Book Reviews
Recasting the Indian epic Mahabharata from the perspective of Princess Panchaali, veteran novelist Divakaruni (Queen of Dream) offers a vivid and inventive companion to the renowned poem. Born from fire and marked with the prophecy that she will change the course of history, the strong-willed Panchaali declares early on that she won't spend her life merely supporting the men around her. Soon enough, she bucks tradition by simultaneously wedding all five famous Pandava brothers, who have been denied their rightful kingdom, and finds herself the happy mistress of the much-envied palace of illusions. Panchaali's joy is short-lived, however, when hubris, fate and the desire for vengeance in reclaiming the Pandavas' kingdom (all also prophesied) cause her and her husbands to make mistakes that have cascading political effects, shattering peace in the region. Devastation ensues, but spiritual remarks from the divine Krishna put life and death in a cosmic context. Despite an intrusive retrospective voice ("I didn't know then how sorely...love would be tested") and a sometimes heavy-handed feminism, Divakaruni's rich, action-filled narrative contrasts well with the complex psychological portrait of a mythic princess.
Publishers Weekly
Mahabharat, the Sanskrit epic of ancient India, tells of two noble families, the Pandavas and the Kauravas, who battle each other over rule of the Hastinapura kingdom. Divakaruni (The Mirror of Fire and Dreaming) retells this drama from the perspective of Panchaali, the wife of all five Pandava brothers. Born from fire, Panchaali has led an unusual life from the outset. Unlike other women, she has no interest in typical female endeavors; she would rather be tutored alongside her brother in the art of war and the machinations of ruling a kingdom. Also unlike other women, she is married to five men—all of whom love and respect her. But Panchaali's heart belongs to her husbands' enemy, the famous warrior Karna. Divakaruni has taken a male-centered story and breathed new life into its female characters, giving us a rich tale of passion and love, power and weakness, honor and humiliation. Whether or not readers are familiar with the Mahabharat epic, still fascinating and relevant several millennia on, they will enjoy this entertaining, insightful, and suspenseful story. Recommended for all fiction collections.
Joy Humphrey - Library Journal
Divakaruni (Queen of Dreams, 2005, etc.) offers a quasi-feminist retelling of the great Hindu text known as the Mahabharata. Among the world's longest epic poems and dated to the 5th century BCE, the Mahabharata traces the dynasty of the Pandava brothers, from the circumstances of their birth to the great war fought for the honor of Panchaali to their last days in search of spiritual peace. Gods intervene, divine weapons waylay whole battalions, a fantastical palace inspires a war, yet Divakaruni manages to keep the story human and relevant, also about a woman, her marriage, her mother-in-law. The plot remains essentially true to the original, but here the story is narrated by Panchaali, born out of fire to avenge her father. It is decreed that she will change history, and she certainly begins well when she marries all five of the Pandava brothers (by a strange bit of misunderstanding, the brothers' mother insists that the brothers must share all of their good fortune). Panchaali becomes queen and builds for herself the Palace of Illusions, the most magnificent dwelling on earth, made of marble and magic. But Panchaali's worldly triumphs are paired with her spiritual failings: her pride, her need for vengeance and the secret love she holds for Karna, her husbands' greatest enemy. When her husband Yudhisthir loses their kingdom gambling, Panchaali and her husbands are forced into forest exile for 12 years, and when they re-emerge, they begin the war that will pit all the kings of India against each other, and will fulfill the prophesy of Panchaali's birth. Throughout the story, there is one constant in Panchaali's life—the benevolent presence of Krishna, her greatest friend (she vaguely suspects he is divine) and ally. Occasionally the novel falls flat—decades and events flash by with mere mention, one suspects a result of compressing such a rich work into such a small space—but Divakaruni mostly succeeds in creating an intimate, feminine portrait that is both contemporary and timeless. An ambitious project effectively executed.
Kirkus Reviews