Contemporary Hindu women's novels written in English have emerged as a vibrant literary space for not just retelling Hindu mythological narratives but also reimagining them completely in ways that challenge patriarchal gender norms. Koral Dasgupta's Sati Series offers one example of this trend. The Sati Series is a multi-volume literary project that reinterprets the lives of the pancha-kanyā, a group of five female figures from the Hindu epics Mahabharata and Ramayana: Ahalya, Kunti, Draupadi, Mandodari, and Tara. These mythic women are praised as paragons of female virtue and forbearance and are often held to be exemplars of strīdharma, women's dharma, at least as seen through a patriarchal lens. Dasgupta thoroughly rewrites their stories from a feminist perspective. In this paper, I examine two of the five works of the Sati Series, Tara and Ahalya. These are two mythic women from the Rāmāyaṇa whose stories are somewhat marginal to the most well-known versions of the epic. Ahalya, for example, is remembered primarily for one event: her sexual encounter with the god Indra, who seduces her by taking the form of Ahalya's husband Gautama. When Gautama discovers the accidental adultery, he curses Ahalya to become stone, a curse that Rama eventually lifts when he touches her stone body. Tara, the wife of a king, Vali, who Ram kills, dutifully marries Vali's brother, Sugrīva, after her husband's death and helps keep the peace between Ram and Sugrīva. Dasgupta rewrites the stories of both women. She centers their stories, rendering them complex figures with narrative voice, back stories, political consciousness, and moral agency. By foregrounding female experience, Dasgupta reconstructs mythic femininity in ways that override patriarchal prescriptions. She destabilizes idealized constructions of divine womanhood that perpetuate gender inequalities and turns patriarchal Hindu narrative tropes into spaces of feminist resistance.