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Twelve-year-old Arundhati “Aru” Shah has lived in the Museum of Ancient Indian Art and Culture in Atlanta, Georgia, for as long as she can remember. Her mother, Krithika P. Shah, is a renowned museum curator and archaeologist, and Aru helps out in the museum as well. The museum contains a cursed lamp, displayed in the Hall of Gods. The Hall is the museum’s most popular exhibit, filled with statues of the numerous Hindu gods. The lamp stands at one end, a diya housed in a glass case.
Monday afternoons are usually quiet at the museum. One Monday, during Aru’s autumn break, the visitor alarm rings, and she opens the door to find three students from her school. They accuse Aru of lying that she is going to France during the break. Krithika had indeed promised Aru this some time ago, and Aru had told everyone at school. The children at her school all come from wealthy families with holiday homes and yachts, and a trip to Paris had been Aru’s way of fitting in. However, the Paris trip ended up falling through.
Aru now lies that her mother is on a work trip and didn’t take her along, but the children don’t believe her. They begin recording Aru on a cellphone and claim that everything she has ever told them is a lie. In order to save face, Aru declares that the cursed lamp is real, and she can prove it to them.
As Aru takes the group to the Hall of Gods, the other children mock her for living in a museum, and make fun of the barely clothed statues of the Hindu gods, which embarrasses Aru. She shows them the lamp, explaining that the lamp of Bharata was acquired by India after gaining independence from the British in 1947; it once rested at the Kurukshetra battlefield, the site of the Great War described in the Mahabharata. Lighting the lamp will awaken the Sleeper, a demon who will summon Lord Shiva, the Hindu god of destruction. Shiva will then perform a cosmic dance, which will bring an end to Time itself.
The three students dare Aru to light the lamp, and in order to impress them, she complies. However, when she moves toward it, the hall suddenly goes dark, and Aru hears her name being called from inside the lamp. As the wick catches light, a shadow unfurls from inside the lamp and grows into a dark form which says, “Oh, Aru, Aru, Aru…what have you done?” (23).
Aru wakes up on the floor to find the lamp missing, and time comes to a standstill; the three children are frozen, as is her mother in the entrance, caught mid-jog. The stone elephant at the entrance of the hall creaks, lifts its trunk, and unhinges its jaw; a pigeon emerges from inside the elephant, demanding to know who has dared light the lamp.
The pigeon declares that its duty is to help the Pandava who lit the lamp. Aru remembers that the Pandavas are the five brothers from the Mahabharata, who were on the winning side of the civil war against their 100 cousins. The Pandavas were heroes, sons of gods who wielded celestial weapons. The pigeon declares that only one of the Pandavas could have lit the lamp and is shocked to discover that Aru is the one who did so.
Aru stares at the pigeon, remembering a story her mother had once told her about Gandhari. She was a queen who had blindfolded herself for life in empathy for her husband with blindness. She only took off her blindfold once to look at her son, and her gaze was so powerful that whichever part of her son’s bare body her gaze fell on, it made it invincible.
The pigeon laments its fate, noting how the past Pandavas have all been powerful people, like senators and athletes. However, every generation has its own reincarnation of the brothers, and Aru is definitely one because she was able to light the lamp. Aru remembers how the Pandavas also had a sixth, secret brother, whom they didn’t know was related to them until just before the war began.
Despite Aru’s insistence, the pigeon doesn’t reveal its name or history, asserting that Aru can call him “Subala;” to his consternation, Aru nicknames him “Boo.” Boo explains that Aru must stop the Sleeper in nine days’ time; until then, he will freeze time wherever he walks, and when he reaches Shiva, time will come to a permanent end. Boo and Aru must now find her sibling: when one Pandava awakens, usually another one does, too. Boo is shocked to learn that Aru’s mother has not told her any of this.
Aru and Boo enter the magical corridor that opens up inside the stone elephant’s mouth, which takes them to the Door of Many. Aru wonders how she can have a sibling, and Boo explains that the connection is not of blood, but of the divinity of souls; they are both children of gods. After meeting her sibling, Aru must go to the Otherworld and ask the Council of Guardians located in the Court of Sky for details of their quest.
