After a brief break, I’m back on track with the Shadow Man Asian Prize project. After some initial trouble in sourcing this novel, I ended up with two copies on my doorstep last week. More than any other novel on the longlist, The Valley of Masks has fascinated me – a high-concept dystopian novel not especially concerning itself with Indian identity. Truly, this is the black sheep of the list.
Our narrator – a man with many names – is living in hiding in an unnamed Indian city. He fears for his life – the terrifying Wafaders are coming for him. His previous life – born into a cult hiding in a valley in the Himalayan mountains – is catching up with him, and his last act is to tell his tale. This is the story of a child born into love, a boy educated with religious fervour, a young man taught to kill, and an old man who must make a terrible choice.
This is the third book on the longlist to deal with cults, but while Murakami and Yoshimoto did so indirectly, Tejpal gives us the whole kit and kaboodle. In sheer terms of world-building, he has given us an entirely alien society – in an attempt to ensure a lack of selfish, personal attachment, children are raised by a group of women – they never know who their true parents are. They are given one of six names as a child, but in order to become an adult, they must give it up and receive a collection of letters and numbers. In the ultimate sacrifice of personhood and individuality, each member of the society wears the same mask, perfectly moulded to one’s face.
Just as the framing device is our narrator explaining to us his way of life, we get snippets and suggestions about the history of the cult. At the core of every religion, of every system of belief, are myths and legends from history that shape values and world views, and there is no difference here. Its figurehead – Aum, or the first sound in the universe – is he chosen one, and his uprising against the heathens, and his ability to bring clarity and salvation to people is exulted in these tales. His two sidekicks, Ali and Alaiya, also feature heavily. Stories and rumours, too, of people who did not do the right thing, people who broke the rules, are taught to our narrator, who laps them up in his fervour. Attempting to unravel these stories is half the fun – Karna himself admits that his own story has holes in it, because it’s easier for him to tell it this way.
The path of our main character, however, is that of the Wafader – a group of elite warriors, trained to protect the valley from outsiders, from non-believers, and ultimately, from the menace within. These cult symbols are taught to be living killing machines, and their education in the ways of death are exquisitely detailed by Tejpal. Their use of wooden needles to make their victims bleed slowly, but not to death, is covered extensively. There is a definite physicality and masculinity that pervades this novel, and there is only one scene in which this is more apparent than in these training sequences.
As with all good religious orders, the Aum supporting nutjobs here are not what we would describe as enlightened when it comes to the rights of women. They tend to fall into two main categories: the ever present Madonna/whore dichotomy. Madonna in the sense that many of them are given over to raising children in a commune environment, no one ever knowing who is biologically whose; and whore, in the sense that many nubile young girls are sent off to what are essentially brothels (the Serai of Fleeting Happiness, and the Kiln of Inevitable Impulses, for those playing at home) to service the young, and old, men of the community. Rather than reject sexuality as base and degrading, Aum recognises that this is necessary, and so allows men to simply have their way with women in these rooms. Charming.
There is a definite gear shift in the last third of the novel, as things in paradise begin to take a turn for the worse. It’s not until it’s too late that you realise just how truly brainwashed everyone here is. It’s perhaps a long bow to pull, but there are echoes of North Korea here – a personality cult taken to extreme levels, with people willing to do anything for their Gentle Father. I hesitate to use the word brainwashed, but in both situations, the ability of those in charge to manipulate their followers into thinking they are doing the right thing is terrifying.
I’m not going to spoil it for you – it would rather ruin the entire thing – but Tejpal pushes his already disturbing tale into almost horrific territory. Actually – and I’m worried this is going to make me sound like a monster – I thought he was going to push the envolope even further, and was slightly disappointed he didn’t. After a litany of events and decisions that would leave any sane and rational person quivering at the knees, Karna is sent . And at the final hurdle, he fails. Of course he fails – and perhaps this is Tejpal’s point. There is a line in all of us where some kind of inherent morality or sensibility takes over from any kind of religious indoctrination, even if said indoctrination has the weight of 45 years behind it.
There’s so much more I want to talk about, but I’m going to leave it there, because I rather think I’m beginning to ramble. I loved The Valley of Masks. Purely as a world-building exercise, Tejpal proves himself a master – his cult is perfectly formed, and while perhaps pushes the boundaries of believability, it does it in a recognisable setting, making you forget your questions. But his insights into belief, into faith, and the boundaries of those things that make us who we are, probe deep into an uncomfortable question we must constantly ask ourselves.
A Novel Approach 