While unrest surrounding the sudden death of the king of Devangarh grows, young prince Rudra Pratap Chauhan prepares to ascend the throne.But the kingdom is in turmoil. The Devangarh army is outnumbered and the British forces are closing in. To make matters worse, Rudra discovers the king’s death may not have been accidental after all. The strange appearance and disappearance of a mysterious hooded stranger and a series of ritualistic murders in which the bodies have been drained of blood, spread panic across the realm.As Rudra struggles to manage his new responsibilities and investigate his father’s death, dark secrets will be uncovered that will disrupt life as he knows it.

    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.

    The Mahabharata is obsessed with the elusive notion of dharma - in essence, doing the right thing. When a hero falters, the action stops and everyone weighs in with a different and often contradictory take on dharma. The epic's characters are flawed, but their incoherent experiences throw light on our familiar dilemmas. Gurcharan Das's best-selling book India Unbound examined the classical aim of artha, material well being. This, his first book in seven years, dwells on the goal of dharma, moral well being. It addresses the central problem of how to live our lives in an examined way - holding a mirror up to us and forcing us to confront the many ways in which we deceive ourselves and others. What emerges is a doctrine of dharma that we can apply to our business decisions, political strategies and interpersonal relationships - in effect, to life itself.

    His life shaped by a fate that failed to be just—neglected by his own, stripped of his birthright—he was raised to be lost in an abyss of desires and disappointment.Cursed by his guru, hurt by the only woman he loved, ostracised from society for being the son of a suta. With his only armour—hope—he ventured on an unforgettable journey. Alone.This is Vasu’s tale of survival, of endurance, of abiding courage in the face of all adversities. And eventually, of blossoming into the greatest warrior of all time… KARNA.In an ultimate battle against his archenemy—the insidious, dishonourable and all-powerful, Jarasandha, for a title he knew he deserved.From a sutaputr to a leader of the people, this is a saga of betrayal, lost love, and glory.This is the story of the King of Anga.

    Chronicling the Indian struggle for freedom and independence from Great Britain, Tharoor directs his hilarious satire as much against Indian foibles as the bumbling of the British rulers.

    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.

    Centuries ago, it was proclaimed of the Mahabharata: "What is not in it, is nowhere." But even now, we can use the same words about it. He who knows it not, knows not the heights and depths of the soul; he misses the trials and tragedy and the beauty and grandeur of life. The Mahabharata is not a mere epic; it is a romance telling the tale of heroic men and women, and of some who were divine. It is a whole literature in itself, containing a code of life, a philosophy of social and ethical relations, and speculative thought on human problems that is hard to rival.

    As she stares death in the face, her memories travel back to the beginning of her story, to life's unfairness at every point: A fiercely intelligent princess who wilfully blindfolded herself for the sake of her peevish, visually-impaired husband; who underwent a horrible pregnancy to mother one hundred sons, each as unworthy as the other; whose stern tapasya never earned her a place in people's hearts, nor commanded the respect that Draupadi and Kunti attained; who even today is perceived either as an ingratiatingly self-sacrificing wife or a bad mother who was unable to control her sons and was, therefore, partly responsible for the great war of the Mahabharata.In this insightful and sensitive portrayal, Aditi Banerjee rescues Gandhari from being reduced to a mere symbol of her blindfold. She builds her up, as Ved Vyasa did, as an unconventional heroine of great strength and iron will - who, when crossed, embarked upon a complex relationship with Lord Krishna, and became the queen who cursed a God.

    In the course of a confession to a white 'sahib' the imprisoned Ameer Ali recounts his life as a devoted follower of Thuggee, a secret religious cult practising ritual mass murder and robbery. Taylor uncovered evidence of the crimes committed by bands of Thugs as a Superintendent of Police in India during the 1820s. Introducing a new standard of ethnographic realism to western fiction about India, Confessions of a Thug is a strikingly vivid, chilling and immensely readable thriller. This unique critical edition makes available a fascinating and significant work of Empire writing.

