Where I teach high school, my grandson attended basketball camp the last three mornings. While I watched and read, I heard the coach give them a little lecture. Apparently, some of the campers were dragging along, not even jogging as they moved across the court. They kept pulling on their shorts, looking down, not listening or paying any attention to the instructions. Coach got fed up, stopped everything, and pointed out their self defeating behaviors.
Basically, he told them that their actions appeared defeatist. Act tired, lag behind, ignore instructions, and you set yourself up to lose. Your actions become who you are. It seems these are also good pointers for all aspects of life. Ability alone will not lead to accomplishment or even happiness. Even the most talented musician, athlete, writer attains little without practice and determination. Being the best a person can be takes work and a positive outlook.

The concept of divine omnipotence is the ultimate expression of male dominance as control. Divine omnipotence is the view that everything that happens in the world happens according to the will of a divinity, who is in control of everything that happens in the world. When someone dies or great suffering occurs, we are told, “everything happens for a purpose,” “it was meant to be,” or “everything happens according to the will of God—or Goddess.” In our recent book 


Although “the” Ramayana is a fluid narrative, scholarship has traditionally recognized the Sanskrit Valmiki Ramayana as the most authoritative of Ramayanas. But recent studies have brought to light the hundreds of regional stories of Rama and Sita which are more popular with the masses. These would include Krittibasa’s Ramayana in Bengal, Kamban’s Tamil Iramavataram in South India, notably in the state of Tamil Nadu, Tulsidas’s Ramcharitamanas among the Hindi-speaking belt of northern India, and so on. But even here, a pattern seems to emerge; all the above-mentioned authors are male. Within this scenario, a rather unique text stands out, and that is Chandravati’s sixteenth century Bengali Ramayana, for its author was a woman. Even more fascinating is the double-toned nature of the narrative – through Chandravati’s own voice and through the voice of its tragic heroine, Sita.