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  • Written by Chitra Banerjee Divakaruni
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The Palace of Illusions

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A Novel

Written by Chitra Banerjee DivakaruniAuthor Alerts:  Random House will alert you to new works by Chitra Banerjee Divakaruni

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On Sale: February 10, 2009
Pages: | ISBN: 978-0-307-47249-6
Published by : Anchor Knopf
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Synopsis|Excerpt

Synopsis

Taking us back to a time that is half history, half myth and wholly magical, The Palace of Illusions gives new voice to Panchaali, the fire-born heroine of the Mahabharat, as she weaves a vibrant interpretation of an ancient tale. Married to five royal husbands who have been cheated out of their father's kingdom, Panchaali aids their quest to reclaim their birthright, remaining at their side through years of exile and a terrible civil war. But she cannot deny her complicated friendship with the enigmatic Krishna—or her secret attraction to the mysterious man who is her husbands' most dangerous enemy—as she is caught up in the ever-manipulating hands of fate.


From the Trade Paperback edition.

Excerpt

1

fire

Through the long, lonely years of my childhood, when my father’s palace seemed to tighten its grip around me until I couldn’t breathe, I would go to my nurse and ask for a story. And though she knew many wondrous and edifying tales, the one I made her tell me over and over was the story of my birth. I think I liked it so much because it made me feel special, and in those days there was little else in my life that did. Perhaps Dhai Ma realized this. Perhaps that was why she agreed to my demands even though we both knew I should be using my time more gainfully, in ways more befitting the daughter of King Drupad, ruler of Panchaal, one of the richest kingdoms in the continent of Bharat.

The story inspired me to make up fancy names for myself: Offspring of Vengeance, or the Unexpected One. But Dhai Ma puffed out her cheeks at my tendency to drama, calling me the Girl Who Wasn’t Invited. Who knows, perhaps she was more accurate than I.

This winter afternoon, sitting cross–legged in the meager sunlight that managed to find its way through my slit of a window, she said, “When your brother stepped out of the sacrificial fire onto the cold stone slabs of the palace hall, all the assembly cried out in amazement.”

She was shelling peas. I watched her flashing fingers with envy, wishing she would let me help. But Dhai Ma had very specific ideas about activities that were appropriate for princesses.

“An eyeblink later,” she continued, “when you emerged from the fire, our jaws dropped. It was so quiet, you could have heard a housefly fart.”

I reminded her that flies do not perform that particular bodily function.

She smiled her squint-eyed, cunning smile. “Child, the things you don’t know would fill the milky ocean where Lord Vishnu sleeps—and spill over its edges.”

I considered being offended, but I wanted to hear the story. So I held my tongue, and after a moment she picked up the tale again.

“We’d been praying for thirty days, from sun-up to sundown. All of us: your father, the hundred priests he’d invited to Kampilya to perform the fire ceremony, headed by that shifty-eyed pair, Yaja and Upayaja, the queens, the ministers, and of course the servants. We’d been fasting, too—not that we were given a choice—just one meal, each evening, of flattened rice soaked in milk. King Drupad wouldn’t eat even that. He only drank water carried up from the holy Ganga, so that the gods would feel obligated to answer his prayers.”

“What did he look like?”

“He was thin as the point of a sword, and hard like it, too. You could count every bone on him. His eyes, sunk deep into their sockets, glittered like black pearls. He could barely hold up his head, but of course he wouldn’t remove that monstrosity of a crown that no one has ever seen him without—not even his wives, I’ve heard, not even in bed.”

Dhai Ma had a good eye for detail. Father was, even now, much the same, though age—and the belief that he was finally close to getting what he’d wanted for so long—had softened his impatience.

“Some people,” she continued, “thought he was going to die, but I had no such fears. Anyone who wanted revenge as badly as your royal father did wouldn’t let go of body and breath so easily.” She chewed ruminatively on a handful of peas.

“Finally,” I prompted her, “it was the thirtieth day.”