    At fourteen she is pressed into the service of the temperamental sage Durvasa who grants her a boon. Its first use, however, only brings her adversity and a shameful secret. With marriage to Pandu, Kunti dreams of a better future, but a curse makes him leave the throne of Hastinapur to his sibling, the blind Dhritarashtra, and retreat to the forest. The births of the five Pandavas rekindle Kunti’s hopes of returning to Hastinapur, but these are destroyed once again when Pandu dies suddenly. Kunti journeys to the kingdom, no longer its queen but a widow, a dependant as are her sons. She must now take up the task of guiding them through the long struggle to get their inheritance, a struggle made harder by the discovery that the illegitimate child she had abandoned long ago is alive and a sworn enemy of the Pandavas. Recasting the Mahabharata from the viewpoint of Kunti, The Kaunteyas replaces the idealized mother figure with a fully three-dimensional woman, providing new insights into the epic.

    The usually venerated characters of this ancient Indian epic are here subjected to a rational enquiry that places them in context, unravels their hopes and fears, and imbues them with wholly human motives, thereby making their stories relevant and astonishing to contemporary readers. Irawati Karve, thus, presents a delightful collection of essays, scientific in spirit, yet appreciative of the literary tradition of the Mahabharata. She challenges the familiar and formulates refreshingly new interpretations, all the while refusing to judge harshly or venerate blindly.

    In her story, she speaks about her struggles after her marriage, her insecurities and her pious nature that challenged her husband's growing aspirations. She narrates the rise of Ravana's power and the blunders he made that ultimately caused the downfall of Lanka.Despite her husband's faults, Mandodari loved him and advised him to follow the path of righteousness. Ravana's defeat in a thirteen-day war turned him into a villain. But what if he were the real hero on his side of the war? What if his downfall was a result of scheming to push him out of power? This is Mandodari's story.

    Indra, destiny's orphan, finds himself growing up in a vortex of treachery and tribal incumbency. Shielded from the usurpers of his birthright only by the watchful eye of the warrior sage Mitra, he first sets out to conquer the hearts of his tribesmen, and then the kingdoms of the unmapped world.Aligning forces with his brothers by blood oath and divine intervention Agni, Vayu, Varuna and Soma Indra embarks on a military campaign of epic proportions, stretching from the Euphrates in Asia Minor to Harappa on the Indian subcontinent, encountering formidable armies, demonic beings and powerful goddesses, and losing the only woman he really loves.Will he get her to love him again? Will he avenge the death of his father? Will he assume his place in the pantheon of the gods?In a compelling saga, blended by history, spiced by legend and mutated by myth, Rajiv G. Menon transforms ten years of research into a lightning rod of an action adventure that streaks into your consciousness with the speed of Indra's thunderbolt.About the AuthorBefore setting out on a writing career, Rajiv G. Menon was an actor, occasional screenwriter, traveler and beach bum. A voracious reader since childhood, he was fascinated by stories and characters from Indian, Greek and Norse Mythology. Thundergod was born as a result of that fascination.

    As Usas, the enchanting goddess of the dawn, she is loved passionately and hated fiercely, leading to a horrific tragedy. As Durga, the invincible warrior, she defeats the savage Mahishasura, whom none of the male gods could vanquish. As Kali, the fearsome dark goddess, she delights in chaos. Yet she is also Shakti, beloved of all, who, when united with Shiva, restores balance to the universe.In this captivating narrative, explore the contrasting facets of the sacred feminine; experience her awesome power, forged on the flames of love and hate; and watch her teach the male-dominated pantheon a lesson in compassion. Witty, engaging and thought-provoking, Shakti: The Feminine Divine will force readers to re-evaluate everything they know about the gods and goddesses and inspire all to embrace the Shakti within.One of the few explorations of the story of the Mother Goddess, Shakti Retold in modern language, this book humanizes the godsWitty and laced with sarcasm, it is a refreshing change from the heavy language of mythological textsDraws analogies with the modern-day situation of women and contains a powerful message of woman empowerment

    With sparkling wit and intelligence, Sanjeev Sanyal sets off to explore India and look at how the country’s history was shaped by, among other things, its rivers, mountains and cities. Traversing remote mountain passes, visiting ancient archaeological sites, crossing rivers in shaky boats and immersing himself in old records and manuscripts, he considers questions about Indian history that we rarely ask: Why do Indians call their country Bharat? How did the British build the railways across the subcontinent? What was it like to sail on an Indian Ocean merchant ship in the fifth century AD? Why was the world's highest mountain named after George Everest?