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What They Don’t Tell You About Women in Mythology!

Step into the captivating world of Hindu, Buddhist, and Jain lore with Sati Savitri by Devdutt Pattanaik where women rewrite the rules and redefine their destinies beyond patriarchal norms. From ancient scriptures to modern-day interpretations, Pattanaik offers a fresh perspective on liberation, revealing how patriarchy and feminism have coexisted throughout history.​

 

Read this exclusive excerpt to dive into the feminist side of mythology like never before!

Sati Savitri
Sati Savitri || Devdutt Pattanaik

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Images of Saraswati, the goddess of knowledge, are often placed in libraries, right next to the board that says, ‘silence please’. No one notices that the goddess always holds a musical instrument called veena (lute) in her hand. The irony is lost on many who look at sacred images without actually doing darshan.

 

Darshan is the act of seeing that generates insight and results in reflection. For example, the sight of the veena grants us some insight into the human ability to make music and musical instruments, and this makes us reflect on how music made by humans is different form the music made by birds. The music of birds is specific, to enable survival. It is designed to attract mates and draw attention of fellow birds to food or predators. Human music, on the other hand, is not necessary for survival. But it adds beauty to life and makes us wonder on the meaning of existence, by making us aware of various rhythms and emotions.

 

Unlike other goddesses, there are not many stories about Saraswati. She is more the embodiment of a concept.

 

Saraswati is draped in a white sari indicating she has distanced herself from the materialistic world, represented by colourful fabrics. While Lakshmi nourishes the body with food, Saraswati nourishes the mind with knowledge and the arts. Lakshmi’s wealth is contained in a pot; Saraswati’s knowledge is expressed through words, through songs, stories and music, dance and arts. In Jain art, the more austere Digambar monks compared Saraswati to a peacock while the white-clad Shwetambar monks compared her to a goose (hamsa). In Indian folklore, dancing peacocks attract rain clouds, while hamsas are able to separate milk from water, like fact from fiction.

 

▪️ The peacock links Saraswati to art, dance, music, theatre and entertainment.

 

▪️ The hamsa links Saraswati to ideas embodied within, and communicated through, sounds, songs, stories, songs, symbols and gestures: the knowledge of maths, science, literature and philosophy.

 

Saraswati is therefore linked to both, the peacock like courtesans as well as the swan-like philosophers. In modern society, the courtesan has been erased from history; her contributions to the world of art appropriated by men.

 

In popular Hindu mythology, Saraswati is called the wife of Brahma. But she is also called the daughter of Brahma. This can be confusing. The confusion comes from our failure to appreciate that mythology is metaphorical. Gods and goddesses are given supernatural forms so that we appreciate the idea, the symbol and do not take things literally. That Saraswati is shown with four hands, and Brahma with four heads, is the clue provided by the artist that these figures embody ideas, not entities.

 

Human ideas are complex. Words are often not enough to communicate an idea. We need grammar. We need sentences. We need punctuations. We shift from prose to poetry, we use music and melody, even gestures and symbols, to communicate subtle refined ideas. Language has metaphors where known words are used to explain and elaborate unknown ideas and inexpressible emotions. Still ideas resist transmission. What is conveyed by the source is not received by the destination.

 

To communicate Vedic ideas to people, the sages decided to compose stories. Ideas then become characters. The relationship between ideas is communicated through relationships among characters. Characters have gender, and so the relationship between ideas ends up being expressed in sexual terms. When the characters are gods, indicated by their supernatural form, they serve as metaphors. They are vehicles for ideas that resist simple communication.Veda, which means knowledge, pays a lot of attention to reality that is visible and reality that is not visible.

 

▪️ Food is a reality that is visible. It is visualized in female form as Lakshmi, the goddess of fortune. The name Lakshmi is derived from ‘laksha’ which means target.

 

▪️ Hunger is a reality that is invisible. It is visualized in male form as Indra, the master of paradise, where all fortune is cornered.

