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Sita's Ramayana
An American Library Association 2012 Notable Children's Book and a USBBY Outstanding International Books Honor Book
The Ramayana -- one of the great legends of ancient India -- is presented here in the form of a visually stunning and gripping graphic novel. Told from the perspective of the queen, Sita, it explores ideas of right vs. wrong, compassion, loyalty, trust, honor and the terrible price that war exacts from women, children, animals and the natural world.
After Sita, Rama and his brother are banished from their kingdom, Sita is captured by the arrogant King Ravana and imprisoned in a garden across the ocean. Ravana tries to convince Sita to be his wife, but she steadfastly refuses his advances. Eventually, Rama comes to her rescue with the help of the monkey Hanuman and his army, magic animals and gods. But Rama is unable to trust Sita and forces her to undergo an ordeal by fire to prove herself to be true and pure . . .
The Ramayana was first written in Sanskrit by the poet Valmiki around 300 B.C. It contains important Hindu teachings and has had great influence on Indian life and culture over the centuries.
The Ramayana -- one of the great legends of ancient India -- is presented here in the form of a visually stunning and gripping graphic novel. Told from the perspective of the queen, Sita, it explores ideas of right vs. wrong, compassion, loyalty, trust, honor and the terrible price that war exacts from women, children, animals and the natural world.
After Sita, Rama and his brother are banished from their kingdom, Sita is captured by the arrogant King Ravana and imprisoned in a garden across the ocean. Ravana tries to convince Sita to be his wife, but she steadfastly refuses his advances. Eventually, Rama comes to her rescue with the help of the monkey Hanuman and his army, magic animals and gods. But Rama is unable to trust Sita and forces her to undergo an ordeal by fire to prove herself to be true and pure . . .
The Ramayana was first written in Sanskrit by the poet Valmiki around 300 B.C. It contains important Hindu teachings and has had great influence on Indian life and culture over the centuries.
152 pages, Hardcover
First published September 27, 2011
30 people are currently reading
1681 people want to read
About the author
Samhita Arni
9 books41 followersSamhita Arni has been interested in Hindu mythology since she was a child. She has written The Mahabaharata: A Child’s View, a version of another great Indian epic, which has been translated into seven languages and was named Book of the Month by the German Academy for Youth Literature and Media, and one of the Best Published Books of 2004 by the Spanish Ministry of Culture. It also won the Elsa Morante Literary Award (Department of Culture, Campania, Italy). Samhita has also written scripts for film and television and is currently working on a thriller based on The Ramayana. She lives in Bangalore, India.
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Displaying 1 - 30 of 250 reviews
February 24, 2023
Sita was very much like Helen of Troy (or Helen of Greece); she was abducted by Ravana and a costly war was fought to reunite her with Rama. Told from Sita's point of view - how does a woman feel about a war fought over her when people around her are dying? A unique look at war and its aftermath.
November 23, 2014
For a thousand years the Dandaka forest slept.
And then Sita arrives with her tale, and the solemn-eyed flowers listen. Beginning here, in a plea for shelter and help, I hold my breath, and feel the forest embrace me with the beautiful queen of Ayodha, my fellow daughter of the earth.
The forest - not this one in particular, but, The Forest as archetype - has many functions and many grades of presence and consciousness only hinted at in this short work, but the hints are so evocative I am lost, I am watching the action between leaves with arboreal stillness and distant music in my ears. Similarly, the world of gods, only touched in the book, expands endlessly beyond the edges of the frames.
I want Moyna Chitrakar's paintings around me at all times; I don't want to leave her forests of curves and stripes, people like monuments wrapped in pools of colour gathered by lines radiating energy. Her marks sing the world into being without losing the memory of her hands coaxing the paint, of her mind coaxing the hands. It's landscape and portrait as felt, as spoken between poet and listener. When she paints the ocean there is only hard hostile serried squiggles, the sea's treacherous meaning.
