The Kaunteyas

by Madhavi S. Mahadevan

‘Death is important to a man, but survival is more important to a woman.’
With a split destiny ruling her life, Kunti, given away at birth, leads a hard but uneventful existence in her foster-father’s home. At fourteen she is pressed into the service of the temperamental sage Durvasa who grants her a boon. Its first use, however, only brings her adversity and a shameful secret.
With marriage to Pandu, Kunti dreams of a better future, but a curse makes him leave the throne of Hastinapur to his sibling, the blind Dhritarashtra, and retreat to the forest. The births of the five Pandavas rekindle Kunti’s hopes of returning to Hastinapur, but these are destroyed once again when Pandu dies suddenly. Kunti journeys to the kingdom, no longer its queen but a widow, a dependant as are her sons. She must now take up the task of guiding them through the long struggle to get their inheritance, a struggle made harder by the discovery that the illegitimate child she had abandoned long ago is alive and a sworn enemy of the Pandavas.
Recasting the Mahabharata from the viewpoint of Kunti, The Kaunteyas replaces the idealized mother figure with a fully three-dimensional woman, providing new insights into the epic.

Genres: Mythology, Fiction, Retellings, Fantasy, Feminism, India

400 pages, Kindle Edition

Published November 19, 2016

About the author

Madhavi Mahadevan is an award-winning author of children's books. Her debut novel, The Kaunteyas, is a retelling of the Mahabharata from the perspective of Kunti. Check out her latest novel, The Bride Of The Forest available on Amazon and The Speaking Tiger
Her new book is about Drishadvati aka Madhavi appears in the Mahabharata as the ‘story of the salvation of kings by a maiden’.

Reviews

[Sahitya · Rating 4 out of 5]

It’s probably more of a 3.75, so I’m rounding up to 4.

I honestly just stumbled upon this book while looking for another Indian mythology based series on Kindle Unlimited, and I couldn’t resist. While I’m a huge huge fan of the epic Mahabharata and have already read many versions of it by different authors, I haven’t gone back to these old favorites much since I started blogging. So, when I realized this was a retelling of the epic from Kunti’s POV, I knew I had to read it immediately. And it definitely was a very interesting look at an already well known tale.

While most of our epics (even when written by different authors) are usually narrated by omnipresent narrators, it’s kinda obvious that they are telling us the story of the heroes in the epic, and many of the female characters are mostly just sidelined. Even Kunti, who is a formidable figure and one of the most important persons who shaped the lives of the Pandavas, hardly features except at important moments within the story. That’s why this book is special. Here, we get to know so much more about her life as a foster child of Kuntibhoja and her year of service for Rishi Durvasa which has such everlasting consequences. We also get a more in-depth look at her life as one of the wives of Pandu and the various tribulations they have to go through.

The author does a great job of bringing to light the sense of isolation that Kunti feels right from childhood - her feeling that she has been abandoned always and just wants to find that place which she can finally call her home - and also her frustrations about being a woman which limits her ability to make a lot of decisions. The author also captures wonderfully both the kinship and antagonism that she feels towards Gandhari as well as Madri and how this dichotomy of feelings essentially follows her throughout her life. However, it’s the third part of this book where the writing faltered for me a bit. In the first two parts, we get such a deep insight into Kunti’s feelings, her frustrations and her philosophical musings on various issues. However, once we reach the story where all the kids become adults, her character turns into an almost dispassionate narrator and I never could understand why she wasn’t reacting more deeply during some very intense moments. I also felt that the author never really explored her feelings regarding Karna, which is probably one thing I expected a lot from this retelling. Also, the exile of the Pandavas and the Kurukshetra war itself are almost rushed through, because she is not actually present during those times. The ending almost makes up for these lackluster aspects a bit, but not completely. However, I won’t deny that the author’s writing style is very beautiful and well suited for mythological storytelling. And this book is full of such amazing quotes that I feel I can always go back to.

Finally, I want to say if you would love to learn more about Kunti’s story and her role in the Mahabharata epic, you should definitely check this out. It’s wonderfully written and quite unputdownable. However, this is quite a short book which means a lot of events are rushed through or cut out, so don’t expect a very comprehensive Mahabharata retelling.

[Vismaya Madhu · Rating 5 out of 5]

I knew I was in for a treat when I finished reading the prologue. The author is so genuine and confident of her writing that the strength of her words slaps you in the face. The last line of the prologue ensured that I wouldn't put the book down.
The metaphors and phrases the author has used are magical; they made me grin and appreciate literature. The way she has depicted situations forces you to empathise with every character. You can't hate any of them - they're all described with such vigor, you're forced to root for them. Even though you foresee the plot twists, you get goosebumps on their arrival. We know that it's a tragedy, but trust me, you've never felt so much for this story before.
I hope this sells like hot cakes because I don't want the author to stop writing. This kind of perception, intensity and theatrics takes you to a different world exhibited in less than 400 pages. And when the book ends, it takes you a while to leave that world of success, honor and sorrow. This needs applause.
If your parents and grandparents have coloured some characters of the Mahabaratha in a bad way, maybe you'd want to rethink. You might understand the struggles of the women from the tale, and the difficult, yet inevitable choices they had to make. The story lead by their decision, but opposed to popular belief, not ruined by the same.
And I'm glad an author like Madhavi S. Mahadevan chose to write it.

