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trickery or magic, a diplomatic feat’ (Zimmer, 1969, 122), maya is delusion, yet it is the<br />

foundation of all creation, and therefore is very closely associated with prakrti, or ‘nature’. In<br />

a passage which seems key to C. J. Koch’s use of the concepts of maya, sakti and time, as well<br />

as of the wayang kulit, Krishna says:<br />

God dwells in the heart of all beings, Arjuna: thy God dwells in thy heart. And<br />

his power of won<strong>der</strong> moves all things—puppets in a play of shadows—<br />

whirling them onwards on the stream of time. (BG, 18.61)<br />

Koch’s application of this concept is closely pinned to his leitmotif of ‘do<strong>ub</strong>leness’ in human<br />

personality, and corresponds to the eternally creative flowing and mixing of opposites in the<br />

erotic Brahmanic life-philosophy vision of the world.<br />

There is a continuous circuit of metabolism, an unending transformation of<br />

opposites into each other. And this reality of becoming is what is mirrored in<br />

the Brahmanic monist conception of maya. The perpetual motion of things<br />

turning into each other is the reality denoted by the icon of the Goddess. The<br />

female conceives by the male and transforms his seed into their common<br />

offspring, a new formation of their s<strong>ub</strong>stance. Such is the miracle of the<br />

enigma, Maya-Sakti. (Zimmer, 1969, 599-600)<br />

In this dualistic, perpetually renewing concept of a universe created of Brahman, ‘the<br />

world illusion’ reaffirms the fundamental Brahmanic thought which has always asserted, from<br />

the ancient Vedas to mo<strong>der</strong>n Tantrism, that the ‘One is both at once’. The illusion is then<br />

equal to the reality, and ‘is not to be rejected but embraced’ (Zimmer, 1969, 575). For Koch’s<br />

protagonists, embracing the illusion as reality proves to be their only adequate strategy for<br />

survival.<br />

12.4.2. The View from ‘The Other Side of the River’<br />

This Eastern concept of ‘the other side of the river’, nirvana, being unknowable and<br />

indescribable, Koch resorts to the more concrete lines of Alice’s Won<strong>der</strong>land or Rip Van<br />

Winkle’s Sleepy Hollow to develop his illusory yet real ‘Otherworld’. The NVA and their<br />

captives make a long forced march, enduring hardships where even nature seems determined to<br />

annihilate them. Finally the cataclysm of a B-52 bombing raid, whose mere shock waves<br />

deafen and nearly kill them, opens the next world up for them. They arrive at the NVA<br />

compound, entered through a trapdoor to un<strong>der</strong>ground safety, but have left the world of space<br />

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