The struggle to write about The Peddler of Stories was just too real. Children’s books are too difficult to discuss when you are reading them as an adult. It becomes really apparent how we have been too negligent about what we regard as “children’s stories”.

The Peddler of Stories began in the typical manner where a “hero” sets out in search of an adventure. It has a princess, a dark lord, a little bit of magic and lot of sheer luck. Only here, the hero is no way prepared for what is coming his way. Sunil V Iyer in an ironic yet enchanting language has woven this tale around a 12 year old, Ramadan, who is an extremely relatable character with his lonely existence. In a family with a father away at work and an old grandmother for company, naturally, Ramadan craves for the adventures stories he hears from the peddler.

The striking Tolkienian style of the narrative interspersed throughout with poetry, added greatly to the reading experience of this story. It emphasizes immensely on the impact of storytelling and the magic that words can weave. The character of the peddler, “Motu Chacha” is set apart through the means of his magical ability of conjuring up fictional worlds which captures the imagination of the people as it transports them to a completely different world.

Though the narrative has long sentences that are unique to children’s stories, the moral is apparent from the very beginning, “A man should not be judged by his appearance.” As the narrator talks about a very simplified idea of life and death, the elements of cannibalism in the book become significant as the reader fits themselves in the mold of the thought process of a child.

The intellectual wordplays add dimension to the narrative as the author discusses superstitions and folklores from the perspective of Ramadan. The fictitious places of Zyderabad, Chudi Bazaar, Medina Masjid and the magical land of Turegistan, all embody the distinct quality of Indianness in it. The characterization of a strict father, a clever “Lomdi Dadi”, “Lal Pari”, a haughty princess trapped in a tower and “Motu Chacha” makes the narrative relatable from the very beginning.

The 12 year old narrator is an ordinary boy with abhorrence for his school and teachers, and an unspeakable fascination with adventures. The interruptions in the story are curiously placed as they maintain the balance between the fantastic dream and the reality that Ramadan inhabits. The parodies of the concept of heroism was especially striking as it even went so far to break fantasy and give way to logical reasoning about how “Bolu” might have ended up on the adventure with the narrator. Phrases like “too tired to be brave” and “good kings don’t die” simultaneously introduce the comic element of the story and satirize the common tropes of fantasy and children’s stories.

In a chat with the author, himself, more details about the inception of the plot and the thought process behind the structure of the narrative was discussed.

Reading The Peddler of Stories was a refreshing experience for me. Like all great children’s books, yours delved into a number of complicated questions and did not treat children as people incapable of understanding the complexities of the world. I liked how you captured the essence of childhood where schools are equated with hell and it’s the cane of the father that is feared the most, but rebelling amidst it all is still a universal occurrence.

1. In accordance with this primary observation, I would like to ask you, other than your dream, what inspired you to write a book for children? Was it simply the circumstance of that rainy day or was this a longstanding dream of yours, considering it a departure from your usual genre?
   Although most of my work has primarily focused on Indian art and architecture, iconography, and eco-friendly travel, authoring a children’s book was always a secret desire. ‘The Peddler of Stories’ was written before my son was born; however, his birth gave me a renewed impetus to publish a children’s series and have a re-look at some of the pieces I had written earlier for children and young adults.
2. Would you say that the character of “Motu Chacha” embodies a lot of distinct features – from being a “peddler” of stories to having a traditionally comical figure -to make the character more relatable to children or does it highlight the satirical element of your story further? If it is the latter, how far do you identify with him as a storyteller?
   Ventripotence has always been associated with the comic character in both movies and literature. From yesteryears, famous comedians, Uma Devi Khatri (Tun Tun) and Oliver Norvell Hardy to the irreplaceable Santa Claus or even the corpulent incorrigible royal chef Abiatha Swelter in Mervyn Peake’s uniquely brilliant book Titus Groan, the ‘fat person’ has always been stereotyped as someone who can make people laugh at will and absorb ridicule without harbouring bitterness. The balloon seller only provided me with a sketch of what the character should look like. Both Vikash (the illustrator) and I had to work hard to create the visuals of the storyteller that would appeal to a wider audience.
3. You have parodied the concepts of gendered heroism throughout the short expanse of the book. Interestingly, the prince still saves the princess by the end of the narrative. Would you like to comment on the conclusion in light of that observation?
   Indian women even today are raised and forced to adapt to and adopt the patriarchal system because they are constantly under the tutelage of men. This twisted and obnoxious system that has been completely detrimental to gender equality has been perpetuated by both genders and unfortunately tolerated by women. The story if seen in a geographical or demographic scenario can be a mirror image (except for the magical bits) of everyday life in most Islamic countries or even places across India. Every boy should learn how to behave with girls; eventually, at 12 or later, infatuations and love affairs are as imminent as reaching puberty. But boys (and as I have a son) should learn to respect, care for, and protect girls. That was one message that I wanted to convey. However, In the ‘The Peddler of Stories’ part II, I am trying to create a boy-girl team. Actually, two girls and a boy will share equal responsibility of getting themselves out of the predicament that they will land themselves into, because of their curiosity and rebelliousness.
4. The parallel with the tale of Aladdin is inescapable. Does “Motu Chacha” take on the role of a subdued Ginnie in your story where it is a very unprepared Aladdin that saves the day? 
   It is very difficult to pinpoint sources of imagination; but no, I do not think Aladdin or his faithful Genie had any role to play. I personally did not like that tale as I always wondered why a clever genie with his potent magical powers would serve as a mere sidekick.
5. The fantastic setting of your secondary world with skull-shaped houses that are devoid of colour portray a contrast with the colourful primary world of the narrative. Does the contrast simply signify the evil in the secondary world or does it somehow represent a preference for the primary world?
   The setting and the obvious difference or contrast was necessary to induce a sense of disenchantment from a media-influenced Xanadu in children. I have drafted many fund-raising proposals for shelter homes across India; while most children under the guardianship of shelter homes are orphans, or victims of child abuse, trafficking, and child labour, some merely end up on the streets in search of a better life in a big city, because they think they can be tinsel stars. Thankfully, most children in this category are restored to their families, but unfortunately, they all still bear the scars of their misadventure.
6. In relation to the previous question, why doesn’t Ramadan come back to the reality? (This has to be the question that has bothered me the most)
   Ramadan continued to be tutored by the best teachers in Hasinabad, why would I want to send him back to his grouch of a teacher in Zyderabad? And I am sure he will go back, (at least in my dreams) to meet his Dadi and his friends in Zyderabad when he has time to spare from his royal duties.

This story featuring a young protagonist has appeals for a better future where healthcare and education is made available to every child in the acknowledgements and the royalties generated from the book is going to support the treatment costs of pediatric cancer patients. For me, the simple, yet intriguing story of Ramadan as he finds his people and settles down among them, speaks to something deeper than an almost-gone-wrong adventure. This narrative has the undertone of wishing for a better world where children have their own free will to bloom into the people they wish to be and are not roped in by the constrains of a set of paths to follow in life. The freedom to stay back in the fantastic land at the end is an element of the story that will stay with me. I recommend this light-hearted but stimulating read for a rainy day when the puddles outside your home begin to revive your vivid childhood memories.