The Liberation of Sita - Volga

Genre: Historical fiction

Rating: ⭐⭐⭐⭐

Recommended age: 16+

"Conquering the ego becomes the goal of spirituality for men. For women, to nourish that ego and to burn themselves to ashes in it becomes the goal. "

I often find myself most satisfied and content while reading mythology, imagining the world eons back in the flourishing times of the Ramayana or Mahabharata. With a shelf filled with historical accounts of Indology, I was convinced to expand my likings to historical fiction; though it wasn't what others would say is a more diverse reading preference, I felt it would reflect a drastic change in my reading.

While historical fiction often receives criticism for straying from facts and altering true events, some authors skilfully incorporate fictional or perspective-based elements into certain historical texts that bring immense joy to the reader. An example of such an author is P. Lalita Kumari (also known as Volga). In her novel 'The Liberation of Sita,' she portrays goddess Sita as a symbol of feminism, rejecting the dated idea of the goddess as the classic damsel in distress, thereby highlighting the strength of the feminine perspective.

Volga's 'Liberation of Sita' is a short read, which is one of the book's greatest paradoxes: it is so impactful and resonant despite its length. The author's approach to the structure of events in the novel is quite obvious; the plot opens with the protagonist's exile from the Kingdom of Ayodhya and briefly covers her life in the Valmiki Ashram, where she spends her life with her two adolescent kids. The text takes a cyclical style, with the author presenting the unfolding of various events in each chapter. This, however, may cause confusion for readers who are unfamiliar with the plot of the Ramayana, which serves as the framework for this novel. Additionally, Volga does not shy away from drawing parallels between other ignored characters in the Ramayana, including Shurpanakha, Ahalya, and Renuka. 

In comparison to other retellings of the Ramayana, Volga's portrayal of some moments in Goddess Sita's life stands apart because practically every situational problem Sita faces is met with introspective narrations (in the third person), giving her the strength to conquer adversity. Ahalya and Shurpanakha appear as Sita's decision-making catalysts. These minor female figures aid Sita in her quest for self-discovery and the true meaning of her life. After all, she was more than a king's wife or his biggest support; she was a deity in her own right. Readers who are not accustomed to reading more feminist narratives and ideas may find this feature of the novel unpleasant and insensitive, for the typically 'ugly,' 'spiteful,' and 'uncouth' Shurpanakha is 'disfigured yet lovely' in Volga's book. There are numerous occasions in the story in which each female character compels Sita to clearly comprehend how cruel and wicked a male-dominated society is, and each meeting with these women encourages Sita to not allow anybody to dictate her path to glory and independence. Any male chauvinist would undoubtedly not entertain this!

Above all, though, what drew my attention was how precisely Goddess Sita characterised the predicament of women: living in a world run by men, where blasphemous acts against women are committed on each and every day, where we second-guess our decisions before taking risks or even moving forward in life, where the misgivings of one man in a kingdom implicate an innocent queen and result in her untimely exile—the world has always left women crippled and impugned. With the use of fact-spitting quotes, this book is an excellent read for empowering young girls and women to question social standards while upholding moral obligations.

  "I am the daughter of the Earth, Rama. I have realised who I am. The whole universe belongs to me. I don’t lack anything. I am the daughter of Earth.