[Debjani · Rating 5 out of 5]

Madhavi Mahadevan follows up her previous work The Doppelganger Short Stories with her latest offering The Kaunteyas. In this book, Mahadevan wades into the world of the Mahabharata, and reframes the familiar narrative from a different perspective. As she says in the Prologue “I wonder what would happen if women started telling their own stories”. In giving voice and agency to characters traditionally sidelined within the traditional telling of the epic, she spotlights a fresh perspective on one of the most familiar of narratives to most Indians. It is a reframing that reveals a whole new world that existed in the shadow of the old, a world we paid scant attention to.

Mahadevan’s lucid storytelling had me riveted and I could scarcely put the book down. It had me engrossed from start to finish, as her characters come alive on the pages, fleshed out by her elegant prose. For me, what was irresistible was in being able to hear the voices of those who have been silenced, whose stories have never been told fully, within the traditional parameters of the epic narrative. In privileging Kunti’s voice to be heard, Mahadevan adds new dimension to her character and unlocks the richness of her journey, compelling us to see her in a completely new way, and not just as a side-note to the overwhelmingly male centric narrative of the Mahabharata.

Reading The Kaunteyas is not just an encountering of the familiar in a completely new way, but it is also about coming to an awareness of the depth and richness of women’s stories. In Mahadevan’s able hands, Kunti’s voice rings loud and clear, changing the shape the familiar.

I can’t recommend this book highly enough!

[The Tamizhachi · Rating 5 out of 5]

The TLDR version of my feelings:

A brilliant read.I've read the original rendition of the Mahabharata , so I was blown by this rendition which was so expansive and yet so committed to bringing out the voice unheard so far. Strong,thought-provoking and a definite read for anyone with the passion to read.Mytho-fiction has never got me wishing this badly for a chance to meet the characters of the book.

Longer Version of feelings?

I don't have any particular affinity for fiction in general.So I made sure I read the excerpt of the book before buying it.It didn't disappoint.

The Kaunteyas was different from all the books I have read so far for way too many reasons.The most significant was the style of writing - it seemed like the author knew exactly what to use to express the feelings resounding in one's heart as one reads.

The fact that Kunti was the real game-changer has never even been expressed so far in such a factual layout.

The characters of the book made me really question reality - I genuinely began to feel bad that I didn't belong to that era.

It's been a while since I have obsessed over a book long after I've finished reading it.I was satiated beyond my requirement!

[Nazreen Nazreen · Rating 1 out of 5]

This was an awful book, I dont know why there are any postive reviews at all! Anand Neelakantan's Ajaya was simply awesome.. perhaps I expected something along those lines. But the narration was poor, and in many sections, it seemed like the author was just trying to rush things. I didnt like how the characters were depicted either, and as a passionate Mahabharata fan, I did not like this book AT ALL.

[Vibhavari Nagarhalli · Rating 2 out of 5]

Firstly let me appreciate the research the author has done to write this book. The narrative is gripping and the book was truly "Un put downable " and "A Page turner"for sure.

Now to the reason why I gave 2 stars. I understand the author has marked this book as a "Mytho-Fiction". By calling it a fiction the author does get some creative liberties to shape the characters and add personal touches to the story. However disorting important facts which can contort the readers judgement about these characters is not right.

As holy as Maharabharat epic is..Lets not forget that it is an important part of our history as well. And factual correctness should be maintained.

Few factual errors I would like to highlight as below:

1. Neiter Kunti, Madri, Ambika, Ambalika or Daasi have physical relations with the Gods to bear their children. It was purely through "Iccha"(Kunti and Madri) or "Dhrishti"(Ambika , Ambalika and Daasi) respectively. To even suggest that is incorrect.
2. To say that Draupadi lived with all husbands and kids with them is also incorrect. She lived as a wife only with Bheema(Incarnation of Vayu). The concept of devatas following a rule of Niyata Pati -Patni ( being married to the same person in all incarnations) and understanding how Shyamala (Dharma's wife), Sachi(Indra-Arjun 's wife) and Usha ( Ashwini brothers' wife) were within Draupadi in those 4 respective years she stayed with the other 4 brothers should be understood and stated.

Hence gave only 2 stars.

[Mahendra · Rating 5 out of 5]

After reading Doppelganger Short Stories, I wanted to see what Madhavi Mahadevan, a versatile writer, would write. The switch from short stories to an epic like the Mahabharata has been seamless. A true master makes it look easy :)

The unique voices she has given to the many different characters engaged me from the early chapters. Even the minor characters come alive through the lively and interesting dialogues. As for the protagonist Kunti, this is a Kunti never seen before. I've always known the Mahabharata from traditional media over the decades; however, this perspective, made it so much more real.

The dilemmas that the characters encounter, the choices they make and why they make them are some of the most gripping reads within The Kaunteyas.

Personally, as a woman married to an officer in the armed forces, where tradition is respected , as are rules, the book questioned some of my assumptions. Entering the mind of the main character compelled me to probe these beliefs! It made me wonder whether women in our society have had quieter ways of rebelling in the past, rather than resort to bra-burning. This book shows how these ways may have worked.

I highly recommend this book as a must-read.

[Sadaf · Rating 5 out of 5]

How much of our stories are written before we are alive, before we are born before we are even conceived? How much of our future is written in stone and how much of it dependent on the choices that we are to be faced with? What does it mean to know that all the great secrets of our life have already been written and the idea that we might not have any way to change them.

The Kaunteyas by Madhavi Mahadevan is a revelation. It tells the story of Kunti, the woman scorned for not looking when Arjuna brought her Draupadi and saying to share the princess from Panchaal as though she was a sweetmeat at the dinner table. The mother of the 5 Pandavas.

