Book Review: Narmada — River of Beauty
The end of 2024 motivated me to hit the gym, work on a story for another manuscript, and, most importantly, focus on the Middle River Project. I haven’t discussed this much publicly, but I was determined to wrap up 2024 and kick off 2025 with a strong start for the Middle River Project. My creative partner, Shwetahitesh, always becomes energized whenever this topic arises.
The journey to our project is fascinating by itself. I would write more about this in my journal. One of the two books Shweta presented me was Narmada — River of Beauty by Amrit Lal Vehad. It was a pleasant surprise, but more so,
Amrit Lal Vegad is an award-winning author and artist who dedicated over 25 years to covering the Narmada River. For more than 11 years, Vegad has traveled along various parts of the river, aiming to experience its full length on foot. This journey is not a standard parikrama but a sincere effort to engage with the river firsthand. In this review, I will highlight several key features of his book.
The book is a poetic travelogue. It is neither mythological nor geographical but rather an account of a traveler. This narrative features three participants: the author, the river, and its people. Unlike my previous reviews, I won’t spoil the fun because it is for the reader to experience the account themselves.
Philosophy-yes, Mythology — no
The author is philosophically inclined and shares his thoughts and dialogues with the reader. However, he is careful not to delve into mythology. His education is rooted in Bengal, particularly in Shantiniketan. Though it may not be directly related, his perspective tends to be more social and anthropological rather than mythological.
While gods are not prominently featured in his work, the Narmada River is revered. He does not oppose rituals, but he refrains from discussing the mythology associated with the river or its sacred sites (‘Tirthas’). This approach provides the reader with a more grounded and contemporary experience, while philosophical explorations through dialogues and reflections enrich the interpretation of human thoughts and actions.
One such interaction is thus:
"If the taste is in the gulab jamun, then it should give the taste from the plate itself, and if the taste is in the tongue, then why do we need the gulab jamun? The taste is neither in the tongue nor in the sweet; it is in the union of the two. Likewise, it is a mistake to pay attention only to the body or the soul. A truly satisfying life combines the two. Well said!"
The quote uses the example of tasting a gulab jamun to illustrate that true enjoyment arises from the combination of the item itself (the sweet) and our experience of it (how it feels on our tongue). In the same way, a fulfilling life requires a balance between caring for our physical body and nurturing our spiritual self which is the purpose of the Narmada Parikrama. It might be noted that Narmada is the only river in the world that is circumambulated for liberation (mukti).
A dash of art and poetry:
Vegad is naturally inclined to sketch the scenes around him, including the river, the people, and various landscapes. Occasionally, he offers to sketch a village belle to gain their trust. The book features his artwork, including abstract yet expressive pieces that capture the small moments and the ordinary people with big hearts she encounters.
He also occasionally tries his hand at poetry but ultimately manages to get one right.
An excerpt thus:
… Is not throbbing of the sea
The Heartbeat of the Earth?
We feel the tug of the sea
Our ancestral home
We carry the sea inside us.
The book showcases poetic language as the author takes his time to listen to and observe the Narmada River in its various forms—rushing, slowing, calm, joyful, surging, slithering, curving, and straight. He admires how the river shimmers like silver in the moonlight, disappears into darkness, blends with the sky in a mist, and blushes under the orange sun. Throughout his journey, he seems almost obsessed with the moon, highlighting its significance in his observations.
The promising yet scary future:
Untouched and untethered for many years, the Narmada River has flowed from Amarkhantak to Vimaleshwar without hindrance. However, modern technology has changed that. Large dams are being constructed across rivers in India to manage floods and facilitate year-round irrigation for agriculture in riparian states.
During Vegad’s travels, he encountered two such dams: the Bargi Dam near Jabalpur and the Sardar Sarovar Dam near Omkareshwar. While these dams promote irrigation and agricultural growth, they also threaten to displace thousands of people. At the time of his travels, the foundations for the dams were being laid, and residents had begun discussing the implications. The pilgrimage paths, along with established routes and resting spots, were at risk of being submerged. In some areas, trees were being cut down in preparation for the controlled flooding.
A tinge of nostalgia and a load of philosophy:
I appreciated the last few pages where the river meets the sea. A sense of poignancy surrounds the scene, imbuing it with nostalgia as the travelers arrive at Mithitalai. This is where the river merges with the sea, but unlike Khalil Gibran’s river, which fears entering the sea, the Narmada concludes its journey with a sense of fulfillment.
The philosophical overtures come through interaction with various sadhus at Mithithalai, but also during the interactions between the fellow travelers when they part. Here is one sample:
“The law says “Don’t steal, don’t rob,” but the law can’t say “Give generously, make sacrifices.” It says “Don’t shed blood, don’t murder,” but it can’t say “Sacrifice your life for others.” Only religion can say this. The law says “Don’t commit crimes,” whereas religion says “That is not enough — do some good deeds.” In this way, where the law ends religion takes over. The law is necessary. It saves society from anarchy and protects our rights. But religion uplifts society. Only religion can inspire us to renunciation, selfless service, and joyful sharing. That is not within the power of the law.”
Then as the author wraps the book, he feels a strong, almost pungent nostalgia. This is because of the insatiated bond that has developed between Narmada and him. Every time he went to meet Narmada, he came back. One day, he will come back forever. For one final journey.
To Mother Narmada! I will come again and again to your side. Perhaps I will complete the rest of the parikrama. But, here, I rest my pen. Oh, there is one more thing I want to say. I came to your bank, walked for several days each time, and then I went home. But, one day I will come in such a way that I will not go away again. I will come to sleep forever in sweet slumber. Then, stroke me and lull me to sleep. That is all, that is my sole ambition. Fulfil it, Mother.
These are the final words in the book. As I closed it, I reflected on the entirety of this journey, from the beginning to the end. I felt the weight of exhaustion — at the conclusion of the Parikrama, at the end of our travels, and at the end of the journey we call life. In this moment, we long to rest in her embrace and sleep, once and for all.
A complete account from source to the sea:
Nobody can fathom Narmada, ever. It is hard to explain. I have done one run on Skanda Purana, the treatise in which Sage Markandeya recites the greatness of Narmada to Yudhistra, that righteous Pandava Prince and the story of Reva (Narmada) is the greatest story ever to listen to.
By listening once to the greatness of Revā, one gets the benefit of plunging into all the Tīrthas, Oceans, etc. This narrative is conducive to piety. It is the most excellent of all scriptures. If it is written (copied) and kept in the house by any person in any village, city, rural zone, or region of land, that man is Brahmā, that man is Śiva, he is Narayana himself. This is the path of piety, wealth, love, and salvation, resorted to by Devas. It is the preceptor of preceptors. It is the great scripture causing the achievement of perfection. ~Skanda Purana 3:232:19-30
A poetic travelogue of the Narmada tells a story all its own. I commend the author for presenting a contemporary perspective on the greatness of this eternal river. For Shweta and me, this book inspires us to discover our own way of narrating the tale of this timeless river that flows through the heart of India.
~Ashok Subramanian © 2024
