This novel is a creative re-rendering of a lesser-explored character from our Itihas and Puranas: Ramabhadra or Lord Parashurama as he was more famously known. A prophecy spurs him on to take up arms and wage war against one of the most powerful tyrants of his time: Kartavirya Arjuna. However, he is still inexperienced in the ways of war, has many an obstacle to face and many a lesson to learn before he can face his mighty foe. These include recognising his unique position as a Brahma-Kshatriya, awakening his inner potential as an Amsha Avatar and earning the right to use celestial weapons or Divyastras. This is a nuanced portrayal of a figure who is often only recognised for some of his more sensational actions such as beheading his own mother and going on a Kshatriya killing spree.

It is also an excellent example of Itihasic fiction done right and may well inspire a new cohort of writers to take notes on how this evolving genre can be written with finesse and verve.

Full disclosure: The author has very kindly gifted me a copy of his novel in exchange for an honest review.

Major Elements of the book:

1. Poetical Writing Style:
   The author truly has a gift for poetical and lyrical language. A basic perusal of his previous narrative poem “Shandilyahudita Tushar Swayamvara” in the Indic Academy’s ‘An Anthology of Vedic Women -Aryaa’ makes it obvious that that is his strength. But it continues to be on display here as well. I’m unsure if the author is tapping into some supernatural or divine realm while penning down this poetical prose. Regardless though, I long to read more of anything he writes. He makes even troubling scenes such a delight to read by rendering them in lyrical sentences. There is one particular chapter with a scene featuring Arjuna. He wreaks havoc and rampages ecosystems out of sheer frustration for not getting his way like any petulant tyrant. It also includes excellent passages where a Rishi, Apava, stands up to his bullying ways and restores a forest to its original state after Arjuna tries to incinerate it for his selfish reasons. Despite the gravity of the situation, these specific sections of the chapter are sheer pleasure to read since the writing is of stellar quality.Passage 1: Arjuna incinerating the forest:
   “He invoked the mantra for the Agneyastra and chanted it mentally with full focus, imbuing it with his spiritual merit. He raised the small bunch of green grass shoots in his right hand to his chest. The grass began to glow.He opened his palm and gazed at the shoots. Each blade of grass had turned a brilliant, red hot. He looked up at the site, at the dense forest where the temple was to be built. Shards of molten fire flew from his palm, multiplying in number as they reached the forest, alighting gently on treetops, branches and leaves. They slipped onto the earth and disappeared within the tree trunks. The forest went deathly still. The courtiers, priests, and workers stared in astonishment. The forest erupted into a raging conflagration. The heatwave pummelled through the air, pushing back everyone, except Arjuna, a dozen paces. Tree trunks cracked open, and the sap inside vapourised before it could even drip. The trees crumbled into ash, not a single twig escaping the fire. The flames leapt dozens of yards resembling maniacal demons lost in an orgy of destruction. Hands formed of fire caught flying birds and burned them to a crisp. Rivers of blaze spewed from the innards of the earth. Smoke belched out of the fire, thick, dark and voluminous, blocking out the sun.”Passage 2: Apava restores the forest to its original form:
   “Two tears, one in each eye, dropped from the corners Apava’s eyes. They flowed down his face, down the bark he had for skin, down the crevices and bulges of his extraordinary body, which was swelling with water. They fell away from his body as twin streams, soaking into the ground, forming puddles and pools in the depressions in the earth. Myriad roots snaked away from Apava as the ash scattered in the sudden cool breeze. He rubbed his hands on his torso and his hands came away with seeds of all shapes and sizes. He threw them into the wind, and they floated away in the mist, scattering all over the moist earth. As the seeds hit the ground, shrubs and stems sprouted from them and grew prodigiously. Vines