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just_one_more_paige's review against another edition
adventurous
emotional
mysterious
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
5.0
I love a good retelling, so I'm here for the overall boom in feminist classic mythology retellings. The Witch's Heart and The Silence of the Girls are both great, and of course Circe is an all-time favorite of mine. So I was super excited to delve into this feminist retelling of a non-Western epic, the Ramayana.
The titular protagonist, Kaikeyi, is, in essence, Rama's (step)mother. In the original epic, the story focuses on Rama's exile to the forest at Kaikeyi's urging, and his battle with Ravana after he kidnaps Rama's wife, Sita, and his eventual crowning as king. Patel takes this original story as the scaffold, but turns the focus to Kaikeyi, building her characterization and the unfolding of events that explain why she urged Rama's exile. We follow Kaikeyi through her youth, as she realizes that, as a woman, she has nowhere near the power and position of the men in her world, and that despite all her prayers to the gods (as urged by society and tradition), they seem to have forsaken her. And yet, Kaikeyi makes a life with what she can, forging forward with a bit of magic, a bit of manipulation, a bit of secret training with her twin brother, and a whole lot of effort to create a better world for herself and the women of her nation. When the will/plan of the gods for the human world clashes with her own, threatening her family, her status, her relationships, her life's work, she must make an impossible choice between averting war (saving her homeland and her new land) or preserving the public legacy of her years of diplomacy and advocacy (and her familial ties).
Well, I loved this retelling. Kaikeyi became such a fleshed out and fully developed character in Patel's hands. I loved reading about her youth, both the difficult parts of finding her own ways without a mother or the gods to guide and help her, and the sweet and fun parts, like her relationships with her brothers, especially her twin. This is one of the only books I have read that goes into the art of charioteering (the Nevernight trilogy is the only other one I can think of), and I was fascinated reading about it. Plus, I am a sucker for a lady in battle, historically (I was weirdly obsessed with Joan of Arc as a kid, and loved Tamora Pierce's Alanna series), so the entire "Kaikeyi winning over Dasharath and Ayodhya through her horse/weapons prowess" really hit the spot for me. As Kaikeyi got older, I really enjoyed reading about her mind-opening about how she could help the women of her nation. There was some great insight into how being raised in one way (within a powerful family/court life) can limit one in the ways a person thinks about potential for change or how to make it happen, but with a little looking outside oneself, there are many creative and roundabout ways to affect change. As for her role as a mother, it was well-written, but not as much the highlight for me personally. I was much more into the ways she found to influence and act as a diplomat and use her small magic to create connections. And finally, I was so here for the ace spectrum coding on Kaikeyi’s character; it was smooth and natural and just....felt so right.
The writing itself was perfect for the genre, that sort of the folklore-y narrative voice that feels like classic fairy-tale story-telling. It's narrated by Kaikeyi herself, sort of looking back on everything after it all played out, so there is some fairly heavy-handed foreshadowing, with (short) reflections on what decisions could have been different or moments might have been altered to change the way things happened (just as a heads up, in case you, like myself, are not the biggest fan of that stylistic device). There were a couple other common plot devices that were recognizable, but well used, like the dangers of open-ended promises/boons as repayment/gift/in recognition. Also, and you can see it coming from a mile away but can't look away from it, the inevitable finale due to Kaikeyi keeping secrets (because she is a woman and grew up with little power/support/trust) leading to making decisions for the best possible outcome...but the lack of confiding in others about her knowledge plays a major part in her downfall of status/trust with those closest to her (because they didn’t understand her reasoning for having to make the decisions in the first place and felt taken advantage of and strong armed). That was a long description, but I was trying to convey the vibe while staying vague. The point is, it's a pattern I've definitely read before, but the confluence of situations/events built to Kaikeyi's tragedy in a wonderful way. Finally, I want to mention that the magic/gods aspects were in great balance to the rest of the novel (plot and character development - which were well-balanced and paced in their own right - and feminist themes); present, but never overpowering.
This was a cinematic, adventurous and spectacular retelling. The female gaze and centering was spot on and, as it always is, so refreshing. I always go into these retellings hoping for a happier story, even though I know that the women in these classics are tragic characters, the ones that suffered. So though these retellings are their perspectives, they are not happier for it, just given their own voice to tell it. Regardless, the forceful (though subtle within the plot itself, as necessary) feminism of historical, "powerful" women, was reminscient of Signe Pike's Langoureth (The Lost Queen and The Forgotten Kingdom) in all the best ways (I personally love that vibe/style). All in all, I just really enjoyed this reading experience and definitely recommend this book.
