An accomplished Kshatriya princess who falls in love with and dares to choose the sutaputra over Arjun, Uruvi must come to terms with the social implications of her marriage and learn to use her love and intelligence to be accepted by Karna and his family. Though she becomes his mainstay, counselling and guiding him, his blind allegiance to Duryodhana is beyond her power to change. The story of Uruvi and Karna unfolds against the backdrop of the struggle between the Pandavas and the Kauravas. As events build up leading to the great war of the Mahabharata, Uruvi is a witness to the twists and turns of Karna's fate; and how it is inextricably linked to divine design.

From the bestselling author of Karna's Wife, comes this book about Urmila, Sita's sister and the neglected wife of Lakshman, and one of the most overlooked characters in the Ramayana. As Sita prepares to go into exile, her younger sisters stay back at the doomed palace of Ayodhya, their smiles, hope and joy wiped away in a single stroke. And through the tears and the tragedy one woman of immense strength and conviction stands apart-Urmila, whose husband, Lakshman, has chosen to accompany his brother Ram to the forest rather than stay with his bride. She could have insisted on joining Lakshman, as did Sita with Ram. But she did not. Why did she agree to be left behind in the palace, waiting for her husband for fourteen painfully long years?

Matsyagandha, Daseyi, Yojanagandha-the queen of Hastinapur, Satyavati. Abandoned as a baby, preyed on by a rishi, she hardens herself, determined that the next time she is with a man, she will be the one to win. And win she does: the throne of Hastinapur for herself, and the promise that her sons will be heirs to the kingdom. But at what cost? In a palace where she is disdained and scorned, Satyavati must set aside her own loss and pain if she is to play the game of politics. She learns to be ruthless, unscrupulous-traits that estrange her from everyone around. Everyone, except the man she cheated of his birthright.

The epic tale of victory and defeat... The story of the Ramayana had been told innumerable times. The enthralling story of Rama, the incarnation of God, who slew Ravana, the evil demon of darkness, is known to every Indian. And in the pages of history, as always, it is the version told by the victors, that lives on. The voice of the vanquished remains lost in silence. But what if Ravana and his people had a different story to tell? The story of the Ravanayana had never been told. Asura is the epic tale of the vanquished Asura people, a story that has been cherished by the oppressed outcastes of India for 3000 years. Until now, no Asura has dared to tell the tale. But perhaps the time has come for the dead and the defeated to speak. "For thousands of years, I have been vilified and my death is celebrated year after year in every corner of India. Why? Was it because I challenged the Gods for the sake of my daughter? Was it because I freed a race from the yoke of caste-based Deva rule? You have heard the victor's tale, the Ramayana. Now hear the Ravanayana, for I am Ravana, the Asura, and my story is the tale of the vanquished." "I am a non-entity-invisible, powerless and negligible. No epics will ever be written about me. I have suffered both Ravana and Rama - the hero and the villain or the villain and the hero. When the stories of great men are told, my voice maybe too feeble to be heard. Yet, spare me a moment and hear my story, for I am Bhadra, the Asura, and my life is the tale of the loser." The ancient Asura empire lay shattered into many warring petty kingdoms reeling under the heel of the Devas. In desperation, the Asuras look up to a young saviour-Ravana. Believing that a better world awaits them under Ravana, common men like Bhadra decide to follow the young leader. With a will of iron and a fiery ambition to succeed, Ravana leads his people from victory to victory and carves out a vast empire from the Devas. But even when Ravana succeeds spectacularly, the poor Asuras find that nothing much has changed for them. It is when that Ravana, by one action, changes the history of the world.

Then, the exquisitely handsome body of Karna of generous acts, who should have been worthy of perpetual happiness, let go of that refulgent head with the kind of extreme reluctance evinced by a wealthy person in leaving his own prosperous home, or by a saintly one in forsaking virtuous company. [The Mahabharata, Karna-Parva; 91.53-54] In these lines of evocative pathos, the Mahabharata pays its ultimate tribute to Karna, who has hardly a rival in world literature to match his credentials as a uniquely nuanced heroes' hero – towering above Hector in righteous valour, above Arjuna in generosity, and above all else in conscientious attachment to the principles of noblesse oblige. This is the intriguing story of a hero who, despite being born to royalty was, like the Biblical Moses, cast away by his mother. Brought up lovingly by a lowly charioteer and his wife, his whole life was one great struggle against cruel destiny, and against all the odds placed in his way by the inequities of his time. In the process, he blazed a new trail of glory, emerging as the adorable exemplar of purushakaara (manly effort), with tremendous achievements both as a man and also as a warrior. Yet society never gave him his due, despite being as upright as Yudhishthira, as strong as Bhima, as skilful as Arjuna, as handsome as Nakula and as intelligent as Sahadeva. Rebuffed and insulted by society at every step, he developed some flaws engendered by a defiant spirit and nurtured by association with the evil designs of Duryodhana, his benefactor prince. But those very contrarieties seem to enhance and enliven the dramatic appeal of his character as one of the brightest stars of the Mahabharata's star cast. Written in an engagingly flowing style and with an imaginative transcreation of the epic storyline, Karna: the Unsung Hero of the Mahabharata should strike a responsive chord in the minds, specifically of today's Mahabharata aficionados and generally of all lovers of exalted human drama.

