Skip to main content

Book Blitz : Karma's Dilemma by Karma







About the Book:

Karma, a young man, knows very well who his soulmate is. Or so he thinks.

But, really, who is the one?

The posh Angela who he worships. Or is it Sana, the wild racer, who drives him crazy. Or is it Simi, the sensible psychologist, who puts him back together.

Or maybe there is no one for him because Karma’s deeds in his all-consuming quest as he scours the world have broken so many rules that, one day, karma, the immortal and unrelenting collector of soul-debt, comes calling for Karma, the mortal, himself.

The novel demonstrates the lengths one is willing to go to, the rules one is willing to break and the soul-debt one is willing to accumulate in the quest for a soulmate. Truly, everything is fair in love, even if not in war.


Will Karma the mortal outwit karma the immortal? Or will karma wipe Karma away...



Book Links:   Goodreads * Amazon





Read some Snippets from Karma's Dilemma


~ Snippet 1 ~



“You bloody rat bastard!”



I turned around to see retribution in the form of Sana. She was in her car, windows down and looked drunk. She put the car into first gear, revving like crazy. I read her intention; loud and clear. She was going to ram her car into me! If I had desired for anything in my life, it was at that moment; the desire to scram. But I couldn’t move. I was frozen in my spot. Her green eyes had arrested me like the snake’s do to a hare.

Looked like this was it. I closed my eyes and waited. For the end.


~ Snippet 2 ~


“There’s something else I like about you,” Simi said, a minute into our walk.

“What?”

“There is an India in my dreams. While I had heard about it from my parents and read about it in books, I had never seen it for myself, even during the few times I had been to India. I had really missed that elusive India! I see that India in you. Touched by pain, but not ruled by it. India that hopes. India that wishes. India that dreams.”


~ Snippet 3 ~

Upon my arrival at Bengaluru, my brother, Arun, picked me up at the airport. In the years that had gone by, he had developed a paunch, which looked just like Father’s had. It was a little hard to imagine Arun chasing a thief in hard pursuit, but I guessed that was what the shiny police jeep, in which he had driven over, was for.

“Are you allowed to use the police jeep for personal purposes?” I asked as we hugged.

“Everybody does it,” he replied, with a laugh. “In any case, it’s the peoples’ money and who are we if not people?”

On the way, we had to stop at quite a few traffic lights and I could see many beggars, some of them children, begging from people in cars, but they avoided the police jeep we were in; perhaps they were well aware of my brother’s motto of their money being his.



Download a copy on 2nd May!


About the Author:

Dear Readers,

Before I tell you more about myself, I want to answer a question that might arise in your mind. Given there are already so many writers (some might think too many), the question is: Why should I write at all?


Simply, I write because I was not allowed to write. Or read, any book which had the word love in it. In my family, it was believed that reading about love lead to rebellion. I myself picked up the pen when my only child was six-months old. At that time, I was without a job. I wrote because there was a lot that I wanted to tell my child, even if one day in the future, to make sense of this world. Writing also helped me keep hope alive, one page at a time, as I went from one fruitless interview to another.

As my child took first steps, I reached a milestone of my own. I completed my first book; the story of a young man's quest to find answers to life's questions. A boutique publisher in Paris loved it and translated my work into French. I even found a job soon after.

I am choosing to write under a pen-name because I am at a stage in my life where I prefer and love anonymity. Once my child is older, I intend to write under my own name.

Many thanks for reading my post and I hope you enjoy reading my novels.

Happy Reading!

Karma




Popular posts from this blog

Movie Review: If by Tathagata Ghosh – A Tender Portrait of Love, Loss, and Possibility

If , a 26-minute short film by acclaimed Bengali filmmaker Tathagata Ghosh, is a sensitive, evocative piece of storytelling that lingers long after the credits roll. Set against the everyday rhythm of life in Kolkata, the film delicately unpacks the story of a lesbian couple torn apart by the weight of societal expectations and dares to imagine a different future, one where a mother's love might just change everything.  What struck me first was the film’s raw, grounded realism. The characters feel like people we know, middle-class families navigating a complex world with quiet resilience. The world of If is filled with silences, glances, and stills, rather than heavy dialogue. Ghosh masterfully uses these moments to speak volumes, allowing viewers to sit with discomfort, interpret the unspoken, and feel deeply.

Book Review: The Story of Eve: Selected Poems by Zehra Nigah

Few voices in Urdu poetry have carried the weight of history, resistance, and deep personal introspection quite like Zehra Nigah. One of the first women to break into the traditionally male-dominated world of Urdu poetry, Nigah’s work stands as a testament to the power of words to illuminate, question, and challenge. The Story of Eve: Selected Poems, translated by Rakshanda Jalil, brings together some of her most powerful nazms and ghazals, showcasing both her literary elegance and her unflinching gaze at the human condition, particularly through the lens of gender, social injustice, and political turmoil.

The Urban Gaze : Reimagining the Village in Contemporary Indian Cinema

Indian cinema has long been fascinated with the village. From the earthy, socialist realism of Do Bigha Zamin (1953) to the melodramatic lament of Mother India (1957), the village once stood as both heartland and hinterland — a space of moral clarity, rustic struggle, and often unyielding fate. But as the urban middle class began to dominate cinematic production and consumption, the depiction of the village increasingly came to reflect an urban gaze, that is, a perspective shaped by distance, nostalgia, condescension, or even outright fantasy.  In recent years, this urban gaze has taken on new shades, evident in the way mainstream and indie filmmakers alike have re-engaged with rural India. While some have tried to explore the village as a site of resistance, authenticity, or even horror, others continue to reproduce sanitized or exaggerated versions of village life that serve urban sensibilities more than rural realities.