“I could not stop thinking about Ahalya, doomed to remain a stone statue in a forest, slowly eroding while her husband continued to wander the world. If a woman crafted by the gods themselves could be consigned to this fate, what hope was there for a woman born of a woman?”
“I had long thought of Ahalya as the foremost example of how a man might devastate a woman, but as I saw more of the world, I was realizing there were many ways to ruin a person's life. Most women were not cursed by their husbands, but they suffered all the same.”
“In helping another woman, I had in fact helped myself.” (love love love)
“I did not wish to bring a daughter into this world of men, into a world that would silence her thoughts before she could even speak them. I wondered how many women had felt this same fear, deep in their bones. [...] I had to build a world where [...] her opinion could be valued…”
“If the gods had already ordained my evil deeds, then I had nothing to lose by defying them now. So, I would defy them.”
“It is not weak to avoid war [...] It is the strongest thing you could do, to avoid unnecessary bloodshed.”
“'Then why do I feel wicked?' / 'Because those who are good question themselves. Because those who are good always wonder if there was a better way, a way that could have helped more and hurt less. That feeling is why you are good.'”
“Before this story was Rama’s, it was mine.”
Content Warnings
Graphic: Injury/Injury detail, Religious bigotry, Death, Death of parent, Sexism, Classism, Infertility, Blood, Misogyny, Violence, and War
Moderate: Murder, Pregnancy, Bullying, and Fire/Fire injury
Minor: Domestic abuse
hanarama's review against another edition
adventurous
emotional
reflective
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.5
CWs: sexism, misogyny, death, violence, abandonment, infertility, abuse
*3.5*
Kaikeyi is Vaishnavi Patel’s ambitious debut novel, retelling the first part of the Ramayana from the perspective of one of its most complicated characters. The only daughter amongst seven brothers, Kaikeyi is often ignored, both by her father and by the gods themselves. What power she has, she fought tooth and nail for, and in doing so becomes a formidable warrior, advisor, diplomat, and queen.
The power and influence that she has spent a lifetime carefully cultivating is thrown off kilter as her step-son Rama begins to ascend into his own power.
I loved the first half of this book, though it moved slowly. The meandering pace gives the reader space to get to know Kaikeyi and to understand her motivations. Her flaws and virtues are presented side by side throughout her rise to power, making her feel very real.
Though most of the other characters are not given the same detail as Kaikeyi, their relationships to her feel clear. While reading, I felt connections to them through Kaikeyi. Particularly, I loved her interactions with Dasharatha. I loved how asexuality was represented in their relationship. Though she didn’t love him as a romantic partner, her love for him as a friend felt so real.
The Binding Plane was beautifully handled. Its introduction makes for an interesting dynamic between Kaikeyi and the court intrigues of Kekeya and Ayodhya. The power felt very defined, but also strong, making Kaikeyi’s use of the Binding Plane feel very impactful.
The second half lost me a little bit. While compelling and fun to read, I felt that Patel framed too much of it in black and white. This was jarring, considering the care given in the first half to portray things in shades of gray. Kaikeyi is presented initially as an ambitious, sometimes callous, sometimes caring woman, but as Rama becomes more prominent, Patel presents her as wholly in the right and Rama as wholly in the wrong. I feel like there was a way for Patel to have shown them both as complicated, whole people.
It felt too much like Patel was trying to flip the entire narrative in reverse, rather than to give more space to the female characters to be rich and interesting people. Because despite Kaikeyi’s efforts in the story to raise the station of women in Kosala, she’s really the only female character to get thorough characterization. Others like Sita and Sumitra feel very flat. Framing the major conflict between Kaikeyi and Rama as a disagreement of women’s place in society rings kind of hollow given how they seem to only matter as a concept and not so much as characters.
*3.5*
Kaikeyi is Vaishnavi Patel’s ambitious debut novel, retelling the first part of the Ramayana from the perspective of one of its most complicated characters. The only daughter amongst seven brothers, Kaikeyi is often ignored, both by her father and by the gods themselves. What power she has, she fought tooth and nail for, and in doing so becomes a formidable warrior, advisor, diplomat, and queen.
The power and influence that she has spent a lifetime carefully cultivating is thrown off kilter as her step-son Rama begins to ascend into his own power.
I loved the first half of this book, though it moved slowly. The meandering pace gives the reader space to get to know Kaikeyi and to understand her motivations. Her flaws and virtues are presented side by side throughout her rise to power, making her feel very real.