stretched from Apava’s hair and wound around the growing trunks. Apava breathed heavily and butterflies and moths, damselflies and bees, will-o-wisps and grasshoppers flew out with his exhalation. Earthworms, centipedes and snakes, squirrels and rodents, ants and other foraging animals emerged from under his feet and scrambled into the emerging shrubbery. Apava cupped his hands to his mouth, and he blew into them. As he raised his hands to the sky, a thousand different birds burst into the open air. Full-grown trees started to peep out from the mist and suddenly, the forest was back again. Apava pressed his palms and closed his eyes in prayer and the forest once again thrummed with life, with chirps and tweets, snorts and mating calls. From somewhere deep in the grove came the defiant roar of a tiger.”
2. Psychological depictions with particular focus on the antagonist, Arjuna:
   All the characters are fully fleshed out and are not caricatures. These nuanced psychological depictions are not limited to just the major characters such as Parashurama, Jamadagni, Renuka, and Arjuna but also other minor characters such as AkritaVrana, Anantha, Dasagreeva and Manorama. AkritaVrana and Anantha are two individuals who accompany Parashurama in his quest. The former sticks around longer given that he is his Shishya, while the latter is encountered during their journey into Malaya-Kshetra. Dasagreeva is none other than Ravana who makes a brief appearance here, where he has not yet reached the level of dizzying power that he is known to be in the Ramayana. Manorama is Arjuna’s wife who plays a significant role in advising and abetting him in his attempts to thwart any resistance.
   We see Parashurama as fierce, courageous and indomitable on both the battlefield and in spirit alike. But we also see his more vulnerable sides when (spoiler alert) he assumes he has permanently parted ways with his parents upon their deaths. However, they are revived at a later point. His sense of righteousness, commitment to Dharma and devotion to Mahakaal and Devi Bhagwati all come through across various sections of the book. There are some interesting creative liberties taken in this re-imagining, though the author faithfully retains the essence of Parashurama’s personality. Despite it being a fictional retelling, it throws light on the under-appreciated roles that his father Jamadagni and his mother Renuka have in moulding Rama to be the man he is. They play an instrumental part in acknowledging his being a Brahma-Kshatriya and help him recognise his latent potential as he becomes an Amsha Avatar. Popular depictions have left us conceiving of Parashurama as being ever angry and solely focused on his killing spree of the Kshatriyas. This is a reductive generalisation and the novel’s attempt to flesh him out as a far more multifaceted figure dispels this misconception. The author must be commended for the Shraddha and Bhakti with which he depicts Lord Parashurama, and Maa Chinnamastha, who makes a brief appearance in the beginning. There are no attempts to reduce the former down to the level of mere mortals. It is a reverential but nuanced portrayal; something that is often missing in modern-day Itihasic fiction.
   Although there are other intriguing characters such as the spirited, resilient and resourceful Renuka as well as the enigmatic Saptarshi, Jamadagni, I will focus on the book’s primary antagonist, Arjuna. The Kartavirya Samrat, Arjuna is an attention-grabbing figure particularly given his past track record as a Dharmic individual who gradually succumbs to vice. The book switches between the perspectives of both Parashurama and Arjuna, although the narration is not in the first person’s voice. The reader is not privy to detailed accounts of events before the latter becomes an immortal and powerful ruler. However, they do learn more about him after he has gone astray from the path of righteousness. He was once a powerful proponent of Dharma, was granted many divine boons and was blessed to have Guru Dattatreya as his preceptor. However, he squandered his many blessings and soon began to incur divine displeasure with his indulgence in wanton acts of evil.
