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A study of Hindu death rituals and the sacred specialists who perform them in the Indian city of Banaras.
Winner of the Restless Books Prize for New Immigrant Writing, Priyanka Champaneri’s transcendent debut novel brings us inside India’s holy city of Banaras, where the manager of a death hostel shepherds the dying who seek the release of a good death, while his own past refuses to let him go. Banaras, Varanasi, Kashi: India’s holy city on the banks of the Ganges has many names but holds one ultimate promise for Hindus. It is the place where pilgrims come for a good death, to be released from the cycle of reincarnation by purifying fire. As the dutiful manager of a death hostel in Kashi, Pramesh welcomes the dying and assists families bound for the funeral pyres that burn constantly on the ghats. The soul is gone, the body is burnt, the time is past, he tells them. Detach. After ten years in the timeless city, Pramesh can nearly persuade himself that here, there is no past or future. He lives contentedly at the death hostel with his wife, Shobha, their young daughter, Rani, the hostel priests, his hapless but winning assistant, and the constant flow of families with their dying. But one day the past arrives in the lifeless form of a man pulled from the river—a man with an uncanny resemblance to Pramesh. Called “twins” in their childhood village, he and his cousin Sagar are inseparable until Pramesh leaves to see the outside world and Sagar stays to tend the land. After Pramesh marries Shobha, defying his family’s wishes, a rift opens up between the cousins that he has long since tried to forget. Do not look back. Detach. But for Shobha, Sagar’s reemergence casts a shadow over the life she’s built for her family. Soon, an unwelcome guest takes up residence in the death hostel, the dying mysteriously continue to live, and Pramesh is forced to confront his own ideas about death, rebirth, and redemption. Told in lush, vivid detail and with an unforgettable cast of characters, The City of Good Death is a remarkable debut novel of family and love, memory and ritual, and the ways in which we honor the living and the dead. PRAISE FOR THE CITY OF GOOD DEATH “In Champaneri’s ambitious, vivid debut, the dying come to the holy city of Kashi to die a good death that frees them from the burden of reincarnation…. In sharp prose, Champaneri explores the power of stories—those the characters tell themselves, those told about them, and those they believe. . . . This epic, magical story of death teems with life.” —Publishers Weekly “Brimming with characters whose lives overlap and whose stories interweave, Champaneri’s exquisite debut delves into the consequences of the past, and how stories that are told can become reality even when they contain barely a shred of truth. As Pramesh discovers, the bitterness of past wounds can bring hope for redemption and life.” —Bridget Thoreson, Booklist “Lush prose evokes the thick, close atmosphere of Kashi and the intricate religious practices upon which life and death depend. Rumor and superstition hold sway over even the most level-headed people, twisting what’s explainable into something extraordinary—with tragic consequences. . . . The City of Good Death is a breathtaking, unforgettable novel about how remembering the past is just as important as moving on.” —Eileen Gonzalez, Foreword Reviews, Starred Review "Champaneri’s Kashi is teeming and vivid . . . the book frequently charms, and it's as full of humor, warmth, and mystery as Kashi’s own marketplace." —Kirkus Reviews “The City of Good Death is the debut novel of Priyanka Champaneri but it has the confidence of a master storyteller. Drawing on the rich literary traditions of Salman Rushdie and Arundhati Roy, Champaneri’s epic saga will satisfy armchair travelers thirsty for adventure, and sick of looking out their windows.” —Chicago Review of Books "In intricate detail and with remarkable skill, Champaneri writes a powerful tale about the pull of the past and our aching need to understand the mysteries and misunderstandings that thwart our relationships. An atmospheric and immersive debut with a rich cast of characters you won’t soon forget." —Marjan Kamali, author of The Stationery Shop
In The Twice-Born, Aatish Taseer embarks on a journey of self-discovery in an intoxicating, unsettling personal reckoning with modern India, where ancient customs collide with the contemporary politics of revivalism and revenge When Aatish Taseer first came to Benares, the spiritual capital of Hinduism, he was eighteen, the Westernized child of an Indian journalist and a Pakistani politician, raised among the intellectual and cultural elite of New Delhi. Nearly two decades later, Taseer leaves his life in Manhattan to go in search of the Brahmins, wanting to understand his own estrangement from India through their ties to tradition. Known as the twice-born—first into the flesh, and again when initiated into their vocation—the Brahmins are a caste devoted to sacred learning. But what Taseer finds in Benares, the holy city of death also known as Varanasi, is a window on an India as internally fractured as his own continent-bridging identity. At every turn, the seductive, homogenizing force of modernity collides with the insistent presence of the past. In a globalized world, to be modern is to renounce India—and yet the tide of nationalism is rising, heralded by cries of “Victory to Mother India!” and an outbreak of anti-Muslim violence. From the narrow streets of the temple town to a Modi rally in Delhi, among the blossoming cotton trees and the bathers and burning corpses of the Ganges, Taseer struggles to reconcile magic with reason, faith in tradition with hope for the future and the brutalities of the caste system, all the while challenging his own myths about himself, his past, and his countries old and new.
