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Why Lakshmi is More Than Just the Goddess of Prosperity

Explore Hindu mythology like never before with Namita Gokhale’s Treasures of Lakshmi. In this book, Gokhale unfolds the stories of ancient deities, exploring their evolution from the Rig Vedic era to the post-Buddha period. Against the historical backdrop of events like Alexander’s arrival in India, the book delves into the tales of gods and goddesses, with a special focus on Lakshmi’s story of prosperity from the Vishnu Purana.

 

The Treasures of Lakshmi
The Treasures of Lakshmi || Namita Gokhale

***

THERE ARE MANY gods and goddesses in the Sanatan Dharma (Hinduism is a newer word, proposed as recently as the nineteenth century). Aldous Huxley translated it as ‘the perennial philosophy’. In the Rig Veda, the gods which feature in the hymns are Indra, Agni, Varuna and Surya, who become minor gods by the time of post-Buddha India. It is said that when Alexander arrived in the Indian subcontinent in the fourth century bce, there was worship of a god similar to Heracles, who has been later identified as Krishna.

 

The Vishnu Purana is dated by its most recent translator, Professor Bibek Debroy, as being from the period 450 bce to 300 bce, definitely a post-Buddha document. You see immediately that the Vishnu Purana is post-Vedic and even post-Vedantic. Vishnu replaces the abstract universal principle of Brahman: ‘He is the supreme Brahman.’ The irresistible conjecture is that faced with the concrete persona of Buddha and the rapid spread of Buddhism, the Sanatan Dharmists retaliated with a personal but immensely powerful god: Vishnu.

 

So, sometime in the second half of the last millennium bce, there is a shift to the modern Trimurti structure with Brahma, Vishnu and Mahesh. The old Rig Vedic gods are demoted and a new set emerges which takes over. The Vishnu Purana has stories about all three deities but constantly reiterates the supreme position of Vishnu.

 

Then, Brahma somehow gets displaced. (We need not go into this episode.) There are few, if any, temples dedicated to him, relative to the other two male gods. Somewhere, then, the mother goddess, Durga/Kali/Amba, becomes as important in the Trinity as Vishnu and Shiva. There is some discussion of Durga being a pre-Aryan goddess, but this may be controverted. Saraswati is the only other goddess worshipped in her own right and not as the consort of a male god.

 

The point is that while the pantheon of deities is crowded, there are only three at the top—two male gods and one female goddess. (Of course, attributing gender to gods and goddesses is tricky. Shiva doubles up as Ardhanareeshwar.) Lakshmi, the subject of this essay, is not in the top Trinity. She appears as the consort of Vishnu and is worshipped especially on the thirteenth night of the waning moon cycle, two nights before Diwali. The occasion is called Dhanteras in Gujarati, being the one night dedicated to the goddess of prosperity. No other goddess has a Diwali slot.

 

But as Shri, Lakshmi is ubiquitous. We append the labels ‘Shri’, ‘Shriman’, ‘Shrimati’, indicating someone favoured or due to be favoured by the goddess Lakshmi. Widows (in Gujarati at least) are addressed as ‘Gangaswaroop’, definitely not Shrimati. Fortune for a woman resides in having a husband around.

 

It is in the Vishnu Purana—a massive document running to almost 600 pages in Bibek Debroy’s book—that we encounter Lakshmi’s story. Purana storytelling is, of course, not straightforward or linear. It wanders, often telling the same story more than once with different nuances. You are supposed to listen and retain the details.

 

Lakshmi is first mentioned along with the story of Sati (Parvati) in Chapter 1 (8) titled ‘Rudra’s Account’. In the Vishnu Purana, Parashara is talking to Maitreya and telling him the long story of Vishnu. Rudra occurs in the Rig Veda and is called Shiva later on. Rudra marries Sati. But then Daksha’s anger comes in the way and Sati gives up her body. However, she is born again as the daughter of Himavat and Mena as Uma. ‘In this form, the illustrious Hara married her again.’

 

The first casual mention of Lakshmi follows. ‘Bhrigu’s wife Khyati gave birth to the divinities, Dhatri and Vidhatri, and to Shri, the wife of Narayana, the god of the gods.’ Maitreya asks how that can be, since Lakshmi emerged from the churning of the ocean. So, in a way, Lakshmi’s story is presumed to be known, but of course given the style of a Purana it has to be told again. Parashara launches into a laudatory description of Shri, but more so of Vishnu, whose female companion Shri is. Vishnu is praised to the utmost, while Lakshmi has glory as Vishnu’s other.

 

Chapter 1 (9) is devoted to the story of the emergence of Lakshmi from the churning of the ocean, Samudramanthan.It is a fascinating account as to how Shri emerges from the ocean churning process. The story starts in somewhat dramatic fashion with the sage Durvasa ‘observing the vow of acting like a lunatic’. He has a divine garland made of santanaka flowers, which grow in Indra’s gardens. The sage throws the garland at Indra, who is riding the Airavata. Indra puts it on the Airavata, who throws it off. Durvasa is enraged by this disrespect and curses Indra and the gods that they will lose their prosperity. He says, ‘All mobile and immobile entities dread the arousal of Lakshmi’s wrath. But because you take yourself to be the king of the gods, in your pride, you have slighted her and me.’ In this way, the story of Lakshmi is laid out. (Though she is first mentioned in ‘Rudra’s Account’, that is a passing reference in which Lakshmi is included along with other characters.)