“And I for one was heartily thankful. Milk and rice husk is all very well for priests and widows, but give me fish curry with green chilies and tamarind pickle any day! Besides, my throat was scraped raw from gabbling all those unpronounceable Sanskrit words. And my buttocks, I swear, they were flat as chapatis from sitting on that freezing stone floor.

“But I was scared, too, and stealing a glance here and there, I saw I wasn’t the only one. What if the fire ceremony didn’t work the way the scriptures had claimed it would? Would King Drupad put us all to death, claiming we hadn’t prayed hard enough? Once I’d have laughed if someone had suggested our king might do that. But things had changed since the day when Drona appeared at court.”

I wanted to ask about Drona, but I knew what she’d say.

Impatient as mustard seeds sputtering in oil, that’s what you are, even though you’re old enough to be married off any day now! Each story will come in its time.

“So when your royal father stood up and poured that last pot of ghee into the flames, we all held our breath. I prayed harder than I’d ever done in my life—though it wasn’t for your brother I was praying, not exactly. Kallu, who was cook’s apprentice then, had been courting me, and I didn’t want to die before I’d experienced the joys of having a man in my bed. But now that we’ve been married for seven years—” Here Dhai Ma paused to snort at the folly of her younger self.

If she got onto the subject of Kallu, I wouldn’t hear the rest of the story today.

“Then the smoke rose,” I interjected, with experienced dexterity.

She allowed herself to be pulled back into the tale. “Yes, and a spiraling, nasty-smelling black smoke it was, with voices in it. The voices said, Here is the son you asked for. He’ll bring you the vengeance you desire, but it’ll break your life in two.

I don’t care about that, your father said. Give him to me.

“And then your brother stepped from the fire.”

I sat up straight to listen better. I loved this part of the story. “What did he look like?”

“He was a true prince, that one! His brow was noble. His face shone like gold. Even his clothes were golden. He stood tall and unafraid, though he couldn’t have been more than five years old. But his eyes troubled me. They were too soft. I said to myself, How can this boy avenge King Drupad? How can he kill a fearsome warrior like Drona?

I worried about my brother, too, though in a different way. He would succeed in completing the task he was born for, I had no doubt of that. He did everything with such meticulous care. But what would it do to him?

I didn’t want to think of it. I said, “And then?”

Dhai Ma made a face. “Can’t wait till you appear, eh, Madam Full of Yourself?” Then she relented.

“Even before we’d finished cheering and clapping, even before your father had a chance to greet your brother, you appeared. You were as dark as he was fair, as hasty as he was calm. Coughing from the smoke, tripping over the hem of your sari, grabbing for his hand and almost sending him tumbling, too—”

“But we didn’t fall!”

“No. Somehow you managed to hold each other up. And then the voices came again. They said, Behold, we give you this girl, a gift beyond what you asked for. Take good care of her, for she will change the course of history.”

“ ‘Change the course of history’! Did they really say that?”

Dhai Ma shrugged. “That’s what the priests claimed. Who can tell for sure? You know how sounds boom and echo in that hall. The king looked startled, but then he picked the two of you up, holding you close to his chest. For the first time in years, I saw him smile. He said to your brother, I name you Dhristadyumna. He said to you, I name you Draupadi. And then we had the best feast this kingdom has ever seen.”

As Dhai Ma counted out the feast foods on her fingers, smacking her lips in happy remembrance, my attention veered to the meaning of the names our father chose. Dhristadyumna, Destroyer of Enemies. Draupadi, Daughter of Drupad.

Dhri’s name fell within the bounds of acceptability—though if I were his parent I might have picked a more cheerful appellation, like Celestial Victor, or Light of the Universe. But Daughter of Drupad? Granted, he hadn’t been expecting me, but couldn’t my father have come up with something a little less egoistic? Something more suited to a girl who was supposed to change history?

I answered to Draupadi for the moment because I had no choice. But in the long run, it would not do. I needed a more heroic name.

Nights, after Dhai Ma had retired to her quarters, I lay on my high, hard bed with its massive posts and watched the oil lamp fling flickery shadows against the pocked stone of the walls. I thought of the prophecy then, with yearning and fear. I wanted it to be true. But did I have the makings of a heroine—courage, perseverance, an unbending will? And shut up as I was inside this mausoleum of a palace, how would history even find me?