It's obviously a hand-rubbing delight to have a woman re-oriented version of a classic 'love' story. Sita as both actor and thinker of the Ramayana puts the story in a light that's very unflattering to Rama himself - what a jerk. Actually, my own acquaintance with the Ramayana goes back to high school, when, in religious studies class at age 14, I worked with a small group to produce a dramatic retelling of the story. I wrote the script, and played both Hanuman and Ravana. The story was presented to us then, and in my version, as a European style fairy tale in which the prince rescues the princess from the forces of evil and they live happily ever after. This is such a violent act of vandalism that I think I ought to make reparations to the gods of literature! The world of demons is here no more 'evil' than its earthly counterpart, in fact the entire episode is precipitated by a needless act of violence on the part of Rama's brother Lakshmana (who never gets come-uppance for this or other culpable acts). Ravana imprisons Sita out of desire for her, and his family, fellow demons, try to set him straight. Some befriend Sita and help her. This place is no hell.
I loved the animal characters. Hanuman was by far the most heroic and impressive person in the book, mischievous, clever though uneducated, with inexplicable and inconsistent super powers. The beautifully painted birds Jatayu and Garuda, and the gorgeous creatures of the sea, all shaped the narrative and adorned the pages. I will read this again and again.
And then Sita arrives with her tale, and the solemn-eyed flowers listen. Beginning here, in a plea for shelter and help, I hold my breath, and feel the forest embrace me with the beautiful queen of Ayodha, my fellow daughter of the earth.
The forest - not this one in particular, but, The Forest as archetype - has many functions and many grades of presence and consciousness only hinted at in this short work, but the hints are so evocative I am lost, I am watching the action between leaves with arboreal stillness and distant music in my ears. Similarly, the world of gods, only touched in the book, expands endlessly beyond the edges of the frames.
I want Moyna Chitrakar's paintings around me at all times; I don't want to leave her forests of curves and stripes, people like monuments wrapped in pools of colour gathered by lines radiating energy. Her marks sing the world into being without losing the memory of her hands coaxing the paint, of her mind coaxing the hands. It's landscape and portrait as felt, as spoken between poet and listener. When she paints the ocean there is only hard hostile serried squiggles, the sea's treacherous meaning.
It's obviously a hand-rubbing delight to have a woman re-oriented version of a classic 'love' story. Sita as both actor and thinker of the Ramayana puts the story in a light that's very unflattering to Rama himself - what a jerk. Actually, my own acquaintance with the Ramayana goes back to high school, when, in religious studies class at age 14, I worked with a small group to produce a dramatic retelling of the story. I wrote the script, and played both Hanuman and Ravana. The story was presented to us then, and in my version, as a European style fairy tale in which the prince rescues the princess from the forces of evil and they live happily ever after. This is such a violent act of vandalism that I think I ought to make reparations to the gods of literature! The world of demons is here no more 'evil' than its earthly counterpart, in fact the entire episode is precipitated by a needless act of violence on the part of Rama's brother Lakshmana (who never gets come-uppance for this or other culpable acts). Ravana imprisons Sita out of desire for her, and his family, fellow demons, try to set him straight. Some befriend Sita and help her. This place is no hell.
I loved the animal characters. Hanuman was by far the most heroic and impressive person in the book, mischievous, clever though uneducated, with inexplicable and inconsistent super powers. The beautifully painted birds Jatayu and Garuda, and the gorgeous creatures of the sea, all shaped the narrative and adorned the pages. I will read this again and again.
January 7, 2012
Excellent art in a traditional Bengali style underpins this retelling of the Ramayana, one of India's two great epics, from the perspective of Sita, wife of the hero of the story. The narrative is often very good, raising questions about the moral implications of characters who tend to be venerated as gods in this country. But despite some stunning moments, the narrative doesn't go as deep into the issues and perspectives it touches on as it could have. Perhaps part of the problem was that the art was done first and the narrative written later by a different person. But I'm glad to see a version of this story with a different, feminist/humanist perspective being offered in a country where the character of Rama has long been co-opted as a poster boy for a certain strain of virulent, xenophobic nationalism. I also liked the fact that this version places the magical, folkloric aspects of the Ramayana in the spotlight a lot of the time. Nina Paley's Sita Sings The Blues, a take on the same subject matter from a similar perspective makes an interesting complement to this book.
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November 24, 2020ahh I loved this so much! have always loved Ramayana and love this version from Sita's perspective. The Padua art was breathtaking and fittingly bold like the tale itself
December 28, 2021
didn't learn anything new with this one but this would be great as an introductory kit for a kid (which is what it is).
the art is gorgeous and loved that I got introduced to a new art form.
the art is gorgeous and loved that I got introduced to a new art form.