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Get your copy of Treasures of Lakshmi by Namita Gokhale wherever books are sold.

From Ayodhya to Your Bookshelf: Must-Read Tales of Lord Ram

Step into the world of Lord Ram with our handpicked collection of books, that make the epic tales easy to grasp, offering insights into life lessons, values, and the spirit of India. Whether you’re familiar with the Ramayana or new to these stories, join us in celebrating the historic inauguration of the Ram Mandir by exploring the wisdom and cultural richness found within the pages of these sacred books.

Teachings from the Ramayana on Family & Life
Teachings from the Ramayana on Family & Life || Shantanu Gupta

With the help of twenty-five stories from the Ramayana, this book offers essential life lessons for a happy family life. Throwing light on challenging real-life scenarios that often perplex us, Teachings from the Ramayana offers simple ways to negotiate those challenges. From how to effectively deal with negative company to the value of meaningful friendship and the importance of a good guide—this book is packed with ideas, drawn from the great epic, that you can put to use in your day-to-day life. Through this personal engagement with the Ramayana you can find solutions to life’s many problems.

 

Penguin 35 Collectors Edition: The Book of Ram
Penguin 35 Collectors Edition: The Book of Ram || Devdutt Pattanaik

E is Eka-vachani, a king who always keeps his word; Eka-bani, an archer who strikes his target with the first arrow; and Eka-patni, a husband who is eternally and absolutely devoted to a single wife. He is maryada purushottam Ram, the supreme upholder of social values, the scion of the Raghu clan, jewel of the solar dynasty, the seventh avatar of Vishnu, God who establishes order in worldly life. Hindus believe that in stressful and tumultuous times chanting Ram’s name and hearing his tale, the Ramayan, brings stability, hope, peace and prosperity. Reviled by feminists, appropriated by politicians, Ram remains serene in his majesty, the only Hindu deity to be worshipped as a king.

 

The Valmiki Ramayana (Box Set)
The Valmiki Ramayana (Box Set) || Bibek Debroy

The Valmiki Ramayana remains a living force in the lives of the Indian people. A timeless epic, it recounts the legend of the noble prince Rama and his battle to vanquish the demon king Ravana.

Even before he is crowned king of Ayodhya, Rama is exiled to the Dandaka forests where he is accompanied by his beauteous wife Sita and loyal brother Lakshmana. Deep in the jungle, Sita is abducted by Ravana and taken to his island kingdom Lanka, setting into motion a dramatic chain of events that culminates in an epoch-defining war. Filled with adventure and spectacle, the Ramayana is also the poignant story of a family caught up in the conflict between personal duty and individual desires.

In Bibek Debroy’s majestic new translation, the complete and unabridged text of the Critical Edition of this beloved epic can now be relished by a new generation of readers.

 

The Best of Indian Mythology Box Set
The Best of Indian Mythology Box Set || Devdutt Pattanaik

Take an epic voyage with Devdutt through ancient and mythological worlds. This captivating, richly illustrated narrative will regale readers with the many legends and parables that make our collective cultural heritage. Through decades of research, Devdutt decodes ancient epic tales and presents them with a blend of simplicity, candidness, and elegance. This box-set is sure to ring in the festive spirit this holiday season.

 

Ramayana, Mahabharata, Bhagavata
Ramayana, Mahabharata, Bhagavata || Devdutt Pattanaik

An enthralling retelling of India’s greatest epic, the Mahabharata, Jaya seamlessly weaves into a single narrative plots from the Sanskrit classic as well as its many folk and regional variants. With clarity and simplicity, the tales in this elegant volume reveal the eternal relevance of the Mahabharata and the complex and disturbing meditation on the human condition that has shaped Indian thought for over 3000 years.
Sita approaches Ram and the Ramayana by speculating on the titular character: her childhood with her father, Janaka, who hosted sages mentioned in the Upanishads; her stay in the forest with her husband, who had to be a celibate ascetic while she was in the prime of her youth; her interactions with the women of Lanka, recipes she exchanged, the emotions they shared; her role as a goddess, the untamed Kali as well as the demure Gauri, in transforming the stoic prince of Ayodhya into God.
The Bhagavata is the story of Krishna, known as Shyam to those who find beauty, wisdom and love in his dark complexion. Shyam tells the story of Krishna’s birth and his death, bringing together the fragments of this great epic composed over thousands of years, first as the Harivamsa, then as the Bhagavata Purana, and finally as the passionate songs of poet-sages in various regional languages.

