The Palace Of Illusions Pdf Printer

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A reimagining of the world-famous Indian epic, the Mahabharat—told from the point of view of an amazing woman. Relevant to today’s war-torn world, The Palace of Illusions takes us back to a time that is half history, half myth, and wholly magical. Narrated by Panchaali, the wife of the legendary Pandavas brothers in the Mahabharat, the novel gives us a new interpretation of A reimagining of the world-famous Indian epic, the Mahabharat—told from the point of view of an amazing woman. Relevant to today’s war-torn world, The Palace of Illusions takes us back to a time that is half history, half myth, and wholly magical.

Narrated by Panchaali, the wife of the legendary Pandavas brothers in the Mahabharat, the novel gives us a new interpretation of this ancient tale. The novel traces the princess Panchaali's life, beginning with her birth in fire and following her spirited balancing act as a woman with five husbands who have been cheated out of their father’s kingdom. Panchaali is swept into their quest to reclaim their birthright, remaining at their side through years of exile and a terrible civil war involving all the important kings of India. Meanwhile, we never lose sight of her strategic duels with her mother-in-law, her complicated friendship with the enigmatic Krishna, or her secret attraction to the mysterious man who is her husbands' most dangerous enemy. Panchaali is a fiery female redefining for us a world of warriors, gods, and the ever-manipulating hands of fate.

That is correct, and there are many versions to this. One of them is that Drupada is outraged on hearing about their demise and goes to the sage who That is correct, and there are many versions to this. One of them is that Drupada is outraged on hearing about their demise and goes to the sage who predicted that his daughter would marry Arjuna. The sage reassures him that his prediction would come true, and advises him to hold the swayamvara. Another version says that Krishna goes to Drupada, hinting that Arjuna and the pandavas are still alive, and suggests that he have a test in the swayamvara that only an archer of the highest skill would be able to pass. There may be other versions as well, and I'm not a master of this epic.

So I suppose if you're in my place, just keep an open mind and enjoy reading. There are actually two ways of dealing with such curiosities. One is by endlessly searching for facts trying to verify it and the problem with it is There are actually two ways of dealing with such curiosities. One is by endlessly searching for facts trying to verify it and the problem with it is that we’re still not sure whether Mahabharata, or even Ramayana, really did ‘take place’ or not but that’s a whole other debate. The other way is to treat it like literature is supposed to be treated.

These epics were woven to inculcate values that the society lacked and it got modified according the need (different regions had different problems) So across India, you’ll find many versions of Mahabharata. No one version is ‘correct’ and you’ll find that no two versions are similar. ‘The Palace of Illusions’ is Chitra Banerjee’s version of it and in it Draupadi fancied Karna. It’s different from the original but that’s the charm of literature. Different people derive different meanings from the same poem. So you could have your own version of ‘Romeo and Juliet’ with a happy ending. Granted, it completely modifies the original but it saves you from the heartache the tragedy delivers.;).

I was intrigued as soon as I heard the plot of The Palace of Illusions, and I knew I was going to like it right away. I think Chitra Banerjee Divakaruni deserves three out of the five stars I gave her just for thinking of the idea itself. The Mahabharata has been part of India's ancient culture and history for the past 3000 years, and yet no one ever thought of narrating the epic from a different point of view.

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Of course, I personally cheered at her choice of Draupadi as her narrator, having give I was intrigued as soon as I heard the plot of The Palace of Illusions, and I knew I was going to like it right away. I think Chitra Banerjee Divakaruni deserves three out of the five stars I gave her just for thinking of the idea itself.

The Mahabharata has been part of India's ancient culture and history for the past 3000 years, and yet no one ever thought of narrating the epic from a different point of view. Of course, I personally cheered at her choice of Draupadi as her narrator, having given a lot of thought to the treatment of women in the Mahabharata. Draupadi, or Panchaali, which is what she is called in this book, has been one of the most mysterious creatures in the grand epic. She has five husbands, the five Pandava brothers, but does not have the choice and freedom of a polygamous wedding, as she is passed around from brother to brother, every year. She has always been portrayed as the victim by all the accounts of the Mahabharata I have read, even though the readers knows little to nothing about her feelings. In this book, Draupadi is anything but the victim. She is shown as a fiercely independent, rebellious woman, who wants to take her destiny into her own hands.

While her thoughts and actions sometimes made me less sympathetic towards her character, I still felt like she was empowered and strong-willed. I won't go into the details of the book, as the Mahabharata is quite a complicated saga. However, I will say that it was very refreshing to read the story through Draupadi's gendered lens.

The author did a wonderful job of sticking to the script of the original epic. Had she strayed from it, she wouldn't be according it the respect that it deserves. But as such, she rewrites the story so masterfully, changing nothing but Draupadi's feelings. These were a bit intriguing to me, as her relationship with Krishna and Karna are brought into play. These feelings are not part of the original Mahabharata, and that is about the only liberty she took with the script.

I thought they were a nice addition, and it helped make the book a little more universal, because who doesn't like a love story? But I will get into the reasons why I was a bit disappointed nonetheless. If I had to criticize this book, I would say two things: --The manner in which gender roles are portrayed is a little constrictive. It seems that the author is a cultural feminist, one who believes that there are differences in the nature of men and women.

Men fight wars, display characteristics of aggression, strength, competitiveness and violence. Women use the power of words, and are supposed to be caring, nurturing, motherly, and cooperative. Most South Asian feminist would agree with this point of view, but it would have been really wonderful if Chitra Banerjee had broken through these 'stereotypes' a little and ensured that the reader remained more sympathetic towards Draupadi when she did not follow these gender roles, instead of giving off the impression that she is a bad mother and wife. For example, I would have LOVED to read something along the lines of: 'well yes, maybe she is negligent of her children, but she never wanted children in the first place; in fact, she never wanted this fate for herself, so it is useless to criticize her for not fulfilling her duty'. --This is a personal thing too, but I have noticed that most women's self-empowerment stories always have to do with secret feelings or affairs that they have with men that are not their husbands.

Although that is not the only way that women can empower themselves, but most stories about South Asian women seem to show them in this light. This is not the first (think Brick Lane, Pikoo's Diary). I just wish that Draupadi's feelings for Krishna and Karna had been toned down a bit, to show that illicit thoughts or affairs are not the only way for a woman to empower herself.

Despite this, I highly recommend this book to anyone interested in either women's issues or grand epics. The writing was in no way spectacular, but it portrayed emotions adequately enough. I wanted to read it again as soon as I finished it, and I have a feeling I will never think of the Mahabharata in the same way again.

Just a petty complaint: I'm in the middle of this book and have a strong enough sense of the story to be able to make a heart felt plea: enough of the blatant foreshadowing! It's as if the author has no other creative or subtle use of language to hint at things to come. It always involves the last sentence of the chapter, starting with the end of Chapter 1, 'I didn't know then how sorely that love would be tested, or how much it would cost both of us', 'I didn't know that I'd never see this fragr Just a petty complaint: I'm in the middle of this book and have a strong enough sense of the story to be able to make a heart felt plea: enough of the blatant foreshadowing! It's as if the author has no other creative or subtle use of language to hint at things to come. It always involves the last sentence of the chapter, starting with the end of Chapter 1, 'I didn't know then how sorely that love would be tested, or how much it would cost both of us', 'I didn't know that I'd never see this fragrant flower-laden road - or the palace I so loved - again', 'The current of destiny seemed to have flung us ashore and receded.

Not knowing that it was gathering in a tidal wave, we chafed in our calmness.' And so it goes over and over again. I know it's a petty complaint for a story that is so grand and epic as a retelling of the Mahabharat. It seems more of a reflection of how the author views her own writing abilities - as if she does not trust her skill at being able to work the story delicately, subtlely, and weave it carefully so there need not be so graphic statements that constantly thread an ominous and foreboding feeling throughout the whole book. It does not allow the reader to let down their guard to get lost in the story, as they are always waiting for the other proverbial shoe to fall. Other than this issue, I admire the author's ambitions and think she deserves recognition for what she does accomplish with the story.

Though her writing and story telling are not as sophisticated as Ki Longfellow or Anita Diamont, she has real potential and I look forward to watching her develop her talent. Aku selalu suka sama kisah yang mengangkat sudut pandang berbeda dari seorang perempuan. Dan Drupadi ini dengan sukses telah menghipnotisku dengan kehidupannya yang penuh liku-liku. Drupadi adalah titisan Dewi Agni, yang diramalkan akan mengubah sejarah. Pada bab-bab awal Putri drupadi diramalkan bahwa dia akan menikah dengan lima pahlawan besar pada zamannya, akan menjadi ratu dari segala ratu, dicemburui para dewi.