The Kaunteys is written in an extremely descriptive manner. The descriptions are done well, using flowery language to describe the beauty and weaving dense darkness around scenes that required more of a sinister depth. The language and writing is a masterpiece. The characters are all given depth even though some might appear for only a page, characters from Saubali who appears only for a sickening assault scene to Gandhari who considers blindness by choice a virtue to Kunti herself, are given an inexplicable depth. They may have only a passing role in the story and yet the emotions and pain they feel are tangible on one’s tongue as we read.

Often I have wondered at the world that authors who write retellings of the Mahabharata and Ramayana create. It is indeed a mirror of historic India from the idea of caste and God and rank and war and kingdoms that one sees in the kingdoms of the past from Magadha to Gandhara. But it takes some semblance of skill to write and create a world wherein most of history records how people behaved and what correct behaviour was for every caste. To create a world that has mostly been chronicled through rules and war is a task. And yet Mahadevan has built an immersive subcontinent. One where the Ganges flows in a rush through the land illuminating kingdoms with life and vigour. But it is the characters within these kingdoms that Mahadevan has written that is the true masterpiece of the book. From the snakelike Dhritarashtra to steadfast Kunti, all of them have an intriguing story to tell, where every word they utter or step they take proves cataclysmic for events yet to take place. They all play their roles in bringing about the battle of Kurukshetra that annihilated the kingdoms. And above all are the women, the pain of every single woman palpable, pulsing across the entire story. At its very heart, this story is about women. From the very first page to the last word written, this is a story about women, one to be passed on in stone rather than water.

A point of interest was the ideas of names. Children carry the names of their fathers and those unable to are considered bastards, shamed for life to carry the name of their mothers. Why has that been a point of shame I wonder. After all, it is the mother's womb that carries the child, her life’s blood that nourishes it, her pain and damage as she pushes it into the world and yet the child is denied the name of its mother, the name that allows its blood to run through its veins. The idea that Kunti would rather forego raising Karna than simply give him her name, allow him to be called Kaunteya, should be looked at more closely. Even today children take their father's name when it is the woman who contributes more in every aspect. It is a sad truth of life, one we are capable of changing and yet do not.

‘“YOUR SON WILL HAVE YOUR GLORY, BUT WILL HE HAVE YOUR NAME? BY WHAT NAME WILL HE BE CALLED?”
THE LOOK HE SENT ME WAS FULL OF IRONY. “WOULD IT BE WRONG IF HE WAS CALLED BY YOUR NAME – AS KAUNTEYA?”‘

In the Palace of Illusions, the book focuses mostly on Draupadi and her experience as the catalyst of the Mahabharata. Other women’s stories are told in passing, fleeting through the story as barely there. But in The Kaunteyas, Mahadevan focuses on every woman in Kunti’s life with equal detail, giving the story immense depth as we read about women raped on the dictate of their own family members, women forced into blindness to prove a point, women denied desire due to curses that they have not been told about. In the tales of men, the women are always on the losing side. Kunti’s sons win the war, they win Hastinapur and yet she still loses Karna. Gandhari married Dhritarashtra and availed the respect of maharani and yet has forsaken sight. Sairandhris and serving girls who live lives better than village girls are cornered like animals so their flesh may be used for pleasure. In the stories of men the women always lose, even when they stand on the winning side.

So when I finally turned the last page of the book, I wondered how much of our lives have already been penned down? Are we simply chess pieces placed on a wider cosmic board, ready to play the roles that have been written for us? In the very beginning of the book, the sage Durvasa looks through Kunti’s future before giving her the boon he gifts. Did he not know when he gifted the boon that Karna would be the unwanted result, that he would change the course of the great war, that he might have prevented it had he been kept? Why then did he not tell Kunti the true danger of using it? There are so many threads within the Mahabharata. Story within story that comes together to bring men to the battlefield, and I can’t help but wonder how different it might have been if only one man, had had a different story.

The compelling writing, the characters, the descriptions and world-building, and the epiphanies that come forth in a readers mind make this book a true literary paragon. Five glowing, golden stars.

[Vidhya Thakkar · Rating 4 out of 5]

It's a journey of Kunti. From her childhood to becoming Maharani of Hastinapur to becoming Mother of the greatest warriors. Who was Kunti? How was her childhood? When did Sage Durvasa give Kunti a boon? Was it a boon she asked for?

It's about Kunti's journey to Hastinapur, her life with Maharaj Pandu, her bond with Gandhari, her love for Krishna. Why Draupadi was furious at her? Why she decided to leave Hastinapura and many many questions were answered here.

It's a book that I could not put down. A book that holds secrets of Mahabharata. I liked how the author narrated the life of Kunti. How she felt when she told Karna the truth, when she told Pandavas the truth and a lot more. The engaging writing style keeps the reader hooked throughout. I liked the way it is narrated, with a smooth flow of words, the author keeps the readers invested in.

It has a lot about Kunti's life with Pandu, the story of Satyavati, Amba and Ambalika. I wished the author could have discussed more about the war, Yudishtir's curse and other things. It felt a lil incomplete to me.

You'll feel pity, feel anger and love for Kunti at the same time. It's a wonderful read that will give us a new perspective of Mahabharata.