 

▪️ The name Indra is derived from ‘indriya’ which means sense.

 

▪️ Indra chasing Lakshmi is then a metaphor for hunger chasing food. Indra rides elephants. The aroused, excited, uncontrollable elephant in the state of masht is how the poets describe Madan, or Kama, the god of uncontrollable craving.

 

▪️ Shiva who burns Madan then embodies the mind who controls craving. Shiva also beheads Brahma’s fifth head that sprouts as he chases Saraswati. Here, Brahma views Saraswati as entertainment to be consumed, rather than knowledge that will help him evolve.

 

▪️ In wisdom, Brahma realises that the point of creation is to feed the other. Animals eat and are eaten, but humans need to feed and be fed. This applies to food, as well as power, as well as knowledge. Saraswati created must be given away. In the process we gain insight and reflection.

 

Male forms are consistently used to depict mental states:
1. Brahma for craving
2. Indra for insecurity
3. Vishnu for empathy
4.Shiva for indifference
5. Kartikeya for restraint
6. Ganesha for contentment

 

Female forms are consistently used to depict material states.
1. Kali for the wild
2. Gauri for the cultivated
3. Lakshmi for resources
4. Saraswati for communication
5. Durga for battle
6. Uma for household
7. Annapurna for kitchen
8. Chamundi for crematorium

 

Why are male forms used to depict the invisible reality of the mind and female forms for the visible reality of matter? The reason is relatively simple if one appreciates the male and female anatomy from the point of view of the artist and the storyteller, who carry the burden of communicating Vedic ideas.

 

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Get your copy of Sati Savitri by Devdutt Pattanaik wherever books are sold.

Can Love Conquer It All? Find Out in Aisha Sarwari’s ‘Heart Tantrums’

Come along on a deeply personal journey as we delve into the pages of Aisha Sarwari‘s Heart Tantrums. In this touching story, explore the complexities of forgiveness and love all in the shadow of a cancer diagnosis. Aisha’s words will prompt you to reflect on the profound depths of our own relationships and the strength of the human spirit.

Don’t miss this emotional excerpt – scroll to read and be moved by the power of love and forgiveness.

Heart Tantrums
Heart Tantrums || Aisha Sarwari

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Is it possible to forgive someone who has cancer? To permit yourself anger against a brain tumour cancer patient in the first place.

It is ghastly the way ugly and messy parts of life happened to us when we should have still been in the rainbows-and-butterflies phase of our youth.

Then again, why should we be exempt from the games nature and fate play by interchanging wrath and gifts?

It was a winter’s day and we were on our way home from a dinner at a journalist friend’s place where an ex-PM and three former ministers were also present. We had been sitting around the fire, talking about how messed up their political party is.

 

It was almost midnight and the moon was missing. This was Yasser’s chemo week and his anti-seizure meds were three hours late. I noticed he started behaving oddly. On our car window, the flower sellers’ roses and jasmine bracelets were wilted. They were imploring us to buy the last of their stock for the night, in exchange for a prayer, of course. They said, May your marriage last a million years. We didn’t buy anything from them, but they stood there pressing their faces against our car window, beseechingly.

 

Distracted, I stopped the car a bit too close to the one ahead  of me at the traffic light.

 

Yasser looked like he was trying to not say something. Then he said it: ‘There should be a distance of one car between us and the car ahead of ours,’ said Yasser, looking apprehensive and also half-ready for my mood. I hate that he still doesn’t trust me behind the wheel. Just the other day, we had had another fight about teaching Zoe to drive an old car rather than a new car. He obviously wanted her to learn in an older car and I felt she should have an automatic gear car with power steering.

 

‘I’ve been driving for twenty-five years, I think I’m okay,’ I rolled my eyes.

‘But look, it’s dangerously close to that car’s bumper,’ Yasser replied.

