I’m often asked how I reconcile my irreverent delight in multiple mythologies with my, well, devotion. How can I say that Rama is a terrible husband, but still murmur a couplet from the Vishnu Sahasranamam to soothe my weary nerves? How can I light candles in churches, wishfully say “Inshallah” and also chant in Sanskrit? The answer is that I see story, history and spirit as distinct threads. Braided together, they make an ethos, one way to absorb and encounter. To be a human reaching for the divine is to have the humility to know that only by holding those threads as distinct in the mind can the braid then be experienced in polyphonic fullness, through the heart.
We have the capacity to accommodate variations, unpredictability and what might appear to be inconsistencies. In forests, I rustle with the thought of the Rig-Vedic Aranyani; pining, I reach for the Inuit Sedna: when I sense the feline mystique, I remember the Egyptian lioness Sekhmet. If a story soothes my heart, is it not a prayer too?
New deities are constantly being made, just as old ones are being retired (have you read American Gods, Neil Gaiman’s unputdownable novel about what happened to the figures of European folk religions, gradually forgotten by migrants to North America?). It’s fascinating how, on a national stage, the latest expression of patriotism is to pledge allegiance to one such new deity, an artistic creation of late 19th century Bengal.
So Bharat Mata’s official temple, which contains not an idol but a map of India, is one kind of religious expansion. There are of course shrines to film stars and politicians, replete with garlands and aartis. There are also those which emerge from organic impulses, rooted in faith and incident, such as two dog temples in Karnataka built in 2008 and 2009, respectively – in Channapatna, the canine is worshipped as an animal familiar of the village goddess; in Ranebennur is a temple to a pet that’s said to have miraculous posthumous powers. The Bullet Banna temple in Rajasthan, which sprang up in 1988, has an interesting origin: a rider was killed one night, and no matter how many times the police took his bike to the station, it kept mysteriously reappearing at the site of the accident. The idol in the shrine is the bike itself.
In the 1970s, a Hindi film called Jai Santoshi Ma popularised a new myth about a daughter of Ganesha. Until the film’s popularity had women all over the country undertaking new fasting rituals, the spot of what became the “ancient” Santoshi Ma temple in Jodhpur had been a shrine to the folk deity Lal Sagar ki Mata. Presiding deities are replaced, subsumed, emerge elsewhere, become obsolete, turn into cult figures. This happens both naturally and through imposition.
Spiritual practice is not monolithic – as lived belief, it is constantly enriched and complicated by many sources. It is porous, subjective, disorganised. When we streamline it, let be strictly defined, and – most importantly – limit the rights of others to pursue it in their personal ways, we lose more than just entwined stories and manifold possibilities. We lose spirit itself.
An edited version appeared in The New Indian Express on March 24th. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.