But most of all I thought of something that Dhai Ma didn’t know, something that ate at me like the rust corroding the bars on my window: what really happened when I stepped from the fire.

If there were voices, as Dhai Ma claimed, prophesying my life in a garbled roar, they hadn’t come yet. The orange lick of flames fell away; the air was suddenly cold. The ancient hall smelled of incense, and under it, an older smell: war-sweat and hatred. A gaunt, glittering man walked toward my brother and me as we stood hand in hand. He held out his arms—but for my brother alone. It was only my brother he meant to raise up to show to his people. Only my brother that he wanted. Dhri wouldn’t let go of me, however, nor I of him. We clung together so stubbornly that my father was forced to pick us both up together.

I didn’t forget that hesitation, even though in the years that followed King Drupad was careful to fulfill his fatherly duty and provide me with everything he believed a princess should have. Sometimes, when I pressed him, he even allowed me privileges he kept from his other daughters. In his own harsh and obsessive way, he was generous, maybe even indulgent. But I couldn’t forgive him that initial rejection. Perhaps that was why, as I grew from a girl into a young woman, I didn’t trust him completely.

I turned the resentment I couldn’t express toward my father onto his palace. I hated the thick gray slabs of the walls—more suited to a fortress than a king’s residence—that surrounded our quarters, their tops bristling with sentries. I hated the narrow windows, the mean, dimly lit corridors, the uneven floors that were always damp, the massive, severe furniture from generations ago that was sized more for giants than men. I hated most of all that the grounds had neither trees nor flowers. King Drupad believed the former to be a hazard to security, obscuring the vision of the sentries. The latter he saw no use for—and what my father did not find useful, he removed from his life.

Staring down from my rooms at the bare compound stretching below, I’d feel dejection settle on my shoulders like a shawl of iron. When I had my own palace, I promised myself, it would be totally different. I closed my eyes and imagined a riot of color and sound, birds singing in mango and custard apple orchards, butterflies flitting among jasmines, and in the midst of it—but I could not imagine yet the shape that my future home would take. Would it be elegant as crystal? Solidly precious, like a jewel–studded goblet? Delicate and intricate, like gold filigree? I only knew that it would mirror my deepest being. There I would finally be at home.

My years in my father’s house would have been unbearable had I not had my brother. I never forgot the feel of his hand clutching mine, his refusal to abandon me. Perhaps he and I would have been close even otherwise, segregated as we were in the palace wing our father had set aside for us—whether from caring or fear I was never sure. But that first loyalty made us inseparable. We shared our fears of the future with each other, shielded each other with fierce protectiveness from a world that regarded us as not quite normal, and comforted each other in our loneliness. We never spoke of what each one meant to the other—Dhri was uncomfortable with effusiveness. But sometimes I wrote him letters in my head, looping the words into extravagant metaphors. I’ll love you, Dhri, until the great Brahman draws the universe back into Himself as a spider does its web.

I didn’t know then how sorely that love would be tested, or how much it would cost both of us.


2

blue

Perhaps the reason Krishna and I got along so well was that we were both severely dark–skinned. In a society that looked down its patrician nose on anything except milk–and–almond hues, this was considered most unfortunate, especially for a girl. I paid for it by spending hour upon excruciating hour being slathered in skin–whitening unguents and scrubbed with numerous exfoliants by my industrious nurse. But finally she’d given up in despair. I, too, might have despaired if it hadn’t been for Krishna.

It was clear that Krishna, whose complexion was even darker than mine, didn’t consider his color a drawback. I’d heard the stories about how he’d charmed his way into the hearts of the women of his hometown of Vrindavan—all 16,000 of them! And then there was the affair of Princess Rukmini, one of the great beauties of our time. She’d sent him a most indecorous love letter asking him to marry her (to which he’d promptly and chivalrously responded by carrying her off in his chariot). He had other wives, too—over a hundred, at last count. Could the nobility of Kampilya be wrong? Could darkness have its own magnetism?