[Divya · Rating 4 out of 5]

I quite liked this book. With simple almost-pragmatic language, it makes for a leisurely short read. I read the Mahabharatas a long time ago and hardly remember the characters or specific details of the story, and this perhaps allowed me to enjoy the book a bit more. Or maybe this is irrelevant. One could read this book as any other, a story narrated by a female protagonist who faces more than her share of travesties and lives a life of abandonment or a constant fear of it. The story is about her, not about the sons or the family rivalry or the hundred sons or the monstrous war. The story is about a woman, the solitary life of women in general, subject to man's whims, society's eyes and rules. It is about the quiet strength in the long hours of helplessness, the courage of speaking out and the wisdom in deciding when to speak, choosing necessity over pleasure even while overcoming the wrought of envy, and the recognition of choice at every stage of life. Sprinkled with "modern" word usage (you'll know what I mean when you read it), the book could very well resonate to society today and the generally acknowledged existence of a "woman's place" in it.

Here are a few sentences I particularly enjoyed:
"...an example (of a shared wife). From the Puranas, no less. Attitudes were a lot more flexible then."
"Or was it that, being men, they thought that a woman's bitterness was inconsequential, tedious and best disregarded?"
"'Don't be dramatic,' I snapped, annoyed at his flippancy"
"Victory and defeat belong to men. Kurukshetra was where the men had become heroes, but it was here too, that women had become widows. Sorrow is what women own."

[Mohit · Rating 4 out of 5]

Admittedly, in current times of hype and hyperboles, this is a rare book which is not over the top and sticks to the intent with which it was written. I may have read better books in this genre but I may not have read a book as uncomplicated-ly written as this. The language is fluid and atleast I could not spot too many creative liberties. But the biggest winner is the translation. Originally in English, this book is translated in Hindi by Dheeraj Kumarji and it enhances the impact. Not at all complex and true to the narrative. Recommended.

[Anushka Sierra · Rating 4 out of 5]

Check out my other reviews at Feminist Quill

Synopsis: A re-telling of the Mahabharata from the perspective of Kunti, mother of the Pandava brothers and of Karna.

Going by the quality of books by Indian authors these days, I was worried when I picked this one up. Hopefully, I told myself, it will be more Palace of Illusions and less Sita - Warrior of Mithila. My hopes were borne out. The Kaunteyas is a pleasant read, even if it isn't terribly revolutionary.

Yes, women's tales, too, have been told by men, but with an important difference: they are cautionary. They warn men that women are clever, conniving, deceitful, and frequently, the cause of dissension. They tell women how they should be, and more importantly, not be. A common theme is retribution for breaking rules that are invariably manmade. Speaking out of turn, laughing at the wrong time, keeping a secret. Crossing the line.

Curiously, Madhavi S. Mahadevan's use of the word "invariably" here endears her to me. Less curiously, so does her take on Kunti's early childhood. An adopted child, she is loved by her father in an mildly affectionate, distant fashion, ignored for the most part by her father's wives, and constantly reminded of her place by her grandmother. She is diligent and intelligent, staying out of trouble but not limiting her thinking.

The plot follows what we know of Kunti's life from the Mahabharatha fairly faithfully, but gives it life. The sage Durvasa's visit and boon are given at best a paragraph - usually just a line or two - in most abridged versions of the epic. Kaunteyas deals with the visit in detail, from gossip about his arrival beforehand, with various characters giving their versions of the stories they've heard about him, to Kunti's life in the months she spends overseeing his visit and care.

"I can't wait," said a familiar voice. I whirled around.

Aware that the cook and his assistants had turned into stone through sheer fright, their eyeballs glazing over, their tongues frozen, I said quickly, "Rishivar, I'll bring a dish to your chamber."

"I cannot wait," he repeated, a manic gleam in his eyes. "I want it now."

Not knowing what else to do, I did something that seems incomprehensible even today. I picked up the pot with the ladle in it. He stood and calmly ate while I held up the pot before him. His tongue did not burn, but can I say the same of my hands? The heat seared the flesh of my palm, a red-hot sword slicing all the way through the layers of skin and sinew, burning up nerve and charring bone. It felt as though the fire was devouring me. How long did the ordeal last? Three minutes, five or ten, I cannot say. All my senses contracted to a pinpoint that glowed white hot. I was not aware of falling, but when I opened my eyes, the world seemed different, skewed, peopled by unfamiliar faces wide-eyed in shock, mouth rounded in horror, staring at me. The seer was gone. I looked at my hands, as if they were things unconnected with me. They did not seem anything like hands, but more like remains: swollen, raw, scalded, whitish pink blisters erupting like volcanic islands out of a purple ocean. A scream rose in my chest, caught in my throat, emerged as a pathetic mewling cry of distress. Help me! And then, mercifully, I fainted.

Mahadevan's writing is colourful without being over-descriptive, conveying the emotional intensity of a scene expertly. She also makes Kunti infinitely more sympathetic than recent re-tellings have made her out to be. I've noticed that stories from Draupadi's perspective especially tend to vilify Kunti, whereas Kaunteyas takes a soft approach to Draupadi as well. Kunti sees her as someone who speaks out more than she or anyone brought up like her (i.e. the other kshatriya women) can ever do.

"A daughter-in-law of the Kurus!" mocked Gandhari. You and I are daughters-in-law of this house too. Haven't we accepted our fate? Why must she be different?

"Panchali is a different woman. She does not blindly accept her fate but makes her choice and risks the consequences."

"Her risk will be our ruin," hissed Gandhari.

Her reasoning for this is that Draupadi hasn't been brought up like her - or at all. This iteration chooses to follow the version of the story where Draupadi emerges fully grown from the fire. At times, she appears a little lost due to her background, not fully knowing a sense of belonging.