Aru finds it unbelievable that she is the child of a god; she has never even known her biological father. Her mother never talked about him, and there was only one picture of a man in the house: a handsome, dark-haired, amber-skinned man, with one blue and one brown eye.
Aru asks the Door to take her to the other Pandava. She and Boo are yanked through to a different location altogether, where another young girl, the same age as Aru, is waiting for them.
Yamini Kapoor-Mercado-Lopez introduces herself as “Mini,” and Aru realizes Mini’s parents must have filled her in, as she is aware of her Pandava identity and Aru’s existence. Aru is disappointed, as she was expecting her sibling to be more impressive.
When Boo asserts they must now journey to the Otherworld, Mini reveals she has been there before with her parents and older brother; all parents of Pandavas are required to take their children there the moment they show signs of being demigods. Mini is surprised, and a little pitying, to learn that Aru has never been there, which irritates Aru.
Boo insists it is too dangerous for the group to drive there, as the Sleeper will be looking for Aru, Mini, and the celestial weapons they are to retrieve. Boo instructs the girls to find an invisible string of hope and grab onto it. Aru sees a thread of light, and she closes her eyes and grabs it. It morphs into a doorknob in her hand, and she enters an arched-ceilinged room, which contains a huge, blue crocodile.
The crocodile reveals itself to be makara, the guardian of thresholds between worlds. It recognizes Boo, whom it claims doesn’t look the same as before. Then, he announces the heroines, who are to meet the Council. Before makara opens the door to the Court of Sky, it confirms that the girls are who they claim, and scenes of what happened when Aru lit the lamp flash across its eyes. Aru watches Mini, discovering her frozen parents and brother; Mini curls up and cries before wiping off her tears, packing a backpack, and heading outside to wait for Boo and Aru.
Mini is surprised to learn that Aru lit the lamp but reassures her that they were destined to fight the Sleeper, assuming Aru couldn’t have known what would happen. Aru doesn’t correct Mini but feels guilty. Boo and the girls are transported to the Court of Sky, an open-air room floating in the clouds where the Council gathers periodically. Seven labeled thrones float around the room though one of them is on the outside of the circle; it is rusted and features faded letters. Some of the thrones are transparent, as only some guardians are in residence at one time. Aru recognizes the names on the thrones, all celestial beings from the Hindu epics.
Urvashi, the chief dancer of the heavens, and Hanuman, the monkey demigod, appear. They address Boo as Subala, and Aru realizes that this is the name on the rusty throne with faded letters. Urvashi is suspicious and condescending toward the girls, not believing them worthy of her time. She also claims it’s ironic that Boo is the one chosen to guide the Pandavas. When Boo asserts the Sleeper is awake, Hanuman grows grim and reveals that the vehicles of the gods have been stolen: Aru remembers that the Hindu deities use special mounts, usually animals, as their vehicles.
Urvashi insists the girls must prove they are Pandavas and commences the Claiming, and Aru and Mini are suddenly surrounded by five giant statues of the different deities that fathered the Pandavas. As a shower of arrows heads straight for the girls, Boo explains the girls’ respective fathers will claim them by keeping them alive.
The arrows stop short of the girls, and Boo explains they must pay respect to the five father gods of the Pandavas before the Claiming commences: Dharma Raja, lord of justice and death; Vayu, lord of the winds; Indra, king of the heavens and lord of thunder; and the Ashvins, the twin gods, Nasatya and Dasra, who rule the sunrise and sunset, and medicine, respectively.
As soon as the girls pay their respects, the arrows start whizzing around them again. Aru yells at them to stop, and a protective net of lightning appears around her, stopping the arrows. Thus, she discovers she is Indra’s daughter.
Being Indra’s daughter makes Aru the reincarnation of Arjuna, the greatest warrior to exist in Hindu mythology: besides being a skilled archer, Arjuna was brave, perceptive, and extremely honorable.
