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Whip Of The Wild God: A Novel of Tantra in Ancient India (The Moksha Trilogy) (Volume 1) Paperback – April 12, 2013
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"Whip of the Wild God is a magical novel, an exquisite work that lacks nothing, a wild ride into ancient India--enriching, heartening and inspiring. Richly sprinkled with spiritual gems, this is a lyrical saga which throws a clear light on the ancient practices of yoga, tantra and atma vichara (Self-investigation). And yet it will also drag you through the depths of despair, force you to confront your own darkness, enrage you with the heartless cruelty of man and the bitter fight for survival--then drench out the flames with love, truth and mercy. God, how I love this book!"
~Jen Wilson, language teacher and yogini
"Mira Prabhu, artist/storyteller par excellence, plays on heartstrings, taking a reader through a profound primal experience reminiscent of the undying classics; yet this work is new and unique. Nothing is left out; one can experience life from full fall to transfiguration. It is a 'mover and shaker' read, a GreatBook, one of the best I've ever read, and it will make a fantastic motion picture."
~Joneve McCormick, creative writing guru, poet and writer
"Imagine my delight to find Whip of the Wild God to be both a page-turning adventure as well as a book of profound spiritual wisdom! I savored every single page--the craft of the writing and the author's depth of understanding--and yet I couldn't wait to get to the next page. Mira Prabhu has produced a rare gem!"
~Swami Asokananda, President, Integral Yoga Institute of New York
From the Back Cover
Whip of the Wild God is an epic novel set in a timereminiscent of the Indus Valley Civilization. The "Wild God" is Rudra,precursor to the great God Shiva, while "whip" refers to the sufferinginflicted by this paradoxical deity on gifted souls who stray into sensual andethical weaknesses arising from primal ignorance. As this saga ingeniouslyreveals, it is intense suffering that dissolves the ego, even as it unfurls thepetals of the spiritual heart-leading the seeker to the undying bliss of theSelf.
The novel's protagonist is Ishvari, an angry and spirited girl pluckedout of abject rural poverty on the advice of a royal astrologer. Meticulouslygroomed by venerable tantric monks, Ishvari is sent to serve as spiritualconsort to a powerful but corrupt monarch. Narrated in vivid cinematic style,Ishvari's tumultuous journey-from terrified peasant to High Tantrika of thesacred city of Melukhha in the year 1839 BCE-spins the reader through agripping tale into which yogic, tantric and other high teachings arebrilliantly woven. Altogether a magnificent work of visionary fiction you willfind impossible to put down!
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Top customer reviews
This book is set 3900 years ago in the midst of a massive and advanced ancient civilization which, along with Sumer and Egypt, was one mankind’s first 3 organized mass-scaled urban civilizations, all of them established along major river tributaries. The Indian based civilization would begin its decline as the Sarasvati River (along with the Indus River, the center of this widespread civilization) became extinct, perhaps due to geological changes. In subsequent centuries, the development of new urban centers shifted from this far northwest region (largely Pakistani territory) to along the Ganges River running from the northwest and then eastward through northern India to the coast.
Reading Mira Pabhu’s epic tale, spanning around (it seems) 4 decades of the life of the central character Ishvari, is like watching a major four or five part movie mini series on tv with no problem in retrieving the vivid images of the story at the point where one left off at the last stretch of reading her (first) novel. (How many parts to this mini series depends on how many times “the reader couldn’t put the book down” until reading the concluding paragraphs.)
We have very little information and understanding of the ancient Indus Valley Civilization. The symbols of the Indus script remain a mystery! The clay seals that artisans created, with varying images of animals, human figures that are perhaps gods or sage like figures, and more, and their further creations of goddess figurines and the lingam representation of the phallus (suggestive of a powerful male god figure), gives us something of a non verbal picture of things related to the religious/spiritual focus of the people.
There is a famous seal called the Pashupati seal. A regal man sitting still, cross legged, with animals in the picture. It is often assumed by many that this figure is the famed “Pashupati”, lord of the animals and a precursor of the Shiva figure (or an early name for Shiva). He is adorned with a large headdress.
