Narrated by Panchaali, the wife of the legendary Pandavas brothers in the Mahabharat, the novel gives us a new interpretation of this ancient tale. The novel traces the princess Panchaali's life, beginning with her birth in fire and following her spirited balancing act as a woman with five husbands who have been cheated out of their father’s kingdom. Panchaali is swept into their quest to reclaim their birthright, remaining at their side through years of exile and a terrible civil war involving all the important kings of India. Meanwhile, we never lose sight of her strategic duels with her mother-in-law, her complicated friendship with the enigmatic Krishna, or her secret attraction to the mysterious man who is her husbands' most dangerous enemy. Panchaali is a fiery female redefining for us a world of warriors, gods, and the ever-manipulating hands of fate.

    She is known as a lost river and seen as a singular goddess, never as part of a couple, such as Shiva-Parvati or Lakshmi-Narayan. In Sarasvati's Gift, Kavita Kane brings to light Sarasvati's story-the goddess of art, music and knowledge-told in the voices of nameless celestials, powerful gods and lesser mortals. The book explores her relationship with her Creator, Brahma, and their unusual marriage-a union of fiercely independent minds and the most non-conforming, unconventional of the Triumvirate couples. As these peripheral figures and silent catalysts take centre stage, we get a glimpse of an extraordinary woman and her remarkable story, obscured and buried under myths and legends.

    Yet, each moment of joy is only that: momentary, showing up the rest of our lives to be unsatisfying, somehow lacking and incomplete. On the other hand, Vedanta, the body of knowledge found at the end of the Veda, asserts with breathtaking boldness that one's true nature is completeness and limitlessness. Vedanta also promises that moksa, liberation from all forms of limitations that seem to bind a human being, is possible here and now. In this lucid, lively introduction to Vedanta, Swami Dayananda shows how man's constant struggle to overcome these limitations through the ceaseless pursuit of security and pleasure are predestined to failure for the simple reason that they are misdirected: they stem from a failure in understanding the real nature of the fundamental problem itself. All effort howsoever great or unremitting being limited, the result of such effort is also bound to be equally limited, inadequate. The road to freedom from limitation, then, can scarcely lie that way. Indeed, asserts Vedanta, it is only to be found in the correct knowledge of one's true nature as absolute. This vital first step, a clear understanding of man's fundamental problem of ignorance and error about his real nature. Is what this book is all about.

    Editorial Reviews Hixon, a disciple of both Ramakrishna's wife and his spiritual successor, provides contemporary commentary based on The Gospel of Sri Ramakrishna and The Great Master . This retelling in clear contemporary English requires no background knowledge and makes accessible the ideas of a most remarkable Hindu saint who worshipped Kali, the Divine Mother, but also experienced union with Jesus, Muhammad, and Allah. Hixon claims his book ``is not a conventional biography but a workbook'' to provide Ramakrishna's guidance to the spiritually inclined reader of any religious tradition and to clarify the mystical path. Hixon is self-effacing: what shines through is Ramakrishna sanctity and wisdom, as well as the devotion of his disciples. Recommended for most libraries.

    The song of birds, the thunder of rain clouds, and the glow of the morning sun revealed life's secrets to Satyakama. Coming face to face with the lord of death, Nachiketa found the key to immortality. The lessons the two seekers learned were priceless, for they opened to others the door to eternal bliss.

    and, erm, super difficult to read? - But isn’t the stuff it talks about way too complex for regular folks to understand? Prepare to besurprised. Roopa Pai's spirited, one-of-a-kind retelling of the epic conversation between Pandava prince Arjuna and his mentor and friendKrishna busts these and other such myths about the Bhagavad Gita. Lucid, thought-provoking and brimming with fun trivia, this book will staywith you long after you have turned the last page. Why haven't you read it yet?

    For Easwaran, the Gita’s epic battle represents the war in our own hearts and Arjuna’s anguish reflects the human condition: torn between opposing forces, confused about how to live. Sri Krishna’s timeless guidance, Easwaran argues, can shed light on our dilemmas today. Placing the Gita’s teachings in a modern context, Easwaran explores the nature of reality, the illusion of separateness, the search for identity, the meaning of yoga, and how to heal the unconscious. The key message of the Gita is how to resolve our conflicts and live in harmony with the deep unity of life, through the practice of meditation and spiritual disciplines. Sri Krishna doesn’t tell Arjuna what to do. He points out the prince’s choices, and then leaves it to Arjuna to decide. Easwaran shows us clearly how these teachings still apply — and how, like Arjuna, we must take courage and act wisely if we want our world to thrive.

