Book Review by Somdatta Mandal

Title: A Fire over Mount Everest
Author: Siddharth Kak
Publisher: Penguin Random House India
“I had given into a whim. It was not even a career move. Just the indulgence of a fantasy – to make a film on the highest mountain on earth.”
-- Siddharth Kak
Books on mountaineering, especially those narrating the climb to Mount Everest from various perspectives, are quite popular till date because though there have been more than fifteen hundred ascents, the aura of climbing and narrating the conquest of the highest peak in the world remains equally exciting even today. Even after so many deaths, Everest’s lure is eternal. India’s 1984 Expedition to Mount Everest, organised by the Indian Mountaineering Foundation (IMF), that succeeded in placing Bachendri Pal, the first Indian woman and the fifth in the world, and four others, on the summit had noted filmmaker and television presenter, Siddharth Kak, and his crew of four cameramen follow this expedition from day one and record each moment of loss and triumph, instances of glory and distress. Though the expedition was romanticised in the world press as a story of bravery, teamwork and human triumph over nature, the entire narrative is told from a different point of view by Siddharth Kak. The spectacular achievement of that May 1984 is etched in history in glorious terms but it does not tell the behind-the-scenes stories of this expedition. This is where this book under review is particularly appealing.
Kak begins by telling us how he got involved in this project in the first place. A small news item in the newspaper in the summer of 1983 announced that after nineteen long years, a national expedition to Mount Everest, featuring seven women, was to be launched by the IMF the following year. Instantly Kak thought it would be a really cool and exciting adventure to capture in a documentary film. He approached Mr. H. C. Sarin under whose aegis the expedition was taking place, earnestly promising him that they would create a gripping script with human emotions and begin filming immediately with the expedition members and the selected girls all over India with their dreams and expectations even before the expedition started and then later match them with what actually happened. When they were confirmed as the official film crew for that particular Everest expedition in 1984, Kak was convinced that he didn’t need to be a mountaineer to make a mountain film.
The narrative then elaborates on how the people who would climb Mount Everest turned out to be very different from any he had ever met before. It was a largely Army team he met at the Delhi Cantonment. The team members included Col. Darshan Khullar, the 23-year -old former national judo champion, Sharavati Prabhu, Lt Col Premchand, Sonam Paljor of the ITBF, Naib Subedar N.D.Sherpa and a few others like Magan Bissa of Rajasthan and Flt Lt T. Sridharan. In those days, each expedition had to open its own route and ensure the safety of its own members. His four-member film team consisted of Deepak Haldankar, who was an ace cameraman in Films Division Delhi, Sanjeev Saith, a skilled mountaineer and still photographer, K. Nandakumar, the sound recordist, and Kak himself. They reached Kathmandu in an Army AN10 aircraft on 7 March 1984. From there they started their trek towards Lukla and several moments of rural celebration were etched in his heart as part of the romanticism of mountain life.
Kak describes in detail their next great filming adventure – a flight over Everest in an unpressurised cabin of a Pilatus Porter aircraft with the pilot Emil Wick while the cockpit door was kept open to capture the mountains in all their majesty. They had to even use chewing gum ingeniously to stick torn pieces of film together that had snapped at such high altitude.
The details of their experiences cannot be narrated within the brief purview of this review, but their stay at the Everest Base Camp, which was their home away from home for nearly two months, provided the most diverse and exciting mixed expedition that India had ever sent to Nepal and Everest. They discovered new aspects of life at high altitudes. Among the women were Bachendri Pal, Rekha P, Chandraprabha Aitwal and Sharavati Prabhu. All of them were equally competent, ‘an irresistible combination for the outside world’, but soon we get to know how they became victims of jealousies and whims of the very strict patriarchal team leaders, who acted according to an inherent army attitude of looking down upon these fellow women climbers. As Kak rightly states, they believed the mountains taught them camaraderie, but in the higher reaches, it was each man for himself.
