We Shall Be Monsters, page 38
But first: spelling. There are a variety of ways to spell Indian words, especially since there are hundreds of languages across the subcontinent. I’ve used the spelling I found most intuitive where possible, and I chose the Punjabi version of words where I could, as that is my family’s native language.
In the world of We Shall Be Monsters, there is no Hindu pantheon. The faith of this world is largely Buddhist in nature with an undertone of Sikhism, and the gods that exist are ones I have made up myself, as well as many of the demons and spirits, like the aga ghora. Similarly, while Nagaloka is indeed the nagas’ kingdom, Bijul’s lake and the forgetting tea are my own spin on samsara (the cycle of reincarnation, which spans several Indian religions). The Brahimada is also my own term, inspired by Brahmanda, although Patala and Svarga are familiar concepts in Hindu and Vedic lore. And, while bodies are typically cremated in India, the use of coffins in the story is my own addition.
But the biggest shift from original myth comes down to the main characters: the asura and the deva.
In Hindu (and even Buddhist) mythology, asura is a word attributed to an entire race of demonic beings, much like the rakshasas. They are demigods in constant conflict with the devas, another race of divine beings, who are considered more benevolent than the hotheaded, passion-driven asuras. In Vedism, an ancient religion that was a precursor to Hinduism, texts used asura and deva to describe any creature considered supernatural. Yet over time, the asuras came to represent wickedness and the devas came to represent goodness.
It’s important to note that some aspects of Hindu mythology, such as the villainous portrayal of rakshasas and asuras, originate in caste discrimination. The frequent celebration of the gods being victorious over demons (who are typically shown as ugly and darker of skin) contribute to a rigid depiction of good versus evil. This has led to violence and social stigma against marginalized communities in India, such as those of different castes and practitioners of other religions. While there is no caste system in this book, many of its echoes can be found in how background characters view rakshasas, and should be acknowledged.
We Shall Be Monsters is a very loose reimagining of the myth of Halahala, in which the asuras and the devas worked together to churn the Ocean of Milk and make Amrita, the elixir of immortality. However, in the churning, Halahala—a deadly toxin that spread into the ocean—was also produced. The god Shiva was called upon to help the asuras and the devas, and in answer to their pleas, he consumed the poison. His wife, Parvati, held his neck to prevent the poison from traveling to his stomach, which turned his throat blue.
Because mythology is multilimbed, there are several variations to this myth. In one, Vayu, god of the wind, produced a gale that lessened the toxic fumes. In another, the asuras and the devas were guided by Brahma to form a pact to make Amrita, because the asuras had a sage to bring them back to life, and the devas did not.
In any case, when Amrita was made, the devas and the asuras returned to their old ways and attacked one another. It was Vishnu’s interference—in the guise of Mohini—that broke up the fight. Mohini craftily distributed the Amrita only to the devas, giving them advantage over the asuras.
This clash—and the timeless, global theme of good versus evil—was something I put at the heart of We Shall Be Monsters and dissected in my own way, in my own world. What is the line been good and bad? Where lies the difference between human, demon, and god, and who gets to decide which is which?
As Dalbir says in the book: Mythology is a mirror of humankind. I wanted to explore what would happen if supernatural beings, already prone to the folly of human nature, were humans themselves. After all, we cannot help but see ourselves in characters and try to understand the world through their actions and points of view. In that way, I hope the story I’ve told is one that feels both familiar and new.
Acknowledgments
Books are difficult no matter how many you’ve written. In fact, it seems the more I write, the harder they get, which is distinctly unfair. Thankfully, I have a great community that makes sure the task, daunting as it may be, is never impossible.
For this particular book, the very first person I need to thank is Dhonielle Clayton, who gave me the initial spark of what this story would eventually become. Back in 2016, Dhonielle tweeted that she wanted to see me tackle an Indian Frankenstein, and my immediate response was “Bet.” Now here we are, eight years later, and I can only hope you like the finished result.
Never-ending thanks to my editor Caitlin Tutterow, who approached every draft with unfailing enthusiasm and understanding. I consider myself very lucky to have found someone who loves these characters and this story as much as I do. Much gratitude also to Stacey Barney, who saw the potential of this horror fantasy and took a chance on it. And to Nancy Paulsen, who oversees it all and gave me a space in which to tell my silly little stories.
I have tremendous appreciation for the Nancy Paulsen/Penguin Teen crew: Nicole Rheingans for interior design, Maria Fazio for cover design, Sierra Pregosin for publicity, Kim Ryan for subrights, and the digital marketing team of Felicity Vallence, James Akinaka, Shannon Spann, and Alex Garber. Thanks also to copyeditor Elizabeth Johnson and proofreaders Janet Rosenberg, Misha Kydd, and Ariela Rudy Zaltzman for catching all my embarrassing mistakes.
A heartfelt thank-you to Amrit Brar, the artist of not only the amazing cover of We Shall Be Monsters, but also my favorite tarot deck. Your work inspires me so much, and it’s an absolute honor to feature it alongside my own.
Victoria Marini, thank you for putting up with my anxious text messages and emails alike. Thank goodness you’re a double Taurus.
Traci Chee and Emily Skrutskie, what would I do without you? I love our Whines and Cheeses and trying to solve overcomplicated puzzles together. Traci, I’m always grateful to be friends with someone so talented and compassionate. Emily, get bent.
I have such a wonderful writing group that I would be lost without, so oodles of thanks to the Cult of Shrek: Janella Angeles, Ashley Burdin, Alex Castellanos, Kat Cho, Maddy Coli, Mara Fitzgerald, Amanda Foody, Amanda Haas, C. L. Herman, Meg Kohlmann, Axie Oh, Claribel Ortega, Katy Rose Pool, Akshaya Raman, and Melody Simpson. Katy and Alex, extra thanks for all the Nertz games, even though I lost the majority of them. Unaffiliated yet an invaluable resource nonetheless, thank you to Margaret Owen for letting me ask you all sorts of questions concerning matters both written and visual. Graphic design is not my passion.
To Cirque de Merque, aka Yev, Sara, Eurus, and Solana: You’re the best adventuring party an awkward tiefling rogue could ask for, despite the whole getting arrested thing. I’m so excited to go to hell with you. Many, many hugs for Jamie Lynn Saunders for being such a great DM and also a champion of my books over in Ireland.
And speaking of being book champions, the loudest thanks of all go to YOU, my readers, especially those who’ve been with me since the beginning. Your support means the entire world to me, and I wouldn’t be able to do this if it weren’t for you. Blessings upon all your crops and coffers.
Endless gratitude to my family, the Sekhons and Gills and Sims, for always being there.
To my cats, even if you walk all over my desk and prevent me from getting work done.
And to my parents: Thank you for your love and pride, and for sharing stories that have shaped my own. I love you.
About the Author
Tara Sim is the author of The Dark Gods trilogy, the Scavenge the Stars duology, and the Timekeeper trilogy. She can typically be found wandering the wilds of the Bay Area, California. When she’s not chasing cats or lurking in bookstores, she writes books about magic, murder, and mayhem.
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Tara Sim, We Shall Be Monsters