   From failing to hold his vassals accountable for their gruesome crimes to wrecking ecosystems and killing sentient beings either for selfish purposes or out of sheer battle lust, his track record is a murky one. He seems to be satisfied with tolerating Adharma as long as he receives his monetary tributes from said vassals. Moreover, when he wanted to consecrate a grandiose temple on a specific site, he heartlessly chose to evict its denizens without a care as to the consequences. He used his Divyastras to burn down the forest in question and even incinerated the animals, birds and forest life! Later, he displaced an ocean and wreaked havoc on the marine lives out of sheer frustration over not getting his way thanks to the intervention of Rishi Apava.Unlike the ideal Maryada Purushottama Shri Rama, Arjuna failed to adhere to his Raja Dharma. A king must prioritise his duties over everything else and see his position of authority as one that is always subject to rules and restrictions. He must exercise due restraint rather than give into his petty desires, whims and fancies. His physical and military might is only meant as a means to protect, not to bully the downtrodden and helpless. Unfortunately, Arjuna has fallen far from his Kshatriya Dharma. Instead of responsibly bearing the mantle of protecting his people, he turns into a petty despot. He doesn’t care for his subjects and people as an ideal Raja should. The latter often looks upon them as his children. Instead, Arjuna has great contempt for them and encourages his ministers and vassals to snivel and be obsequious. He seems to have inspired fear, distrust, and dislike but no real admiration or genuine affection from his subjects and ministers. Despite performing some of his duties as per Shastric injunctions, he was more inclined to rule with an iron hand and brute force. He often rationalises many of his unjust decisions and on one particular occasion, even claims to have a better understanding of matters than his own Guru. This ensued when the latter stopped responding to his prayers for intervention and guidance.
   His hubris and arrogance only grow over time as he grows resentful over the position of Brahmins, insults and incurs the wrath of the Devatas (there’s an instance where he disrespects Indra during the latter’s time of crisis in a war against the Asuras) and so much more. He was a faithful husband though and didn’t seem to be a womaniser. But he did pointlessly kill, possibly out of boredom. There’s an awful scene where he is seen snapping the neck of a young Naga girl whom he had enslaved when he subjugated her people. Clearly, a rogue Kshatriya who had let power go to his head and was harassing people rather than upholding Dharma.
   He received many a chance to course correct. Unfortunately, he fails to heed the many divine warnings and stubbornly doubles down on his vices and vile ways. It is said that he enforced birth-based varna by making it mandatory across his kingdom thereby preventing people from choosing their profession. This topic is something that is heavily touched upon when Parashurama’s mother, Renuka brings it up on her first meeting with Arjuna. Readers will find this section particularly interesting and relevant to present-day discussions about Varna and lineage.
   He is aided in his Adharmic endeavours by his wife Manorama for whom he seems to have a genuine affection. Moreover, he often relies heavily on her judgement, by heeding her advice and intuition on matters of crucial importance. It is true that in the Hindu ethos, a wife is often regarded as a Sahadharmacharini i.e. one who walks hand in hand with her husband in all his undertakings. Yet that is meant to be Dharmic endeavours, not Adharma! In the case of a husband intent upon the path of Adharma, the Dharma of the wife is to advise and entreat and influence her husband to correct his course. Despite her great spiritual merit, astute judgement and undeniable Bhakti to Devi, she too wilfully decides to ignore all signs that her husband has gone astray. She has premonitions (sometimes during her own Dhyana – meditation) with one particularly grave one featuring a headless figure facing a mirror. This portends death. Despite recognising that certain ominous prophecies could just as easily apply to Arjuna as they could to his adversaries, she chooses to continue abetting him. She carries out spiritual fasts and conducts Yagnas rather than standing aside and neutrally assessing his Adharma for what it is. She is an interesting character in her own right, although not worth emulating. A clear example of flawed understanding of Dharma, of which we see ample examples in the Mahabharata. It would have been much better if she had challenged his Adharmic ways instead of assuming that the course of her Patni Dharma lay in abetting and strengthening him. 