December 9, 2020
A wonderful book with amazing patua art and a retelling of Ramayana. Enjoyed it very much and highly recommend to Indian book readers.
Learned about patua art because of this book.
Learned about patua art because of this book.
December 28, 2011
I would give the artwork 5 stars; the book is truly stunning visually. Sadly the writing doesn't match up. I wish the book would've concentrated more on Sita's exile rather than the traditional Rama vs Ravana story. It does, to its credit, look at the war from Sita's perspective: Instead of the monolithic good vs. evil story that we've been raised to believe, Sita despairs over the massive waste of life and limb caused by the battle. Worse, we find out Rama undertakes the mission not to save his beloved queen but rather to save his honour as a man. In other words, the death and destruction of both foes and allies is just an attempt to validate Rama's masculinity.
Still, I would be more interested in spending time with Sita in exile, first heavily pregnant and then a single mother of two little boys. I would have wanted the book, if it claims to be a feminist text, to explore Rama's spurning of Sita based on classic victim-blaming. The point isn't that Ravana did not impregnate Sita as much as the point is that even if he had, it would have been rape. It does not appear that Rama would have been compassionate if Sita had undergone that trauma (although being kidnapped and imprisoned is trauma enough and Rama rejects her anyway). I would've loved to hear Sita's voice exploring these thoughts.
Once again, I cannot emphasize enough how beautiful the artwork of the book is. If only for that, this book deserves 5 stars.
Still, I would be more interested in spending time with Sita in exile, first heavily pregnant and then a single mother of two little boys. I would have wanted the book, if it claims to be a feminist text, to explore Rama's spurning of Sita based on classic victim-blaming. The point isn't that Ravana did not impregnate Sita as much as the point is that even if he had, it would have been rape. It does not appear that Rama would have been compassionate if Sita had undergone that trauma (although being kidnapped and imprisoned is trauma enough and Rama rejects her anyway). I would've loved to hear Sita's voice exploring these thoughts.
Once again, I cannot emphasize enough how beautiful the artwork of the book is. If only for that, this book deserves 5 stars.
October 15, 2015
The ancient story, this time told by wise, empathic Sita. Once, with my young family in Kolkata, we walked through a version of the Ramayana (a series of elaborate dioramas of each important scene). That version ended with Sita, finally having had enough of the undeserved trials and distrust of Rama, tired of him constantly questioning her (flawless) virtue, enough with the walking through fire! being swept to (a presumably more feminist) heaven in a carriage driven by her mother-in-law. Arni's version reveals a more universally understanding Sita - as she mourns for the widows and orphans of Lanka left by the insane violence of war, and ends with Agni accompanying her to another, more female friendly place with her mother the belly of the Earth.
August 27, 2012
"War, in some ways, is merciful to men. It makes them heroes if they are the victors. If they are vanquished--they do not live to see their homes taken, their wives widowed. But if you are a woman--you must live through defeat...you become the mother of dead sons, or an orphan, or worse, a prisoner."
I found this book very powerful. There is action, adventure, love, war and all kinds of things going on, but underneath there are truths pulsing like "Violence breeds violence, and an unjust act only begets greater injustice."
I found this book very powerful. There is action, adventure, love, war and all kinds of things going on, but underneath there are truths pulsing like "Violence breeds violence, and an unjust act only begets greater injustice."
January 1, 2019
Finally!!! Sita gets to tell her side of the story! It has a very cool ending and could be a great introduction for this fabulous epic.
I linked my review:
http://www.biblioatlas.com/2017/04/si...
I linked my review:
http://www.biblioatlas.com/2017/04/si...
May 12, 2015
Sita, you have more patience with that douche than I had.
August 13, 2025
Updated review - August 2025
5 stars for the art.
3 stars for the writing and storytelling.
While there are some scenes that depict Sita’s voice and the consequences of war and violence towards women (Sita, Surpanakha, Mandodari, and Trijatha), it lacks sufficient depth into its own subject. The majority of the narrative still follows the events of the Ramayana told to Sita by others rather than Sita’s reflections through her own voice and thoughts.
I also didn’t like that the story focused on Sita in captivity and in exile but not all the other events and aspects of her life. This is partly because the story followed the art that was made by a different person at a different time. It wasn’t a concurrent collaboration so the author had to write a story that worked with the art. Despite that constraint, it could have included more of Sita’s story and voice.
