Patriarchy asserts men are superior to women Feminism clarifies women and men are equal Queerness questions what constitutes male and female Queerness isn’t only modern, Western or sexual, says mythologist Devdutt Pattanaik. Take a close look at the vast written and oral traditions in Hinduism, some over two thousand years old, and you will find tales of: Shikhandi, who became a man to satisfy her wife Mahadeva, who became a woman to deliver a devotee’s child Chudala, who became a man to enlighten her husband Samavan, who became the wife of his male friend and many more . . . Playful and touching—and sometimes disturbing—these stories when compared with tales of the Mesopotamian Gilgamesh, the Greek Ganymede, the biblical Sodom or the Chinese ‘cut sleeve’ Emperor reveal the unique Indian way of making sense of queerness. Devdutt Pattanaik’s new book builds on profound ideas that our ancestors shared but which we have rarely inherited. This book has content for mature audiences. Discretion advised.

Centuries have passed since the Great War of Kurukshetra, but her name is still uttered in hushed whispers – eunuch, hijra, neither man nor woman... But was this all there was to Shikhandini, Princess of Panchala? Was this her only identity? The firstborn of King Drupada, Shikhandini was trained to be a warrior from early childhood. She became a Rathi, and then an Athirathi, a warrior of unmatched valour and skill, who singlehandedly defeated the hundred Kaurava brothers in battle. All her life she strove to fulfil one goal – to slay the Maharathi of Hasthinapur, in a trans-generational act of vengeance. But was this her final destiny? At the Battle of Kurukshetra, when the Pandava brothers seem to have lost all hope and are facing defeat, it is Shikhandini who joins them and turns the battle in their favour. If not for her, history would have been written differently. But what was the price she paid? How far did she go in order to prove herself and accomplish her goal? What did she sacrifice along the way? Was she just a pawn in the game between the Kurus? Or was she a true hero, conveniently forgotten because she was not born a man? In this retelling of epochal events, Shikhandini’s transformation from woman to man, based on ancient medical science, is what makes this story both riveting and real in its validity, human intensity, driven purpose and ultimate sacrifice. In this new dawn, when the third gender is finally gaining acceptance and identity, it is perhaps time Shikhandini’s story was retold in all its tragic glory.

The Mahabharata is the more recent of India's two great epics, and by far the longer. First composed by the Maharishi Vyasa in verse, it has come down the centuries in the timeless oral tradition of guru and sishya, profoundly influencing the history, culture, and art of not only the Indian subcontinent but most of south-east Asia. At 100,000 couplets, it is seven times as long as the Iliad and the Odyssey combined: far and away the greatest recorded epic known to man. The Mahabharata is the very Book of Life: in its variety, majesty and, also, in its violence and tragedy. It has been said that nothing exists that cannot be found within the pages of this awesome legend. The epic describes a great war of some 5000 years ago, and the events that led to it. The war on Kurukshetra sees ten million warriors slain, brings the dwapara yuga to an end, and ushers in a new and sinister age: this present kali yuga, modern times. At the heart of the Mahabharata nestles the Bhagavad Gita, the Song of God. Senayor ubhayor madhye, between two teeming armies, Krishna expounds the eternal dharma to his warrior of light, Arjuna. At one level, all the restless action of the Mahabharata is a quest for the Gita and its sacred stillness. After the carnage, it is the Gita that survives, immortal lotus floating upon the dark waters of desolation: the final secret! With its magnificent cast of characters, human, demonic, and divine, and its riveting narrative, the Mahabharata continues to enchant readers and scholars the world over. This new rendering brings the epic to the contemporary reader in sparkling modern prose. It brings alive all the excitement, magic, and grandeur of the original-for our times.

This Full Coloured Premium Coffee Table Book comprises stories and poetry on Mythology from across the World with beautiful oil and water colour painted illustrations.

