The first thing that strikes you when you finish reading Kala Krishnan’s Theivanai is why do we not have more books on Murugan in English? Why is so little written about this Lord of courage, victory and wisdom? In the world of mythological fiction where other Hindu deities vie for shelf space in a bookstore, barely any titles in English exist on the chief deity from Tamil Nadu. Krishnan’s novel not only fills this gap, but also brings to life the cultural richness and spiritual depth surrounding Murugan and his divine consorts.
Theivanai is part two of the Murugan trilogy by Krishnan and, just like the first one, this too stays true to its cause and shows us Murugan the warrior and Murugan the lover of poetry and the ‘God of Tamizh’. The first book in the trilogy, Mahasena, explores the origins of this divine figure, son of Shiva and Parvati, and brother of Ganesha. The novel follows the fiercely brave boy’s journey from infancy, separated from his mother, and raised by the Krittika maidens (his six mothers), and to his destined confrontation with the powerful demon Surapadman. The second part, Theivanai, takes forward the cliff-hanger on which the first one had ended. The book starts with Ganesha reminiscing about Murugan’s birth, the impending war with the great asura Surapadman, and how his brother’s birth has a larger cause attached to it.
Krishnan has neatly divided the book into two sections—each standing on its own. The first one, The God’s Test, is all about the ensuing war, of victories and losses, of tears and sweat, of love and longing while the second one, The Poet’s Victory, is all about how language takes shape, the poet’s assembly, the due given to women poets and the great competition to find the 12 best poets. The last chapters of both the sections are aptly titled ‘In the Aftermath’, and leaves one with a tinge of sadness and anger (not revealing the plot as to why you may feel so).
Krishnan’s world is filled with myths and legends that bring alive the significance of the place Pazhani, Murugan’s anger with his parents, the devotion he has for his adopted mothers, and how, above all, friendship rules his life.
One of the notable and the most striking aspect in the novel is how Tamizh (Tamil) language is portrayed as a fundamental and natural aspect of existence for Murugan and the people around him. The language is important not just for people to convey emotions, but also to express how objects take shape. It is also a book that shows two very strong feminine characters—Theivanai and Aambal—Murugan’s wife and his favourite disciple poet, respectively.
One of passages, which truly reflect how the women were strong not just mentally but even physically, goes like this: “As they walked, Murugan stumbled, but Theivanai’s left foot pressed into the ground and she grabbed his waist... his back was still tingling in the strength it had felt in Theivanai’s arms.” Krishnan deftly subverts the traditional gender roles typically depicted in such scenes, where usually it is the man who supports the woman, by showcasing Theivanai’s strength and steadiness. Aambal’s strength is another highlight of the book worthy of praise and admiration.
The author takes readers on a journey from the intense battlefields to the tender moments of romance, of stolen glances and unwritten verses, culminating in the vibrant assemblies where poets and scholars are celebrated. It’s
a pity that Lord Murugan’s stories are not widely known. But Kala Krishna’s prose, just like her poetry, does great justice to bringing to mainstream this revered deity to life. One of the several reasons why Krishnan’s writing on Murugan is like a breath of fresh air is because her prose is just as vivid as her poetry, and is a visually enriching treat to read.