Akan menyebabkan perang terbesar, kematian kakak dan anak-anaknya, akan menye Aku selalu suka sama kisah yang mengangkat sudut pandang berbeda dari seorang perempuan. Dan Drupadi ini dengan sukses telah menghipnotisku dengan kehidupannya yang penuh liku-liku. Drupadi adalah titisan Dewi Agni, yang diramalkan akan mengubah sejarah. Pada bab-bab awal Putri drupadi diramalkan bahwa dia akan menikah dengan lima pahlawan besar pada zamannya, akan menjadi ratu dari segala ratu, dicemburui para dewi. Akan menyebabkan perang terbesar, kematian kakak dan anak-anaknya, akan menyebabkan sejuta perempuan menjanda. Dan ramalan tersebut menjadi kenyataan.

Dia dilahirkan dari api bersama kembarannya Drestadumnya, demi membalaskan dendam sang Ayah yang bersitegang dengan sahabat lamanya Drona. Pembalasan dendam inilah yang menjadi akar bagaimana kesengsaraan dimulai. Atas nama kehormatan, para pria tak bisa mundur dari sumpah yang telah diucapkan mereka. Atas nama kehormatan, para pria lebih rela bertarung habis-habisan dan merenggut nyawa yang pernah mereka kasihi.

Atas nama kehormatan seorang ibu membuang bayi pertamanya ke sungai Gangga. Atas nama kehormatan Amba kembali pada Bisma, dan mengucap sumpah dendam. Atas nama kehormatan pula Drupadi terikat sumpah yang akan membawanya pada sebuah perang besar. Kenapa aku suka sama buku Palace of Illusions ini?:D Karena pengarangnya tidak memihak pada satu tokoh pun.

Bahkan tidak pada Drupadi sendiri. Tidak ada yang patut disalahkan dalam perang tersebut. Tidak drupadi, tidak drona, tidak duryodana, tidak yudisthira. Karena itu sudah menjadi suratan takdir. Manusia hanyalah bidak waktu.

Bidak yang mempunyai peran penting saat waktu terus bergulir. Seperti yang dituliskan pada halaman 68 Takdir itu kuat dan cepat. Kau tidak bisa memperdayanya dengan mudah. Meskipun kau tidak mencarinya hari ini, pada waktunya takdir yang akan menemukanmu. Favoritku tetap Bima.:D Gak peduli badannya keker kek, serem kek, pokoknya suka.Cintanya ke drupadi tuh bikin klepek-klepek.

Sudaaah gak bisa berkata-kata. Hanya satu yang kupelajari. Dalam perang yang dibutuhkan sebagai senjata pamungkasnya adalah kebencian. Bukan kasih sayang. 'The Palace of Illusions' by Chitra Banerjee Divakaruni is really a book worth reading! I think its a must read for people who have an interest in the rich literary heritage of India. The author has beautifully summed up longest epic (Mahabharata) in around 360 pages.

The story is narrated from the view point of a very important female character in Mahabharata, Panchali. This, I felt, is very unique. This book has added a very interesting touch to the epic. The book begins with 'fire' and ends w 'The Palace of Illusions' by Chitra Banerjee Divakaruni is really a book worth reading!

I think its a must read for people who have an interest in the rich literary heritage of India. The author has beautifully summed up longest epic (Mahabharata) in around 360 pages. The story is narrated from the view point of a very important female character in Mahabharata, Panchali. This, I felt, is very unique. This book has added a very interesting touch to the epic. The book begins with 'fire' and ends with 'fire'. It truly rekindles a 'fire' that is, of satisfaction in our hearts after completing this amazing novel.

Besides, the cover of the book is so awesome and attractive. I thoroughly enjoyed reading the book. ‘Palace of Illusions’ by Chitra Banerjee Divakaruni had been on my TBR list for years, but honestly, I wasn’t sure it was for me.

As I review it today, I have only myself to blame. I was totally swept over by Chitra’s prose, mesmerized by the conviction with which she writes the story of one of the most complex characters of Mahabharata, that too, in first person. Kudos to the author for successfully presenting a fast paced compendium of this epic Indian text, which as it happens, is also one of ‘Palace of Illusions’ by Chitra Banerjee Divakaruni had been on my TBR list for years, but honestly, I wasn’t sure it was for me.

As I review it today, I have only myself to blame. I was totally swept over by Chitra’s prose, mesmerized by the conviction with which she writes the story of one of the most complex characters of Mahabharata, that too, in first person. Kudos to the author for successfully presenting a fast paced compendium of this epic Indian text, which as it happens, is also one of the longest poems ever written (it is roughly ten times the length of the Iliad and the Odyssey combined, as per Wikipedia).

The narrative is telling of the life and travails of Draupadi, the woman who was born out of fire, married to five of the fiercest warriors of her time (the Pandavas), the queen who ruled one of the most magical of palaces, one who refused to learn the lessons her friend, Krishna, a God incarnate, taught her, a woman who was obsessed with vengeance, and spurned by the world for having been the cause of the great battle of Mahabharta, the battle that saw clans obliterated, and millions dead. Through smart dialogue, the author cleverly etches out the character of Draupadi, careening a bit as she does this, from how this character has been portrayed in other versions of this epic tale, giving her faults and imperfections, likes and dislikes, loves and hates just as us humans (thus delineating her from the conditions surrounding her unnatural birth). The novel delves into the secrets of her life, the man she loved above her five husbands, her feelings as she witnessed acts of perfidy by people she considered her own, the ignominy of insults heaped on her by the world. In the end, the reader has become so much a part of this central character that just like her, he/she is craving for something to redeem her. And redemption happens, yes it does! I have yet to read a novel that'd a more satisfying ending as this.

Definitely something for me to learn there!! Buku pinjaman dari tante Mumut.:) PROLOG ( boleh dilewat soalnya rada2 OOT:D) ----------------------------------------- Pertama kali saya tahu ada cerita tentang Mahabrata adalah waktu saya SD, film Mahabrata pada waktu itu ditayangkan oleh salah satu stasiun televise swasta, yang memang dulu sempat mendapat julukan sebagai Televisi Pilem India, soalnya stasiun televisi tersebut sering menayangkan film India.

Namun saya sendiri kurang tahu tentang sejarah cerita tersebut, hanya beberapa tokoh saj buku pinjaman dari tante Mumut.:) PROLOG ( boleh dilewat soalnya rada2 OOT:D) ----------------------------------------- Pertama kali saya tahu ada cerita tentang Mahabrata adalah waktu saya SD, film Mahabrata pada waktu itu ditayangkan oleh salah satu stasiun televise swasta, yang memang dulu sempat mendapat julukan sebagai Televisi Pilem India, soalnya stasiun televisi tersebut sering menayangkan film India. Namun saya sendiri kurang tahu tentang sejarah cerita tersebut, hanya beberapa tokoh saja yang ada di ingatan saya, terutama para Pandawa yang sering menjadi perumpamaan untuk menggambarkan orang yang memiliki sifat-sifat atau ciri-ciri seperti para Pandawa. Yudhistira, adalah Tokoh Pandawa yang menggambarkan seorang pemimpin yang sangat jujur, yang (hampir) tidak pernah berbohong (walaupun pernah berbohong 1 kali tapi sebenarnya tidak berbohong). Tidak mendapat memiliki hasrat keduniawian, ketika mendapat titah menjadi raja, maka dia hanya menjalankan saja kewajibannya.

Sungguh lah pemimpin yg sangat ideal Yudhistira ini. Seorang pemimpin yang dirindukan, andai saja di Indonesia ada seorang pemimpin yang seperti dia.

Maka tak heran jika istilah atau menyamakan seseorang dengan Yudhistira belum pernah saya dengar sebelumnya. Bima, nama yang sangat tidak asing, sering digunakan untuk menggambarkan karakter seseorang yang kuat, tegas, dan galak ketika berhadapan dengan ketidakadilan, bahkan salah satu anggota tubuh Bima menjadi ikon minuman suplemen buat laki2, iya benar kukunya. Bayangkan kuku miliknya Bima saja sangat kuat, apalagi bagian yang lainnya.:) Tokoh Pandawa yang lain adalah tokoh yang digilai oleh banyak perempuan, tokoh yang sering jadi sebutan buat orang yang memiliki paras rupawan dan tukang kimpoi. Dialah Arjuna, seorang yang suka puasa, dan berkelana, mempunyai wajah yang bercahaya, cahaya yang terpancar dari wajahnya inilah yang membuat lawan jenis maupun sejenis klepek-klepek. Dua tokoh Pandawa yang terakhir adalah saudara kembar Nakula-Sadewa, yang saya tahu dijadikan nama sebuah yayasan yang menaungi para anak kembar, dibawah asuhan kak Seto.