3. Battle scenes:
   Some of the battle scenes make for exhilarating reading with a fair amount of gore, blood and violence which never crosses the point of being overly gratuitous. One, in particular, was when (spoiler alert) Lord Shiva responds to Parashurama’s prayers and not only manifests but also tests his battle prowess and spiritual power before eventually blessing him with the double-axed, famed weapon ‘Mahakaal’s Parashu‘. The chapter ‘The Battle of Axes’ is one of the book’s stand-out chapters where the sense of battle tension is stretched across the pages and the reader almost feels like a witness to the unfolding fight. Other noteworthy battle scenes include Parashurama’s encounters with the Asuras when aiding the falling Devatas and his final battle with Arjuna in his terrible thousand-armed form as Sahasrabahu. 
4. On the centrality of Tapasya:
   The importance of Tapasya is heavily highlighted across multiple parts of the book. The author mentions in an interview, that the potency with which Divyastras were invoked and utilised was often strongly linked to the spiritual prowess of those who invoked it. This tapasya aspect is often overlooked in popular Itihasic fiction. Warriors frequently did do powerful penance prior to battle and Sadhana was not limited to reclusive Rishis, as it is often mistaken to be. To see Bhagwan Parashurama engage in both physical warfare as well as spiritual battles is most interesting, and this is the first time I have seen it being done well in literary fiction. One hopes future authors follow his lead and integrate this aspect into their fictional works as well. 
5. The mirror motif:
   The mirror motif occurs continually across the book and reveals itself to both Parashurama and Arjuna either during their Dhyana or their dreams. It is ideally a metaphor for self-reflection and self-awareness. It reflects the truth of reality and encourages us to see ourselves for what we truly are: vices and merits and to objectively analyse our past actions. Parashurama is the ideal who constantly strives to honestly and thoroughly assess himself. Although he comes close to allowing his hubris to cloud his judgement on one specific occasion, he is saved through Divine grace and offered another chance to redeem himself. I’m referring to the battle and test of Mahadeva where he is beckoned to remember the sacrifices of those who made him what he is today. He must not arrogantly believe that the fruits of his endeavour are solely due to his own Tapasya. It is just as much a product of the Pitru’s labours and Divine blessings. These gentle reminders come to him from Devi (in Her form worshipped as a Kalasha) and images of Parashurama’s Pitrus that flash before him while waging battle. He learnt his lesson and strived to never forget it. Quite a contrast from the other, Arjuna. He too receives a vision of a mirror in a dream. In one instance, he sees the mirror reflecting his image but with his head turned backwards. It could be a sign of him turning his back on Dharma and refusing to see the reality of his wrongdoings. It then morphs into a grotesque putrid carrion with a strange creature’s limbs extending outwards. Such omens don’t bode well in addition to his other dreams and the ominous dreams of his wife Manorama as well.
   The mirror sometimes reflects delusions and untruths back at its gazer. Even when it reflects the truth, people can choose to wilfully ignore or misread it. This is so in Arjuna’s case. He refuses to see the signs for what they are: a warning of his impending doom, the karmic repercussions for his heinous deeds, divine displeasure and withdrawal of his Guru’s blessings. Despite this, he only doubles down on his Adharmic acts. Quite the opposite of Bhargava Parashurama. A tool for genuine reflection and self-assessment is used so differently by two distinct individuals. The choices they make lead to all the differences in the world.