As a retelling junkie, imho, retellings should something new even if they follow the same plot points, but this story didn’t deliver enough to be titled ‘Sita’s Ramayana’.
Original review - July 2016
Sita's Ramayana is an intricately beautiful but simply written account of the Ramayana from the perspective of Sita. Rather than portraying Sita as a meek and docile victim, Samhita Arni and Moyna Chitrakar use intimate prose and alluring illustrations to deliver us a heroine of resilience, endurance, and captivating grace.
5 stars for the art.
3 stars for the writing and storytelling.
While there are some scenes that depict Sita’s voice and the consequences of war and violence towards women (Sita, Surpanakha, Mandodari, and Trijatha), it lacks sufficient depth into its own subject. The majority of the narrative still follows the events of the Ramayana told to Sita by others rather than Sita’s reflections through her own voice and thoughts.
I also didn’t like that the story focused on Sita in captivity and in exile but not all the other events and aspects of her life. This is partly because the story followed the art that was made by a different person at a different time. It wasn’t a concurrent collaboration so the author had to write a story that worked with the art. Despite that constraint, it could have included more of Sita’s story and voice.
As a retelling junkie, imho, retellings should something new even if they follow the same plot points, but this story didn’t deliver enough to be titled ‘Sita’s Ramayana’.
Original review - July 2016
Sita's Ramayana is an intricately beautiful but simply written account of the Ramayana from the perspective of Sita. Rather than portraying Sita as a meek and docile victim, Samhita Arni and Moyna Chitrakar use intimate prose and alluring illustrations to deliver us a heroine of resilience, endurance, and captivating grace.
August 2, 2012
I've been looking for a way into Indian mythology for a loooong time, and grabbed this from the library when I saw it. This gorgeous graphic novel was great -- told from the heroine's p.o.v., it's got a mildly feminist take on the story of the Ramayana, which reminds me forcefully of the Trojan War in Greek mythology. Sita, in this telling, is a sympathetic Helen-type character -- i.e., she's the stolen woman and the ostensible reason for a violent war that's really more about the royal male characters' vanity. Unlike Helen, though, Sita here gets fed up with her treatment and ultimately takes control over her own life and refuses to take the blame for a war she didn't ask for. The story is haunting and meaningful in the way of all good myths.
The first pages help out newbies like me with family trees and descriptive phrases of the characters, who in many cases are visually indistinguishable. But the artwork is quite awesome, apparently in the style of traditional Patua scroll-painting, from Bengal.
The first pages help out newbies like me with family trees and descriptive phrases of the characters, who in many cases are visually indistinguishable. But the artwork is quite awesome, apparently in the style of traditional Patua scroll-painting, from Bengal.
February 9, 2012
I'd never heard of the Patua scroll-painting tradition. Moyna Chitrakar sings her Ramayana scroll.
October 12, 2024
We have grown up hearing the Ramayana, but will the story be different if it is told from the perspective of Sita? Did she really covet the deer, or did she ask Rama to to fetch it for her to keep as pet because she didn't want him hunting it? Was the abduction of Sita the reason for the Battle of Lanka or was it the excuse? Were all those lives lost to salvage honour, as duty, or out of love?
Sita’s Ramayana illustrated by the Patia artist, Moyna Chitrakar and written by Samhita Arni builds on the feminist perspective of Chandrabanti’s 16th century version of the epic. Whether Tara, Trijata, Mandodari or Sita herself- it is women who pay the greatest price. Men die in battle and are considered martys, but it is the women who need to carry on after cremating their men. It is women who face the consequences of the actions of men. It is a necessary retelling, because if you ignore the female perspective, what you are left with is just half the story.
The book is a visual delight (the narrative builds on the illustrations which were completed long before the words were written). Every frame is perfect, and you realise how some of our art forms are perfectly suited for graphic novels- but that is not too surprising when you consider how many of them were used in storytelling long before the printing press was invented.
Sita’s Ramayana illustrated by the Patia artist, Moyna Chitrakar and written by Samhita Arni builds on the feminist perspective of Chandrabanti’s 16th century version of the epic. Whether Tara, Trijata, Mandodari or Sita herself- it is women who pay the greatest price. Men die in battle and are considered martys, but it is the women who need to carry on after cremating their men. It is women who face the consequences of the actions of men. It is a necessary retelling, because if you ignore the female perspective, what you are left with is just half the story.