Tokoh2 itulah yang saya ingat dari cerita Mahabrata, walaupun saya adalah penggemar wayang golek. Mungkin karena yang jadi pusat perhatian saya bukanlah tokoh utama dalam cerita Mahabrata ataupun Ramayana, melainkan tokoh2 (mungkin) fiksi, yaitu para Punakawan. [image error] Semar, nama lengkapnya Semar Badrayana. Semar Badranaya mengandung makna, di dalam sikap bijaksana tersimpan keberuntungan baik bak orang kejatuhan rembulan. Dia dianggap titisan dewa [image error] Cepot atau Astrajinga anak tertua dari Semar, memiliki sifat yang humoris, tokoh ini biasanya dikeluarkan oleh dalang di tengah kisah untuk menyampaikan pesan bebas, biasanya nasihat atau sindiran-sindiran tentang keadaan yang ada di masyarakat.

[image error] Punakawan yang berhidung mancung ini adalah Dawala, biasanya muncul bersamaan dengan Cepot. Dia mempunyai sifat sabar setia dan penurut namun kurang begitu cerdas dan kurang terampil. [image error] inilah anak bungsu dari Semar, yaitu Gareng, sama seperti halnya Cepot atau Dawala, gareng biasanya dikeluarkan sebagai hiburan. Menonton pertunjukkan wayang golek adalah suatu keharusan di keluarga saya, minimal seminggu sekali, sewaktu almarhum bokap masih ada, kita suka nonton bareng apabila ada pertunjukkan wayang golek di hajatan tetangga atau acara di alun2 Kelurahan.

Kebiasaan itu berlanjut sampai saya kuliah, kebetulan waktu saya kuliah salah satu stasiun televisi swasta yg sekarang terkenal karena menampilkan acara jodoh2an, menayangkan acara wayang golek tiap malam minggu. Berhubung saya seorang ‘anak rumahan’ yang gak pernah maen malem, di saat temen2 lagi asik kongkow, nongkrong, clubbing saya malah diem di kosan nonton wayang golek.:) Namun sayang sekali acara wayang golek di tv sekarang sudah menghilang, entah apa sebabnya, mungkin karena pertunjukkan wayang golek membutuhkan banyak biaya dan ratingnya gak begitu tinggi.

Bayangkan saja berapa banyak dana yg mesti dikeluarkan untuk pertunjukkan wayang golek, ada dalang, sinden, dan belasan nayaga, kru di belakang panggung, dan belum lagi biaya buat puluhan golek, nah kan golek itu sendiri butuh “makan” hehehehe. Padahal belum pernah ada pertunjukan wayang golek sampai di stop oleh aparat setempat, karena menimbulkan kerusuhan bahkan sampai ada keributan yang fatal. Jadi hiburan wayang golek benar-benar aman! Tercatat banyak sekali dalang wayang golek, beberapa diantaranya adalah H Ade Kosasih Sunarya, Asep Sunandar Sunarya, Tarkim, R.U. Partasuanda, Abeng Sunarya, Entah Tirayana, Apek, Dede Amung. Yang sering mengadakan pertunjukkan di daerah saya adalah Dede Amung dan Asep Sunandar Sunarya dari Giri Harja 3.

------------------------------------------------------------------ Nampaknya cukup ngelanturnya:D 'Cinta datang seperti halilintar, dan hilangnya pun demikian. Kalau kau beruntung, cinta yang tepat akan menemukanmu, kalau tidak, kau akan menghabiskan seumur hidupmu merindukan laki-laki yang tidak bisa kau miliki.' Buku ini mengingatkan saya tentang cerita Mahabrata, cerita tentang perang Bharatayudha yang melegenda, Buku ini ditulis dari sudut pandang Drupadi atau Pancali titisan dari dewa Agni. Seorang wanita yang akan mengubah jalannya sejarah.

Drupadi yang menikah bukan dengan orang yang dicintainya, walaupun dia dengan terpaksa menikah dengan kelima Pandawa bersaudara, ternyata lima orang tidak bisa menutupi kekosongan hatinya yang mendambakan seseorang yang berada di kasta di bawahnya, seorang anak laki-laki dari seorang kusir kereta. Memang begitulah hidup apa yang kita inginkan gak selalu kita dapatkan, begitu pun Drupadi menjalani hidupnya hanya sekedar menjalani takdir yg sudah tertulis oleh yang maha kuasa, dan bahkan sudah bisa dituliskan Byasa sang peramal di dalam kitabnya.

But sometimes, even if u know how something's going to end that doesnt mean u cant enjoy the ride Selain pernikahannya yang sudah diramalkan oleh Byasa, Byasa juga meramalkan bahwa Drupadi adalah orang yang akan menyebabkan perang terbesar pada masanya. Byasa juga menyiapkan Drupadi untuk menjalani takdirnya, dengan memberikan latihan2 dari mulai latihan hidup sederhana seperti memakai pakaian murah, makan seadanya sampai tips dan trik di tempat tidur.

Byasa juga mengajari aji-aji yang membuat Drupadi akan menjadi perawan lagi setiap kali bersama Pandawa bersaudara. Takdir yang tidak bisa dilawan dan tidak bisa diperdaya, watak dari Drupadi malah mempercepat prosesnya. Kesombongan, pemarah dan pendendam, apalagi waktu dia dipermalukan oleh Duryodana, di depan banyak orang dia ditelanjangi. Karena kejadian itu keluarlah kutukan dari mulut Drupadi “aku tidak akan menyisirnya, sampai saatnya aku membasuhnya dalam darah Korawa.” Sebuah sumpah dan kutukan yang menyebabkan perang besar dalam sejarah. Dalam perjalanan hidup menjalani takdir yg sudah dituliskan, Drupadi mengalami berbagai macam gelombang kehidupan. Hidupnya tidak pernah puas, kerinduan terhadap sang anak kusir kereta begitu menggebu2, selalu orang itu yang terlintas dalam pikirannya.

Bahkan sampai akhir hidupnya 'kau lupakan saja tentang cinta, Putri. Kenikmatan lebih sederhana, dan kewajiban lebih penting. Belajarlah untuk puas dengan itu.' ----- IT Imam Thesunan yg merindukan momen2 bersama sang Ayah waktu nonton wayang golek bareng. My memory often tends to fail me when it concerns my childhood but I distinctly remember illustrated Indian books, a splurge of my parents hoping it would instill many virtues, sprawled on my bed waiting to be read. With time, I started to develop an interest on my own towards works like the Panchatantra, Jataka Tales, Amar Chitra Katha, i.e., just about anything that had conversing animals or a touch of mythology in it. These books are unique in the fact that at the end of the story, they have My memory often tends to fail me when it concerns my childhood but I distinctly remember illustrated Indian books, a splurge of my parents hoping it would instill many virtues, sprawled on my bed waiting to be read.

With time, I started to develop an interest on my own towards works like the Panchatantra, Jataka Tales, Amar Chitra Katha, i.e., just about anything that had conversing animals or a touch of mythology in it. These books are unique in the fact that at the end of the story, they have some moral to teach you. Ramayana, the virtuous ithihasa, can be revered from beginning to end. Mahabharata, however, is a book that can be torn apart and tailor-made in any way to suit what is being taught. For example, a mother who wants her son to eat the weirdly tasting concoction she made might talk about Bhima who loved food and whose vigor made him win many battles. Anyone can talk about the sacrifices made by Karna. A lot of character spinoffs have been already made and they have flourished in the market.

The tale of Draupadi, sadly enough, is shushed except for the disrobing scene. Why should anyone be remembered by the incident that shamed them? I read this book merely because I wanted to know if the author would break such common notions and I commend the author for choosing Draupadi as her first person narrative. Before I discuss my thoughts on the book, I must warn that I was highly captious in reading the book in the sense that I didn’t want any major deviation from the original story. I think I am going to resort to calling this book with a more currently relevant term and that is fan fiction. It did not feel like a retelling and though I knew how the story would progress, I was keenly waiting for the revelation from the side of Draupadi. There were majorly 3 elements that were different and I will write about them.

Karna and Draupadi: Let’s face it. Karna has a huge fan following. He has even been termed as the best son of Kunti. We pity him for the wrongness that formed a part his life.

We love him for the right way in which he lived. People have been commenting on how this portion of the book was not necessary and I agree with them but only to the extent that it needn’t have filled so many pages of Draupadi pining for Karna. However, I would also like to remind people that Draupadi was an unsatisfied lover who desired a husband with all qualities in her previous life according to Mahabharata. So, I don’t see why it is considered completely off the tangent. Dhrishtadyumna: To be honest, I never cared much for this character. I have often forgotten both his name and his purpose. I loved that the author gave importance to a character that is not widely talked about.

