‘The idea of sex, violence is naturally sensational’

Senior journalist Meenal Baghel’s novel, simply titled Death In Mumbai and based on the gruesome murder in 2008 of television channel executive Neeraj Grover, allegedly by Kannada film actress Maria Susairaj and her fiance Emile Jerome, was released recently after a city court convicted the navy man and acquitted Susairaj.

The case, however, is far from over as the state has gone in appeal against both the sentence handed out to Jerome and the acquittal of Susairaj.

DNA spoke to Baghel, who edits a city tabloid, about how she approached the writing of her book. Excerpts from the interview:

If you look at crime and the city, there have been many sensational headline makers. What made you choose the Neeraj Grover case for a book?
I was struck by this case since it had many stories to tell. All the three main characters are a privileged trio doing well in life. What forces in their personalities led them to such a brutal crime? I wanted to explore the parent-child relationship, especially when parents are away from children working in big cities and the way a casual approach to sex is changing the man-woman equation.

The book also let me look at this big cauldron of aspiration and ambition called Oshiwara which is pushing boundaries beyond what’s acceptable.

What would you say to people who call the book sensational or voyeuristic?
I think the idea of sex and violence is naturally sensational. The way Neeraj was killed, his body was disposed, and on top of that, allegations that Emile raped Maria twice even when Neeraj’s body was still there are very sensational. But if you go beyond that, it is not sensational. I’ve kept the book both nuanced and layered, even playing down the hacking of the body and other bits quite a bit.

So are you saying that you had a lot more to tell?
No I don’t think I have extra material like that (laughs) but you know editing your own copy is always a good idea. I’ve always been very conscious right from the beginning that since the subject was already so sensational. I had to under-pitch it and use restraint.  

What was the logic behind introducing other people apart from the main trio?
It would’ve been easier to do a linear chronological narrative. But I wanted to understand this Andheri-Oshiwara phenomenon which seems to be energising Bombay. Look at Ekta Kapoor who’s fundamentally changed the entertainment industry by democratising fame. You don’t need to be good looking, talented or be born in the right family to become famous overnight anymore.

The story of Moon Das had many surprising resonances with Maria’s. They both came from small towns, had similar aspirations, and their lives were touched by violence.

Initially, the Oshiwara chapter was only about them. But when I heard Ram Gopal Verma was making a film, it became a bonus.

How have they reacted to the book?
I have no idea since I haven’t met them since the book released.

Did you find your own idea of morality in conflict with the kind of people you were meeting?
Yes. In fact there was a lot in conflict with my own notions. For example, I’m strongly rational, but I realised that the level of dependence on tantriks and babas is very high among many. Initially I had a jaundiced view, but eventually, I realised they have their own vulnerabilities. Ekta for instance is so incredibly smart, bright, talented and successful. Yet deep inside, she needs these superstitious totems. As long as it does not impinge on other people, I’ve come to realise it’s okay.