When I was fourteen, I gathered up enough courage to ask Krishna if he thought that a princess afflicted with a skin so dark that people termed it blue was capable of changing history. He smiled. That was how he often answered my questions, with an enigmatic smile that forced me to do my own thinking. But this time he must have sensed my confused distress, for he added a few words.

“A problem becomes a problem only if you believe it to be so. And often others see you as you see yourself.”

I regarded this oblique advice with some suspicion. It sounded too easy to be true. But when the festival of Lord Shiva approached, I decided to give it a try.


From the Hardcover edition.
Chitra Banerjee Divakaruni|Author Q&A

About Chitra Banerjee Divakaruni

Chitra Banerjee Divakaruni - The Palace of Illusions
Chitra Banerjee Divakaruni is the author of the bestselling novels Queen of Dreams, Mistress of Spices, Sister of My Heart, and The Vine of Desire, and of the prizewinning story collections Arranged Marriage and The Unknown Errors of Our Lives. She lives in Houston, Texas, and teaches creative writing at the University of Houston.

Author Q&A

Questions for Chitra Banerjee Divakaruni


Q: Some readers of The Palace of Illusions will be encountering the Mahabharat for the first time. Please explain exactly what it is and what significance it has in Indian culture. Are there any analogous texts in Western literature?

The Mahabharat is an ancient Indian epic, similar to Homer’s Iliad or Odyssey. It is a very famous story. Most people in India, even those who cannot read or write, would know this story of a great war because it is passed on orally from generation to generation. Like the Iliad, the Mahabharat has literally hundreds of characters and tells the complicated, fascinating story of a great war. One of my challenges was to be true to the original story while changing the focus and the significance of actions and characters, to suggest different motives, and to create intimate moments to give us a whole different understanding of Panchaali’s character.


Q: There are numerous female characters in the Mahabharat. What made you decide to re-tell Panchaali’s story?

For me, she has always been the most interesting and unusual character. Her birth, her destiny that was foretold when she was born, her insistence on doing what none of the other women around her were doing and her unique situation—being married to five brothers—all made her the perfect choice. I was also interested in the fact that in some ways she was the catalyst for the great war—and perhaps the one who suffered the most as a result of it.

Q: Panchaali, in traditional readings of her part in the story, is often seen as something of a villainess or at least as a character whose actions bring about the downfall of many others. You see her differently. Why? Have other characters in literature similarly sparked your interest?

It would be more correct to say Panchaali is a controversial character, rather than a villainess.

I always felt that there was more to her story than the usual male-centric readings allowed. And that’s what I wanted to examine: how the world would have seemed from inside her head. What would have led her to say and do the things she said and did. I also wanted to bring out the difficulties she faced–how in her way she was as heroic as any of her husbands. I’ve long admired John Gardner’s Grendel, where he transforms the traditional monster-villain to a hero. I wanted to do something similar—make readers see Panchaali in a whole different way. But she’s certainly no angel. Quick tempered, immensely proud, headstrong, Machiavellian when necessity calls for it—she’s larger than life but definitely human—and I hope the readers will find her sympathetic.

Q: Although Panchaali is married to five brothers at once and cares for each of them, she is secretly in love with a sixth man, the great and mysterious warrior king Karna. And by the end of the novel, we learn that perhaps her greatest love was someone else altogether. Is romantic love important to Panchaali? Do her views change over time? How does love figure in the Mahabharat and what wisdom on the subject does it have to impart to modern-day readers?

Love is very important in the Mahabharat. But the idea of love I wanted to explore is vast and not limited to romantic love, although certainly romantic love is very important to Panchaali—both the marital love she tries to reach with her husbands, and the forbidden love she holds unspoken inside herself all her life. The protective love she feels for her brother is very important in this novel, as well as the regretful love she feels toward her sons—but too late. The love she feels for her nurse—the only mother she knows—is also significant. Most important is the spiritual love she discovers at the end of her life.