‘That’s because neither car is moving,’ I countered. ‘Can you please just drive carefully?’

‘Is the car all you care about?’ I snapped, my heart already heavy with dread and anger.

‘The car is at risk this way,’ he said.

‘The car is at risk. You are such an amazing husband, to the car!’ I half-accused, half-vindicated.

‘You can do whatever you want to the car when I’m gone,’ he said flatly.

‘Can you not?’ I pleaded. (Pause)

I wanted to kick myself for always fighting about the car.

Things got real very fast. I wanted to retract my anger.

The lights turned green and I drove on, slower than usual, a wide berth between our vehicle and the car ahead.

‘You have to be prepared, Aishi,’ he said quietly.

I wanted to say so much, but instead I held his hand. There was cold sweat on it. Yasser has cold sweat on his hands when he’s unwell or when he has an emotional seizure.

His hand got colder and he refused to open it for mine.

‘Can you please drive with both hands, thank you?’ he said finally.

I felt a cocktail of anger and fear shooting up inside me again—almost grief. Yet I held my peace.

He moved his hand away from mine—clammy fingers peeling away from my soft, warm ones, trying to convey a meaning.

My hand lay unreciprocated on his lap, like a damp squib—a letter in a bottle smashed against the cliffs. I put my hand where it belonged, gripping the steering wheel with both hands.

‘I forgive you, Yasser, and I hope you forgive me too. I really thought love would be enough,’ I said to the road ahead of me.

***

Get your copy of Heart Tantrums by Aisha Sarwari wherever books are sold.

6 Quotes You Must Read on Gender and Sexuality

While many use religion to justify why they are being unfair to a person’s gender and sexuality, Devdutt Pattanaik in his books The Pregnant King and Shikhandi And Other Queer Tales They Don’t Tell You shows how mythologies across the world appreciate what we deem as queer.
Here are 6 quotes on what it means to be a man, a woman, or a queer.
What it feels to be a woman
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Repercussion of Patriarchy
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The meaning of queer in different mythologies
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Should the queer hide or be heard like the thunderous clap of the hijra?
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The functions of the forms
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Traces of feminism in Hindu mythology
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Read Devdutt Pattanaik’s The Pregnant King and Shikhandi And Other Queer Tales They Don’t Tell You and make sense of queerness and the diversity in society.

5 Reasons Why Margaret Atwood’s ‘The Handmaid’s Tale’ Resonates the Current Times

Margaret Atwood is one of the renowned names in the literary world. Some of her works include The Handmaid’s Tale (winner of both the Arthur C. Clarke Award for Science Fiction and the Governor-General’s Award, shortlisted for the Booker Prize and made in a major film) and The Robber Bride and Alias Grace.
Margaret Atwood wrote The Handmaid’s Tale while living in in West Berlin in 1984. The themes of the book reflected the sentiments associated with standing of the Berlin Wall. Although it has been more than three decades, the themes are still relevant.
Here are five quotes that depict how The Handmaid’s Tale is a powerful evocation of the present time:





Get your copy of Margaret Atwood’s poignant novel here.

An Unresolved History: A Legacy Of Partition

By Urvashi Butalia
It is close on two decades now that I have been researching and writing on the human histories of Partition. As story upon story unfolds, and terrible, painful histories begin to emerge, it does not, contrary to popular wisdom, become any easier to deal with them.
One of the many grave consequences of Partition—and one which remains all the more prevalent today—has been the ease with which so many Indians and Pakistanis fall into a pattern of mutual demonisation, so that virtually everything, whether it relates to bombs, or to violence or to foreign relations or to territorial claims, can be laid at the door of the ‘other’. If it was not so serious, it would be laughable: imagine two mature, intelligent (if one can use those terms for nation states) countries in the twenty first century placing virtually every failure at the door of the ‘other’. Indeed so powerful is the jingoism, and so deep the suspicion, that attempts to move out of that are seldom successful.
The story below provides an illustration of this.
I once received a letter from Pakistan, sent by a young man called Tanveer Ahmed, who had made it his mission in life to bring his grandmother, originally from Kashmir, to Indian Kashmir to meet her siblings, and he wrote to ask if I could help in getting her a visa. 
His letter started by recounting the facts of his story. They are as follows: 