We are then told of how Col Khullar’s ‘official’ decision about the composition of the three summit parties left women like Chandraprabha Aitwal, Rita Gombu and Rekha Sharma out without even consulting them and how ultimately Bachendri Pal successfully ascended the Everest Summit on 23 May 1984. Kak in his narrative therefore deals with the problems of male-centric mountaineering.
A Fire on Mount Everest springs from an understanding of an incredible moment etched in the memory of the author―a moment very few live to talk about. This is how Kak describes the experience of catching the incredible picture of the first sunrays that fell on the summit of the mountain:
“To an amateur like me, it seemed as if a gigantic fire was raging over Everest. Its majestic glow dwarfed the amphitheatre of the still dark 8000 metre peak around it, Lhotse and Nuptse, huddled in obeisance. It seemed as if Everest was carrying a heavenly torch lit by the gods themselves to symbolize the acme of achievement.
“I was stunned by this celestial display of nature’s savage beauty. I realized that we had been favoured by unseen mystical powers to see what the world had never seen before, a vision of Everest on fire, with towering flames that flew upwards to the heavens.”
After the disaster of the camera films being lost or destroyed, the scene only remains immortal in his memory. The fifty-two coloured as well as black-and-white pictures along with a hand-drawn map of the standard SE route up to Mount Everest that are included in the book add to the reader’s interest as visuals can communicate much better than written words.
The second half of the book appears to be even more interesting because what the author does is to try and locate each individual participant of that 1984 expedition and find out their present status, especially after the passage of forty long years. In the meantime, eight lonely deaths awaited some of the male members of the Everest 84 team. They included Sherpa Ang Dorjee, Major Kiran Inder Kumar, Major Jai Bahuguna, Phu Dorjee, Lopsang Tshering, N.D. Sherpa, the expedition doctor, Dr. Minoo Mehta, and the Deputy Leader of their expedition, Lt Col Premchand. Except for the male mountaineers who had passed on, the others, especially the women, were constantly evolving and adapting.
Kak clearly tells us how the world of mountaineering is not woman-friendly. Women themselves are both victims and perpetrators of a system that condemns them to second-class citizenship in the mountaineering hierarchy, as indeed in most of their lives. After taking a lot of trouble in locating the erstwhile women members of the team today who are located in different corners of the world, Kak realised how for a woman in India, it is difficult to combine an independent career with marriage and domesticity. With the exceptions of Sharavati Prabhu and Rita Gombu, the rest of the women members have carried on their mountaineering ambitions as single women. Certainly, for active mountaineers, like Chandraprabha P and Bachendri Pal, mountaineering began as a liberation from male dominance and continued as such throughout their life. It is sad to learn that the 1984 expedition left a bad taste in the mouth for many members. Their story never ended, not even on the fortieth anniversary in May 2024.
The last chapter of the book titled “The Black Everest” is really alarming as it shows how a new culture of dehumanisation is brought into play with commercialization of such climbs as it takes away from the very joy of ascending. At present the adventure, the romance and indeed, the thrill of mountaineering is literally reduced to a cold robotic logistic with high investment and returns, which do not necessarily go back to the mountain. The body count goes up every year, and ironically the fascination to climb Everest also rises in direct proportion to the increasingly visible thrill and danger of death in the higher reaches of the mountain. As Kak states: “My heart goes out to Everest, which appears as if it is being slowly disrobed due to self-defeating commercial priorities over and above the ravages of climate change, cataclysmic earthquakes and contamination littering its pristine slopes.” In 2023, despite all the advances in safety and technology, the highest number of people died – nearly a score – climbing Everest in a single season.
Reading this book on mountaineering by a non-mountaineer filmmaker like Siddharth Kak is a pleasurable experience. His simple, lucid style will surely entice one to pick it up and enjoy a thorough good read.
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Somdatta Mandal, critic and translator, is a retired Professor of English at Visva-Bharati, Santiniketan, India.
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