I don’t know about imparting wisdom! I just want readers to think about the wealth of love that is possible in our lives—in so many guises—and how it can transform us. Opposed to love in the novel is vengeance—and whenever it overpowers love, the result is disastrous. So I guess I want readers to think about the cost of vengeance, too.


Q: Many of your novels, including this one, deal in a matter-of-fact way with the spiritual, mystical, and magical in everyday life. The Palace of Illusions, like the Mahabharat, is set in a halfmagical world populated by gods and sages who have supernatural powers as well as by humans, some of whom manage to harness magical powers for their own gains (though generally not without consequences). What is the place of magic in Indian culture? In Western culture?

My own view—influenced by my culture—is that the universe we live in is a magical one. It exists on many levels. The world that we perceive with our senses and understand with logic is only the most obvious level. The other levels are available to us—but we have to attune ourselves to them. Those are the levels I explore in many of my novels, which are peopled with characters who, for one reason or another, have gained access to them. On its most subtle level, the world is spiritual in nature. That is what Panchaali comes to understand at the end of her life.

Q: A bloody civil war between brothers is central to the plot in The Palace of Illusions. You carefully detail the battle and its consequences both immediate and far-reaching for your characters, especially for Panchaali’s husbands and sons. Although the story is an ancient one, it will resonate with a great many American women today whose own husbands and children are at war in Iraq and Afghanistan. Was this part of the reason you chose to retell this section of the Mahabharat? Does the Mahabharat advocate peaceful resolution to conflicts or is it more complicated than that? What about your own feelings about war?

Yes, one of the reasons I was attracted to re–telling the story of the Mahabharat is that unfortunately we continue to live in a war-torn world. Americans today—men and women both—are certainly feeling the effects of war. So are people in many other countries. War is particularly hard on mothers—seeing the life that came out of your own body being maimed or destroyed is devastating. But women aren’t the only sufferers. Remember, Panchaali suffers in one way, but her husbands don’t suffer any less. Yudhisthir goes into a long–lasting depression when he considers what has happened to the earth and to society as a result of the carnage he has helped bring about.

In this novel I wanted to focus on the immense and debilitating costs of war, and (as we are re–learning to our sorrow in this country right now) how easy it is to begin a war and how hard to end it.

In the Mahabharat—as in most epics—the attitude to war is a complicated one. Mine is more simple. Like Mahatma Gandhi, a man I greatly admire, I believe in non violence as the best method of resistance.

Q: The novel’s title, The Palace of Illusions, refers in part to the beautiful and fantastical palace that Panchaali and her five husbands build and that she considers her one true home. Are there other illusions that Panchaali and the novel’s other major characters must face? What role does illusion play in the Mahabharat? In everyday life?

I love that palace, rising from the ashes of a forest the Pandavas set on fire, fashioned by an architect whose previous “clients” were gods and demons! I hope the readers will be as fascinated by it—and by the idea of needing to belong, the idea of home that haunts Panchaali throughout the novel—as I am.

Yes, the novel is full of illusions (just as it is full of palaces). Panchaali has many illusions about who she is—and so do the other characters. Are the men’s ideas about heroism and war illusory? Is what Panchaali believes about romantic love an illusion? I want readers to draw their own conclusions–and, I hope, examine some of their own illusions. Ultimately the novel—and Indian spiritual philosophy—suggests that this entire world is an illusion, is Maya—and invites the reader to contemplate the true, unchanging, amazing essence of things.


From the Hardcover edition.

