a sad past, connects the majority of the protagonists. Who suspected already that the lovable Ganga Ba should actually killed a little girl, as in many Indian families is still common today (despite the threat of punishment)?
amine views of the Indian caste society, its way of life and rules is enlightening, but could go deeper. The focus, however, is a detailed representation of the Indian music theory and traditions, which constitutes the central part of the book. We read about Shiva and gain insight into the unmanageable for Europeans and abstruse world of the gods. All this provides a key to understanding the many mysterious, magical, miraculous events, such as this: Kalu is located in an underground cave, a temple. Meditating and Raga playing appears a snake, leaves traces and musk in the sand. Later Kalu wallows in it and found buried in the ground a wooden flute. Other sequences are difficult to attribute to the Handlungsplot; For example, the one crashes, attracted by the priestly chants into a river, stuck in a rock and be saved.
An apart structural concept is modeled after the classical music form of the raga tripartite division of the novel in Alap, Sthayi / Antara and Bol Bandh. (A brief explanation of what precedes the respective part.) Also apart because musical acting, I find the many untranslated original twists in Gujarati and other Indian languages; in a glossary they are explained.
That’s how I like to read the strange novel, but he has enchanted me unfortunately not. On the one hand, although authenticity is palpable, and the style of language provides many new aesthetic pleasures by a poetry of its own. On the other hand I feel fractures, Gestelztheit, Situated Squat. In the absence of the author, if possible at genuine, warm heart and soul? Although it has origin-conscious Indian parents but was born in Kenya and living in Australia, emigrated there since the family in 1974; But in India Manisha Jolie Amin (as far as I was able to research the) never lived.