The book is a visual delight (the narrative builds on the illustrations which were completed long before the words were written). Every frame is perfect, and you realise how some of our art forms are perfectly suited for graphic novels- but that is not too surprising when you consider how many of them were used in storytelling long before the printing press was invented.
February 16, 2020
The art is stunning and I appreciate the focus on Sita and the humanity of the demons.
October 4, 2011
For a story where the main theme is the triumph of good over evil, Sita definitely got the short end of the stick. But I guess that's what happens when you hear the story from the woman's point of view. In other versions Rama always comes off looking squeaky clean, so this version certainly adds some perspective to the tale.
Found the adaptation of a traditional art form, Patua scroll paintings, to the graphic novel format intriguing. Wish there had been more info on the artist/tradition. Overall appreciated the mix of traditional & modern artwork and non-traditional storytelling voice. Will have to learn more about visual storytelling traditions in India.
Found the adaptation of a traditional art form, Patua scroll paintings, to the graphic novel format intriguing. Wish there had been more info on the artist/tradition. Overall appreciated the mix of traditional & modern artwork and non-traditional storytelling voice. Will have to learn more about visual storytelling traditions in India.
March 31, 2012
In this book, a Patua scroll painter has adapted the Ramayana as a fast-paced, brilliantly bold graphic novel. All of the suspense, treachery, sorcery, and pathos of this epic is depicted in homemade natural dyes layered onto paper in energetic lines, rhythmic patterns, and fields of hot, bright colors. Taut but soulful narrative and dialogue help to tell the story, especially for readers unfamiliar with Hindu iconography.
Full review on Pink Me: http://pinkme.typepad.com/pink-me/201...
Full review on Pink Me: http://pinkme.typepad.com/pink-me/201...
October 9, 2012
I loved the succinct retelling and the gorgeous art work! I have never enjoyed the epic before and Sita's perspective (as retold by the authors) is such an empathetic, no-nonsense version of the story...
November 17, 2012
Ramayana never fails to enchant me, regardless of the medium or form in which it is told and retold. Beautiful illustrations of Patua art. Was hoping for a newer angle to the epic as it is, after all, Sita's rendition of the Ramayana, though.
August 18, 2016
The artwork by Moyna Chitrakar is stunning. Kudos also to the writer Samhita Arni. A retelling of the ancient Hindu epic Ramayana in the form of a graphic novel and not from the point of view of the god-king Rama but his queen Sita is a triumph in more ways than one.
September 29, 2011
A stunning graphic novel version of the Ramayana from Hindu mythology.
December 11, 2016
Sad, exquisite, hopeful retelling of the Ramayana from Sita's viewpoint. The sheer number of characters in the story can get overwhelming but the narrative doesn't lose its power. Recommended!
November 10, 2025
My feelings toward this are complicated.
I love the art style, but I had expected the retelling to have more emphasis on Sita’s exile. What strikes me as making it feminist is simply that it’s Sita telling the story, and Sita’s empathy is made clear towards victims of war. But it is simply just telling the story of the Ramayana again, and this story also tends to highlight examples of trickery and deceit used on both sides. While I understand the choice of using particular versions of stories within the Ramayana to show the lengths people will go at war to win and how war is often truly Victor-less, I think it’s really important to emphasize beforehand (or maybe at least on the back of the book’s cover?) that stories of the Ramayana vary tremendously. Some of the stories told in this version were completely new to me, others different from what I’ve heard. (I.e. Hanuman tricking Mandodari to find the arrow to kill Ravana, I hadn’t heard that version, but a different one where Rama already possesses the arrow beforehand.) I know that there is some explanation offered at the back, but every telling of the Ramayana is different from the last, so it’s crucial maybe to emphasize that more so in the beginning as well? Especially when a lot of the stories that were chosen to be shared in this version were ones depicting “cheating” in war through Rama’s side, and I understand that it acts as a way to sort of blend Ravana and Rama as a “one-in-the-same,” but it’s a thin line to toe, especially when writing (in my opinion) doesn’t actually vie Sita as much of a feminist voice as I think it tries too.
I don’t know if this review makes sense, it’s almost three in the morning and I’m sleepy.