 

In Search of Sita
In Search of Sita || Namita Gokhale, Malashri Lal

In Search of Sita presents essays, conversations and commentaries that explore different aspects of her life. It revisits mythology, reopening the debate on her birth, her days in exile, her abduction, the test by fire, the birth of her sons and, finally, her return to the earth-offering fresh interpretations of this enigmatic figure and her indelible impact on our everyday lives.

 

he Ramayana for Children
he Ramayana for Children || Bulbul Sharma

In this fast-moving version for children, the ancient saga-with infinite stories woven in-takes on new life. With the perfect mix of drama and excitement, gods and princes, and love and war, this contemporary retelling makes for an ideal read for young readers.

Told with simplicity, freshness and great vitality by Bulbul Sharma, this book has remained a perennial classic for decades.

 

The Ramcharitmanas 1
The Ramcharitmanas 1 || Tulsidas

The most popular devotional text recounting the adventures of the Hindu god Ram
The Ramcharitmanas, composed by the poet-saint Tulsidas in the sixteenth century during a dynamic period of religious reform, was instrumental in making the story of Ram-and his divine feats against Ravan, the demon king of Lanka-widely accessible to the common people for the first time. Prior to that, this tale was exclusively the preserve of the priestly class who could read Valmiki’s Sanskrit epic, The Ramayana. By reimagining Valmiki’s text in the vernacular language, as a poem to be imbibed through recitation rather than reading, Tulsidas kindled a devotional revolution, forever changing the religious and social landscape of northern India.
Rohini Chowdhury’s exquisite translation brings Tulsidas’s magnum opus vividly to life, and her detailed introduction sheds crucial light on the poet and his work, placing them both in the wider context of Hindi literature.

 

The Ramcharitmanas 2
The Ramcharitmanas 2 || Tulsidas

The most popular devotional text recounting the adventures of the Hindu god Ram
The Ramcharitmanas, composed by the poet-saint Tulsidas in the sixteenth century during a dynamic period of religious reform, was instrumental in making the story of Ram-and his divine feats against Ravan, the demon king of Lanka-widely accessible to the common people for the first time. Prior to that, this tale was exclusively the preserve of the priestly class who could read Valmiki’s Sanskrit epic, The Ramayana. By reimagining Valmiki’s text in the vernacular language, as a poem to be imbibed through recitation rather than reading, Tulsidas kindled a devotional revolution, forever changing the religious and social landscape of northern India.
Rohini Chowdhury’s exquisite translation brings Tulsidas’s magnum opus vividly to life, and her detailed introduction sheds crucial light on the poet and his work, placing them both in the wider context of Hindi literature.

 

The Ramcharitmanas 3
The Ramcharitmanas 3 || Tulsidas

The most popular devotional text recounting the adventures of the Hindu god Ram
The Ramcharitmanas, composed by the poet-saint Tulsidas in the sixteenth century during a dynamic period of religious reform, was instrumental in making the story of Ram-and his divine feats against Ravan, the demon king of Lanka-widely accessible to the common people for the first time. Prior to that, this tale was exclusively the preserve of the priestly class who could read Valmiki’s Sanskrit epic, The Ramayana. By reimagining Valmiki’s text in the vernacular language, as a poem to be imbibed through recitation rather than reading, Tulsidas kindled a devotional revolution, forever changing the religious and social landscape of northern India.
Rohini Chowdhury’s exquisite translation brings Tulsidas’s magnum opus vividly to life, and her detailed introduction sheds crucial light on the poet and his work, placing them both in the wider context of Hindi literature.

 

The Girl Who Chose & The Boys Who Fought
The Girl Who Chose & The Boys Who Fought || Pattanaik Devdutt

A BOOK ABOUT CONSENT AND CHOOSING RESPONSIBLY

The Ramayana, the ancient tale of Ram and Ravana, is one that has been reinterpreted in
myriad ways exalting the virtues of the princes. Few notice, however, that the story is actually led by the girl who chose, Sita.

A BOOK ABOUT HANDLING BULLIES AND BEING HUMBLE

The Mahabharata is the tale of the five Pandavas and their cousins, the hundred Kauravas, who threw out family morals. Instead of taking care of their five orphaned cousins, the princes burnt their house, abused their wife and stole their kingdom. This is the saga of the boys who fought, not for revenge but for dharma.

 

Sita
Sita || Bhanumathi Narasimhan

The vibration of the sacred sound of her beloved’s name, ‘Ram’, filled her mind as it emanated from the tiny Vanara. ‘His being is filled with Rama,’ she pondered, ‘but does he know me?’

Sita, the beloved princess of Mithila, is one of the most revered women in Indian history; so well known, yet probably the least understood. At every crossroad of her life, she chose acceptance and grace over self-pity. Her life was filled with sacrifice yet wherever she was, there was abundance. It was as if she was carved out of an intense longing for Rama, yet she had infinite patience. In every situation she reflected his light and he reflected her love.

In her, we find someone who is so divine yet so human.