Praise

Praise

“A radiant entree into an ancient mythology virtually unknown to the Western world. . . . Remarkable.” —Houston Chronicle “A mythic tale brimming with warriors, magic and treachery. . . . Divakaruni's sentences dazzle; the images she creates are masterful.” —Los Angeles Times “Complex, beautifully wrought. . . . Divakaruni's feminist reading of Indian lore offers readers a magical lens into the political interplay of gender, castes, birthright and life in the monarchy. . . . A writer to watch.” —Rocky Mountain News “Divakaruni's prose is as spirited as Panchaali herself, written with energy and humor.” —Milwaukee Journal-Sentinel "Epics are intended to be accessible to the most extensive of audiences. And with The Palace of Illusions Divakaruni likewise makes this reimagining of the "Mahabharat" easy to understand through the simple, straightforward narrative. Moreover, Divakaruni masterfully describes the lyrical beauty of Indians and the elegant logic of Hinduism."—San Antonio News Express "The Palace of Illusions is not only an exciting, action-packed read, but also an educating one, and will likely encourage those curious enough to delve into the original Mahabharata."—Erin Kobayashi, Toronto Star "Enchanting.... Anita Diamant's The Red Tent, Philippa Gregory's The Other Boleyn Girl—now we can add Divakaruni's The Palace of Illusions to the list."—The Miami Herald "The Palace of Illusions is unique, amongst Divakaruni's very best. It is particularly refreshing to read an author who breaks the mold as clearly as Divakaruni does.... A creative, illuminating feminist work that compels us to re-examine the original text.... As in all great cathartic tales, Divakaruni's novel grasps our attention from beginning to end and is a healing, aesthetic experience."—India Currents "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."—The Union, Nevada City"Known for writing on the modern Indian immigrant experience in novels such as "Queen of Dreams," Divakaruni goes back in time, this time with a novel look at the ancient Indian epic "The Mahabharat" (think: an Indian "Iliad"). With hundreds of characters in the story of a great war, she tells the story from the point of view of a woman - Panchaali - who is married to five brothers"—New York Post "Divakaruni has woven a lyrical tale imbued with the scent of ancient incense, yet simultaneously rooted in modern-day relevancy. Brimming with betrayals, religious fervor and war-torn streets, The Palace of Illusions is a journey experienced from the vantage point of Panchaali, a powerful woman dfiven by love, honor and, in the end, a fate that unfolds despite her resolve."—Karen Ann Cullotta, Bookpage"Your truly epic narrative myth calls for bitter experience descending, avalanch-like, down dynasties, incorporating dramatic turning points of ineradicable impact; curses; looming fates; tricky and meddlesome gods; feuds; sages, sorcerers and wars. These elements and many more are found in abundance in Chitra Banerjee Divakaruni's new novel, The Palace of Illusions, which ambitiously encapsulates the Indian epic "Mahabharat" within a 360-page novel.—Elsbeth Lindner, San Francisco Chronicle "By rendering the women characters as complexly as the men, and fully illuminating the "insanity of war" and the fragility of civilization, Divakaruni's historic and transporting variation adds new and truly revelatory psychological and social dimensions to the great epic's indelible story of sacrifice and spiritual awakening. Divakaruni has triumphantly fulfilled a profound mission."—Donna Seaman, Booklist "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 "The Palace of Illusions is as grand and tragic as the epic poems by Homer. The story is complex, as political relationships grow and develop, and friends and enemies are created, leading to battles and wars that will eventually destroy them all. I was captivated by the tragic storyline and the fate into which Panchaali was born. This admirable attempt to recreate the epic Mahabharat from the viewpoint of a strong woman is Chitra Banerjee Divakaruni's best work yet."—Marie Hashima Lofton, Bookreporter.com"For more than 20 years now, Chitra Banerjee Divakaruni has been telling stories of Indian women from her home in California. Her women are desperate, wonderful, complicated, lyrical, memorable, even magical.... Chitra's women experience love, loss and longing through tangled marriages, bitter divorces, childbirth, abortion, abuse, violence, racism, poverty and riches. Now, in a daring novel out this month, Banerjee Divakaruni returns to a fantastic world, inhabited by kings, queens, villains and sorcerers."—Vogue India "Vivid and inventive.... Divakaruni's rich, action-filled narrative contrasts well with the complex psychological portrait of a mythic princess."—Publishers Weekly"Divakaruni offers a quasi-feminist retelling of the great Hindu text known as the Mahabharat...an intimate, feminine portrait that is both contemporary and timeless. An ambitious project effectively executed."—Kirkus Reviews
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

“A radiant entree into an ancient mythology virtually unknown to the Western world. . . . Remarkable.”
Houston Chronicle

The introduction, questions, and suggestions for further reading that follow are intended to enhance your reading of Chitra Banerjee Divakaruni's mesmerizing novel, The Palace of Illusions.