In this, at least, Kunti can relate to her daughter-in-law. The book continuously examines Kunti's relationship with her surroundings. At her childhood home, in Kuntibhoja's palace, she is constantly reminded that she is adopted. In Hastinapur, as a newly married bride, she finds herself out of step with the carryings on of a bigger palace, and a greater station than she previously had in life. Rumours about her supposed barrenness spread like wildfire, even though it is in fact her husband who is unable to perform in bed. His second marriage, coming close on the heels of the first, is a slap in her face, as is the fact that he genuinely falls in love with his second queen, Madri, in a way that was denied to Kunti.

Kunti gets little say in where she gets to live, carried around by the decisions and machinations of others. As such, her feelings about her various homes are complicated. Ultimately, however, she seems to display a greater affection for Hastinapur than for any of the other places they live in.

Kaunteyas skips over significant chapters of the Mahabharatha, giving them brief descriptions in Kunti's words. She seems almost dispassionate when reporting these events - even events such as the Pandavas' exile, or the eventual deaths of Draupadi's children after the war. It isn't that Kunti doesn't empathize, it is that she is wrung dry of emotions early on in her life, and finds herself barely able to respond under the heavy burden of tragedy on the heels of tragedy.

Sometimes though, Kunti loses her grip on her politeness and the respectfulness she shows everyone. The result is refreshing.

Gandhari repeated her question. "What is happening?"

"Your son is trying to murder mine," I said. "Again."

Gandhari gasped. Dushala too, turned to me with a shocked look. I stared straight ahead.

#SlayQueen

The emotional core of the book is undoubtedly Kunti's relationship - or lack thereof - with her eldest son, Karna, and the way Karna's interests inevitably conflict with those of the rest of her sons. Kunti herself counsels - nay, orders - her younger sons to go to war:

"I have never differentiated between Dhritarashtra's sons and my own. But if there is any hope for justice, for dharma to endure, then my sons have to get back their kingdom." The instant I said those words, I knew that they were the only words left to be said.

And yet she now needs to seek out Karna, at a time when she has nothing to offer him. He literally clawed his way up to power, money and status on his own merit, while his mother let everyone think he was unworthy. A literal demigod, this man, but okay.

"Kanina, sutaputra," he repeated, as though carefully measuring the weight of the words. "Sutaputra, kanina. Those were my choices, but never a kshatriya. Never till today. Why is the world suddenly so keen to recognize me as a kshatriya?"

...

"The secret itself is relevant, but that you chose to reveal it today is what is of concern to me. Does it have anything to do with the fact that I've just been appointed the senapati of the Kaurava army and have sworn to kill your sons?"

This conversation between Karna and his parents stands out for its intensity and for how much it reveals about the motivations of Kunti and Karna respectively. Kunti knows how selfish she is being in asking Karna not to fight against his brothers, and doesn't even express shame when Karna calls her out on it. Instead, she merely changes tacks continuously, attacking him with various arguments. Ultimately, however, his resolve remains unweakened.

"Glory," the son said, his shoulders slumping tiredly. "Strange as it may sound to you, but I don't care for it. Do you want to know why? I am weary of the life you two gave me. Once I was greedy for victory, fame, a kingdom... but now, all I crave is an honourable end. Death on the battlefield would be a welcome thing."

Death is important to a man, but survival is more important to a woman, muses Kunti in response.

But her love for her son, and longing for a connection is real, and revealed long before this confrontation in the relationship she tries to build with Karna's youngest son. The boy is described as the living image of Arjuna, Kunti's third son, at the same age.

The great battle is completely skipped over, and after her conversation with her son, Kunti next describes the battlefield at the very end.

Death had ushered in a new camaraderie. Facing each other, hands reaching out.

"Have you seen my brother?" The girl who stopped me with her question was young, no more than sixteen... She could have been me - when I was that age.

"What does he look like?"

"Like me, of course. Taller by a few inches, though he is a year younger."

Purujit, I thought. But Purujit was dead. As was Kuntibhoja. [...] Whose army had her brother fought for? How had he died? How did it matter? They were all dead.

My presence in the battlefield had been noticed; it was causing a stir.

"Kunti?" I heard Gandhari say. "Here?" After a moment. "Whom has she lost?"

Her brother. Her father. Her son. Her grandsons. And the sorrow she feels at the loss of each life on that battlefield.

The book ends with Kunti leaving for the forest once again, to spend the rest of her life in austerity alongside her brother-in-law and his wife. And despite the reasons she gives her sons and herself, the book implies that the decision is one that she finally takes for herself, representing freedom from the chains of duty and obligation that have bound her all her life.

I remembered by dead love and wept for all I had lost. Whatever I had done, good and bad, hadn't I done it for him, his sons? He had always cared deeply for his blind brother, and now I, too, had begun to see why: Dhritarashtra was pitiable, he had always been so.

"My decision is firm," I said. In my mind's eye, I saw the open road welcoming me. Above it, a free sky.

[Kavita · Rating 5 out of 5]

The writer captures the life and times of the Mahabharata so beautifully. But to me, it felt like a separate window opened onto the life of Kunti, giving us a clearer glimpse of her journey, her compulsions, her choices, and what made the woman she was. It was extremely engrossing and vivid. I really liked reading it. ​

[Divya Sarma · Rating 3 out of 5]

Dont we have enough of Mahabharata retellings on our shelves? What does one more offer us?