Shiva, in this era “Rudra” or “Pashupati”, is the Wild God. Most essentially, “Shiva” is the ultimate essence and nature of all that is, Sat-Chit-Ananda or the bare sense of being, consciousness itself without a sense of “I” and “other”, and bliss.
In the opening scene of the book the teen Ishvari, a village girl living (along with a younger brother and widowed mother) ostracized and exiled to the village outskirts, encounters the Wild God in visionary form.
This visionary encounter is followed by a rapid and dramatic change to Ishvari’s circumstances when an envoy of the ruler of this massive 300,000 square mile civilization selects her as a tantrika yogini trainee to serve the state (long ago most strongly influenced by ecstatic sages). This service entailed enlivening and refreshing the spiritual vitality of the civilization as tantric consorts to its leaders.
While “tantra” and the intricate details of kundalini yoga developed from 500 to 1300 CE, the specific vehicles used by the consorts and rulers in this story for raising the spiritual energy (the “fire”) at the base of the spine into the crown of the head and beyond, the precursors or early forms of these practices existed in this largest and earliest of mankind”s known civilization: in the shamanic milieu, among the ecstatics and seers and sages inspiring the poetic hymns of the literature (here the Vedas, the first being the Rig Veda lately dated to around 1900BCE and possibly older given the evidence), and in the exercise of ritualistic practices among the formal priestly order. The tools of breathing exercises, sound, visualization, and one pointed concentration (as well as an ineffable contemplation of the heart of things among the ecstatic seers and sages, often in austere circumstances) were present. As was a recognition of basic features of a basic spiritual and subtle anatomy (later elaborated upon in the medieval tantra era of India): the space of the heart as a foci (“akasha”), the role of breathing in conducting and enhancing life force energy, and the existence of a central channel corresponding to spinal line and with key energy centers (crown, third eye, heart, etc). (These references show up in the earliest of the Upanishads, literature written first around 700 BCE with more rudimentary references in the earlier Vedas.)
Also, ancient seers, poetically expressing themselves in man’s oldest works (the Vedas), reference an all-illuminating and all pervasive Light that is our essence. Once realized, felt-seperation ends and the enlightened life begins with one’s conditioned patterns of being, feeling, acting rising into the light of full awareness to be consumed as our unconditioned essence becomes more dominate in awareness and feeling.
Mira, the author, adeptly weaves the later Tantra ways into this more ancient milieu.
And, this is one amazing, and INSTRUCTIVE story. The reason why this isn’t some merely great escapist literature is really apparent in the falls or dives, really hard ones!, that Ishvari experiences as the consequences of stubborn egoic patterns come to life.
I was tempted to outline the phases of this story, but……I want people to read this story without someone like me spoiling the impact from the intriguing twists and turns.
You will love the characters. (You’ll see and hear them quite well!) And, that includes Vegavat, a leopard, and Maruti, a monkey.
The setting takes us back to an ancient and exotic time of lush nature and magic civilization. However it as well reveals a darker
and less glamorous look at the culture that grew out of the images, songs, and insight that define India. We learn of the paradoxical nature
of time, and of our actions. The inherent suffering of our existence is intertwined with a sense of hope, that there is life beyond the insane and relative "ego". That in the end our humanity and need to transcend our limitations prevail. That yes, all is good.
But this book was recommended to me, and I was totally hooked in the first few pages.
I became so engrossed in the characters that at times, I almost forgot it wasn't me having those experiences.
And Mira Prahbu's artful writing style is a delicious joy.
I read it though once, and now I am ready to begin it again, and fall even deeper in love with the
characters and with this extraordinary piece of work!
Don't miss this one!
I believe Mira Prabhu undoubtedly has a gift for story telling with real content and historical lore...I loved it!
Most recent customer reviews
Her characters are rich in depth jumping off the page, I could really connect to their psyche.Read more
I thoroughly enjoyed the story of Ishvari and her journey through life
The trials and tribulations and...Read more