The sibling love between Draupadi and ‘Dhri’ is quite enjoyable. Kunti as the evil mother-in-law: Getting used to this theme was a bit problematic was me because I have always held Kunti in high regard. She was a self-reliant woman who was solely responsible for the upbringing of her sons and suddenly picturing her as the mother-in-law who troubles Draupadi with her petty complaints made me dislike the book in the beginning. I even considered to stop reading the book after this: “We two old women,” she said, smiling from beneath that ambiguous blindfold, “have much to talk about that you youngsters wouldn't understand.” I hadn't thought Kunti would agree—Gandhari's sons had, after all, tried to kill hers. But she accepted with alacrity. Perhaps the two dowagers relished this chance to complain to each other about their daughters-in-law! Do not play with Gandhari and Kunti even to bring in a touch of humor!

Even though the characters of Draupadi and Kunti develop towards the end, it stands to be one of the reasons for the paucity of my rating. I had a bit of trouble with the characterization of Draupadi because it didn’t develop for the first 250 pages or so. The narrative made Draupadi sound like an egocentric person that never grew up mentally. It could have been improvised especially considering the potential of the plot is all I am saying.

The writing is okay but a bit irritable with its foreshadowing. Feminism is subtle and rightly invoked. After all, who better to talk about the rights of women than Draupadi? ’All this time I'd believed in my power over my husbands. I'd believed that because they loved me they would do anything for me. But now I saw that though they did love me—as much perhaps as any man can love—there were other things they loved more. Their notions of honor, of loyalty toward each other, of reputation were more important to them than my suffering.

They would avenge me later, yes, but only when they felt the circumstances would bring them heroic fame. A woman doesn't think that way. I would have thrown myself forward to save them if it had been in my power that day.

I wouldn't have cared what anyone thought. The choice they made in the moment of my need changed something in our relationship. I no longer depended on them so completely in the future.

And when I took care to guard myself from hurt, it was as much from them as from our enemies.’ I would not suggest this book to someone who hasn’t read the Mahabharata yet because there are some deviations from what is considered original. For those who don’t mind reading it again but with a different perspective, this could be great if only you ignore the dreariness of the book in the middle.

Buku ini telah memikatku dalam banyak hal: Pertama, Cover yang menarik. Yup, terkadang mata saya suka sekali dengan keindahan cover suatu buku. Perpaduan warnanya seperti membawa saya ke Istana Khayalan.

Cover aselinya juga keren.I Love Green:) Kedua, tokoh utamanya yaitu Drupadi. Saya suka Drupadi. Saya mengenal sosoknya saat membaca Mahabharata. Yang sedikit diceritakan *plus saya skimming juga* tapi sukses meninggalkan bekas di hati. Ketiga, kata pembuka yang dikutip Divakaruni Pfuih.OK. Buku ini telah memikatku dalam banyak hal: Pertama, Cover yang menarik.

Yup, terkadang mata saya suka sekali dengan keindahan cover suatu buku. Perpaduan warnanya seperti membawa saya ke Istana Khayalan. Cover aselinya juga keren.I Love Green:) Kedua, tokoh utamanya yaitu Drupadi. Saya suka Drupadi.

Saya mengenal sosoknya saat membaca Mahabharata. Yang sedikit diceritakan *plus saya skimming juga* tapi sukses meninggalkan bekas di hati. Ketiga, kata pembuka yang dikutip Divakaruni: Siapa saudara perempuanmu? Fajar merekah bagimu seperti juga bagiku. Keempat: Catatan penulis yang mengantarkan saya masuk ke zaman dimana kisah Mahabharata di mulai.

Yup, Divakaruni sukses menulis kembali kisah agung Mahabharata dengan menggunakan sudut pandang Drupadi. Drupadi, Putri Raja Drupada yang kelahirannya dari dalam api, dimana kelahirannya akan merubah sejarah. Membaca buku ini seakan-akan mendengar kisah Mahabharata dari mulut Drupadi sendiri, mengulik bagian-bagian yang mungkin tidak tersentuh oleh Byasa dalam Kitab Mahabharatanya.

Emosi Drupadi yang dilibatkan dalam setiap penuturan. Bagaimana perasaannya saat kelahirannya yang telah membuat dia mengemban karma. Hubungan dengan ayah dan kakak tersayangnya. Penikahannya dengan Arjuna serta dengan ke-empat Pandawa. Hasrat cinta terpendamnya.Hubunngan dengan perempuan-perempuan penting dalam kehidupan Pandawa. Kedekatannya dengan Krishna dan yang terpenting perasaannya saat menyaksikan perang yang melibatkan semua orang yang Ia kasihi di Kurukshetra.

Sangat mengasyikan memandang Pandawa dari pikiran Drupadi, mereka terlihat manusiawi di mata saya. Bukan hanya tokoh Pandawa saja tapi semuanya, terlihat manusiawi. Apakah karena emosi yang sejak awal sudah ditanamkan Divakaruni melalui Drupadi?

Sehingga saya ikut merasakan apa yang dirasakan dari setiap tokoh yang ada dalam kisah ini. Dan, akhirnya saya bisa memandang semua tokoh dari sisi yang berbeda. Bukan melihat siapa yang jahat ataupun siapa yang baik. Tapi lebih karena karma & takdir yang melingkari semua. Karma, what you get is what you give Dan, akan selalu ada Krishna dalam setiap kehidupan kita:-) NB: Kalau yang penasaran dengan kisah Mahabharata tapi berat untuk membacanya. Pilih buku ini dan kau akan tahu semua cerita dalam Mahabharata.

A fantastic read. Except for that twist in Draupadi's love life it would have been perfect.

The stories of Mahabharatha were a part of my growing up. But i had never paused to think about what the people involved really felt and thought. So it was a surprise to read about Draupadi's feelings in her own words.

What did a woman who was born from fire think about herself.? What did she feel when she knew that she would have to marry five men? Thete were times when I found my heart racing like whe A fantastic read. Except for that twist in Draupadi's love life it would have been perfect. The stories of Mahabharatha were a part of my growing up. But i had never paused to think about what the people involved really felt and thought.

So it was a surprise to read about Draupadi's feelings in her own words. What did a woman who was born from fire think about herself.? What did she feel when she knew that she would have to marry five men? Thete were times when I found my heart racing like when I read the famous Vastrakshepam scene. All the characters have been shown in shades of grey true to the original Mahabharatha. My favourites were not the Pandus but Krishna and Bheeshma. Loved the narration.

Will be sure to read more of Devakaruni. I don't know why I do this to myself. Why I bother with this author when book after book has been nothing but. Wanting, for lack of a better word.

The Mahabharata is my favorite story of all time. It is every book in one book and to take on the task of retelling the story from the perspective of Draupadi is the literary equivalent of hitting a jackpot of an idea. Here comes Ms Bannerjee Divakaruni to ruin that wholly awesome party. This book is shallow, trite and vapid. The protagonist, I don't know why I do this to myself. Why I bother with this author when book after book has been nothing but.

Wanting, for lack of a better word. The Mahabharata is my favorite story of all time.

It is every book in one book and to take on the task of retelling the story from the perspective of Draupadi is the literary equivalent of hitting a jackpot of an idea. Here comes Ms Bannerjee Divakaruni to ruin that wholly awesome party. This book is shallow, trite and vapid. The protagonist, otherwise known to be a woman of unequalled passions, valor, and beauty doesn't seem to emotionally age beyond her twenties. But all these are still subjective plants. My big bone to pick is the appalling use of language.

The author doesn't lack an impressive vocabulary or expression, and so I struggle to understand why this book reads more like a drugstore paperback and less like a retelling of classic literature. Phraseology is adolescent, and language is simplified to the point where one needs to remind oneself constantly that we are in ancient India.

No grand intonations. And no real wit. Even Draupadi's quasi flirtations with Krishna sound like they've been lifted from 90s high school sitcoms. The attempts at humor are putrid and labored. The star-crossed love affair with Karna is frustratingly drawn out with no just cause. Why bother with the angle?

It achieves nothing other than a 200-page lament and a rather pathetically orated outburst towards the penultimate chapters. I could go on for a while but it's really venting bile. In a nutshell, read it if, like me, you are a real Mahabharata-phile but not really otherwise.

It's an easy read not because it flows effortlessly but because it's somewhat idiotically written and poses no challenge to the mind. I've given it a two. One for effort and one for actually being enough of a story for one to complete it. Though that is hardly the author's medal.