In fact, quite a lot. The Kaunteyas is misleadingly titled. It is not about the Kaunteyas in any sense, it is about Kunti. The sons, all six of them, barely feature in any way. The name perhaps indicates the role of Kunti in shaping the Pandavas, and why this makes it more important to call them with her name rather than his (and not because she was their mother, while he was not biologically their father).

What is interesting about the book is that more than half of it deals with Kunti's life prior to the arrival of her sons. Her childhood, marriage, the way her relationship with Pandu and Madri develops, unravels and develops again. Kunti, the narrator in these chapters is very much present, every details is presented in terms of how she perceived it. The way she pieces the tortured history of Pandu's family, how her perceptions about Satyavati, Ambika and Ambalika gets shaped as she slowly unearths the story of the Kashi Princesses' abduction and subsequently the Niyoga process on Ambika and Ambalika.

Similarly the gradual way she adjusts to Madri, the co wife her husband is more attracted to is also satisfactorily dealt with. We sense Kunti's pain, her irritation with Madri but at the same time, a gradual reconciliation.

If the writer had maintained this immediate presence of Kunti throughout the book, it would have been a complete winner. But Kunti seems absent or almost bloodless in one of the most important scenes, when she sees Karna for the first time. We see her watching Arjun, we see her look at the imposter who is challenging him, and then she realizes who he is and faints. After she revives, what is she thinking of him. What does she think of Duryodhana befriending him, and her own son's belittling him. She gives an explanation as to why she chose to keep quiet which is credible, but since this is her story, can she not at least voice her misgivings. Does she feel gratitude to Duryodhana for befriending her abandoned first born. Considering there is already so much bad blood between the cousins, does she not have qualms about the future when her first born will be firmly against her other sons. One does not expect that she will make different choices, but considering how till then, she has been the centre of the book, why do her thoughts suddenly go missing at what could arguably be called one of the most defining moments of the epic and indeed in Kunti's life.

The second half of the book struggles with placing Kunti in the narrative because she was either not present or did not play a significant role during many momentous events. The book uses various narrative devices to plug this and most of them are unsatisfying. A few, like the way Kunti narrates the dice game is good, because there is no narrative device, Kunti simply recounts it, with few details only since the book assumes that we know the story. Hence it becomes a personal narrative, one she sums up when she says, this is the truth and I cant change this : One Kaunteya staked her and another branded her a whore. Here we sense an empathy for Draupadi as well as Kunti's acknowledgement of her own role in placing Draupadi where she is now. This is also the only scene where Kunti even remotely seems interested in understand Karna and his motivations. In numerous other scenes, where Karna is mentioned to her - as one of the evil four, as somebody who plotted their death in Varanavrata, as somebody who is manipulating Duryodhana and pushing him towards the war or even when Draupadi confides in her that Krishna advised her not to marry Karna since he would die soon- Kunti is strangely totally not interested in her first borns well being.

Then we have the bizarre section where she shares that as she lived in Vidur's house, she got to see Karna daily when he came to pray to the sun in the morning. But again what does she feel when she sees him? Does she begin to understand his life? What does she feel when she realizes this son is seeking out his father every day without even realizing it. Instead of getting the mothers perspective, she just seems to be gawking at him. Havent we had enough of women's narratives where the narrators are drooling over the supremely handsome Karna. And what is with the totally unrelated cutesy track with Vrishketu. Considering she has distanced herself so much from the father, why this sudden maternal longing for the grand child.

Sections of the second half, like the pre war deliberations and even the Matsya skirmish are totally boring, since Kunti is totally absent from them. ANd what does Kunti herself feel. Does she want the war, is she ambivalent. She goads her sons to war, she says, mainly to avenge her daughter in law. But if she so wanted the war, why then does she go right in the next scene to convince Karna to abandon his friend and therefore stop the war. How then will her daughter in law be avenged.

The only bright spot in the latter sections is the Kunti Karna meeting, which is not sentimental from either side. Karna is justifiably angry. Kunti also is surprisingly angry, angry because Karna is playing a drama queen, angry because he is not able to get out of his 'life is unfair to me' narrative and do something for the larger good. And its a good creative liberty to place Surya in the scene directly. There is a fine description as Kunti talks about the three of them, tied together so intimately, and yet complete strangers to each other. When she describes Karna and Surya's conversation, she uses the terms 'the god' and 'the son.' Is that all she views them as, the god who so longed for a valiant son, and herself as simply an instrument to let that god have that son. That in essence is all she has ever done for Karna. This also ties in with a beautifull moment earlier in the book, when the pregnant Kunti is told by her maid to abort the child. 'Can I deny the god his ardent wish to have this son?'

The end is redeemed by the fact that description of the war is totally absent and it is a brave call by the writer to not get lost in the war descriptions (but if she could make this call for something as narratively significant as the war and bhagvad gita, why not for the pre war diplomacy and indeed even the thirteenth year in exile).

The post war presents an interesting picture of how grief operates and makes allies out of strange pairs- how the grieving Gandhari shuns Kunti after Bheema drinks Dushasana's blood, but how this same Gandhari reaches out to Draupadi, at whose behest, the entire blood drinking happened.
Of Kunti's isolation from the shared feelings of the mourners from either side who are grappling with the effect of the war, because as someone asks "Why is she even on the battle field, whom had she lost."

