In this essay, I attempt two things: to see in what ways Karnad achieves in Naga-mandala an interface between myth and history, and from a feminist perspective, resurrects through such interface her-stories. At the same time, I shall explore how despite the play's emphasis on women's stories, the act of telling and, by extension, its potential to engender lasting change continues to be circumscribed by the strictures of phallocentric myth so that the vision offered at the end of the woman-centric play remains, from the feminist point of view, deeply problematic albeit productively so.