[3] The book has been translated into several languages including Malayalam, Hindi, Tamil, Marathi, Telugu, Kannada, Korean and French.

In the foreword, art critic John Berger, most famous for his 1972 essay "Ways of Seeing", commends the refreshing form of story-telling that the book uses.

Instead, a conference of corporeal experiences across generations, full of pain and empathy, and nurtured by a complicity and endurance that can outlive the Market’.

Young Bhim goes back home where he asks his aunt why he cannot drink from the tap like other boys, despite being cleaner than upper-caste students.

[5] The narrative voice moves back to the frame story here, and the unnamed storyteller concludes that Ambedkar said it was because of the secretary's mistake that he had learnt ‘the most unforgettable lesson about untouchability’.

As he attempts to find shelter, his friends evade helping him citing problems at home, forcing him to wait in the Kamathi Baug public garden and subsequently, leave for Bombay.

[5] The section ends with the narrative voice of the frame story re-emerging and highlighting caste based discrimination practiced by ‘liberal’ city dwellers.

This section is set in Aurangabad, 1934, wherein Ambedkar travels to Daulatabad with a group of political workers of Mahar and other untouchable castes.

Ambedkar then confronts the harsh truth that in a graded Indian society, a highly educated and renowned dalit will continue to be oppressed and deprived of dignity.

The narrative then shifts to the present, where Ambedkar and his colleagues are prevented from drinking from the water-tank at the Daulatabad fort by a mob of Muslims.

The section ends with the characters from the frame story discussing Ambedkar's contribution to social equality and justice in India as both an agitator and an architect of the Constitution.

In the process, he points out the role of Pardhan Gond bards as the tradition-bearers of their communities in central India, arguing for their continued relevance through the cross-mediation of their performance narratives.

He points out the communal nature of the Vyams’ creative process and describes the importance of recognizing traditional crafts-persons as artists in their own right.

[2] Nature imagery is present throughout the book—fortresses are fierce beasts; trains are snakes; the road is a peacock's long neck; the handle of a water pump turns into an elephant's trunk.

Gentle words are encased in bubbles shaped like birds, and unspoken thoughts are given an icon to denote the mind's eye.

[7] The pages are not formally structured and digna patterns divide the story into loose frames for a khulla (open) visual imagery.

[citation needed] Bhimayana was reviewed widely by magazines and newspapers such as the Times Literary Supplement, the Journal of Folklore Research, CNN and The Hindu and got extremely positive response.