Going back to move forward (Roots and shoots)

As a child, I watched the Mahabharat on Sundays on a local Indian channel called Doordarshan. And while I loved sleeping in on weekends, I made an exception for this magical story. My love for mystical, long stories started at that time.

Over time, some of the tales started to feel dated and one-sided. Indian mythological fiction, a genre that has reignited interest in these stories, has been gaining prominence over several years. While diving into these books, I was struck by the comforting familiarity of those childhood stories, like an old friend you can pick up with regardless of the time passed. Now grown up and dressed differently, yet warm and welcoming, these stories are in your DNA because you have heard them many times.

As the world becomes more complex and truths become blurred, I find myself seeking the comfort of these stories, which I had heard so many times while growing up. There is a grounding in these stories; hearing them retold from characters who previously didn't have their viewpoints expressed provides a deeper understanding of the tale. It makes you appreciate the story even more and understand actions you would question.

Reading these stories now retold from a different perspective helps me bridge the gap between the wonder and innocence of simpler times with the multi-layered complex perspectives of a more mature comprehension of people. It helps me to ditch the black-and-white thinking of my childhood while still appreciating the timeless beauty of those tales that shaped my understanding of my culture. Sometimes, you must go back to move forward, explore your roots, make sense of them, and find the different perspectives hidden in plain sight. That's when you can rebuild from the shoots that emerge from the new understanding.

My book reviews on Indian Mythological Fiction

Lankas Princess by Kavita Kane:

Told from Surpanakha, Ravan's sister's point of view, the story fleshes out her pivotal role that led to the war between Ravan, the king of Lanka and Ram, the exiled prince of Ayodhya. In this retelling, she is not just the seductress trying to win over the exiled princes but also the unwanted child, the overshadowed sibling, the deserted daughter, the powerless wife and the bereaved mother. Her wooing of the princes is a deliberate act to start the war that would lead to the decimation of her entire family and clan. The story poses questions on whether she was the puppeteer in this story, leveraging her brother's weaknesses to avenge perceived wrongs she had to suffer or was the puppet, the victim of her family's ambitions. What happens when someone powerless feels wronged and uses manipulation to get 'justice'? The lessons from the story feel relevant today as they showcase the cost of revenge.

The Mahabharata Secret by Christopher C Doyle

The Forest of Enchantments by Chitra Banerjee Divakaruni

Kaikeyi by Vaishnavi Patel