Mengandung spoiler kisah cinta-cintaaannya------------- ”Masalah hanya menjadi masalah kalau kau percaya itu masalah. Seseorang melihatmu seperti kau melihat dirimu sendiri.” “Kekuatan keyakinan seorang merembes kepada orang sekitarnya-ke dalam tanah, udara, dan air-sampai tak ada lainya.” Itu hanya beberapa kutipan-kutipan menarik yang banyak disajikan di dalam buku ini. Halaman depan yang sangat indah membuat diri saya tak sabar membuka lembaran demi lembaran dan menikmati isnya. Da --------------Mengandung spoiler kisah cinta-cintaaannya------------- ”Masalah hanya menjadi masalah kalau kau percaya itu masalah. Seseorang melihatmu seperti kau melihat dirimu sendiri.” “Kekuatan keyakinan seorang merembes kepada orang sekitarnya-ke dalam tanah, udara, dan air-sampai tak ada lainya.” Itu hanya beberapa kutipan-kutipan menarik yang banyak disajikan di dalam buku ini.

Halaman depan yang sangat indah membuat diri saya tak sabar membuka lembaran demi lembaran dan menikmati isnya. Dan beberapa suapan pertama yang terasa unik tapi nikmat. Salah satunya adalah peta keluarga tokoh-tokoh utama dalam dinasti Kuru yang silsilahnya ditarik dari garis perempuan. Kisah ini adalah Kisah Mahabrata tapi dilihat dari sudut pandang seorang perEmpuan yaitu Dropadi. Seorang perEmpuan yang banyak berperan penting dalam kisah Mahabrata.

Dari Dropadi kita bisa banyak belajar. Terutama bagaimana cara pandang kita dalam melihat sesuatu. Ada beberapa hal yang menarik, yaitu: Saat kakaknya, Dre menceritakan bahwa perempuan ksatriya selalu mendukung saudara lelakinya, suaminya, anak lelakinya dengan berdoa agar mereka tewas dengan gemilang di pertempuran. Namun, Dropadi berpendapat bahwa dia tidak akan mendoakan kematian mereka tapi akan menjgajari mereka cara-cara agar selamat dalam peperangan. Dropadi pun mempercayai bahwa peperangan bukanlah satu-satunya cara untuk mencapai kejayaan.

Atau saat Dhai Ma, pelayan setianya, menceritakan kisah Gandari yang setia kepada suaminya yang buta, Drestarasta, dengan mengikatkan penutup mata ke matanya sendiri. Ia tidak ingin menikmati kesenangan yang tidak bisa dinikmati suaminya. Namun sekali lagi Dropadi berpendapat lain, Ia tidak mau menutup matanya, dia akan memastikan matanya melihat dan melaporkan segalanya ke suaminya. Menurut saya, cara peandang Dropadi sangat menarik, dan kepribadiannya pun tak kalah menariknya. Para lelaki memujanya sedangkan yang wanita mengaguminya. Pendapatnya pun selalu dinantikan oleh suami-suaminya.

Lebih dari satu suami? Saya merasa tergelitik dengan poliandri yang dilakukan Dropadi. * sebenarnya saya penasaran ingin menanyakan ke seseorang yang beragama Hindu, apakah poliandri itu diperbolehkan di agamanya*. Namun seperti halnya poligami di dalam islam, poliandri yang dilakukan Dropadi pun memiliki syarat-syarat tertentu. Seperti masing-masing Pandawa bersaudara itu akan menjadi suami Dropadi selama setahuns ecara bergantian. Dan ketika menjadi seorang istri seorang Pandawa, maka saudara yang lainnya harus menundukkan kepalanya saat berbicara dengannya dan menyentuhnya.

*Walaupun, akhirnya ini dilanggar juga* Dan hebatnya setelah menjadi seseorang istri bagi yang lain, Dropadi akan menjadi perawan lagi. Namun, sekali lagi Dropadi punya pendapat yang lain tentang ini. Baginya keperawanan yang diberikan dewa itu hanya bermaksud menyenangkan para lelaki. Dan Ia pun tidak seperti lelaki yang beristri lebih dari satu, dia tidak bisa memilih siapa yang akan tidur dengannya dan kapan. Lalu siapakah suami-suaminya?

Pandawa Lima. Suami pertamanya Yudhistira begitu kaku dan sangat obsesif terhadap kebenaran. Senag berpidato dengan kata-kata filosofis yang kadang sulit dimengerti. Hidup Dropadi terasa panjang dan membosankan ketika ia menjadi suaminya.

Saya saja bosanmembacanya, apalagi kehidupan nyatanya. Dan menyebalkan juga melihat tingkah laku Arjuna yang tidak membela istrinya.

Ia hanya terpekur diam saja, saat istrinya diharuskan menikah dengan lelaki yang lain dan begitu juga saat istrinya dipermalukan oleh Duryodana. Alasan apapaun sulit untuk diterima dan jelas faktanya bahwa Arjuna tidak bisa menjaga kehormatan istrinya seperti sang istri yang selalu mnejunjung kehormatan suaminya di atas kepalanya. Saya paling suka saat Dropadi bersama Bima. Kehidupan merka indah seperti dongeng dengan penuh bunga-bunga mawar bertebaran dalam kehidupannya. Bima yang cintanya begitu besar kepada Dropadi rela berbuat apap saja bahkan dengan cara membunuh siapa yang Dropadi inginkan lenyap dari muka bumi. Kalau Sakula dan Nadewa, saya lewatkan saja, disini mereka berdua seperti tokoh figuran yang numpang lewat. Namun, sembagai pembaca saya berandai-andai menjadi Byasa, saya akan menuliskan kisah bahwa Dropadi tidak menikah dengan kelima bersaudara itu tapi dengan Karna.

Kehidupan pernikahan Dropadi dan karna akan sakinah, mawaddah warrohmah. Tapi, sepertinya dunia akan aneh saat semua berjalan tanpa lika-liku hambatan. Kekuasaan akan menjadi rebutan bagi semua orang, entah dia orang yang konon katanya bijak atau penjahat sekalipun.

Peperangan tidak hanya menjadi sejarah karena terjadi entah dari jaman kapan tetapi akan terus terjadi entah sampai kapan pula. ”Dan bersiaplah saat bumi yang terus bersimbah darah ini tidak lagi mengeluarkan air tapi darah.”. The book at its centre is Draupadi's version of Mahabharat. When I picked this book, I wasn’t too sure, if would relish a book on – battles, power-play, politics, adrenaline-filled glory and carnage. But the authoress had done a tremendous job of capturing the essence of the epic in the form of a story. The authoress had bereft the characters of divine, virtuous status and made them very real and human, which makes it very easy to follow, despite the complexities in the leading characters. Talki The book at its centre is Draupadi's version of Mahabharat.

When I picked this book, I wasn’t too sure, if would relish a book on – battles, power-play, politics, adrenaline-filled glory and carnage. But the authoress had done a tremendous job of capturing the essence of the epic in the form of a story. The authoress had bereft the characters of divine, virtuous status and made them very real and human, which makes it very easy to follow, despite the complexities in the leading characters. Talking about the protagonist, Panchali, I don’t even know where to start with her character.

As the story begins I saw her so much like any mortal being, flawed by vices in the most realistic ways – self-centered, temperamental, displaying regular acts of snarling, her insatiable yearnings, the hidden desire for Karana, being the cause of one of the most disastrous battles in the history. But as the epic (read book) progressed, she showed her other side of being wise, passionate, head-strong and heroic. I recognized how difficult and excruciatingly life treated her. Her oppressed childhood, forced polygamy and everything she has had to endure tore my heart to pieces. I wish I could give her a hug, if she was alive. Sometimes (all of the time when I develop interest in the book), I tend to get very attached to certain characters and can barely think about anything else for days. It happened with the character of “Karana”.

I can’t remember the last time I’ve been so invested in a character. With so much depth and so much soul, he has easily become one of my favorite characters of all time.

My ultimate hope is that readers of this book, regardless of age or gender, will be inspired by Karan’s and will be encouraged to make unselfish sacrificial choices and lay down one’s life for others, in big and small ways. With so much soul and emotion, everything crafted together, it is near impossible to read this book without being affected momentously. One of my favorite books ever, and I don't say that lightly.

Now, if only Mr. Wright had ever given my copy back! (Note: Never loan a book based on the Mahabhrata to your Asian Humanities teacher.

You might as well have dropped it into a black hole.) Anyhow I'm not really sure how to describe why I love this book so. The story is beautiful, that's a large part of it. The characters are strong and well-shaped, that's another part of it. The prose is gorgeous. The setting is truly magical. The trag One of my favorite books ever, and I don't say that lightly. Now, if only Mr.

Wright had ever given my copy back! (Note: Never loan a book based on the Mahabhrata to your Asian Humanities teacher. You might as well have dropped it into a black hole.) Anyhow I'm not really sure how to describe why I love this book so.