Exploring the Hindu concepts of good and bad deaths, this rich ethnography follows pilgrims who choose to travel to the holy city of Kashi to die.
In seven grim, macabre and sometimes darkly comic tales, Madavane traces France’s forgotten colonial presence, playfully reinterprets Hindu myths and recounts the many ways to die in postcolonial India. Recalling the pitiless world of Maupassant and animated by ghosts, gods and holy men, these haunting stories offer a fresh perspective on India’s past and present, its many ironies and idiosyncrasies. Mourir à Bénarès was first published in French in 2010 and received high acclaim for its depiction of India’s most fabled town and the many unusual characters who populate it. Now available in English for the first time, To Die in Benares brings to a wide audience a rare and irresistible literary voice.
A New York Times Notable Book A Best Book of the Year: The Economist, The New Yorker, San Francisco Chronicle, Slate.com, and Time In Venice, at the Biennale, a jaded, bellini-swigging journalist named Jeff Atman meets a beautiful woman and they embark on a passionate affair. In Varanasi, an unnamed journalist (who may or may not be Jeff) joins thousands of pilgrims on the banks of the holy Ganges. He intends to stay for a few days but ends up remaining for months. Their journey—as only the irrepressibly entertaining Geoff Dyer could conjure—makes for an uproarious, fiendishly inventive novel of Italy and India, longing and lust, and the prospect of neurotic enlightenment.
The sacred city of Banāras on the River Ganges is one of the oldest living cities in the world—as old as Jerusalem, Athens, and Peking. It is the place where Shiva, the Lord of All, is said to have made his permanent home since the dawn of creation. There are few cities in India as traditionally Hindu and as symbolic of the whole of Hindu culture as Banāras. In this eloquent, finely observed study, Diana Eck shows how the city over the centuries has become a lens through which the Hindu vision of the world is precisely focused. She reveals the spiritual and historical resonance of this holy place where great sages such as the Buddha and Shankara were taught, where ashrams, palaces, and universities were built, where God has been imagined and imagined in a thousand ways. She describes the rites of its temples, the busy life of its riverfront, and the exuberance of its festivals. She tells how people travel from all over India to Banāras for the privilege of dying a good death here, for they believe that on the banks of the River Ganges where “the atmosphere of devotion is improbable in its strength,” it is possible to be released from the earthly round forever. In her account of the sacred history, geography, and art of the city, its elaborate and thriving rituals, its myths and literature, and its importance to pilgrims and seekers, Diana Eck uses her wealth of scholarship to make the Hindu tradition come powerfully alive so that we come to understand the meaning of this sacred city to the millions of believers who have been coming here for over 2,500 years.
It is a classical anthropological paradox that symbols of rebirth and fertility are frequently found in funerary rituals throughout the world. The original essays collected here re-examine this phenomenon through insights from China, India, New Guinea, Latin America, and Africa. The contributors, each a specialist in one of these areas, have worked in close collaboration to produce a genuinely innovative theoretical approach to the study of the symbolism surrounding death, an outline of which is provided in an important introduction by the editors. The major concern of the volume is the way in which funerary rituals dramatically transform the image of life as a dialectic flux involving exchange and transaction, marriage and procreation, into an image of a still, transcendental order in which oppositions such as those between self and other, wife-giver and wife-taker, Brahmin and untouchable, birth and therefore death have been abolished. This transformation often involves a general devaluation of biology, and, particularly, of sexuality, which is contrasted with a more spiritual and controlled source of life. The role of women, who are frequently associated with biological processes, mourning and death pollution, is often predominant in funerary rituals, and in examining this book makes a further contribution to the understanding of the symbolism of gender. The death rituals and the symbolism of rebirth are also analysed in the context of the political processes of the different societies considered, and it is argued that social order and political organisation may be legitimated through an exploitation of the emotions and biology.
From award-winning author Deborah Heiligman comes Torpedoed, a true account of the attack and sinking of the passenger ship SS City of Benares, which was evacuating children from England during WWII. Amid the constant rain of German bombs and the escalating violence of World War II, British parents by the thousands chose to send their children out of the country: the wealthy, independently; the poor, through a government relocation program called CORB. In September 1940, passenger liner SS City of Benares set sail for Canada with one hundred children on board. When the war ships escorting the Benares departed, a German submarine torpedoed what became known as the Children's Ship. Out of tragedy, ordinary people became heroes. This is their story. This title has Common Core connections.