Further Observations and Reflections:

The author pays homage to his MatruBhoomi through intriguing descriptions and mentions: the Malaya Kshatriyas, Devi Bhadrakali Shrines and the Naga Kaavus (Groves/temples). This combination of elements is quintessentially Hindu with its unique Malayali flavour and makes for an engaging read. The early chapters were also interesting given their depiction of Ayurvedic knowledge and how integrated the use of medicinal herbs may have been in an earlier era. Indeed, Parashurama’s mother is a Vaidya of sorts and there are descriptions and references to her healing prescriptions. Anjan trees, Arjuna bark and Sallaki are some of those mentioned which are said to possess medicinal properties.
Two interesting chapters may strike some readers as being ancillary. It features Parashurama vanquishing three adharmic cults that threaten the very existence of the Sanatani way of living. Discerning readers will immediately guess who the groups of Shanti Marga, Jana Marga and Prakasha Marga are in real life. These sections of the book summarise the basic tenets espoused by the ‘Mullah, Marxist and Missionary’ representatives. While some may find it forced or resembling an ideological screed, it would be better to view it as a parody or at least, an attempt to poke fun at these prevailing cults. There’s a great scene which is as follows.

Parashurama’s pupil, AkritaVrana bravely addresses a crowd comprising a combination of adherents of all three groups. He challenges their metaphysical assumptions about the universe and human beings while also positing the validity of Santana Dharma. It’s an excellent example of intellectually analysing the opponent’s belief systems while neatly pointing out the logical lacunae and loopholes in their arguments. Also, there’s a humorous spin to the whole thing as the characters poke fun at some of their antics. These include grimaces and strange convulsions of certain converts, as their leaders preach their teachings in open spaces. We all know what kind of histrionics is being referred to here.

Compared to certain other sensational depictions of the Aghoris, the author’s is an accurate one although they only make an appearance in the book’s early plot. Here is a rather apt description quoted verbatim:

“He marvelled at their way of life. Living among the dead, but so full of life. Worldly accomplishments meant nothing to them. No wealth, no power, and no fame could lead them astray. They had their rituals and rites and didn’t seek to impose them on others nor argue the superiority of their ways. They didn’t tolerate meddling in their affairs either and were rigorously disciplined in their own peculiar way. They were the true seekers of truth. A hard life, but a free one, and they had such wonderful songs – music for the ears and solace for the soul.”

The prophecies some of them proclaim are in poetical prose and make for a delectable reading experience. The scenes depicting Maa Chinnamastha were chilling and blood-curdling, and the author has accurately managed to capture the eerie supernatural elements in his writing. One almost felt privy to its mysteries and a participant in the arcane rituals being carried out. Poetical prophecies are not confined to those uttered by the Aghoris alone. Indeed, they abound across the book as do dreams and Dhyana. The latter two often act as mediums for foreshadowing of events. Most deal with Parashurama awakening to his full potential and slaying the Adharmic Arjuna. Mediums of foreshadowing are not limited to premonitions and prophecies though. Often guidance and advice also come to Parashurama. Most notably, the help offered by Lord Dattatreya, Arjuna’s former Guru and preceptor. No longer pleased with Arjuna’s Adharmic acts, he withdraws his blessings and instead assists and directs Parashurama in bringing about the end of the former’s tyranny and eventual demise.

In Conclusion:

A minor quibble though, I wish the book included some kind of foreword or afterword from the author on his choice of creative liberties and source material that inspired him. Curious readers would be interested in knowing more. Thankfully this series of interviews sheds much light on the above

1. https://youtu.be/PqQn1pnSANw?si=ejK4doVjt3lz1pko
2. https://www.youtube.com/live/m8Gvp48Tuh0?si=YCl5Fn9kqLzF7njq
3. https://youtu.be/nuyiQFX3nqY?si=c9z0rPjAoAs0Qsc1

Primary research material includes the Malayalam version of the Brahmananda Purana as well as folk stories of Renuka Devi where she is worshipped as Yellamma (particularly in parts of Northern Karnataka and Southern Maharashtra).

There were multiple times when I had to consult the dictionary while reading this book. There is a generous number of words that most of us are not familiar with, and it was a great opportunity for me to expand my vocabulary. However, readers who prefer to read at a stretch will find that the unfamiliar words mar their reading experience. It may also prevent the book from reaching a larger audience than it ideally should.

The conclusion is satisfying and although it does not end on a cliffhanger, I’m very curious to see how the author takes things forward in the next part of his series. Does Parashurama continue to instruct AkritaVrana? What motivated him to go on a Kshatriya killing spree? Do we learn of what happens to Dasagreeva who was humbled in battle by Samrat Arjuna and sweet upon the path of Tapasya to propitiate Mahadeva? I’d love to see subsequent interactions with the seventh Avatar, Shri Rama and with Karna who came to him for tutelage as well. The book is excellent and seems ripe for cinematic and comic book adaptations. I can even see it as a popular Audible title with a multi-cast narration! The author mentions other possible books such as Rama of the Bow (Shri Rama of Ayodhya) and Rama of the Plough (Balarama) apart from the next book in the current duology. This is exciting news and this reader is particularly eager to see all that the author has to offer in the future.

Final Rating: 4.5/5 Stars 

Heartily recommended. A book that is both entertaining and full of interesting insights.