The story is beautiful, that's a large part of it. The characters are strong and well-shaped, that's another part of it. The prose is gorgeous.

The setting is truly magical. The tragedy twisted at my heart. I read it once and was impressed; read it again slowly, savoring, and was swept away. Hinduism really has a claim on the whole 'fate and reincarnation' thing that keeps getting tossed around in YA.

And while reincarnation isn't a subject of this book, fate is. If you want to read a brilliant, tortured star-crossed romance, this book is for you. If you want a great adventure story, this is a good bet. If you're wondering what this Mahabhrata thing is all about, try this perspective on for size before you go after the far lengthier versions. Because of this book, one of my goals is to get through a 900+ page translation of that great epic, and if I'd never read The Palace Of Illusions, I might never have discovered the Mahabhrata at all.

Thank you, Ms. I am so so happy that I could read this book.

I enjoyed every page of it. This is the story of Mahabharatha - not the full one, but a few incidents as seen through the eyes of Draupadi - the Pandava wife. This book will be best appreciated only by those who have a knowledge of the Mahabharatha - the vast Indian epic full of intrigue, mysteries, magic, politics, family obligations and the strife for attaining the Kuru throne by two set of cousins - the good Pandavas (5 brothers with one common wi I am so so happy that I could read this book. I enjoyed every page of it. This is the story of Mahabharatha - not the full one, but a few incidents as seen through the eyes of Draupadi - the Pandava wife. This book will be best appreciated only by those who have a knowledge of the Mahabharatha - the vast Indian epic full of intrigue, mysteries, magic, politics, family obligations and the strife for attaining the Kuru throne by two set of cousins - the good Pandavas (5 brothers with one common wife - Draupadi and hoardes of seperate other wives) as opposed to hundred brothers and one sister (the cruel and immoral Kauravas, though the sister is innocent of any crime or intrigue). Lord Krishna too plays a big part in Mahabharatha being the close friend and cousin of the Pandavas.

I really loved the story of Mahabharatha via Draupadi (or Panchali) as the medium. I had never liked Draupadi, but this book makes me see her as a flesh and bone woman. I had never given a second thought to Drishtadhyumna, her brother ( both results of a great yaga). I felt great pity for him on hearing his story via Panchali. One intersting thing is in this book Draupadi and Karna (the noble, but mislead illegitimate son of Kunti, the Pandava mother who always considered the Pandavas as his rivals) appear as star crossed lovers. I wonder what would have happened if Draupadi wed Karna instead of Arjuna. Krtishna too is portrayed here as down-to-earth.

If I start I will go on and on about this book. So stopping here.

Folks who know the rudiments of Mahabharatha story, please do read this book, though this book may offend pious people as it is a bit unconventional, I did immensely enjoy it and am planning to reread it sometime in future - a bit slowly than my first time, giving time to ruminate on sentences. It is extremely difficult to comment upon the beauty of Divakaruni's words. She has attempted the enormous task of retelling the Mahabharata, one of the greatest Indian epics. The Mahabharata is often called a 'history', a record of the past composed by Vyasa.

Many versions of the epic exist today and it continues to intrigue intellectual minds. Many interpretations of the Mahabharata have been attempted and Divakaruni's The Palace of Illusions is one of them. The Place of Illusions is a retellin It is extremely difficult to comment upon the beauty of Divakaruni's words.

She has attempted the enormous task of retelling the Mahabharata, one of the greatest Indian epics. The Mahabharata is often called a 'history', a record of the past composed by Vyasa. Many versions of the epic exist today and it continues to intrigue intellectual minds. Many interpretations of the Mahabharata have been attempted and Divakaruni's The Palace of Illusions is one of them.

The Place of Illusions is a retelling of the epic from Draupadi's (or Panchaali's) perspective. It is written in first person narrative.

The writing style is elegant and the narration is retrospective. We see Panchaali as a young girl confined within the grey walls of her father's palace with only her Dhai Ma and Krishna as companions. We witness the transformation of Panchaali from a young girl to a woman. We see her disregard for traditional roles set for women and we see her attachment to her enchanting palace. We feel her anger arising from the humiliation that she faces at the dice-game and her many frustrations during the period of exile. We also witness a different Panchaali during the battle at Kurukshetra.

Divakaruni's portrayal of Panchaali is quite relateable. I especially adored Panchaali's relationship with Krishna. It was delightful! Krishna's comments seemed rather 'modern'. Krishna's playfulness and Panchaali's responses evoked laughter and adoration.

Panchaali's relationship with her five husbands was plain in comparison. She knew the strengths and weakness of each husband. She was aware of how she must be with each of them and how she must be with all five of them together. I loved a lot of things about this book but I wasn't too fond of Divakaruni's attempt to solidly situate Karna as Panchaali's 'true love'. Sometimes it was outrightly frustrating to read Panchaali obsessing over Karna.

I understand that it is a retelling, a subjective interpretation, and that Divakaruni must have had sources that prompted her to create this connection but somehow, for me, it did not fit too well. Panchaali's encounters with Karna were always sexually charged but towards the end Divakaruni gave their relationship a spiritual dimension. The Palace of Illusions has often been called a feminist retelling of the Mahabharata. We do see Panchaali struggling between the prescribed norms and her individuality. It makes you think. However, I do not think it is entirely a feminist text.

At various instances we see Panchaali deliberately withdrawing into the domestic roles of a wife and daughter-in-law. The passionate, frustrated, vengeful Panchaali gets lost somewhere especially towards the end of the book. Panchaali blames herself for the battle, she longs to be the mother of her five children who she did not pay much attention to ('I wasn't too maternal', she says). While reading this book I had so many thoughts and questions. I still haven't been able to pen down all of them. I would recommend this book if you have some knowledge of the Mahabharata and enjoy historical fiction, social commentary, and retellings.

This novel ended up reminding me a bit of Till We Have Faces: the basic plot is 'mythological woman has passionate, interesting life, eventually finds peace and enlightenment.' Except that it's based not on Greek mythology but the Mahabharata, which it retells from the perspective of Draupadi/Panchaali, the princess who becomes (partly) the cause of a cataclysmic war. I liked it quite a bit. It's a fast read, yet lyrical, and the portrayal of Krishna is fantastic, a really compelling mix of lovab This novel ended up reminding me a bit of Till We Have Faces: the basic plot is 'mythological woman has passionate, interesting life, eventually finds peace and enlightenment.'

Except that it's based not on Greek mythology but the Mahabharata, which it retells from the perspective of Draupadi/Panchaali, the princess who becomes (partly) the cause of a cataclysmic war. I liked it quite a bit. It's a fast read, yet lyrical, and the portrayal of Krishna is fantastic, a really compelling mix of lovable/creepy/unearthly. It's also pretty easy to follow, despite the epic cast--at least, it is if you're 1/4 through Ramesh Menon's mammoth retelling like I am. And I loved the sense of tragedy unfolding equally due to ancient, cosmic destiny, and the very human faults of the characters. The one big weakness, unfortunately, is the portrayal of Panchaali herself.

I like almost all the choices this novel makes in portraying her character (including her thwarted love for Karna, sob!), but she just never quite... Gelled for me.

Like, there's a huge point made of how much she loved her palace at Indraprastha and how a huge part of her desire for vengeance comes from the loss of that palace; yet I never really connected with or understood her love for the palace. As much as I admire how the author managed to squash such a giant epic into such a small space, I wish it had been a little longer, or at least that the second half had devoted a little more focus to Panchaali's interior life. Also--and this is why I say I like 'almost' all the choices the novel makes about her character--the chapters about her childhood spend a lot of time talking about how she's rebellious and inquisitive, she doesn't understand why women can't do everything men can, she isn't like those other vapid girls at court, etc. (1) This all felt vaguely anachronistic to me--though, I know nothing about Indian history, so maybe it isn't; (2) I got tired of the 'spunky feminist heroine who is not like other girls' trope when I was twelve; (3) after her wedding, this whole issue disappears except for one brief coda that feels like an afterthought. It felt like the author had added that element just to signal that Panchaali was a Strong Female Character we should like. And did I mention that I got tired of the 'not like other girls!'

Thing when I was twelve? Because I am one of those 'other girls,' and so are all the women in the world except your special snowflake heroine. But the ending was beautiful, and you know, I will forgive a lot for a beautiful ending. Saya merindukan seseorang seraya membaca buku ini. Divakaruni memperkenalkan kepada saya Kisah yang saya ingat pernah ditayangkan di stasiun Televisi Perdangdutan Indonesia, itu pun hanya bagian lagu pembuka nya saja. Hihihihi Saya mengetahui Mahabaratha hanya bahwa itu adalah kisah tentang Pandawa Lima Itu pun sekedar nama dari kelima nya, tanpa mengetahui detail cerita seperti apa Walaupun saya akhirnya mengetahui sedikit dari sosok 'Pandawa Lima' jadi-jadian waktu kuliah. Saya merindukan seseorang seraya membaca buku ini.