But the revealation about Karna is not satisfactorily handled. She describes what she says, how her sons reacted, but why did she do it. Does she fear anything, does she hope to gain anything, how does she think she will deal with the consequences. WE dont ask these questions from other narratives, which treat this scene in a similar way, but we are forced to ask this of this narrative mainly because this Kunti has always favored us with her thoughts, with what she thinks of most people. And the aftermath of the revealation, how did it impact her relationship with the son. She acknowledges that things changed, but how? WE are left with some trite generalizations.

My review is very long, and a lot of my points may seem nitpicking, but one is tempted to make these points, because the book begins on such a promising note, and for most part gives us a voice who speaks the story the way she sees it. This is not a third person narrative masquerading as a first person narrative. THis is not one of those books where the narrator is conveniently divorced from the proceedings. Instead it is truly her story, which is why we wonder at the potential of what could have been.

[Khayma · Rating 5 out of 5]

Kaunteyas is the story of Kunti, her childhood, her marriage and motherhood. Honestly, the book was so amazing, I don’t know where to start.

The books itself was 389 pages long, divided into 3 parts – Part 1 is titled Kuntibjoha, part 2 is Pandu and Part 3 is the Kaunteyas. Kunti’s entire existence, childhood to adulthood revolved amidst the men who surrounded her. The author lends a voice to Kunti that makes you root for Kunti and understand her decisions better.

This brilliant masterpiece is a must read if you love Indian mythology. When you see the story from Kunti’s POV, your heart will ache, for despite all her strength, even Kunti could not change the course of history which was blackened by men’s desires. I love how the author describes nature in this novel. Her portrayal of nature in each  page simply heightens one’s senses while reading. Kunti’s life is like nature, calm one moment, rough the next. It was unpredictable.

Another point that I must mention, the author explains certain parts of ancient customs so well in this book. For example, Niyoga, in which a woman sleeps with a  Brahmin or a celestial to help her bear a child. Instead of putting a magical spin to it, the author writes it as it is. Kudos to that.

When you read The Kaunteyas, you will realize, that we might live in a modern world, but as women, our trials remain same with those who lived during a whole different yuga.

[Srujan · Rating 3 out of 5]

I chose this book from Kindle Unlimited catalogue because I wanted something not too taxing to read. The title is slightly misleading because it is not a book on the Pandavas, but the life story of Kunti. My opinion of the book is mixed: I love love love her writing style, ( some of the quotes are on point and impactful!! ♥️ ) but the story is nothing much. I am guessing I feel this way because Mythology is an extremely abused genre these days. I am probably reading too much of it, and I definitely taking a break now.
But here is my argument as to why I would pick up an another by the author. It is because I could find gems that gleam through the dull narrative. The prologue is especially beautiful. Sadly, the chapters pale in comparison to the prologue. From the prologue I especially loved the following section:

Men's stories are the bones of a bygone age, sanctified as relics, preserved in stone. Women's stories are written in water. Yes, women's tales, too, have been told by men but with an important difference: they are cautionary. They warn men that women are clever, conniving, deceitful and, frequently, the cause of dissension. They tell women how they should be and, more importantly, not be. A common theme is retribution for breaking rules that are invariably man-made.

It is precisely how I feel about Indian Mythology. It may not be completely condescending to womankind, but it has been unfair. The degree of injustice will vary with perception, but the lore often takes a not so fair approach to women.
So, my conclusion is that I wouldn't outright reject this book, and I will most certainly pick up another book by Madhavi Mahadevan.

[Piyush Sharma · Rating 3 out of 5]

Story of Mahabharata is re-told from the perspective of Kunti. It starts with her birth, childhood and foster parents. Arrival of Sage Durvasa in their lives and how Kunti was chosen to serve him. Manage to make, the anger filled sage happy, she receives a boon to have babies with any chosen God. This boon proves to be a curse ,when she use it out of curiosity and boon, when she use it after marriage on her husbands instructions. She never got much from her life (parents, husband and in-laws) but stood as hard as rock. Story soon moves to the childhood of their (Madri - second wife of Pandu) 5 sons and after death of husband their journey back to kingdom of Hastinapur. Later the rivalry between Pandu's sons and Kauravas grew and took some shameful turns like disrespect of Draupadi (common wife of Pandavas) which resulted the Epic war between brothers. Last moment of persuasion of Karna by Kunti is nice to read section of the story. Rest we all know what happens at the climax.
I feel idea of telling the epic from the perspective of a lady i.e. Kunti was brilliant but author couldn't do justice to it. Also it seems like she was in a hurry, especially while writing about the epic war. Neither there was mention of how Karna, her beloved son, died nor about the death of her grandsons by Ashwatthama. Good try though !

[Divya · Rating 3 out of 5]

I picked this up owing to stellar reviews on goodreads and amazon (from where I purchased the Kindle version). I have been fascinated by Indian mythology and the genre - mythological fiction greatly interests me. However, this book just did not live up to the hype.
The Kaunteyas is a novel that reflects on the various events that lead to the war of Kurukshetra from Kuntis point of view and scarcely on the aftermath or the actual events that transpire during the war. Madhavi's book although readable doesn't offer anything new that we are not already aware of.
Having read other books of the same genre, I felt like it was just a recount of all the important events in Kuntis voice than an actual view of how all of the events made her feel (assuming of course, she didn't turn into a dispassionate observer herself).

