I really am short of words at expressing the sense of bewilderment that grips me while trying to finish reading this book. It is a tale (?) cum lecture (?) cum thriller (??) that tries too hard to present a lot of ‘research’ in the garb of a serial killer suspense novel. The presentation of this research (mainly carried out on the sites mentioned in the Mahabharata) is quite loud, preachy and pretentious. In the name of supplying the reader with enough details- historical and otherwise, places such as Kalibangan, Dwarka, Somnath, Mount Kailash and Vrindavan have been historically profiled. In my opinion, these profiles should remain the sole reasons behind the novel’s significance, if any at all. The Krishna Key fails to engage the reader with its exceedingly boring plot inundated with a host of characters, events and ideas and a childish technique which is predictable to say the least.
In a way, the narrator of the tale happens to be Vishnu’s incarnation Krishna himself. It is his voice through which we have an entry to the 108 chapters of the novel. Instead of a breathtaking who-dun-it tale that TKK could have been, what we have in its place is a plot gone stunningly bizarre. None of the characters are allowed to develop enough to let the reader remember him or her by the time their reference in the text is over. The tedious second half of the book is all the more sluggish.
The language of the book is unimpressive. Throughout its text, The Krishna Key seems to be a constant attempt by the author at nothing more than translating Hindi and Sanskrit lines and dialogues into English. At times the verbal exchanges begin to sound artificial and unrealistic. To illustrate:
“Mataji nodded appreciatively. ‘Good. Now let us examine the salient features of a Shiv lingam, shall we? It’s made of two parts. The first is a cylindrical structure made of polished stone. The second is the surrounding coils or grooves ending in a spout. in Shiv temples, a pot of water hangs over the cylindrical structure, allowing for water to continuously drip on it at regular intervals. This water then empties itself out through the spout,’ she explained, pointing to each of the constituent elements as she described them.” (p.40).
The book does not succeed in presenting a coherent narrative of whatever it is that it tries to present. Hindu mythology in general and the Mahabharata in particular form the background. A number of characters are killed in the story by the time the reader realises that they actually have been. Regarding the flow of the narrative, there is little sense one can make of it, thanks to its movement back and forth in time and place.
In brief, The Krishna Key turns out to be quite disappointing. Both as a thriller as well as a fictional reconstruction of the ‘mythological’ past, this one surely does not stand up to the mark.