Though most of the other characters are not given the same detail as Kaikeyi, their relationships to her feel clear. While reading, I felt connections to them through Kaikeyi. Particularly, I loved her interactions with Dasharatha. I loved how asexuality was represented in their relationship. Though she didn’t love him as a romantic partner, her love for him as a friend felt so real.
The Binding Plane was beautifully handled. Its introduction makes for an interesting dynamic between Kaikeyi and the court intrigues of Kekeya and Ayodhya. The power felt very defined, but also strong, making Kaikeyi’s use of the Binding Plane feel very impactful.
The second half lost me a little bit. While compelling and fun to read, I felt that Patel framed too much of it in black and white. This was jarring, considering the care given in the first half to portray things in shades of gray. Kaikeyi is presented initially as an ambitious, sometimes callous, sometimes caring woman, but as Rama becomes more prominent, Patel presents her as wholly in the right and Rama as wholly in the wrong. I feel like there was a way for Patel to have shown them both as complicated, whole people.
It felt too much like Patel was trying to flip the entire narrative in reverse, rather than to give more space to the female characters to be rich and interesting people. Because despite Kaikeyi’s efforts in the story to raise the station of women in Kosala, she’s really the only female character to get thorough characterization. Others like Sita and Sumitra feel very flat. Framing the major conflict between Kaikeyi and Rama as a disagreement of women’s place in society rings kind of hollow given how they seem to only matter as a concept and not so much as characters.
Content Warnings
Graphic: Misogyny, Sexism, and Death
Moderate: Infertility, War, and Violence
jaan's review against another edition
emotional
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
This is a fantastic story. I've read multiple feminist mythological retellings before, including The Palace of Illusions and The Kaunteyas, which have to do with the two major feminine figures from India's other great epic, the Mahabharata. I thought both those books were fine, but Kaikeyi is different in that it doesn't just give Kaikeyi a voice; it gives her agency.
Patel's inclusion of magic in this book is interesting. On one hand, I've read reviews saying it wasn't really necessary to the story. I understand this perspective, as it does feature prominently in the first act before largely fading to the background. I think it plays a pivotal role for two reasons. The first isRavana as a character and his relationship with Kaikeyi . The second is that much of Kaikeyi's story deals with her acquisition and wielding of power, and in this, magic is, arguably, indispensable. During the later acts of the book, Kaikeyi's power is established, which is why it too fades from narrative significance. I do believe that Patel could have written an excellent story without its inclusion (even though it would be difficult), although it would be a different story.
In my imagination, the exclusion of magic would have created a story exactly opposite to the one Patel is trying to write: without it, Kaikeyi's growing power would easily be read as due to "feminine wiles," cunning manipulation, and malicious jealousy. She would also be sexually voracious, which Patel's Kaikeyi, out of narrative necessity, is not. This is the figure I remember from my childhood interactions with the Ramayana, and not one whose story I want to read, especially in a book wherein the protagonist so vehemently rankles from—and combats—sexism and institutional misogyny.
Patel's inclusion of magic in this book is interesting. On one hand, I've read reviews saying it wasn't really necessary to the story. I understand this perspective, as it does feature prominently in the first act before largely fading to the background. I think it plays a pivotal role for two reasons. The first is
In my imagination, the exclusion of magic would have created a story exactly opposite to the one Patel is trying to write: without it, Kaikeyi's growing power would easily be read as due to "feminine wiles," cunning manipulation, and malicious jealousy. She would also be sexually voracious, which Patel's Kaikeyi, out of narrative necessity, is not. This is the figure I remember from my childhood interactions with the Ramayana, and not one whose story I want to read, especially in a book wherein the protagonist so vehemently rankles from—and combats—sexism and institutional misogyny.
As an aside, I truly hate how popular culture has boiled down this book to "asexual representation." It's reductive to call Kaikeyi asexual from three perspectives. First, cultural: contemporary ideas of gender and sexuality are a product of imperial Western ideas and developments, and thus should not be applied to a figure from ancient Indian epics. Second, historical: Egyptologists refuse to apply contemporary labels of gender and sexuality onto historical figures. rudjedet (at least, I believe it was her; I can't find the post) on Tumblr explains excellently that just as she enjoys the privilege and dignity of defining herself, so should historical figures retain that dignity, and they would categorically define themselves differently than we would. Out of respect, she does not apply these labels. Third, narratively: Kaikeyi's indifference towards sexual relations with her husband is extremely minor in the story, and for me, as a person on the asexual spectrum, is not proof she does not experience sexual attraction. Once again, historical and cultural approaches to sex and sexual desire, especially for women, are drastically different than contemporary understandings. The fact that this book is considered LGBTQIA fiction is, frankly, insulting to me both as a Desi person and as a queer person.