  • I have been trying to re-unite my maternal grandmother with her siblings since 1989, having met them that year (They live about 90kms apart, divided by the LOC since October 1947)
  • After objecting for many years, my maternal grandfather finally agreed to allow me to seek an Indian visa for my maternal grandmother after learning of the death of her younger brother. He even expressed interest himself in visiting her remaining family members.
  • Being a British citizen (I have lived in the UK since the age of 4) it was obvious that I would seek my Indian visa from London (I have been to India twice before—1989 and 1993). After meeting the concerned Visa Officer and outlining my reason for travel, he stipulated that I should request a fax from my relations in India to verify our relationship. After confirming that to be the only stipulation, I duly received a fax from my Indian uncle in Rajauri and presented it to the visa officer. He, in turn, expressed that he found it impossible to believe that Hindus and Muslims could be related and insisted that I re-apply for my Indian visa from the IHC in Islamabad. He was at pains to insist that IHC (Islamabad) would merely request an NOC from IHC (London) and that I would promptly receive my visa within a matter of days. He even gave me his personal phone number in case of any problem with IHC (Islamabad). On his persistence, I felt I had no option but to trust him on his word despite my scepticism.
  • When I applied in Islamabad, I was initially told to check after a few days, then a couple of months, then I was told that my case was in the Indian Home Ministry pending approval. After a few months, I was informed that the issue could take up to two or two and a half years.
  • I also applied for the LOC crossing in November 2005 only to learn a few months ago that people applying after me have been and come back.