Divakaruni memperkenalkan kepada saya Kisah yang saya ingat pernah ditayangkan di stasiun Televisi Perdangdutan Indonesia, itu pun hanya bagian lagu pembuka nya saja. Hihihihi Saya mengetahui Mahabaratha hanya bahwa itu adalah kisah tentang Pandawa Lima Itu pun sekedar nama dari kelima nya, tanpa mengetahui detail cerita seperti apa Walaupun saya akhirnya mengetahui sedikit dari sosok 'Pandawa Lima' jadi-jadian waktu kuliah. *yang setelah saya baca buku ini, wew. Kok banyak yang mirip yaa kepribadiannya. How can you tell an ancient story in new light? And how can you tell it to a generation, who as children have literally grown up with this story, and as adults will have high expectations of it?

Chitra Bannerjee Divakaruni has the answer in The Palace of Illusions. The story of Mahabharata is nothing new to me. A kingdom greater than any - cousins fighting for the throne - sacrifices, promises, boons, curses - war - bereavement - atonement. The Mahabharata is an elaborate story, which c How can you tell an ancient story in new light? And how can you tell it to a generation, who as children have literally grown up with this story, and as adults will have high expectations of it? Chitra Bannerjee Divakaruni has the answer in The Palace of Illusions.

The story of Mahabharata is nothing new to me. A kingdom greater than any - cousins fighting for the throne - sacrifices, promises, boons, curses - war - bereavement - atonement. The Mahabharata is an elaborate story, which can be perceived from any character's point-of-view and still have a rich storytelling experience. So, why not tell in from a woman's perspective?

While I was growing up, Mahabharata was always about the virtues of the brave men who went to war. There wasn't one story about what it was to be a woman during those epic times. This book is the wonderful tale of the woman who was the cornerstone of Mahabharata. Told in first person, this tale takes us to the depth of Draupadi's soul and shows us her views as the events of the great epic unfurl. THE MODERN DRAUPADI: The best part about The Palace of Illusions was that, as a modern woman, I felt very connected to Draupadi.

How Chitra ji manages to walk the fine line between the old and new interpretations of the character of a 'strong woman' is beyond me! The author mixes the right amount of fiction into the archaic tale without taking away its original flavor.

I mean, I have never heard of Draupadi's love story in the original. [ The new Draupati falls in love with Karna when she sees him at her Swayamvar. Her love for him is only intensified after her marriage and she yearns for him all her life. Here's why I think it might be true: a woman with high ambitions would see Karna as an achiever. She would find him capable and deserving of her love not only because he is wise, brave and handsome but also because he would respect her and treat her like the Queen she is. So, despite her fate, every time she sees him her heart gives a jolt.

He was her one true love, until the end. ] Draupadi is a fire born princess with lofty goals for her life. Sadly, none of them come true when she married the Pandavas. It is only fair that she keep thinking of where things went wrong for her and wondering if she married the right guy(s). Draupadi's love story arc comes as a surprise because I have never imagined this possibility before! I just assumed that Draupadi accepted her life and marriage with satisfaction. The version that we have all been given has been avoiding a crucial detail about her character - Draupadi is a woman driven by resentment and regret of her own choices.

How could she be happy in that miserable married life? Have we been painting Draupadi as a meek martyr when she clearly was much more? It was a new take on Panchaali and I think it fits her perfectly. Brilliant interpretation Chitra ji! It might or might not be true. I don't know if other interpretations tell the story the same way, but you have convinced me of your interpretation so beautifully, that now I begin to wonder if your version is the original version and if the truth somehow got diluted in the million re-tellings.

DRAUPADI - A CHARACTER SKETCH Where do I begin? Never have I ever read a story with a POV with such strong intentions and inner monologue.

The story in The Palace of Illusions is the story of Draupadi from birth to death. She was a woman beyond her times. She was headstrong, intelligent, virtuous (in her own way), ambitious, proud and was a feminist believing that the place of a woman is not just in the back of the palace, but right next to her royal husband. Emotionally, we see the bitterness that shapes up Panchaali from the start.

We see her angry, we see her withdraw, we see her contemplate, we see her lash out in blind fury, we see her curious, we see her loving. As the story progresses, the insight into Panchaali's inner doubts and fears become much our own.

We see the princess who felt like a misfit at her own dad's place but eventually found a home in The Palace of Illusions. My heart goes out to her. Panchaali's story is that of a woman so blindly confident of her unique destiny that she brought about her own misfortunes. Her pride fell. And then, she grew, learnt humility, kindness, surrender and acceptance.

She grew to find a woman's power in her. She grew to identify her devotion to Krishna, and her love for him which is beyond body and mind. Usually when I think of Draupati, I only think of her shame and her terrible fate at the hands of Dushasha. I was so wrong. I hadn't given her much credit. Understanding Draupadi's background and her character was a privilege. It was amazing.

I understood the bottled-up rage and fury against her husbands, the shame that befell the pride of the Queen of the Pandavas and the surrender that sparked from desperation and her love and devotion to Krishna. It was amazing to fill in the emotional blanks that I had of Mahabharata when it comes to Draupati. Throughout the story we see other women of her age - Sudheshana, Banumati, Subadra, Uttara. None of them even compare to her.

None of them even come close to The Fire Princess! Not even Kunti, who after a point accepts that it isn't her place to rule over what the Panchali says. And that is the most inspiring part of Panchaali's story for me. CHITRA'S WONDERFUL STORYTELLING: The author/poet has a way with words. Her words flow like honey and read like a poem.

I was completely in love with her words while reading the book. Chitra ji's art of storytelling comes out in the most unlikely places. Her idea to interpret Mahabharata from a new perspective is seen even in short snippets. For instance, we all know the part where Arjun and Duryodhan ask Krishna to join them in the war.

In this story, this incident is told from Duryodhan's point of view, meaning we are privy to his arrogance and utter confidence in his victory, in contrast to the third-person, moralistic tale we have been hearing so far. While telling a tale of this magnificent scale it's impossible to avoid villains. Sometimes, flawed characters need to remain flawed. Chitra ji's story had the compulsive need to seek goodness in flawed characters, and that felt far-fetched. It is okay for the characters to have chinks in their armors.

I felt that the reasons the author gives to justify them were mere excuses. I just feel that when writing POV, it's okay not to idolize everyone. Chitra ji brings out the chemistry between Panchaali and Kunti (the original Saas Bahu drama!) in a few entertaining pages. She has an ease of telling didactic incidents with a funny twist. She just told a convincing Mahabharata in less than 400 pages. I admire that.

PROS: 1) A fresh viewpoint 2) Intense 3) Unapologetically human 4) Short, quick chapters 5) One-word chapter names (I love one-word chapter names) 6) Stays true to the original Mahabharata CONS: 1) Difficult to read as a Mahabharata virgin. Should be familiar with the original story. 2) Glorifies almost everyone The Palace of Illusions insures a place for Mahabharata in the modern bookshelf by baring a story that is incredibly true to humanity and intensely inspiring. For graphic novel lovers, find a similarly intense (but not quite there).

One of the best books I have read from Chitra B Divakaruni. 'The Palace of Illusions' is Mahabharata seen through the eyes of Panchali, the wife of the five Pandavas. Mahabharata is an epic with many thousands of characters and side stories and narrates the story of the Kuru dynasty. The story happens in the third age of man Dvapar Yug, when the walls between the world of man and the Gods were thin.

Even though I knew every twist and turn and every side story; the story when told by Panchali and One of the best books I have read from Chitra B Divakaruni. 'The Palace of Illusions' is Mahabharata seen through the eyes of Panchali, the wife of the five Pandavas. Mahabharata is an epic with many thousands of characters and side stories and narrates the story of the Kuru dynasty. The story happens in the third age of man Dvapar Yug, when the walls between the world of man and the Gods were thin. Even though I knew every twist and turn and every side story; the story when told by Panchali and written by Chitra took on a different colour.

It is not easy to narrate an epic through the eyes of one character. Chitra uses dreams, visions and tales to bring the magic of Mahabharata to the reader without losing much of its charm. One who have not read Mahabharata might find certain parts confusing or rushed through.

For me, it was an experience, an enchantment that I would definitely seek again. I remembered the many afternoons I had sat alone in the school library to devour the new illustrated Mahabharata that had just arrived at the library while I was in the fifth grade. I remembered the curiosity aroused by the many characters, the weird laws and rules of a bygone era that the books brought to me.