Patel has taken some artistic liberties in this book which devout Hindus may not appreciate, especially with the convergence of Vamadeva and Gautama into one person, which she acknowledges in a note. This book is neither a historical document nor Hindu scripture. However, many of her choices align with the Ramayana, to which this book serves as a "prologue." I found her characterization of Rama really interesting, especially in light of the fact that, mythologically, he banishes Sita after their period of exile is over.
TLDR: I COULD NOT PUT THIS BOOK DOWN!! The reason it took me two days to read is because I fell asleep around 2AM and work up the next morning. Kaikeyi is sharp, endearing, and flawed. I am thankful to Patel for this version of her.
"In the end, I have always been concerned with mortal affairs. But the fact that they were mortal did not make them small. Nor did it make me wrong."
Content Warnings
Graphic: War and Misogyny
Moderate: Infertility
regen20's review against another edition
adventurous
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.0
Content Warnings
Graphic: Infertility, Misogyny, Sexism, Violence, War, and Abandonment
Moderate: Fire/Fire injury
Minor: Pregnancy
bluejayreads's review against another edition
emotional
sad
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.0
I have to start out by saying that I have not read the Ramayana, although it is on my list of things to read eventually. So I had zero context going into this. But I do know I love reading books in interesting settings (ancient India certainly fits that bill) and usually enjoy vilified characters getting to tell their side of the story, especially when said character is a warrior queen fighting against society and the gods themselves to make her mark. I didn’t know if I was going to get an anti-hero or a heroine whose story got told only by her enemies, but I was excited to find out.
Kaikeyi herself was a fantastic character. As a woman, her purpose in life was to be married off; as a princess, she learned a lot about politics and diplomacy; as a stubborn sister, she convinced her brother to teach her to fight and drive a war chariot. She is also on-page aro-ace, making the eventual marriage an even worse prospect. And she also has a magic that lets her influence others’ thoughts and feelings, which adds an extra dimension to the politics. She wants equality for herself and other women, and she will use all the tools available to fight for it.
There is a lot of politics and diplomacy in this book. Normally that’s something I don’t enjoy, but Kaikeyi’s magic and its uses in getting her way made it tolerable and sometimes even enjoyable. I also love reading about characters who are good at what they do, and Kaikeyi is very, very good at what she does. I’m sure some of it is the magic, but she’s also had a lot of practice and is determined to make life better and more equal for women. Somehow even the fully political parts never crossed the line into dull.
I very nearly did not finish this book, and that is not at all the book’s fault. I’ve been under a lot of stress related to an unnecessarily complicated and frustrating move, and apparently my emotions are a little raw. As the book moved towards the end and things kept getting worse and worse as the climax approached, I nearly stopped – not because I didn’t want to see how it ended, but because I couldn’t handle the emotional intensity. I assumed it would have a sad, tragic, likely violent ending (again, have not read the Ramayana, but “vilified queens” rarely have happy endings in any mythology) and I liked Kaikeyi too much to want to watch that happen.
But I pushed through and I survived (and the ending wasn’t nearly as tragic as I expected). And I am very glad I stuck it out. Even without the context of knowing the Ramayana, Kaikeyi is a great book. I suspect that it would be even more interesting and engaging to someone who knows the original myths of the queen who is reimagined in these pages.
Content Warnings
Graphic: Misogyny, Sexism, Grief, Abandonment, and Death
Moderate: Blood, Gore, Death of parent, War, and Violence
Minor: Domestic abuse, Pregnancy, Animal death, Infertility, and Religious bigotry
Forced marriage, sexual content with dubious consent (mentions)savvyrosereads's review against another edition
adventurous
hopeful
inspiring
reflective
medium-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
5.0
Rating: 5/5 stars
A feminist retelling inspired by the Ramayana, Kaikeyi tells the story of Radnyi (Queen) Kaikeyi of Kosala and her journey through magic, motherhood, and the destruction (and salvation) of her family and kingdom.
“It was a child, freer than her mother had been.”
I adored this book! I love a feminist retelling, but it’s no secret that many of them have a tendency to be slow and a bit boring in sections. Not so here—Kaikeyi is action-packed and engaging from the very beginning, and Kaikeyi herself is a delight of a character who I was rooting for the whole way through. So much happens in this book that it isn’t easy to summarize (or even review), but I laughed, cried, and was thoroughly enthralled by the story and all the side characters (especially Kaushalya and Lakshmana, my faves).