I love the art style, but I had expected the retelling to have more emphasis on Sita’s exile. What strikes me as making it feminist is simply that it’s Sita telling the story, and Sita’s empathy is made clear towards victims of war. But it is simply just telling the story of the Ramayana again, and this story also tends to highlight examples of trickery and deceit used on both sides. While I understand the choice of using particular versions of stories within the Ramayana to show the lengths people will go at war to win and how war is often truly Victor-less, I think it’s really important to emphasize beforehand (or maybe at least on the back of the book’s cover?) that stories of the Ramayana vary tremendously. Some of the stories told in this version were completely new to me, others different from what I’ve heard. (I.e. Hanuman tricking Mandodari to find the arrow to kill Ravana, I hadn’t heard that version, but a different one where Rama already possesses the arrow beforehand.) I know that there is some explanation offered at the back, but every telling of the Ramayana is different from the last, so it’s crucial maybe to emphasize that more so in the beginning as well? Especially when a lot of the stories that were chosen to be shared in this version were ones depicting “cheating” in war through Rama’s side, and I understand that it acts as a way to sort of blend Ravana and Rama as a “one-in-the-same,” but it’s a thin line to toe, especially when writing (in my opinion) doesn’t actually vie Sita as much of a feminist voice as I think it tries too.
I don’t know if this review makes sense, it’s almost three in the morning and I’m sleepy.
January 20, 2020
I really enjoyed reading Samhita Arni's take on Ramayana, Sita's Ramayana, the story of Ramayana entirely narrated by Sita. It gives a new perspective to the entire story, while not-at-all deviating from the plot and details of the story.
As a reader who is familiar with the story, I picked up this book with a notion of what I can expect. However, I was still surprised and thoroughly enjoyed reading this story presented by an excellent writer (Samhita) and a fantastic illustration (Moyna Chitrakar).
Following this book, I became eager to check out other works of this author, and I found that her writings bring a freshness to the Indian mythology genre, and I am highly eager to read her next work "The Prince".
As a reader who is familiar with the story, I picked up this book with a notion of what I can expect. However, I was still surprised and thoroughly enjoyed reading this story presented by an excellent writer (Samhita) and a fantastic illustration (Moyna Chitrakar).
Following this book, I became eager to check out other works of this author, and I found that her writings bring a freshness to the Indian mythology genre, and I am highly eager to read her next work "The Prince".
February 11, 2018
Sita’s Ramayana gives new perspective to a classic story. I found the last fifty pages especially insightful as Sita focuses on the consequences of war, whereas other versions of The Ramayana tend to celebrate Rama’s every victory without worrying too much about collateral damage. Chitrakar’s colorful artwork adds quite a bit to the telling of the story as well. Overall, Sita’s Ramayana is a quick, interesting take on The Ramayana.
March 30, 2023
esta obra está no limite entre livro ilustrado e quadrinho, se é que existe uma divisão clara. as pinturas são interessantes e parecem ter uma urgência para contar a história. a guerra é intensa. foi um volume de leitura diferente e que me prendeu lendo em 2 sentadas.
recomendo para quem esteja estudando cultura e folclore da Índia.
recomendo para quem esteja estudando cultura e folclore da Índia.
January 23, 2018
Fascinating feminist retelling of the Ramayana informed by Bengali tradition, enriched by powerful painted illustrations. I am not familiar enough with the Ramayana to say whether this is a "good" retelling, but it found it interesting, thoughtful and compelling. Highly, highly recommended.
January 10, 2019
This is the version of Ramayana that should be read to kids. Gone are the days of worshipping violence and royal pride and manly show offs.
The book is based off of Chandrabati s Ramayana that collects the version sung by womenfolk of Bengal, commiserating with the suffering of Sita as well as Lankan women who suffer due to the whim and deceit of men.
The book is based off of Chandrabati s Ramayana that collects the version sung by womenfolk of Bengal, commiserating with the suffering of Sita as well as Lankan women who suffer due to the whim and deceit of men.
January 19, 2020
The illustrations are beautiful and you get the main gist of the ancient epic dating back to the 5th century. I love the Hindu culture and this illustrated book gave me a great insight into Ram and Sita’s story. A women stands strong when the world throws her all kinds of problems and trials.
Displaying 1 - 30 of 250 reviews