I also remembered the great warrior Karna who I had then considered the most mistaken and unfortunate among all characters that enriched Mahabharata. The book made me look at Panchali with renewed respect. Her sacrifices, her thoughts, and her heartbreaks, endears her to the reader. Characters who have often been pushed to the background by the bards have been given their deserved space and glory.

I admired the way the emotions were handled, the poetic narration and the depth of characterisation. Kunti, Bheem, Yudhistir, Karna, Arjun and Krishna's characters have been so clearly portrayed that we feel them alive and breathing amidst the pages. My favorite character was Karna.

Krishna was the next and then Bheem. I left reading on a particular page yesterday night mourning the death of a favorite character and yet picked it up again first thing in the morning. This is one book that will remain a cherished possession. Highly recommended for those who love poetic writing and mythology. I started reading this one a little too late.

Quite a few of my friends, and my sister, had already read most or all of it and it was nothing but inevitable that I'd be told all the spoilers. Even then, it was surprisingly refreshing to finally come across a woman's perspective on Mahabharata.

The Palace of Illusions offers a passionate feminist perspective on dharma or duty that is the sole purpose of living for everyone in Hastinapur, especially Draupadi who was born to change the course of hi I started reading this one a little too late. Quite a few of my friends, and my sister, had already read most or all of it and it was nothing but inevitable that I'd be told all the spoilers. Even then, it was surprisingly refreshing to finally come across a woman's perspective on Mahabharata. The Palace of Illusions offers a passionate feminist perspective on dharma or duty that is the sole purpose of living for everyone in Hastinapur, especially Draupadi who was born to change the course of history. A striking observation offered in the narrative illustrated that boons were offered to women-Kunti and Draupadi-as unwanted gifts, mainly for the convenience of the men.

Kunti could bear children from gods, and she used this boon to continue her husband Pandu's lineage as he was cursed that he would perish if he were to touch a woman 'in desire'. Likewise, Draupadi would become a virgin every time she was expected to spend time with a different husband. This part, honestly, was quite frustrating. I couldn't help but draw parallels between Draupadi's narrative and that of Sultana, the young Saudi Arabian princess in Jean Sasson's Princess, a book that I read in tenth grade.

Both felt dejected by their own fathers. Both had to fight to even get an education, though Draupadi was the only one successful. Both are passionate, and even rebellious.

It felt almost as if Divakaruni was inspired by Jean Sasson's work. The Palace of Illusions is an interesting and simple read. I had forgotten most of the Mahabharata stories I was told as a kid, so it was good to be reminded.

It is a gripping work till it reaches the beginning of the battle, where it tends to drag a bit. The most beautiful part was at the end where Draupadi, while lying down in Mahaprasthan, is contemplating Vyasa's predictions about her life, especially about that one prediction about her experiencing true love. And as she lays still, she feels Krishna's presence. Krishna reminds her of how in her every hour of need he was there to support her. I got teary-eyed when Draupadi realises that Krishna's love for her was unlike any other kind of love she had ever experienced.

He loved her unconditionally, even at her worst. And most importantly, he never tried to change her.

It is intriguing that Draupadi, who lived her life with the sole purpose of reminding her husbands about her humiliation and the impending battle, was the most forgiving person at the end of the war. In addition, the narration doesn't glorify women. It shows that we are only human, all of us battle pride and ego. “For men, the softer emotions are always intertwined with power and pride. That was why Karna waited for me to plead with him though he could have stopped my suffering with a single world.

That was why he turned on me when I refused to ask for his pity. That was why he incited Dussasan to an action that was against the code of honor by which he lived his life. He knew he would regret it—in his fierce smile there had already been a glint of pain. But was a woman's heart any purer, in the end?

That was the final truth I learned. All this time I'd thought myself better than my father, better than all those men who inflicted harm on a thousand innocents in order to punish the one man who had wronged them. I'd thought myself above the cravings that drove him. But I, too, was tainted with them, vengeance encoded into my blood. When the moment came I couldn't resist it, no more than a dog can resist chewing a bone that, splintering, makes his mouth bleed. Already I was storing these lessons inside me. I would use them over the long years of exile to gain what I wanted, no matter what its price.

But Krishna, the slippery one, the one who had offered me a different solace, Krishna with his disappointed eyes—what was the lesson he'd tried to teach?” Anyone interested in Hindu mythology should definitely read this book! Mahabharat from a different perspective - that of Draupadi's.

Can't put this one down once you've started. It stayed with me for many days. Very well written. Its Mahabharat story written from point of view of Draupadi. Its amazing how the book pulls you into it and you feel all the emotions as well. Automata And Mechanical Toys Pdf To Excel. The woman's viewpoint makes it more interesting since we've hardly had such stories from a woman's perspective. However, i did not like the new angle depicted between karna and draupadi though, not Mahabharat from a different perspective - that of Draupadi's.

Can't put this one down once you've started. It stayed with me for many days.

Very well written. Its Mahabharat story written from point of view of Draupadi.

Its amazing how the book pulls you into it and you feel all the emotions as well. The woman's viewpoint makes it more interesting since we've hardly had such stories from a woman's perspective. However, i did not like the new angle depicted between karna and draupadi though, not even a bit.

I am left mesmerised after reading this good work felt like all the discomforts of my mind are washed away. Specially the last 2 or 3 chapter. I would suggest the book for someone who is reasonably acquainted with the Epic, as it adds brilliant & bold strokes of freshness who will appreciate the author's creativity.

But for someone who is looking for an introduction to the Epic its a strong NO, as the book is a huge & a bold deviation from the original. I absolutely recommend it to anyone who feels even remotely interested in the subject. Chitra Banerjee Divakaruni is an award-winning author and poet. Her themes include the Indian experience, contemporary America, women, immigration, history, myth, and the joys and challenges of living in a multicultural world. Her work is widely known, as she has been published in over 50 magazines, including the Atlantic Monthly and The New Yorker, and her writing has been included in over 50 ant Chitra Banerjee Divakaruni is an award-winning author and poet. Her themes include the Indian experience, contemporary America, women, immigration, history, myth, and the joys and challenges of living in a multicultural world.

Her work is widely known, as she has been published in over 50 magazines, including the Atlantic Monthly and The New Yorker, and her writing has been included in over 50 anthologies. Her works have been translated into 29 languages, including Dutch, Hebrew, Hindi and Japanese. Divakaruni also writes for children and young adults. Subtitle Indonesia Sherlock Holmes Season 3 Ep 1. Her novels One Amazing Thing, Oleander Girl, Sister of My Heart and Palace of Illusions are currently in the process of being made into movies..

Her newest novel is Before We Visit the Goddess (about 3 generations of women-- grandmother, mother and daughter-- who each examine the question 'what does it mean to be a successful woman.' ) Simon & Schuster. She was born in India and lived there until 1976, at which point she left Calcutta and came to the United States. She continued her education in the field of English by receiving a Master’s degree from Wright State University in Dayton, Ohio, and a Ph.D. From the University of California, Berkeley.

To earn money for her education, she held many odd jobs, including babysitting, selling merchandise in an Indian boutique, slicing bread in a bakery, and washing instruments in a science lab. At Berkeley, she lived in the International House and worked in the dining hall. She briefly lived in Illinois and Ohio, but has spent much of her life in Northern California, which she often writes about. She now lives in Texas, which has found its way into her upcoming book, Before We Visit the Goddess. Chitra currently teaches in the nationally ranked Creative Writing program at the Univ. She serves on the Advisory board of Maitri in the San Francisco Bay Area and Daya in Houston.

Both these are organizations that help South Asian or South Asian American women who find themselves in abusive or domestic violence situations. She is also closely involved with Pratham, an organization that helps educate children (especially those living in urban slums) in India. She has judged several prestigious awards, such as the National Book Award and the PEN Faulkner Award.

Two of her books, The Mistress of Spices and Sister of My Heart, have been made into movies by filmmakers Gurinder Chadha and Paul Berges (an English film) and Suhasini Mani Ratnam (a Tamil TV serial) respectively. Her novels One Amazing Thing and Palace of Illusions have currently been optioned for movies.

Her book Arranged Marriage has been made into a play and performed in the U.S. And (upcoming, May) in Canada. River of Light, an opera about an Indian woman in a bi-cultural marriage, for which she wrote the libretto, has been performed in Texas and California. She lives in Houston with her husband Murthy.

She has two sons, Anand and Abhay (whose names she has used in her children’s novels). Chitra loves to connect with readers on her Facebook author page,, and on Twitter, @cdivakaruni. For more information about her books, please visit, where you can also sign up for her newsletter.