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Winds Of Hastinapur Kindle Edition
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I chanced upon the first member of your ambitious hastinapur series, and there were prejudices galore in my mind when I embarked upon the fruits of your hardwork.
The novel started slow, meandering through the mythical lands of Mere, depicting Ganga in the human emotions of want and regret.
But boy, was I blown away at the end of this epic? I surely was.
Now to tell the readers, this novel is not for those who want everything at a breakneck speed. This is a slow burner, that plays with its characters with the ruthlessness of karma itself.
You have been utterly impartial to all of your characters, watching and writing them from a sideways glance, never once glorifying one and maligning another.
One theme that has been consistent through this novel is that heart-tugging regret that every human feels- what if I had done that?
Ganga regrets blessing her son with angelic water; Satyavati regrets twisting Devavrata into an inhuman path and so on.
The lives of Sharath's characters are full of these regrets and aches, making them as human as we the lowly selves of today are.
Man, are you sure you are not Ved Vyasa incarnate?
Because you seem to be, at least the cyber Vyasa of Bangalore.
Besides Draupadi and Kunti, two other women played pivotal roles in the Mahabharata. - Ganga and Satyavati.
Ganga was the mother of the lynchpin figure Devavrata aka Bheeshma. The mysterious story of his birth was due to the foibles and transgressions of demi-gods carvorting in the utopian heights of Mount Meru.
After siring Bheeshma from the celestial Ganga, King Shantanu turned his attention to the piscine Satyavati. The birth of this fish-smelling lady was fishy, to say the least, as was her past. As the result of a premarital dalliance she had given birth to the compiler of the Mahabharat – Ved Vyas himself. In this book she is not the alluring princess of the fish-folk community as is generally considered, but a scrawny, dark, promiscuous and scheming virago.
These two ladies narrate most of the story in the first person and there are some interesting interpretations of mythical events, although at times it reads like chick-lit. The ‘samudra manthan’ for example, shows the blatant treachery of the devatas. Spoiler alert – the secret of the fountain of youth or Amrit is revealed here and makes for morbid reading - "the life of self thrives upon the death of the other. That is the only law of nature that is immutable. Life feeds on death. and death feeds on life;"