Swami Narasimhananda

The author could have shown the other perspective also where fate or fortune is proclaimed to be in the hands of a person. It is notable that almost all of the translations and works she cites are by authors from outside the Indian tradition, with a Semitic bearing on their thought. The author comes a bit too strongly and without sufficient background material, in brushing aside as inconsequential, years of thought and philosophising in the Indian tradition. However, no Eastern tradition gives a concrete validity to the existence of heaven and hell, and they are just some flavours in the religious stories and anecdotes, of which Puranas form a major part. Heaven, hell, fate, and fatalism are pronouncedly Semitic concepts. Had the author presented a balanced view, this book had the potential to become a remarkable work.

A review of the translation of Uttara Gita by Minati Kar published by the Ramakrishna Mission Institute of Culture, Kolkata, India. Though brief, the Uttara-gita clearly explains the nature of the Atman and the method to realize it,primarily through yoga. This book serves as a supplementary text to the Bhagavadgita. It is a text that inspires aspirants to intensify their spiritual practices. A Sanskrit commentary on the main text ascribed to Gaudapadacharya has also been provided. A glossary of Sanskrit terms would come in handy for those unacquainted with Indian philosophy as would the details of the seven yogic chakras taken from Tantric texts. This slim volume should be a welcome reading for all students of Indian philosophy and should act as a guide for spiritual aspirants.

Argument and Design: The Unity of the Mahābhārata is the outcome of a series of three panels dedicated to the renowned scholar of the Mahābhārata, Alf Hiltebeitel, organized by his favorite disciple, Vishwa Adluri on the occasion of Alf’s seventieth birthday. Per its author “whatever is found here [in the Mahābhārata] may be found elsewhere, but whatever is not, will be found nowhere else” (ix). In his foreword, Robert P. Goldman says that, despite having so many dimensions encompassing so many fields, in the end the Mahabharata “is just a rollicking great tale that has inspired countless re-tellings and kept audiences fascinated for millennia” (x). Adluri, one of the editors, introduces “the premise” of this volume to be “that the Mahābhārata is a work of literature and that its upākhyānas (subtales or, perhaps more accurately, proximate narratives) are central to its literary project” (1).