In this poignant narration, Bhanumathi shows us the world through the eyes of Sita. We think what Sita thinks, we feel what she feels, and for these few special moments, we become a part of her. And perhaps, through this perspective, and Sita’s immortal story, we will discover the true strength of a woman.

The bird finds a home

Namita Gokhale excels at her craft as she narrates the story of a family under siege during the pandemic. ‘The Blind Matriarch’, Matangi Ma, lives on the topmost floor of an old house with many stories. From her eyrie, she hovers unseeingly over the lives of her children and grandchildren. Life unfolds slowly until the world comes to a standstill, and everyone is forced to look inward.

This assured novel records the complex inner life of an extended joint family. It can also be seen as an allegory of our existence as a nation, with its hierarchies, its vulnerabilities, and its essential resilience.

~

The Blind Matriarch||Namita Gokhale

Satish walked up with him to the floor above. ‘You have a visitor, Matangi-Ma,’ he said cheerfully. ‘Your grandson is bored of the lockdown. He wants to spend time with you.’

‘Switch off the television,’ Matangi instructed Lali. ‘I want to tell Rahul a story today.’

But Lali was glued to the television. Rishi Kapoor had died. The news channel had begun on a clip from his first film, Bobby, followed by a tearful shraddhanjali and celebrity condolences. Matangi had been in her thirties when she saw the film, in a cinema hall with her friends. She used to wear spectacles those days. She had fallen in love with him, and with his girlfriend Bobby too. She had hated his rich parents, and rather despised Dimple Kapadia’s fisherman father as well.

Rishi Kapoor, son of Raj Kapoor, grandson of Prithviraj Kapoor. He was, had been, Bollywood royalty, and she paid obeisance in her heart. First Irrfan, now Rishi. Why were they dying so young, these boys? Why had Yamdoot, the lord of death, decided to abduct the chocolate boy of Bollywood?

She felt an enormous guilt descend upon her, the weight of being alive. Here she was, at eighty, blind as a bat, of no particular use to anyone. A burden upon her loving children. And it was the young who were dying.

‘Did Rishi Kapoor die of the coronavirus, Matangi-Ma?’ Rahul asked her.

‘No, beta, he did not die of the virus. He died of . . .’ She bit her tongue. Why frighten a little boy with the spectre of cancer? ‘Rishi Kapoor didn’t die of Covid. He died because God wanted him in heaven, to make a Bollywood film there.’

Of course, the child wouldn’t believe her, but her answer would divert him, she thought.

But the idea appealed to Rahul. He nodded enthusiastically. ‘That’s why Irrfan Khan was called up. I wonder who God will cast next, for the female lead?’

Rahul had brought the precious bag of squashed semal pods with him. He shared the cotton wisps with Matangi excitedly flinging them around her bed and watching them flurry down. She told him he was the cleverest boy in the world. She would make herself a tiny pillow from the semal cotton, she said, a special pillow that would give her beautiful dreams.

Matangi uttered a silent prayer, a plea without words that rose from the depth of her heart. It was addressed to anybody who might be listening—to the gods, the goddesses, to Yamdoot, to Rishi Kapoor if he was hovering around.

‘Let me die now,’ she prayed. ‘Let me gift my remaining years to this beloved boy. May he live to be a hundred years, or more. But take me away. I have lived enough.’

They spent a delightful day together—Lali and Pappoo and Rahul and Matangi and the bird. They played absurd games, games which made no sense, but which made them laugh. Lali made mango milkshake for all of them, for Matangi too.

Does the bird have a name, Rahul had asked, and they discovered to their surprise that nobody had named it yet.

‘Mithoo,’ Lali had suggested. Pappoo had amended that to ‘Mithoo Mian’. Matangi suggested ‘Mirchi’. Rahul had to think hard before he came up with ‘Captain Covid’.

They agreed on ‘Mirchi’ as Matangi was the oldest among them, and had discovered the bird, saved it from being eaten by the black cat that had been waiting in the shadows.

Besides, as Matangi explained, ‘Mirchi’ would work equally well for a boy bird or a girl bird, and the barbet’s gender was still of course a mystery.

Rahul didn’t think about his mother or about all that had happened earlier in the day. He read out the poem he had written, the one about the lockdown, to his grandmother, and she was suitably impressed. He changed into his night suit later and slept on a mattress on the floor, which was fun. Lali and Pappoo and the bird slept in the veranda, as usual.

The next morning, Ritika went upstairs to Matangi’s floor to talk to Rahul, to apologize to him for her behaviour. She was still shaken up by all that had passed the previous night. She had slept alone, as Satish had taken his pillow from their bedroom and camped on the living-room couch.

Matangi was dozing in her bed, her face to the wall. Rahul was sitting by the small table by the window, reading a book. There was large brass cage on the table, with an odd-looking bird in it.

Rahul smiled when he saw her. ‘Hullo, Mummy!’ he said. ‘Meet Mirchi, my new friend. Matangi-Ma has magical powers and saved Mirchi’s life.’

Ritika was cut off from the gossip circuit in the building. She had not heard of the mysterious discovery of the bird and dismissed Rahul’s words as childish prattle. She was in any case too absorbed in rehearsing the formal apology she intended to make to her son.