[Ahilya · Rating 5 out of 5]

I hadn't heard of this author or her book,till my friend gifted me The Kaunteyas, saying 'here's a recent book on your mahabharata'.
Since I love mythology ,it was no bother for me.
However,the book itself was a big surprise since it surpassed all my expectations and became the best read I have enjoyed in the last many months!
Madhavi has made the epic very appealing in her simplistic writing style and reader friendly language.
I particularly enjoyed her portrayal of the exchanges between the women in the book.
Kunti and Madhuri, Kunti and Ghandari, Kunti and Draupadi and the best of them all -Kunti and the Rajmata.
I believe Madhavi is very talented and hope to see many more of her books in the near future.

[Swarnima · Rating 3 out of 5]

The story of Kunti, like many others are a discreet but very crucial part of a commonly heard and shared mythological story. While as intense as those stories are they shadow many characters such as Kunti, a daughter sent off to live with another family as a child growing up with both a self doubt of being given away to having a dream of one day raising her own family close knit and in the comfort of her house does begin at that but eventually shatters into exile and an unfamiliar return to her own home. While all her life she struggles to get back what was hers and her sons she fights strong and hard but has to live with the burden of her guilt too from all the years of struggle. How she carries herself throughout the journey not many live to survive is an interesting read.

[Pradeep · Rating 5 out of 5]

The hype about this book had me wondering whether it was intended to be a strong feminist perspective of the great epic.
Madhavi manages to depict kunti's viewpoint without distorting the earlier and more accepted narratives of mahabharata.
Her language is reader friendly and manages to keep one enthralled.
What I personally liked most about the book is that without boasting of the many attributes and multi dimensional facets of a woman,the book clearly conveys the same in a manner that is hard to refute.
I believe this is why the book is equally acceptable to male readers , despite it's handicap of not retelling the war in greater detail.

[Kumaran · Rating 5 out of 5]

I had read tharoor's -'the great indian novel' and loved it.
Thereafter I have been reading a lot of mythology fiction and have hated the fact this genre is so alluring to writers.
To be honest,I was a bit hesitant when I picked up'the kaunteyas'.
Though I liked the prologue,I didn't know anything of Madhavi or her writings and expected very little of her book.
However,I was in for a real surprise as the book turned out to be a very worthy read!
I strongly recommend it for readers who want a good narrative of the old familiar epic.
I hope the author is bringing out more such works in the near future.

[Roopa Dharmapuri · Rating 3 out of 5]

Task #15 of Book Riot's RHC 2019. This is the first book I've read of a woman's perspective of the great epic Mahabharata, at a time when all young and new Indian writers seem to be adopting this theme (finally?). The story line is all too well known, but the narrator makes all the difference - Kunti. I particularly enjoyed Parts 1 and 2 of the book that depicts Kunti's early life and her marriage to Pandu and life at Hastinapur. Part 3 came across as if it was written in a great rush to end the book. Also, there is a peculiar coldness in describing poignant incidents in this segment. Perhaps it was the adoption of an all too modern phraseology and an eerie description of Panchali as a character. Nonetheless, a very interesting and engaging book.

[Yash Sharma · Rating 4 out of 5]

Madhavi S. Mahadevan's book, The Kaunteyas, is the story of Pritha, who is also known as Kunti, the mother of the Pandavas and the aunt of Vasudeva Krishna. It's the retelling of the great epic the Mahabharata from Kunti's viewpoint. The women characters of the Mahabharata are really fascinating, be it Satyavati, Kunti, or Draupadi, especially when it comes to surviving in adversity. If you are interested in reading about Indian mythology, then you can go for this book. I'll also recommend to readers to read The Fisher Queen's Dynasty, which tells us the story of Satyavati.

[Sunitha · Rating 5 out of 5]

kunti is the 'real' woman who adds merit to the great epic when one ponders-did all of this really happen?
The author has painstakingly added every facet of her life,which makes this book unique and a very absorbing read.
The characters remain true to earlier writings of the epic , and so ,while kunti remains the central character in this book,the author does not portray her as being the heroine in the story.
For that I must congratulate madhavi in her exemplary work.

[Anjali Mathur · Rating 5 out of 5]

The only objection I have is to the title-'the kaunteyas'.
The book should have probably been -'kunti' the woman you never knew!
Madhavi's work is brilliant.
She has given character and face to a woman ,so central to the great epic, but of whom very little has been written all these many years.
I look forward to my further reading / watching of the mahabharta ,with this depiction of kunti as told by Mahadevan.
Congrats to her on what seems to be her maiden effort in this genre .

[Ahilia · Rating 5 out of 5]

I liked 'the kaunteyas' very much, and thereafter read other books by Madhavi.
I find her writing extremely easy to read.
Her stories are varied and she qualifies in being a very gifted writer,who can mix emotions and characters fluently in any theme.
Her short stories;her stories for children, and now this-a re-telling of the Mahabharata.
I am eagerly looking forward to her next book, and,if I guess the trend,she will most likely not do a continuation in mythology.

[Divya · Rating 5 out of 5]

A very good read!
I specially liked the author's depiction of Kunti , as a person less then perfect.
Mahadevan has researched well and has introduced information into the narrative,which to me,as a person interested in mythology ,find very interesting.
Her writing style is easy and simple and that is why,I assume, the book has been well received.
I do hope, however,that 'the kaunteyas' is not a one-off and Madhavi will bring out more such works.

[Moushmi Radhanpara · Rating 5 out of 5]

I was hoping for this one to be just another mythology retelling. It proved much more!
Just after a few pages, I knew I was in for a very fluid, poetic narrative of the Mahabharata, and it did not prove wrong for even one single sentence. It was hypnoticing till the end. The fact that it was from Kunti's point of view, Mahabharata from a woman's perspective, it was all the more engaging and intresting for me.