I will also add that even though I went into this with pretty minimal knowledge of the Ramayana/any source myths, I never felt confused about the world or the events taking place. In fact, while I’m sure those who grew up with these myths will also enjoy the book, I think I was even more enchanted because everything was new to me—so if you’re intimidated by this book for those reasons, don’t be!
Bottom line: if you enjoy mythology and retellings, you absolutely have to read this one.
Recommended to anyone, but especially if you like: feminist retellings; Hindu epics; fantasy meets mythology.
CW: War/violence/injury/death; death of parent; abandonment; discussions of infertility; discussions of child death.
A feminist retelling inspired by the Ramayana, Kaikeyi tells the story of Radnyi (Queen) Kaikeyi of Kosala and her journey through magic, motherhood, and the destruction (and salvation) of her family and kingdom.
“It was a child, freer than her mother had been.”
I adored this book! I love a feminist retelling, but it’s no secret that many of them have a tendency to be slow and a bit boring in sections. Not so here—Kaikeyi is action-packed and engaging from the very beginning, and Kaikeyi herself is a delight of a character who I was rooting for the whole way through. So much happens in this book that it isn’t easy to summarize (or even review), but I laughed, cried, and was thoroughly enthralled by the story and all the side characters (especially Kaushalya and Lakshmana, my faves).
I will also add that even though I went into this with pretty minimal knowledge of the Ramayana/any source myths, I never felt confused about the world or the events taking place. In fact, while I’m sure those who grew up with these myths will also enjoy the book, I think I was even more enchanted because everything was new to me—so if you’re intimidated by this book for those reasons, don’t be!
Bottom line: if you enjoy mythology and retellings, you absolutely have to read this one.
Recommended to anyone, but especially if you like: feminist retellings; Hindu epics; fantasy meets mythology.
CW: War/violence/injury/death; death of parent; abandonment; discussions of infertility; discussions of child death.
Content Warnings
Graphic: Misogyny and Sexism
Moderate: Abandonment, Classism, Death of parent, Grief, Injury/Injury detail, Pregnancy, War, Death, Fire/Fire injury, and Violence
Minor: Infertility and Infidelity
kylieqrada's review against another edition
adventurous
emotional
informative
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
5.0
Stunning. This is my second major foray into works inspired by Indian mythology, and it is truly the vibe!! This follows a lesser known story in the mythos and turns it into a feminist piece of actual art. So nuanced, so emotional, so ASEXUAL!!!!!!!!
Content Warnings
Graphic: Death, Misogyny, and Sexism
Moderate: Abandonment, Violence, and War
Minor: Domestic abuse, Death of parent, and Infertility
erinmjustice's review against another edition
adventurous
emotional
inspiring
reflective
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
5.0
Content Warnings
Graphic: Sexism, Misogyny, and Death
Moderate: Violence, War, and Abandonment
Minor: Infertility, Domestic abuse, and Death of parent
charlereads's review against another edition
dark
sad
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? It's complicated
4.0
Content Warnings
Moderate: Grief, Misogyny, Pregnancy, Death, Gaslighting, Murder, Emotional abuse, Religious bigotry, Infertility, Domestic abuse, Abandonment, Sexism, Suicidal thoughts, War, and Bullying
caseythereader's review against another edition
adventurous
dark
emotional
funny
reflective
sad
tense
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
4.5
- If you love retellings like CIRCE or THE WITCH'S HEART, you must pick up KAIKEYI, a reimagining of the Ramayana from the point of view of the queen who banished Rama.
- It's not only a beautifully told page-turner, but an indictment of the patriarchy and the story of a woman lifting up marginalized people and holding her head high when punished for it.
- Plus, Kaikeyi is explicitly asexual and aromantic, and it was a joy to watch her grow close to her husband while never feeling a need to try to change herself.
- It's not only a beautifully told page-turner, but an indictment of the patriarchy and the story of a woman lifting up marginalized people and holding her head high when punished for it.
- Plus, Kaikeyi is explicitly asexual and aromantic, and it was a joy to watch her grow close to her husband while never feeling a need to try to change herself.
Content Warnings
Graphic: Death, Death of parent, Gore, Fire/Fire injury, Abandonment, Blood, Murder, Violence, War, Pregnancy, Injury/Injury detail, Grief, and Misogyny
Moderate: Infertility and Sexual content