But there was no need. Rahul put his book away, marking the page he was on, and rushed forward to hug her. ‘Don’t bother about yesterday, Mummy,’ he said. ‘Grown-ups can have problems too, just like children. I’m old enough to understand that.’

She broke down. He hugged her, consoled her, stroked her hair with his little hands.

Terrific twelve: The ultimate guide to Namita Gokhale’s wonderfully witty world

Few authors capture the oddities of a zeitgeist, not just the soaring spirit but the awkwardness, the tiny contradictions that make life both messy and loveable as charmingly as Namita Gokhale— social commentator extraordinaire. Her books are as diverse as her host of unforgettable characters—from incisively witty dissections of individuals against a range of social backdrops to retellings and examinations of Indian mythology.

The Blind Matriarch||Namita Gokhale

 

Adding to this behemoth of a bibliography is her latest novel, The Blind Matriarch, which sketches a vivid portrait of an Indian joint family against the backdrop of the first and second waves of the pandemic, of the world in flux that we have inhabited for the last two years.

Before you read The Blind Matriarch here’s a quick list to help you acquaint yourself with some of Namita Gokhale’s oeuvre. Go ahead and fill up your to-read list for the month!

 

Paro|| Namita Gokhale

 

Paro: Dreams of Passion

First published in 1984, to both notoriety and critical acclaim, Paro remains a social comedy without parallel in contemporary Indian writing. Paro, heroic temptress, glides like an exotic

bird of prey through the world of privilege and Scotch that the rich of Bombay and Delhi inhabit, amidst her motley court of admirers including Lenin, the Marxist son of a cabinet minister; the fat and sinister Shambhu Nath Mishra, Congress Party eminence grise; Bucky Bhandpur, test cricketer and scion of a princely family to name but a few!

 

 

 

 

Priya||Namita Gokhale

 

Priya

India is shining, and Suresh Kaushal, the stout lawyer -of sober habits’, has propelled himself up the political ladder to become Minister of State for Food Processing, Animal Husbandry, Fisheries and Canneries. His wife Priya can’t believe their luck and, determined to ensure it doesn’t run out,  struggles valiantly with -social vertigo, infidelity and menopause. In this wickedly funny, occasionally tender, book, Namita Gokhale resurrects some unforgettable characters from her 1984 cult bestseller Paro, and plunges them neck-deep into Delhi’s toxic waste of power, money and greed.

 

 

 

Shakuntala: The Play of Memory|| Namita Gokhale

 

 Shakuntala: The Play of Memory

On the ghats of Kashi, the most ancient of cities, a woman confronts memories that have pursued her through birth and rebirth. In the life she recalls, she is Shakuntala of the northern mountains-spirited, imaginative, but destined like her legendary namesake to suffer ‘the samskaras of abandonment’. Stifled by social custom, hungry for experience, she deserts home and family to travel far and wide with a Greek horse merchant she meets by the Ganga.  But an old restlessness compels her to forsake this life as well-and court tragedy.

 

 

 

 

God, Graves and Grandmother|| Namita Gokhale

 

Gods, Graves and Grandmother

‘Before mother left, in a long-ago time, we had been very rich. My grandmother had been a great singer, a kothewali whose voice was more liquid and beautiful than Lata Mangeshkar’s. Eleven nawabs and two Englishmen were besotted with the love of her.’ From these great heights, Gudiya’s world plunges into the depths of almost complete penury when she arrives in Delhi with her ancient grandmother, Ammi, fleeing small-town scandal and disgrace. Just when all seems lost, Ammi works a miracle: a slab of green marble stolen from a building site, and five rounded pebbles from a sahib’s garden, are transformed by the power of her singing voice into an inviolable place of worship. As we follow the twists and turns of Gudiya’s story, we see unfold before us the peculiar dance of chance and will that is human existence.

 

 

A Himalayan Love Story|| Part 1 of the Himalayan Trilogy

A Himalayan Love Story- Book I of the Himalayan Trilogy

A study in unrequited love, with its terrible irony and tragic urgency, told through the tale of two exiles. Parvati is young, beautiful and seemingly doomed; blooming early yet unable to find lasting love. Orphaned in adolescence and adopted by her headmaster uncle, Parvati escapes the constraints of this temporary home but, like many young women before her, finds a new prison in marriage. So when Mukul Nainwal, the local boy who has always loved her, returns to Nainital, he finds Parvati changed—she is a new challenge to his ideals, despite all his worldly success

 

 

 

 

 

The Book of Shadows: Book 2 of The Himalayan Trilogy

The Book of Shadows— Book II of the Himalayan Trilogy

Part ghost story, part erotic romance, The Book of Shadows is an ambitious book that investigates the nature of reality, love and faith. Scarred by her lover’s suicide and an acid attack that has left her permanently disfigured, Rachita Tiwari has sought refuge in a remote house in the Himalayan foothills. In this rambling house, built by a foolhardy missionary over a hundred years ago, she lives alone with an ancient and mysterious manservant, Lohaniju. As she retreats into herself, battling for her sanity and fearful of a world she no longer trusts, a different dimension claims her and the tremendous history of the house is played out before her.