The net transforms into a golden orb the size of a ping pong ball; next to Aru, Mini is safe too, as the statue of Dharma Raja looms over her. His danda (stick of death) was thrown down to shatter the arrows that approached her. Mini is distraught to discover she is the daughter of death; she wants to become a doctor one day and thinks no one will want to be treated by a doctor fathered by death. On Boo’s urging, Aru comforts Mini, reminding her that the eldest Pandava, Yudhishtira, was his son. He was a wise and just king whom everyone sought out for advice.
Urvashi and Hanuman reappear, both stunned at the results of the Claiming. They assert that if the Sleeper continues unchecked, the other Pandavas will awaken. Urvashi asks to see the girls’ gifts, and Aru shows her the golden orb while Mini shows them a purple compact mirror, each of which appeared during the Claiming. Urvashi is disappointed, but Hanuman insists these objects are meant to help the girls during their quest.
Urvashi now gives them the details: The Sleeper needs celestial weapons to awaken Shiva. The girls need to find the weapons before he does and travel to the Kingdom of Death to look into the Pool of the Past, which will show them how to defeat the Sleeper. To enter the Kingdom without dying, they must collect three keys: a sprig of youth, a bite of adulthood, and a sip of old age.
Urvashi magically transfers mehendi maps onto the girls’ hands, on which the three keys are illustrated: a branch of blossoms, a book, and a wave. Touching the symbols on their hands will transport the girls to the area where the keys are hidden, but they must find them themselves. They have nine days until the new moon to complete their quest, after which they will receive training from the Council. At that time, Boo can rejoin the girls. Before the girls leave, Hanuman tells them how he was cursed as a child and that he wouldn’t remember how strong he was until someone else reminded him. He wonders if it was truly a curse or something everyone experiences at some point in their lives.
The girls touch the symbol of the first key on their hands, and they materialize in the parking lot of a strip mall. In the center of their palms, a mehendi symbol appears, which Mini identifies as the Sanskrit number eight; they have already lost a day for their quest.
Aru Shah and the End of Time is the first in the Pandava Quintet, a five-book fantasy series that draws heavily on Indian Hindu epics and mythology. In keeping with the monomyth at the heart of the epics, Aru Shah features the “hero’s journey” as part of its narrative structure: Self-Discovery on a Hero’s Journey is also one of the novel’s central themes. The hero’s journey, conceptualized in Joseph Campbell’s work The Hero With a Thousand Faces (1949), is a template for a mythical hero’s (or heroine’s) journey that is divided into 17 stages, which are grouped into three larger categories. Here, in the book’s first section, Aru—the protagonist and hero of the book—experiences “Departure,” the first stage on her journey.
One of the stages within the larger category of Departure is the Call to Adventure, an incident or entity that disrupts the hero’s normal life and initiates the journey, which could be a problem or an opportunity. The lighting of the lamp is the clear Call to Adventure because it leads to all the other events in the book and is a moment from which Aru cannot turn back. Boo’s grudging yet insistent guidance that Aru travel to meet her sibling and the Council fulfills another stage within the hero’s departure: Supernatural Aid. Boo is a mentor who inspires the hero to embark on the adventure though this function is also later fulfilled by Urvashi and Hanuman, as Urvashi gives the girls the details of their quest.
The moment Aru decides to go, she enters the crucial stage of Crossing the Threshold. Campbell’s 17 stages do not all necessarily appear in any given story, or even in the same order; for example, both before and after Aru embarks on her quest, she receives Supernatural Aid, through Boo first and later, from the Council. For Aru, meeting Mini is the first step in embarking on the quest; for Mini, however, who is already aware of Aru’s existence and her past life as a Pandava, traveling to the Council with Aru and Boo becomes her Crossing the Threshold. When makara relives the events of the recent past, one also sees Mini reacting with fear and panic to finding her family frozen. This release of emotion can be seen as Mini’s Refusal of the Call, in some ways, i.e., her initial fear and unwillingness to step out of her comfort zone.