Suddenly the attack came close to us, not yet directly upon us but very close; we had to increase the intensity and we did. I was in sublime touch shooting off arrow after arrow. The targets were drifting across my vision and all it took was one aim and release; the arrows shot off with a swish only to hit the target where I intended it and killed the recipient of the shot. A few left-handed shots depending on the angle of the shot where I could find the target best positioned for the shot; others right handed. The bow was drifting from one hand to the other flawlessly and the arrows were flowing out like spit from a cobra’s mouth, both accurate and deadly. Before we realised there were hardly any leaders standing. By the time Jarasandha recovered, his leaders and his entire army had perished. Jarasandha gave a loud shout and invited us to come out in the open and fight like real warriors. By this time Balarama also came into the battlefield. Jarasandha did not turn back and run; he was livid and angry; he started challenging us to come down and fight like real warriors.Rama and I descended into battleground. Jarasandha was aghast to see Kids trying to defeat him. Jarasandha invited us for a duel. He said two versus one couldn’t be fair in a war. Balarama moved ahead and chose mace as his weapon. He was adept at mace and Jarasandha was no less a mace warrior. The fight that took place was of a quality that I wouldn’t witness for a long time to come. Jarasandha was more than accomplished. While Jarasandha unleashed himself upon Balarama with full force and vigour, Balarama was deftly defending himself. Mace was flying into Rama from all directions. Balarama was saving his energy for the future; if he could wear Jarasandha down, he could then unleash himself upon him. Balarama was not through and through defensive. There would be moments when he surprised Jarasandha by his speed and power. Rama’s mace would start banging into Jarasandha with immense strength and speed. Before Jarasandha would recover from one bout of attack the second one would begin in a different style of attack. The lesson and practice with our Guru was paying results; I could see that in this bout. Jarasandha couldn’t fathom the skill level of Rama. He had thought it would be child’s play and he would crush Rama in no time and head for me. But this challenge was more than what he had imagined. The fact that his theory proved wrong gave him the mental agony which the real fight had not given. That agony was showing in his inconsistent fighting method. He would burst at Rama; Rama would easily read the move and defend himself; that would frustrate Jarasandha; he would change his move, which Rama easily anticipated and countered, Jarasandha would get more frustrated and soon he lost his mace to a vicious shot by Rama. Now it was Rama with his mace facing an unarmed Jarasandha. Rama shouted at me and said he wanted to finish this fight right away, and lifted his mace to hit Jarasandha. I stopped Rama, it’s unfair to kill someone who is unarmed on a battlefield. I said another day would come and he had to let him go with honour.

A god transforms into a nymph and enchants another god. A king becomes pregnant. A prince discovers on his wedding night that he is not a man. Another king has children who call him both father and mother. A hero turns into a eunuch and wears female apparel. A princess has to turn into a man before she can avenge her humiliation. Widows of a king make love to conceive his child. Friends of the same sex end up marrying each other after one of them metamorphoses into a woman. These are some of the tales from Hindu lore that this unique book examines. The Man Who Was a Woman and Other Queer Tales from Hindu Lore is a compilation of traditional Hindu stories with a common thread: sexual transformation and gender metamorphosis. In addition to the thought-provoking stories in The Man Who Was a Woman and Other Queer Tales from Hindu Lore, you'll also find: an examination of the universality of queer narratives with examples from Greek lore and Irish folklore a comparison of the Hindu paradigm to the biblical paradigm a look at how Hindu society and Hindu scripture responds to queer sexuality a discussion of the Hijras, popularly believed to be the “third gender” in India--their probable origin, and how they fit into Hindu society With the telling of each of these tales, you will also learn how the author came upon each of them and how they relate to the context of dominant Hindu attitudes toward sex, gender, pleasure, fertility, and celibacy.

Mythopoeia has always been a steady proponent in the construct of any socio-cultural order. In contemporary times, owing to the rise of cultural studies, a steady interest in revisionist literary texts has also surfaced. The association of Indian culture and values with a plethora of mythological narratives have made several scholars curious because they do offer an array of new perspectives of understanding the art, aesthetics and also the politics of myths within a larger social, religious and cultural context. Similarly, by exploring the trope of myth, it has been possible to look at other countries' cultures as well. This anthology offers new readings of classical myths across continents and cultures. The anthologized essays have collectively explored the various trends of revisionist literature. Sincere attempts have also been made to highlight the ways in which re-readings of select literary works can admirably transform set notions and ideas of human existence.