Tanveer wrote in desperation, anxious to find a way of getting his grandmother to Indian Kashmir to meet with her relatives. Concerned that both her age and her heart condition would make it increasingly difficult for her to travel, he gave up his job in London to come to Pakistan and devote all his energy to achieving the goal he had set himself.  To him, getting his grandmother to Indian Kashmir was not only a personal mission—she was the one who had brought him up as a child—but also a way of contributing to the lessening of tension between India and Pakistan. He saw visits to and reunions with relatives across borders as one way of doing so. As he said:
My personal and professional experience of life equips me well to make a positive and constructive input into Indo-Pak Relations. It’s a real pity that neither country has been able to read that about me thus far. I completed a cycle ride from Torkhem (Pak-Afghan border NWFP) to Wagah (PAk-Indian border Punjab) in the sweltering heat recently to display my seriousness for peace between the two countries. I aim to continue this cycle ride from Attari to Kolkatta as soon as my grandmother has been re-united with her family.
Despite his best efforts Tanveer Ahmed’s labours continued in vain, with little hope of a visa being granted for his grandmother to travel to India. With some help from him, I was able to explore this story further and to meet with his grandfather in England, and as the story unfolded, other aspects became clear.
His grandfather was among the many Pathans, men who came to Kashmir in October of 1947 as part of what has come to be known as the raiders’ attack. A little over sixteen at the time, Tanveer’s grandfather said he knew very little about why they went to Kashmir, but that as a group of young boys, they found the whole enterprise to be something of an adventure. At some point they came across a group of young girls who were running away from the violence, in search of safety. The boys divided up the girls between them, and Tanveer’s grandfather married the girl who came to ‘his share’.
At the time, the assumption was that her family had all been killed. She converted to Islam and stayed on with her husband in Pakistan-administered Kashmir, believing all the while that everyone else in her family was dead. After some years, her husband moved to England, and she stayed behind, and it was a chance encounter with a relative of hers in England—a distant cousin—that led her husband to the discovery that some members of her immediate family had survived and were still living in India-administered Kashmir. And among them was her brother.
Keen to go back to what she still thought of as her home, Tanveer’s grandmother began to focus all her energy—as so many Partition survivors do—on meeting her family again. But her husband, fearful of this new element in their lives, was not at first willing to let her go. Eventually he agreed, but at that stage, it was bureaucracy and the political standoffs between the two countries that continued to work against this family.
As with so many Partition stories, this one too remains unfinished in its telling. Many years later I heard from Tanveer that a visa had finally been granted and his grandmother did finally manage to go to her family home across the border. What we do not know is what that visit meant to her – did it finally resolve something for her? Put a closure on a history that had so far remained unfinished, perhaps incomplete? And what did this search mean for Tanveer, born after Partition, with no direct memory of it, but with its constant presence in his life? These are questions to which we’re not likely to find satisfactory answers. These are questions that still do not easily enter the histories of our countries for the tension between history and memory prevents us from seeing how they can so fruitfully overlap and enrich each other.
This story is in no way adequate to even begin to understand the complex and multiple legacies of Partition that stretch their long arm into the present of India and Pakistan and that still influence the ways in which both nations and indeed their peoples relate to each other. There are not many countries in the world where, after seventy years, the divide is still so deep politically, that any contact is difficult, sometimes, as in Tanveer’s family’s case, virtually impossible, and looked upon with suspicion. No matter that travel restrictions have eased in the last several years but there is still the very real fear that the moment things go wrong in the India-Pakistan equation, the first thing to be affected will be the issuing of visas. Traumatic histories leave many scars that take several generations to heal, and India and Pakistan are no stranger to these, but the opening up of contact, the easing of travel barriers, the issuing of visas—these things signal a return to the ‘normal’ behaviour that is so necessary for nation-states to own, regardless of how terrible their pasts have been.
AUTHOR BIO:
Urvashi Butalia is a publisher and writer based in Delhi. She is co founder of Kali for Women, India’s first feminist publishing house and now runs Zubaan, an imprint of Kali. She has written and published widely on a range of issues. Among her published works are a co-edited volume, Women and the Hindu Right: A Collection of Essays, Speaking Peace: Women’s Voices from Kashmir and the award winning history of Partition: The Other Side of Silence: Voices from the Partition of India which has been translated into eleven languages. (Urdu, Hindi, Malayalam, Tamil, Assamese, Marathi and French, German, Bahasa, Japanese, Korean)

 

8 Quotes for the Rebel Inside Every Girl

What if Cinderella didn’t want to go to the ball but rather go out with her friends? What if Rapunzel didn’t need ‘saving’? And why didn’t Eric become a merman to have a ‘happily ever after’ with Ariel?
How much, do the stories we tell our little girls, shape their views about being a woman?
Elena Favilli’s Good Night Stories for Rebel Girls introduces us (and our impressionable girls) to one hundred remarkable women and their extraordinary lives. From Cleopatra to Malala, Charlotte Bronte to Serena Williams, these tales are truly empowering for heroines who definitely don’t need rescuing.
Here are a few quotes from the book.
A message that, unfortunately, seems to get lost quite often.
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Aiming for the stars is in every girl’s blood!
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Your voice isn’t small. Your voice isn’t weak. You were meant to ROAR!
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You are perfect the way you are.
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Touch the skies. You’re meant to be with the birds.
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You are a fighter. No obstacle is ever ‘too big’ for you.
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Why be something else when you’re PERFECT.
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Be bold. And you will be free.
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Feeling like a rebel with a cause? Tell us what you think in the comments below.
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Feminism Defined Right

What is Feminism? Feminism is often misinterpreted to state that it propagates female chauvinism. But the original thought behind feminism is equality for women in the domains of economic, personal, social, and political rights.
Here are five iconic quotes about feminism by women authors to set the record straight on feminism.
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Know more quotes which define feminism the right away? Tell us in the comments.

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