    Combining stories from the Adi Parva which precede the main narrative of the Pandav-Kaurav war for succession.

    It is a dialogue between Sage Vasishta and Sri Rama, during which Advaita (the doctrine of non-duality) in its pure form of ajatavada (theory of non-origination) is expounded, with illustrative stories in between. This vast work was abridged some centuries ago by Abhinanda Pandita, a Kashmiri scholar, into 6,000 couplets, which go by the name of Laghu Yoga Vasishta. This is a masterpiece in itself, like the original Brihat.Bhagavan Sri Ramana Maharshi used to refer to Yoga Vasishta frequently and has even incorporated six couplets from it in His Supplement to Forty Verses (verses 21 to 27).A further condensation of this work was made long ago, by an unknown author, into about 230 couplets, divided into ten chapters, as Yoga Vasishta Sara (Essence of Yoga Vasishta). By making this condensation the author has rendered a great service to all sadhaks. This is indeed a goldmine fit for repeated reading and meditation.

    T. Vasudevan Nair. It was translated into English as Second Turn in 1997. M. T. Vasudevan Nair won Vayalar Award, given for the best literary work in Malayalam, for the novel in 1985. Later, in the year 1995, Mr. Nair was awarded the highest literary award in India, Jnanpith Award, for his overall contribution to Malayalam literature.The novel is set as a retelling of the Indian epic Mahabharata, from the view of Bhima, the second Pandava.

    Here, at the ashram of Kulapati Shaunaka, a dustry traveller arrives with sad tidings: Maharishi Krishna Dweipayana Vyasa has passed on. Yet the great collator of the Vedas has left behind a fabulous legacy, the epic narrative poem called Maha Bharata. At the urging of the ashramites, the traveller Suta begins to recite the great composition, starting with the incredible creation myths and tales of god and giants, snake-mothers and gargantuan eagles. And as the night wears on and the tale grows darker, he senses the presence of countless ghostly beings in the shadows beyond the flickering oil-lamps, the restless souls of the many millions butchered in the climactic war that ended the great tale itself, gathering now to hear the epic saga that led eventually to their destruction and the decimation of the Kuru Bharata race.

    Perhaps, what brought the two still closer were the stories the Guru narrated. These stories provided a meaningful context for the topics under discussion. They also demonstrate that in those days knowledge was not the monopoly of any select group. Thus Janashruti, the ruler of the land, approaches the cart driver Raikva, with humility, to seek the highest truth.

    The Mahabharata story is removed from its mythological elements and the whole theme and characters are placed in the historical time of 12th century B.C in India. Bhyrappa spent five years in researching the social, economic and cultural details of the period.

    Shivaji Sawant's Mrityunjaya is an outstanding instance of such a literary masterpiece in which a contemporary Marathi novelist investigates the meaning of the bewildering skein that is life through the personae of the Mahabharata protagonists. For over two decades since its first publication the vast non- Marathi and non-Hindi readership remained deprived of this remarkable exploration of the human psyche till the publication of this English translation by the Writers workshop – a contribution for which there is much to be grateful for. Mrityunjaya is the autobiography of Karna, and yet it is not just that. With deceptive case, Sawant brings into play an exceptional stylistic innovation by combining six "dramatic soliloquies" to form the nine books of this novel of epic dimensions. Four books are spoken by Karna. These are interspersed with a book each from the lips of his unwed mother Kunti, Duryodhana (who considers Karna his mainstay), Shon (Shatruntapa, his foster-brother, who here-worships him), his wife Vrishali to whom he is like a god and, last of all, Krishna. Sawant depicts an uncanny similarity between Krishna and Karna and hints at a mystic link between them, investing his protagonist with a more-than-human aura to offset the un-heroic and even unmanly acts which mar this tremendously complex and utterly fascinating creating of Vyasa.

    Though counted among the five supremely virtuous women, honoured as pancha sati in mythology, the name Draupadi still bears stigma and is often contemptuously uttered by people in society as the woman who brought about the greatest war of all times.Pratibha Ray makes a determined effort for a balanced portrayal of the epic character and brings to the surface the broader and deeper aspects of Draupadi's mind that lay submerged in the majestic sweep of the grand Mahabharata.