Reciting the Goddess is the first book-length study of Nepal's goddess Svasthani and the popular Svasthanivratakatha textual tradition. Drawing on archival and ethnographic research, it examines the making of Hinduism in Nepal, a history that is largely neglected in master narratives of Hinduism on the Indian subcontinent.

A multi-faceted portrait of Lakshmi, Hindu goddess of wealth and prosperity. Includes translations of verses used to invoke this goddess.

Honorable Mention for the 2022 Elli Köngäs-Maranda Prize awarded by the Women's Section of the American Folklore Society Goddess characters are revered as feminist heroes in the popular media of many cultures. However, these goddess characters often prove to be less promising and more regressive than most people initially perceive. Goddesses in film, television, and fiction project worldviews and messages that reflect mostly patriarchal culture (included essentialized gender assumptions), in contrast to the feminist, empowering levels many fans and critics observe. Building on critiques of other skeptical scholars, this feminist, folkloristic approach deepens how our remythologizing of the ancient past reflects a contemporary worldview and rhetoric. Structures of contemporary goddess myths often fit typical extremes as either vilified, destructive, dark, and chaotic (typical in film or television); or romanticized, positive, even utopian (typical in women’s speculative fiction). This goddess spectrum persistently essentializes gender, stereotyping women as emotional, intuitive, sexual, motherly beings (good or bad), precluded from complex potential and fuller natures. Within apparent good-over-evil, pop-culture narrative frames, these goddesses all suffer significantly. However, a few recent intersectional writers, like N. K. Jemisin, break through these dark reflections of contemporary power dynamics to offer complex characters who evince “hopepunk.” They resist typical simplified, reductionist absolutes to offer messages that resonate with potential for today’s world. Mythic narratives featuring goddesses often do, but need not, serve merely as ideological mirrors of our culture’s still problematically reductionist approach to women and all humanity.

In Praise of Adya Kali details the goddess Kali, and her culture of devotion in West Bengal and South Asia. Different from most contemporary books about this Dark Goddess, this book offers a liturgy of worship—a spiritual practice, the Song of the Hundred Names of Adya Kali, that readers can use to cultivate a direct devotional relationship to Kali. In Praise of Adya Kali is also a context-setting guide, establishing this practice as a general orientation to life. Most compelling, the text of this liturgy and Commentaries contain an intimate revelation of how the goddess establishes herself in her devotees’ bodies and thus intervenes, by unconditional love and acceptance, in their lives. A lengthy Introduction, both scholarly and personal, describes the goddess and the possibilities that these prayers will offer. Aditi Devi guides us in how to build a shrine to Kali, various types of offerings to make to her, and suggests a schedule for how to use this liturgy with a long-term commitment over the course of 108 nights. “This Song of the Hundred Names is a powerful teaching that all forms are her forms,” the author notes. Male, female, or other gendered, readers are presented with the possibility to experience the depths of their own internal feminine energies, and thereby come into greater healing and wholeness, more readily able to express this often neglected part of ourselves.

New York Times best-selling author Michelle Goldberg tells the globetrotting story of the incredible woman who brought yoga to the West. When Indra Devi was born in Russia in 1899, yoga was virtually unknown outside of India. By the time of her death, in 2002, it was being practiced around the world. Here Michelle Goldberg tells the globetrotting story of the incredible woman who helped usher in a craze that continues unabated to this day. A sweeping picture of the twentieth century that travels from the cabarets of Berlin to the Mysore Palace to Golden Age Hollywood and beyond, The Goddess Pose brings the Devi’s little known but extraordinary adventures vividly to life.

"Five of us sat in a circle doing our best to emulate the girls in The Craft, hoping to unleash some power to take us all away from our home to the place of our dreams. But we weren't witches. We were five Chicanas living in San Antonio, Texas, one year out of high school."One hot summer night, best friends Lourdes, Fernanda, Ana, Perla, and Pauline hold a séance. It's all fun and games at first, but their tipsy laughter turns to terror when the flames burn straight through their prayer candles and Fernanda starts crawling toward her friends and chanting in Nahuatl, the language of their Aztec ancestors. Over the next few weeks, shy, modest Fernanda starts acting strangely-smearing herself in black makeup, shredding her hands on rose thorns, sucking sin out of the mouths of the guilty. The local priest is convinced it's a demon, but Lourdes begins to suspect it's something else-something far more ancient and powerful. As Father Moreno's obsession with Fernanda grows, Lourdes enlists the help of her "bruja Craft crew" and a professor, Dr. Camacho, to understand what is happening to her friend in this unholy tale of possession-gone-right.