About the Guide

Through the tumultuous life of Panchaali, daughter of King Drupad and wife to five husbands who seek to reclaim their birthright, bestselling novelist Chitra Banerjee Divakaruni gives voice to a bold and sensuous retelling of captivating stories from the Mahabharat. Woven into the fabric of traditional tales from the ancient Indian epic, Panchaali's destiny is a thread as golden and as fragile as the lotus she discovers. As she endures a fierce civil war, domestic power struggles, and the perils of attraction to elusive men, Panchaali brings a feminine sensibility to her male-dominated world. From the story of her magical birth in fire to her final moments as she brings an end to the Third Age of Man, Panchaali bears witness to her fate with insightful observations and a powerful heart. With devotion to Panchaali's tale, Divakaruni also presents a stirring account of the interplay of warriors, gods, and the inscrutable laws of destiny, offering wisdom for today's war-torn world.

About the Author

Chitra Banerjee Divakaruni is the author of the bestselling novels Queen of Dreams, The Mistress of Spices, Sister of My Heart, and The Vine of Desire, and of the prize-winning story collections Arranged Marriage and The Unknown Errors of Our Lives. She lives in Houston, Texas, and teaches creative writing at the University of Houston.

Discussion Guides

1. In the book's opening pages, Panchaali relates the story of her birth. Dhai Ma says that voices spoke from the fire just before Dhri and Panchaali stepped from it. Given that this narrative is a retelling of the ancient Indian epic, do you read these events as literal or symbolic? How would you describe the reality and the illusions being portrayed in the tale?

2. How does the prediction that Panchaali will change the course of history influence her character as she matures? In what way are her lessons in “the sixty-four arts that noble ladies must know” a challenge to her destiny? Were there predictions made by family or friends early in your life about your future? If so, how did they affect your choices as you grew up?

3. When Sikhandi tells Panchaali the story of his past, Panchaali asks Krishna to confirm it. Krishna responds, “He believes it to be so. Isn't that what truth is? The force of a person's believing seeps into those around him—into the very earth and air and water—until there's nothing else” [p. 49]. How does this description of truth shed light on the ideas of self-determination and destiny throughout the novel?

4. After the predictions made for Panchaali by Vyasa the sage, Panchaali marries the five sons of the widowed queen Kunti. On her wedding night, as she lies on a mat near the brothers' feet, Panchaali thinks of Karna. How does the memory of Karna guide her throughout the narrative? How would you characterize their relationship?

5. Panchaali relates, “Palaces have always fascinated me, even a gloom-filled structure like my father's that was a fitting carapace for his vengeful obsession. For isn't that what our homes are ultimately, our fantasies made corporeal, our secret selves exposed?” [p. 113]. How does the Palace of Illusions, built by Maya, reveal the fantasies and longings of Panchaali's husbands and of Panchaali herself? In what ways does your own home reflect your secret self? If Maya were to build you a palace, what would it be like?

6. After Sisupal's death, Duryodhan builds himself a grand palace and invites Panchaali and the Pandavas to be his guests in Hastinapur. What mental characteristics cause Yudhisthir to lose everything in a last game of dice? How is this catastrophe a personal turning point for Panchaali? When she is taken to court, what does she learn about her power over her husbands? About the purity of her own heart?

7. During their banishment in the forest, Dhri gently chastises Panchaali, asking her where his sweet sister has gone. She thinks to herself, “She's dead. Half of her died the day when everyone she had loved and counted on to save her sat without protest and watched her being shamed. The other half perished with her beloved home. But never fear. The woman who has taken her place will gouge a deeper mark into history than that naïve girl ever imagined” [p. 206]. What emotion does this passage evoke in you toward the characters and their fates? Have events in your own life caused you to be stronger and more determined in achieving your life's purposes?

8. When Panchaali discovers a golden lotus floating in the river, she lifts it to her face and forgets her vengeance. When the color fades and the petals droop, her sorrows return. What advice from Krishna does she remember? When she goes to her faithful husband Bheem and indicates her desire for another lotus to him, how is Panchaali revealing her true character?