When love comes with a mythic twist! Born into a well-known business family, Deeya is a high-flying, spoilt, rich girl who owns an elite fashion store. Her parents want her to get married and hold a swayamvar of sorts for her to select a husband. And she has a dilemma—to go with the extremely attractive and intriguing Karan or the dashing and outgoing Arjun! She is determined to make the best decision when she finds that her life resembles that of Draupadi, from the Mahabharata, in more ways than one. Will she be able to find her own path in life? Or will she flounder? Funny and romantic, Draupadi in High Heels explores the power of one’s choice and how deeply its affects life!

This translation is of thirteen Sanskrit plays discovered in South India by the late Pandit Ganapati Sastri and edited by him in the Trivandrum Sanskrit Series. It comprises the following titles: 1. Pratijnayaugandharayana, 2. Svapnavasavadatta, 3. Carudatta, 4. Pancaratra, 5. Madhyamavyayoga, 6.Pratima-nataka, 7.Dutavakya, 8.Dutaghatotkaca, 9.Karnabhara, 10.Urubhanga, 11.Avimaraka, 12.Balacarita, and 13.Abhiseka. Sastri attributed all the thirteen plays to Bhasa and the prevailing opinion of the scholars is in agreement with him, though the available evidence is not conclusive and so the question still remains open. The translation was done by two eminent Sanskrit scholars. It was published s early as 1930 and a reprint is now issued in view of a persistent demand of scholars. Pandit Ganapati Sastri attributed all thirteen plays to Bhasa, a famous dramatist earlier than Kalidasa. Some verses are ascribed to Bhasa by medieval anthologies, but only ten with unanimity. We are told that he composed a Svapnavasavadattam (his best play) and that in another play the device of the wooden elephant was used. Characteristic features of his work are described by Bana, and other poets evidently held him in high estimation. One or two verses from his plays are quoted by writers on poetics. Otherwise, the text of BhasaÍs numerous plays had completely disappeared. The learned editor of the Trivandrum plays found that they contained a Svapnavasavadattam (the best play in the collection), and, in the Pratijna-Yaugandharayanam, a scene dealing with the wooden elephant. He noticed also certain peculiarities in the technique of the plays which he regarded as signs of antiquity. All these points confirmed the opinion that Bhasa was the author.

'Who am I?' It was a question that had troubled him all his life. His whole life had seemed entangled in the answer. His dignity, his destination, his ambitions -- they all seemed linked to that entanglement. The irony was that the truth, instead of liberating him, had made him rudderless. In the Mahabharata, Karna is known to be the only warrior who could match Arjuna. Born of a god and a mother who abandons him at birth, Karna is mistreated from birth. Rejected by Drona, taunted by Draupadi, insulted by his blood brothers, misunderstood by many and manipulated even by the gods, Karna is the classic tragic hero. In his novel Radheya, Ranjit Desai, the author of Marathi classics like Shriman Yogi and Swami, gives voice to the angst and loneliness of Karna. Translated into English for the first time, the novel brings to surface the many sides to Karna's character: his compassionate nature, his hurt and hubris, the love for his wife, his allegiance to Duryodhana, and his complicated relationship with Krishna.

Taking us back to a time that is half history, half myth and wholly magical, bestselling author Chitra Banerjee Divakaruni gives voice to Panchaali, the fire-born heroine of the Mahabharata, as she weaves a vibrant retelling of an ancient epic saga. Married to five royal husbands who have been cheated out of their father's kingdom, Panchaali aids their quest to reclaim their birthright, remaining at their side through years of exile and a terrible civil war. But she cannot deny her complicated friendship with the enigmatic Krishna—or her secret attraction to the mysterious man who is her husbands' most dangerous enemy—as she is caught up in the ever-manipulating hands of fate.