The Belly of the Whale, considered the final stage in the hero’s departure, refers to the point of no return; once the hero crosses, s/he must complete the quest. It usually also features the hero’s first obstacle, and the girls experience this in the Claiming. Once they have been marked as true Pandavas and have received the tools to complete their mission, there is no going back. Urvashi details the quest for the girls, and they must now be on their way.
Drawing on Hindu epics and mythology inevitably sees the book incorporating ideas and philosophy from the same culture and literature. Thus, concepts of prophecy, fate and destiny, and phenomena, such as curses and reincarnation, are explored over the course of the story. These make up a second central theme in the book: The Interconnected Roles of Karma and Fate. Mini explains that the girls were destined to fight the Sleeper; with him having been imprisoned in the lamp, the question arises as to how much of Aru’s actions of lighting the lamp were truly her free will. The lamp itself is presented as cursed, and the idea of curses once again speaks to predestined outcomes: A curse implies that a certain outcome is inevitable unless some higher power can break the curse. Furthermore, being on the receiving end of a curse is not uncommon in Hindu mythology; Hanuman explains to the girls how he was cursed with ignorance of his true strength when he was a child.
The concept of reincarnation is spoken about multiple times over the course of the book and is one of the fundamental beliefs of Hinduism. With the soul being able to inhabit new bodies over the course of different lives, it is not out of place that two young girls are the reincarnation of mythical warrior brothers. This is highlighted by Boo explaining the sibling relationship between Aru and Mini is at the level of the soul, far beyond a blood bond. Boo also asserts that only a reincarnation of a Pandava could have lit the cursed lamp to begin with.
Aru’s reasons for lighting the lamp highlight another important theme explored in the book: The Multiplicity of Perspectives in Truth and Morality. Aru lights the lamp in order to impress her fellow students and to save face when they discover her lies. This begins the exploration of different facets of honesty and dishonesty throughout the book: What is the line between using one’s imagination and blatant dishonesty? What is the price of secret-keeping, and is there any justifiable reason for doing so? Both Krithika and Boo are characters that appear to keep secrets, some of which will be revealed along the way. Furthermore, with Dharma Raja, the god of justice and death serving as Mini’s father, the ideal of righteousness or truth is an important one in the story.
Despite confronting these lofty ideals, Aru and Mini are, ultimately, 12-year-old girls who are also dealing with the problems of their age. Mocked by her classmates for her different socioeconomic background and culture, Aru desperately wants to fit in, and this is her major motivation to light the lamp, despite her mother’s warnings. She also does not come from the same kind of family set-up as her peers—she has never known her biological father, and her mother is often absent, traveling the world for work. This is yet another difference that irks Aru, and she is irritated by Mini’s pity over Krithika not having prepared Aru better for her destiny.
Important symbols and motifs that appear in these chapters include the golden orb given to Aru by Indra; the purple compact that Mini receives from Dharma Raja; and the cursed lamp or diya itself. The main cast of characters are all introduced in these initial chapters: Aru, Mini, and Boo; the Sleeper; and Aru’s mother, Krithika. There are multiple references made to different characters and anecdotes from the Mahabharata. The Mahabharata is one of the two great Indian epics, which follows the story of the Pandavas, five warrior brothers, and their rivalry with their 100 cousins, collectively known as the Kauravas. This ultimately culminates in a great war, symbolically seen as a war between good and evil, which takes place on the Kurukshetra battlefield, from which the Pandavas emerge victorious.
The Pandavas are considered the sons of the King Pandu and his wives Kunti and Madri; in reality, they were fathered by five different Hindu deities, by use of a mantra gifted to Kunti (See: Background). They also had a secret older brother, Karna, born to Kunti before her marriage to Pandu by use of the same mantra. Panda’s brother, Dhritarashtra, was born blind; he later married Gandhari, who voluntarily blindfolded herself in empathy for her husband, and whose story Aru remembers. They birthed the Kauravas, the oldest of whom was known as “Suyodhana” or “Duryodhana,” a name to remember for later events in the story.