Books in the Indian historical fiction genre can broadly be divided into two categories. The first is where, while reading, we are aware that it's fiction. The second category is so realistic that it plants doubt in our minds about our own knowledge of history, prompting us to reread history or conduct an online search to confirm our memories. In other words, this type of historical fiction can sometimes replace history in our minds.

Pioneers of this genre from a bygone era include Sri Vishwanatha Satyanarayana, Sri B.L. Bhyrappa, Sri Manohar Malgaonkar, and Sri Kalki. In our current times, Sri Sai Swaroopa—through her works like "Abhaya" and "Draupadi," Sri Sumedha Ojha—via her "Urnabhih" series, and Sri Arun Krishnan—through the "Vatapi Trilogy," are carrying that flame forward. Thus, it is no surprise that Sri Arun Krishnan dedicates his books to Sri Kalki.  Indeed, Sri Arun’s series, offering another perspective on the War of Vatapi, can be seen as a nod to Sri Kalki’s phenomenal "Sivagami Sapatham."

While Sri Kalki’s "Sivagami Sapatham" portrays the War of Vatapi from a broader perspective, Sri Arun presents it with meticulous detail. A notable difference between the two works is the characterization of Pulakesin; whereas he is depicted as ruthless in "Sivagami Sapatham," he appears more likable and relatable in Sri Arun's rendition. This shift could be attributed to additional historical information that became available to Sri Arun when Sri Kalki wrote his book. Another fascinating aspect of the series is its depiction of how opponents behaved in ancient India. Here, rivalries ceased immediately once one party died or was grievously injured. Often, it is the so-called enemy who performs the final rites for fallen soldiers, adhering to their dharma rather than for any personal gain. This reflects the Bharatiya ethos from a time before invasions from the West altered our cultural landscape.

The second book in the "Vatapi Trilogy," "Varaha's Vengeance," picks up where the first book, "Nandi’s Charge," left off. It starts with the cliffhanger from the first book and continues the journey of our three main protagonists—'protagonists' is indeed the right word, even though there are very few outright villains in the books. They travel through forests and rivers, over the seas, and into underground dungeons, day in and day out, never pausing, and yet, their journeys don’t conclude... yet.

"Varaha’s Vengeance" is the quintessential middle book of any trilogy. The first and third books might be easier to write: in the first, the author sets up the story, defines characters, provides backgrounds, and develops the overarching plot. The third book, meanwhile, offers ample scope to bring all the plots and subplots to a conclusion. However, the second book presents a unique challenge. It must sustain the reader's engagement without answering all the questions raised in the first book, as resolving too much would render the third book unnecessary, yet it must stay true to the main plot.

This is where Sri Arun's brilliance shines. In "Varaha's Vengeance," he masterfully manages these challenges and adds depth to the narrative. As readers, we experience the frustrations of Elango, the helplessness of Sanghamitra—my favourite character so far—the ingenuity of Kannan, the steadfastness of Muthu, and a host of other characters who "assist" our protagonists, for better [or worse?], throughout the story.

As with the first book, events in "Varaha’s Vengeance" unfold over extended periods, mirroring the slow pace of life in ancient times. This offers a glimpse into the world just a couple of hundred years ago, where even traveling a few kilometers took considerable time, information flowed slowly, and surroundings remained pristine. Sri Arun captures these elements effectively, making it feel as though I was walking alongside Elango and Mitra through the mind-numbing distances, enduring the incessant monsoon rains at times and the sweltering heat at others.

Sri Arun has made the journey the central theme of the narrative in "Varaha’s Vengeance," interspersing it with highs and lows that tie back to the characters’ destinations. Just as a rocket has no superfluous parts, there are no extraneous characters in these books; everything is logical to a fault. The war scenes are methodically and rationally crafted, without any random leaps of faith, making them frustratingly likable.

No review of this book would be complete without mentioning Sri Arun’s amusing "fascination" with buying and selling coconuts. Many on social media will confirm that Sri Arun once paid Rs 270 for two coconuts—a claim he contests, though his version scarcely matters. Accordingly, the book features a character who sells coconuts at exorbitant prices and many 'Aruns' are willing to pay such sums!

A little trivia to explain the book titles for those unfamiliar with history: The Pallavas used either a Nandi or a Simha on their flag, depending on the ruler. While it is known that Narasimhavarman, also known as Mamalla, had a "Simha" on his flag, his father Mahendravarman likely had a "Nandi." The Chalukyas, led by Pulakesin, had "Varaha" on their flag. This historical detail explains the titles "Nandi’s Charge," "Varaha’s Vengeance," and the upcoming final part of the trilogy, "Simha’s Roar."

For fans of Indian historical fiction like myself, "Varaha’s Vengeance" brings both good and bad news. The good news is that you will undoubtedly love this book. The bad news is that it is still the second book in the series, which means you'll finish with more questions than answers. Now, like Mitra, Indu, and Thaamarai, we wait...

Image source: Queen of Treasures