9. Panchaali relates the stories of Arjun's encounter with Shiva, his visit to Indra's palace, his refusal of the celestial dancer Urvasi, and the subsequent year he must spend as a eunuch. She says of her husband, “He had glimpsed the truth of existence that extended beyond this oscillating world of pleasure and sorrow” [p. 222]. How does the author use these tales of divine encounters to support and advance the narrative? What effect do Arjun's experiences have on the restless Panchaali? What do they tell us about the nature of the world?

10. In the city of Virat, Panchaali is pursued by the lustful Keechak. When Bheem kills him, the Pandavas and Kauravas do battle, and soon preparations for war are underway. When Surya, the sun-god, comes to Karna in a dream, he tells Karna how to achieve his heart's desire. What do you think is Karna's deepest longing? How does this desire relate to Panchaali's own destiny, as originally predicted by Vyasa?

11. Before the war at Kurukshetra, Panchaali sees a falling star and is heartened. She then says, “I should have remembered how tricky the gods are. How they give what you want with one hand while taking away, with the other, something much more valuable” [p. 252]. How does the author's foreshadowing through the eyes of Panchaali enhance your experience of the tale? How would you characterize Panchaali's attitude toward the gods, and toward her own role in the affairs of the Pandavas?

12. With Vyasa's gift, Panchaali is able to see all that occurs in the war. On the ninth day, she watches Bheeshma, the grandfather, battle Arjun, who had been loved and cared for by Bheeshma as a child. What do you make of Krishna's conversation with Bheeshma during this battle? How is Yudhisthir's phrase “insidious curiosity of womankind” important to understanding Panchaali's obstacles?

13. When Karna learns he is Kunti's son, how does he relate this new knowledge to his fate? What has the “shame of illegitimacy” produced in his life? What does Kunti's having abandoned her son tell you about the relations of mortals to gods in this tale? Have you ever learned a secret about your family history that has had a profound effect on how you viewed yourself?

14. Karna insists he cannot fight against Duryodhan because he has eaten his salt. What did you discover about salt's symbolism in ancient India? Discuss the idea of loyalty brought forth in this scene.

15. When Dhri kills Drona, thereby fulfilling his own predicted destiny, what is Panchaali's reaction? As she narrates the events, what does her tone tell you about her beliefs regarding fate, vengeance, and mortality? Do you admire or sympathize with her beliefs or do you disagree with them?

16. After Karna's death and Duryodhan's defeat at the hands of the Pandavas, a messenger brings word that Dwarka, Krishna's city, has been overtaken. Gandhari's curse, it seems to Panchaali, has been realized. When Arjun relates what happened, why does Yudhisthir acknowledge that it is time for the Pandava warriors to die?

17. As Panchaali goes with her husbands to the base of the Himalayas, to the path of great departure, how do her thoughts and experiences confirm her destiny? What discovery does she make about love? As Krishna guides her through death, how does she remember her life?

18. How does Panchaali's description of death and the afterlife compare to your own beliefs? Do you share her skepticism? How is Panchaali's story “a slippery thing” throughout the narrative, and perhaps most slippery at the end? If you told the story of your life to date, how would you describe the roles of destiny, free will, and cultural ideals?

19. What themes regarding war and destiny in The Palace of Illusions could enlighten world leaders about violent conflicts around the globe? In what way do the other Divakaruni novels you have read blend contemporary relevance with ancient insight?

Suggested Readings

Kiran Desai, The Inheritance of Loss; Jhumpa Lahiri, Unaccustomed Earth, The Namesake; Bharati Mukherjee, Desirable Daughters, The Tree Bride; Indu Sundaresan, The Twentieth Wife, The Feast of Roses; Thrity Umrigar, Bombay Time, The Space Between Us.

  • The Palace of Illusions by Chitra Banerjee Divakaruni
  • February 10, 2009
  • Fiction - Literary
  • Anchor
  • $14.95
  • 9781400096206

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