 

 

 

 

 

Things To Leave Behind|| Part 3 of the Himalayan trilogy

Things to Leave Behind— Book III of the Himalayan Trilogy

Kumaon, 1856. History has already begun its steady march. Six native women clad in black and scarlet pichauras huddle around Naineetal Lake, attempting to cleanse it of ominous influences. Amidst a theatre of British impunity, feisty young Tilottama Dutt, whose uncle is hung when he protests the reigning order, and her daughter, Deoki, confront change as Indians and as women. Here is a fascinating historical epic illuminating with painstaking detail the mixed legacy of the British-Indian past.

 

 

 

 

 

Lost in Time: Ghatotkacha and the Game of Illusions

Lost In Time: Ghatotkacha And The Game Of Illusions

Young Chintamani Dev Gupta, on holiday in a bird camp near Lake Sattal, is transported via a wormhole to the days of the Mahabharata. Trapped in time, he meets Ghatotkacha and his mother, the demoness Hidimba. But the gentle giant, a master of illusion and mind-boggling rakshasa technology, wields his strength just as well as he knows the age-old secrets of the forest and the elemental forces. And in his enlightening company, Chintamani finds himself in the thick of the events of the most enduring Indian epic. This unusual take on YA literature offers an intense yet tender look at a rare friendship as well as the abiding puzzles of the past.

 

 

 

 

The Puffin Mahabharata|| Namita Gokhale

The Puffin Mahabharata

‘Told and retold a million times, the story of the Mahabharata is about defeat as much as victory, about humility as much as courage. It is the greatest story ever told.’

Like a modern-day suta or storyteller, Namita Gokhale brings alive India’s richest literary treasure with disarming ease and simplicity. She retells this timeless tale of mortals and immortals and stories within stories, of valour, deceit, glory, and despair, for today’s young reader in a clear, contemporary style.

 

 

 

 

The Book of Shiva|| Namita Gokhale

 

The Book Of Shiva

Shiva: Destroyer and Protector, Supreme Ascetic and Lord of the Universe. He is Ardhanarishwara, half-man and half-woman; he is Neelakantha, who drank poison to save the three worlds-and yet, when crazed with grief at the death of Sati, set about destroying them. Shiva holds within him the answers to some of the greatest dilemmas that have perplexed mankind. Who is Shiva? Why does he roam the world as a naked ascetic covered with ash? What was the tandava? What is the story behind the worship of the linga and what vision of the world does it signify? Namita Gokhale examines these questions and many others that lie within the myriad of stories about Shiva. Even as she unravels his complexities, she finds a philosophy and worldview that is terrifying and yet life-affirming—an outlook that is to many the essence of Indian thought.

 

 

In Search of Sita: Revisiting Mythology|| Edited by Malashri Lal and Namita Gokhale

In Search Of Sita: Revisiting Mythology (Edited by Malashri Lal and Namita Gokhale)

Sita is one of the defining figures of Indian womanhood, yet there is no single version of her story. Different accounts coexist in myth, literature and folktale. Canonical texts deify Sita while regional variations humanize her. However, she is remembered, revered or written about, Sita continues to exert a powerful influence on the collective Indian psyche. In Search of Sita presents essays, conversations and commentaries that explore different aspects of her life-offering fresh interpretations of this enigmatic figure and her indelible impact on our everyday lives.

 

 

 

 

 

Jaipur Journals: A Love Letter to the Greatest Literary Show on Earth..|| Namita Gokhale

Jaipur Journals

Partly a love letter to the greatest literary show on earth, partly a satire about the glittery set that throngs this literary venue year on year, and partly an ode to the millions of aspiring writers who wander the earth with unsubmitted manuscripts in their bags, Jaipur Journals is a light-footed romp that showcases Gokhale’s unsparing eye for the pretensions and the pathos of that loneliest tribe of them all: the writers. Told from multiple perspectives, set against the backdrop of the vibrant multilingual Jaipur Literature Festival, Jaipur Journals features diverse stories of lost love and regret.

 

Things To Leave Behind- an Excerpt

Things to Leave Behind brings alive the romance of the mixed legacy of British-Indian past. A rich, panoramic historical novel that shows you Kumaon and the Raj as you have never seen them, the book is full of the fascinating backstory of Naineetal and its unwilling entry into Indian history, throwing a shining light on the elemental confusion of caste, creed and culture, illuminated with painstaking detail.Things to Leave Behind is a fascinating historical epic and Namita Gokhale’s most ambitious novel yet.
Here is a brief excerpt from the book:


