An interesting read
This is only the second book I have read by Kane, the first being Karna’s Wife. That one was such a train wreck that I had no hopes for this one. But Kane, I’m happy to say, surprised me.
The book didn’t start off too well, a too-perfect Ahalya grating on the nerves. There were anachronisms galore; people behaving like they belong to modern times, mentions of books and universities in a way that sounded just not right. At one point even ‘six o’clock’ was mentioned! Just to be clear, Ahalya’s story belongs to Treta Yuga, the time of Ramayana. So these modern touches and blatant laziness to get the atmosphere right seriously rankled. Then there’s the mixup of time periods: Bharata-a king of Dwapara Yuga and the ancestor of the heroes of the Mahabharata is mentioned in a story of Treta Yuga, and moreover in a story where his own distant ancestor Nahusha is being told the story where he, the descendant, is already dead and gone! That’s some crazy time travel stuff. But that’s just nitpicking for people who have read the scriptures, so let’s move on.
The obsession of Indra and Ahalya’s treatment of it has been handled badly in places. Seriously, I have read much better. It’s juvenile the way things are handled up to the actual marriage of Ahalya, the swayamvara scene a very melodramatic and farcical depiction. But then, right after that, the story picks up. The post marriage scenario has been written so much better. It’s both mature and interesting. The lives of Ahalya, Gautama and Indra are brought out quite well. There’s even a pattern to it, where when Ahalya is happy Indra is not and vice versa. But it fails to show the actual reason for Gautama’s sudden apathy. It’s been told, but not depicted well as we are never privy to Gautama’s thoughts after a while. Love scenes have been handled well, a feat most female authors writing mytho fiction fail miserably at, so kudos to Kane there.
But again, the end doesn’t quite do justice to the anticipation a good middle part had built up. The curse part was done a bit too brown in philosophy and not enough on simply feelings. Ahalya’s journey to self realization wasn’t deep or clear enough. In the end, although she claims to have found herself, she comes across as a bitter woman mourning for what was lost, which is at odds with her proclaimed happiness with her life. I would’ve loved to have seen her more philosophical and nuanced than a feminist waving the flag of ‘abla nari’. Surely the years of meditation should have come to something! And rightfully the story should have come full circle, ending where it started from as a narration. So the pity party at the end, while dramatic as it brings two heroines together, is not really the end I was looking for, because it left a lot of loose threads.
As for characterizations, Ahalya remains irritating before her marriage as she’s too perfect to be believable, but her discontent and a bit of self absorption later redeems her. Gautama is interesting, but loses out later as his voice is silenced, so after marriage we never know what he’s thinking, reducing him to a caricature. Indra is, ironically, the most reviled as well as the most developed character. He is shown as unabashedly and unapologetically self serving, but frankly he’s too interesting to be hated. After the ‘perfection’ of Ahalya, he’s a welcome relief. Sachi is delightful, though not much developed. Mudgal, Nalayani and Divodasa are walking anachronisms, because frankly the way they behave is like modern and yet slightly traditional people would behave.
What I did not like about this book was the inability, or disinterest, on the part of the author to get the atmosphere right. You have Indra, you have Ahalya, and yet there is no magic! It’s so mundane as to be a 20th century story! Either you go completely rational and make Indra just a mortal king, or if you’re going to make him a king of Devas and rope in Brahma and Narada, then at least make him look like the king of Devas! But you seldom see this before Ahalya’s marriage. This is something that could have elevated the book so much! I never felt like I was reading a story that is several millennia old. Six o’clock, seriously! And then there’s the fact that everyone good looking is also very fair. That’s just sad.
What I liked about the book is the way Kane handled the part post marriage. It’s mature, lucid, interesting and shows character development for everyone. Ahalya’s loneliness, a want for companionship, the need to feel ‘wanted’ is well captured. Her response to Indra is well captured, until it’s spoiled by reducing an honest emotion to a fantasy to maintain the ‘righteousness’ of the heroine. The circumstances in which Kane put her Ahalya in, nobody would blame her for wanting and going for some happiness, so there was no need to worry about maintaining the virtue of her heroine and making her holier than thou even in sin.
All in all, a good book and much, much better than Karna’s Wife. Kane has certainly grown as a writer.