Suchismita Banerjee

Inabis P.M.’s The Shadow Kingdom and the Land of Nines is a genre-blending novel that weaves adventure with allegory, spiritualism, and psychological transformation of the epic hero. With a richly imagined world and a narrative that oscillates between external and internal conflicts, this book presents a compelling yet challenging journey of a brother-sister duo, Tyler and Ella, who find their true purpose being the “Chosen One.” Like the singular heroic journey of Harry Potter, Tyler and Ella stand out in their approach to facing unknown dangers, uncharacteristically armed with knowledge and wisdom. Like archetypal epic heroes, the duo fights through alienation, insecurity, and unbelievably dangerous terrain to emerge as confident, self-assured saviors who embrace their special identity. From the very beginning, they are destined to fight their own battle, both physical and metaphorical. After the wreckage of their ship, Adora, the brother-sister duo travel through mysterious lands and seas and arrive at the magical shadow kingdom and the land of nines to fight the devil king and save Prince Anish and Queen Eleanora from an age-long spell. The choice of protagonists might remind us of Mary Pope Osborne’s Jack and Annie adventure series, but Tyler and Ella’s journey is almost by accident. Nobody leads them to their epic journey; they arrive at it through the force of their destiny. The Shadow Kingdom and the Land of Nines is a strong example of YA literature because it tackles complex emotional and psychological themes such as identity, memory, grief, and self-discovery through a fantastical lens that resonates with young adult readers. The protagonists are relatable figures navigating the uncertainties of adolescence, including questions of belonging and inner strength. The novel blends imaginative world-building with coming-of-age elements, allowing readers to engage with abstract ideas in allegorical settings. However, what sets this novel apart from other similar adventures is its intersections with Eastern philosophy and South Asian epics. Apart from references to Narasimha (alluding to the Narasimha avatar, a half-man, half-lion incarnation of the Hindu god Vishnu, symbolizing divine justice and the triumph of righteousness, as he appears to destroy the tyrant Hiranyakashipu and protect his devotee Prahlada) and Pratap (Rana Pratap was a valiant Rajput king of Mewar known for his unwavering resistance against Mughal emperor Akbar and his fierce dedication to independence), the writer, Inabis, borrows intelligently from the Indian epic The Mahabharata in its depiction of good triumphing over evil and the ultimate establishment of a just world. There are marginal incidents in the story that remind us of passages in The Mahabharata, for example, in the last chapter when the big bird asks deep, spiritual questions to Tyler and Ella about the nature of true human virtues, we are instantly reminded of Dharma’s questioning of human nature to Yudhistira to test his wisdom and inner strength. Tyler and Ella, by answering the questions correctly, show a psychological and spiritual transformation where they realize that true heroism lies in humility, knowledge, and introspection.