In 1856,  just before the fateful year of the Indian Mutiny,  a curious phenomenon was observed in the fledgling hill station of Naineetal. Six native women, draped in black and scarlet pichauras, circled the lake for three days, singing mournful songs which no one could understand. As they used the lower road, reserved for dogs and Indians, the British sahib-log chose to ignore their antics.
The Pahari community was, however, thrown into a panic. Thehill people knew, as the British did not, that it was the inauspicious month of the Shraddhas, when the spirits of the dead and gone hover over the lake in the late autumn evenings. Scarlet and black were colours sacred to the death cults and to the goddess Kali. These women could only be dakinis, evil female spirits with some dark, accursed purpose. But they said nothing, not even to each other. They hid their apprehensions behind stern looks and a tight-lipped silence, for, sometimes, to recognize an evil is to give it more force. Then there were the snails.
In the season after the first monsoon showers, snails had begun appearing in multitudes by the lake shore. Now they lay thick on the rocks, layers and layers of them, squirming and undulating. It was not a pretty sight, and Mr Lushington tried his best to investigate the cause of this unusual occurrence. He pored through the first two volumes of the Himalayan Gazetteer, so painstakingly compiled through the admirable efforts of Mr Atkinson. He searched the sections on the forests andwild tribes, and consulted the 1835 treatise on ‘Kemaon Geology & Natural Science’ by McClellant as well as Hooker’s Himalayan Journals: Notes of a Naturalist. Finally‚ he arrived at the conclusion that a particularly prolonged summer had destroyed the frog spawn, and that the mollusc population had consequently proliferated.
The hill folk of course knew better. ‘It’s the voice of the lake goddess,’ they whispered amongst themselves. ‘The lake goddess Naina Devi has sent her servants to announce her displeasure!’ When a young Englishwoman drowned near the rocks by the Ayarpatta shore, a new certainty entered these pronouncements. The whispers were louder and more insistent. ‘The lake goddess demands propitiation,’ the local Paharis told each other. ‘She is avenging the intrusion of the white man on her sacred waters.’


Set in the years 1840 to 1912, Things to Leave Behind chronicles the mixed legacy of the British Indian past and the emergence of a fragile modernity.

Things You Should Know About Namita Gokhale

Namita Gokhale is a writer, publisher, founder and co- director of the Jaipur Literature Festival. In her illustrious literary career, she has written sixteen titles in both fiction and non-fiction genres. Her recent novel, Double Bill: Priya and Paro is the combination of two novels coming together in one classic volume, taking the liberated, brazen and all-too human Paro and her natural counterpart, the more timorous Priya, to new readers and old.

Here are five things you should know about the author.





How many of these did you know about the author?

When Young Chintamani Woke Up in a Place He Had Only Read About: ‘Lost in Time: Ghatotkacha and the Game of Illusions’ — An Excerpt

Chintamani Dev Gupta is on a trip to a bird camp near Lake Sat Tal! Away from the drudgery of urban life in Gurgaon, Chintamani finds himself near the cool, blue water of the lake and dives in for a swim. But when he emerges out of it, things look different. Where is he?
Find out with Namita Gokhale’s beautiful new novel for your little one, ‘Lost in Time: Ghatotkacha and the Game of Illusions’.
Here’s an excerpt from the book telling you where it all started.
A figure was approaching. He, she, it, was holding a burning branch of wood and breathing deeply. I had slouched down, suddenly tired and drowsy, in a bed of dry leaves. An enormous face came into view a long way above me. I wondered if I was dreaming, but the warmth from the flaming torch seeped into my bones, as did the long, careful breaths of this giant. I sat up bolt upright.
He was sniffing me, and I could smell him too. The tang of leaves and the forest, with a whiff of animal and the scent of human.
‘Who are you?’ he asked in a language I didn’t understand. And yet, strangely enough, I did. Was this telepathy?
‘And who are you?!’ I asked back, the question was put forward in sheer panic mixed with some cunning. I was still trying to take in the awesome size of this Godzilla, and figured my question might help establish a bond with this primeval creature. But then, how would he understand my question, which probably sounded more like a squeal?
‘I am Ghatotkacha,’ he replied. ‘I am the rakshasa Ghatotkacha, born of the lord Bhimasena and the lady Hidimbi. I rule over hill and vale, forest and stream to protect the spirit of the forest and all who live in it.’
I understood this too, through some sort of teleprompter that seemed to have lodged itself somewhere in the left lobe of my brain like a Google Translate implant.
‘I am Chintamani Dev Gupta,’ I replied tentatively. But it wasn’t me speaking at all, perhaps some sort of decoder that seemed to be picking up on signals from my brain. Take control, I told myself, take control, or you will lose this mind game.
‘I am speaking Paisachi, but I am fluent in Prakrit and Sanskrit too,’ the giant replied.
He had huge red eyes that were lit up by the burning torch he held in his hand. But they were kind eyes . . . there was not even a hint of cruelty in them.
‘And don’t worry, I am not trying to take control of your mind!’
Weird, weirder, weirdest. He could actually read my mind! Holy cow! This situation was just impossible. I pinched myself even harder this time, so that I might now wake up from this fast-accelerating nightmare.
It only gets “weird, weirder, weirdest” from here on! You wouldn’t want to miss it! Grab your copy and dive right into the charming world of Ghatotkacha!

