Pravat Rai ‘Chiso’
I recently completed Zeta Sophiagrey, a captivating collection of stories by the emerging Darjeeling author Vishal Biswakarma. The title alone piqued my curiosity—its unconventional, enigmatic, and evocative nature hinting at the innovative narratives within.
In Zeta Sophiagrey, Vishal Biswakarma delivers a provocative and intellectually daring collection of twelve short stories that challenge the boundaries of conventional storytelling. The title itself is a masterstroke of intrigue, ingeniously blending the mythos of Grey aliens—often referred to as Zeta Reticulans or Roswell Greys, emblematic of extraterrestrial lore—with Sophia, the humanoid robot developed by Hanson Robotics in 2016, renowned for her human-like expressions and social interactions. This fusion of cosmic speculation and technological marvel sets the tone for a work that is as philosophically ambitious as it is narratively innovative.
Biswakarma’s Zeta Sophiagrey marks a significant departure from the traditional literary canon of Darjeeling, introducing a bold, speculative vision that reimagines the very foundations of existence. The collection’s opening story, in particular, is a tour de force, resonating deeply with my own lifelong fascination with the themes it explores. As a subject I have studied extensively, the narrative’s exploration of the creation, operation, and destruction of the universe captivated me—offering a fresh lens through which to view these existential questions.
At the heart of the first story is Khemraj, a failed and frustrated painter consumed by an obsessive quest to create his magnum opus—a singular work of art that encapsulates the ultimate truth of existence. Through Khemraj, Biswakarma deftly weaves a narrative that draws heavily on the “Ancient Astronaut” theory, positing that the creation of humanity—and indeed the entire cosmos—may be the work of extraterrestrial forces rather than a divine deity.
The Ancient Alien Theory posits that extraterrestrial beings visited Earth in ancient times, influencing human civilization, culture, and technological advancements. Proponents argue that evidence lies in ancient texts, megalithic structures, and artifacts suggesting advanced knowledge beyond human capability at the time. Erich von Däniken, a leading advocate, popularized the theory in his 1968 book Chariots of the Gods?, claiming structures like the pyramids were built with alien assistance. Zecharia Sitchin’s The 12th Planet (1976) furthered this idea, proposing that the Anunnaki—extraterrestrial beings from Nibiru—genetically engineered humans. Other notable books include The Sirius Mystery (1976) by Robert K. G. Temple, linking Dogon tribe knowledge to extraterrestrial contact, and The Ancient Alien Question (2011) by Philip Coppens. Proponents like Giorgio A. Tsoukalos, featured on the TV series Ancient Aliens, amplify these ideas through the media.
This radical premise challenges the culturally and religiously entrenched notions of a creator, compelling readers to reconsider the origins of life in a paradigm-shifting light. Biswakarma’s audacity lies not only in debunking traditional theological constructs but also in his ability to render such complex ideas accessible through the lens of an ordinary, deeply human character. The narrative arc of Khemraj’s story unfolds through a series of six paintings, each serving as a medium to explore the creation, operation, and eventual destruction of Earth and its civilizations. Biswakarma hints at an apocalyptic catastrophe—possibly a nuclear war—that obliterates all life on the planet, with the enigmatic figure of Zeta Sophiagrey, a purported alien “God,” observing the devastation from above.
This scene echoes the notion of Lord Shiva as an extraterrestrial entity, serenely surveying the world from the sacred summit of Mount Kailash.
In Hindu mythology, Lord Shiva is often depicted as a cosmic entity, transcending human understanding with his profound connection to the universe. His portrayal as a meditative ascetic, adorned with celestial symbols like the crescent moon and the Ganges flowing from his matted locks, evokes imagery of being unbound by earthly constraints. The concept of Shiva as an alien aligns with interpretations that view him as a divine outsider, embodying universal consciousness and wielding powers that defy mortal comprehension—such as his third eye, capable of incinerating ignorance or reality itself. This scene, perhaps, mirrors such esoteric depictions, suggesting Shiva’s origins might lie beyond the terrestrial—in the vast expanse of the cosmos, where divinity and extraterrestrial mystery converge.
In a striking visionary leap, the author extends this narrative into the cosmic future, where this alien deity searches for another planet to seed life, as Earth lies ravaged and uninhabitable. This cyclical view of creation and destruction is both haunting and profound, underscoring the impermanence of existence.
The climax of Khemraj’s story is a masterful exploration of the human psyche, as Biswakarma conducts a literary autopsy of a mind teetering on the edge of genius and madness. Khemraj becomes so consumed by his grandiose vision of creation, operation, and destruction that the boundaries between imagination and reality blur. In a hallucinatory descent, he begins to converse with Zeta Sophiagrey—the alien God of his creation—embodying the existential paradox of belief and existence.
Biswakarma’s portrayal of the mind’s capacity to construct its own reality is both poignant and unsettling, raising questions about the nature of divinity and human perception. The title of Khemraj’s sixth painting, The Suicide of God—a subtle homophonic nod to Nietzsche’s Death of God—is a stroke of brilliance, weaving a complex philosophical thread into the narrative while maintaining an accessible and emotionally resonant tone.
Khemraj’s profoundly human dialogue with God underscores a provocative truth: the existence of God, as we conceive it, is inextricably bound to our own. When our consciousness fades, so too does the deity we envision, for the concept of a creator is sculpted by the intricate interplay of religion, culture, sacred texts, and personal beliefs. In this sense, the divine resides within the framework of our minds—a construct of our own making. By dismantling these internal narratives, we hold the power to dissolve the very God we imagine to have created us, revealing the fragile, self-fashioned nature of divinity itself.
This story also portrays the artist’s poignant struggle to fully translate their vivid mental imagery into tangible form—a challenge that may give rise to profound frustration and disillusionment.
Biswakarma’s writing style is as remarkable as his conceptual ambition. His prose is eloquent yet restrained, striking a balance between intellectual rigor and narrative fluidity. Each story in the collection carries its own distinct tone. By blending speculative fiction with philosophical inquiry, Biswakarma not only redefines the literary landscape of Darjeeling but also establishes himself as a writer of considerable depth and originality.
In Zeta Sophiagrey, Vishal Biswakarma has crafted a work that is both a literary experiment and a profound meditation on existence. This collection is a testament to his skill as a storyteller and his courage as a thin a daring new perspective on the mysteries of the universe. For those who seek literature that challenges, provokes, and inspires, Zeta Sophiagrey is an essential read—a luminous work from a writer poised to leave an indelible mark on contemporary fiction.
