The Creative Process: The Arts of War (Spring 2017)

Spring 2017
The Arts of War
seem to constantly surface, bringing to light the reality of the
otherwise fictitious characters. Most of the characters seem to
become symbols of larger elements. Rajkumar, for instance, comes
to represent and symbolize an entire migrated community and their
ways of functioning in an alien land. The unfortunate yet inevitable
deaths and separation of the characters represent the horrors of warthat
no one can remain at a safe and aloof distance from it; that each
individual is the victim of a force brought about by greed.
Divided into seven parts, each section deals with an important
aspect. The first part is called “Mandalay,” depicting the Anglo-
Burmese War of 1885. It focuses on the crude greed that drives all
individuals alike; this greed is shown to transcend one’s status, race,
caste, group, or nation. Furthermore, the plunder shown throughout
this part serves as an exposure of the raw greed of the colonizers,
which led them to loot and control their colonies in the brutal
manner that they did. The second part, called “Ratnagiri,” shows
colonial subjugation and imperial dominance. With the merge of
Burma with India as a single colonial subject, the attitudes to
surrender oneself and the contrasting attitudes to resist are
presented. The third section, “The Money Tree,” shows how
Rajkumar prospers through timber business. The fourth section,
called “The Wedding,” deals with the second generation.
Rajkumar’s son Neel marries Manju, and people like Arjun and
Dinu show fascination for the British. The fifth section, “Morning
Side” depicts the consequence of the Second World War in Malaya.
The penultimate section, “The Front,” depicts how characters suffer
due to the outbreak of the Second World War. The last section of
the novel titled “The Glass Palace,” deals with the Indian National
Movement at its peak and India’s final achievement of
independence.
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