A Look Into the Works of Writer, Publisher and Festival Director, Namita Gokhale

As we move another day closer to getting our hands on Namita Gokhale’s newest book for children, Lost in Time: Ghatotkacha and the Game of Illusion, here’s revisiting the beautiful books written by the celebrated author through the years, on a wide gamut of subjects.

The Book of Shiva


Shiva: Destroyer and Protector, Supreme Ascetic and Lord of the Universe. He is Ardhanarishwara, half-man and half-woman; he is Neelakantha, who drank poison to save the three worlds-and yet, when crazed with grief at the death of Sati, set about destroying them. Shiva holds within him the answers to some of the greatest dilemmas that have perplexed mankind. The Book of Shiva by Namita Gokhale answers many interesting questions about this enigmatic deity in Hindu mythology.

The Puffin Mahabharata

A modern-day retelling of the Mahabharata, Namita Gokhale presents this timeless tale of mortals and immortals and stories within stories, of valour, deceit, glory and despair, for today’s young reader in a clear, contemporary style. A brilliant series of evocative and thoughtful illustrations by painter and animator Suddhasattwa Basu brings the epic to life in a vibrant visual feast.

In Search of Sita: Revisiting Mythology

Sita is one of the defining figures of Indian womanhood, yet there is no single version of her story. In Search of Sita presents essays, conversations and commentaries that explore different aspects of her life. It revisits mythology, reopening the debate on her birth, her days in exile, her abduction, the test by fire, the birth of her sons and, finally, her return to the earth—offering fresh interpretations of this enigmatic figure and her indelible impact on our everyday lives.

In Travelling In, Travelling Out: A Book of Unexpected Journeys, Namita Gokhale puts together an eclectic collection of twenty five stories that take the reader on a journey that is surprising, moving and, sometimes, mischievous. From Advaita Kala’s piece on her reaction to an intrusive security pat-down to finding one’s identity as an immigrant in Amsterdam in an essay by Ali Sethi, there is a wide range of experiences to choose from. With contributors like M.J. Akbar, Rahul Pandita, Dayanita Singh, Urvashi Butalia and others among the guides, the reader sets off on an unusual journey, one without the fear, moreover, of getting lost.
And finally, the wait for her latest work on mythology, fantasy and everything magical is almost drawing to a close! Have you pre-ordered your copy yet?

Penguin Fever Schedule

It’s that time of the year again but this time it’s under the autumn sky. Six days of literature extravaganza is going to start from October 26, with numerous literary icons as panelists.
Here are the dates you should mark on your calendar.
October 26, 7PM: The Ministry of Utmost Happiness – Arundhati Roy in conversation with Shohini Ghosh
October 27, 7PM: Zara sa jhoom loo main – Shobhaa De on turning seventy – and having a blast! In conversation with Vidya Balan. Sonia Singh to moderate
October 28, 5PM: Inconvenient Truths: Are we heading for an environmental disaster – Sunita Narain, Prerna Bindra, and Pradip Krishen
October 28, 7PM: The Heart of the Matter – Ravinder Singh, Durjoy Datta, and Sudeep Nagarkar in conversation with RJ Ginnie
October 29, 5PM: The Man from the Hills – Ruskin Bond on life, writing, and his love for lemon cheesecake!
October 29, 7PM: Criminal Minds – Brijesh Singh, Ravi Subramanian, Novoneel Chakraborty. Poonam Saxena will moderate the session
October 30, 7PM: The Line of Beauty – Perumal Murugan, Kannan Sundaram, Bibek Debroy, Rana Safvi, Namita Gokhale as moderator
October 31, 7PM: The Rise of the Elephant – Shashi Tharoor, Gurcharan Das, Sonu Bhasin, Shireen Bhan as moderator
Open Air Library: October 26–31, 11AM onwards
If you haven’t already, register for the Penguin Fever here: http://bit.ly/penguinfever
See you there!

Things To Leave Behind: Romancing the past

Set in the years 1840 – 1912, Namita Gokhale’s new novel ‘Things to Leave Behind’ brings alive the mixed legacy of the British Raj. The third in her Himalayan series, it evokes the breath-taking beauty of the Kumaon region. Set in a past we have not quite left behind, it chronicles the struggle for love and freedom of three generations of Kumaoni women and the emergence of a fragile modernity at a time of intense change.
Things to Leave Behind: The last novel in the Himalayan trilogy
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The book chronicles the mixed legacy of the British Indian past.
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The strong and enigmatic woman characters who are at the heart of Things To Leave Behind
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Things To Leave Behind evokes the landscape, the ferns and flowers, trees and clouds, of Kumaon.
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At the heart of the novel lies one singular painting: a portrait of love, longing and courage.
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The story brings a not-so-distant past to life.
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The history of rail transport in India began in 1853, forever changing the history of the subcontinent.
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Forming a bridge between the past and the future
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Witness nature like never before.
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Get the book here.
 

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