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Celebrating 60 years of the Indian Republic, we bring you Indian Essentials, a light-hearted, tongue-in-cheek ode to India. In this quirky collection, twenty writers and social commentators ponder the mysteries of the Indian psyche and try to make sense of one trait, phenomenon or cultural value that is quintessentially Indian. From the Indian male s penchant for public urination to the Indian female s obsession with gold, from the jhatkas of Bollywood to the melas of Allahabad, from our embarrassingly frank matrimonials to how seriously we take our copulation problems, nothing is spared scrutiny. And because we Indians like a little something extra over and above what we are promised, we are giving away a complimentary copy of Extra! a little book that tackles all those peculiar Indian qualities that we didn t want to leave out of the Indian Essentials. Dip into this collection and join us to find out what it means to be Made in India.
The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival
This Is Probably For The First Time That A Serious Study Of Deities Of Rig Veda Has Been Made With The Help Of Modern Research Methodology And Science To Find Out What The Rishis Had Said, A Few Thousand Years Back, About The Deities. Efforts Were Also Made To Identify These Gods. It Is A Finding Of Great Importance That What Rishis Had Said About These Gods Is Being Corroborated By The Western Science Today. Dr. Gupta Has Grouped These 33 Gods Of Rig Veda In Three Categories: (I) Natural Phenomena Gods Sky, Earth, Fire, Air And Water. All The Material Things Are Produced By Their Permutations And Combinations. These Five Natural Phenomena Gods Have Their Sub-Gods Also. For Example, Agni Has Surya Agni (Nuclear Energy), Apan Napat Agni (Agni In The Sky Like Lightning), Davanal (Agni On Earth), Badvanal (Agni In The Oceans Or Water) And Jathragni (Agni In The Body); (Ii) Gods Connected With Soul Energy Such As Vishnu (Can Be Compared With A Modern Generating Station), Brahama, Who Induces The Tiny, Invisible, Weightless Particles Of Soul Energy In All The Living Beings To Give Them Life, Shiva, Who, At An Interval Of Time, Takes Out This Particle Of Soul Energy From All The Living Beings And They All Become Dead, And Yama, Who And Whose Assistants Take These Tiny Particles Of Soul To A Place Called Yama Loka; (Iii) Craftsmen Gods Such As Vishvakarma, Tvastha And Ribhugan Who Assemble And Mix The Five Basic Elements In Different Proportions To Create Structures Or Forms So That Soul-Particles Can Be Introduced In Them; And (Iv) Miscellaneous Gods Such As Rishis And Other Men, Animals (Cow, Frog, Etc.) Raised To Godhood, And Other Important Things Like Meaning Of Prayer, Does Rig Veda Give History Etc.
FAIRYTALES FOR LOST CHILDREN is narrated by people constantly on the verge of self-revelation. These characters - young, gay and lesbian Somalis - must navigate the complexities of family, identity and the immigrant experience as they tumble towards freedom. Set in Kenya, Somalia and South London, these stories are imbued with pathos, passion and linguistic playfulness, marking the arrival of a singular new voice in contemporary fiction. Praise for FAIRYTALES FOR LOST CHILDREN: 'Fantastic writing. I am most highly impressed. I've read some of the stories more than once and saw in each of them plenty of talent everywhere - in every sinew and vein.' - NURUDDIN FARAH 'There is nothing more humbling than good writing except when the author is fiercely beautiful and ferociously generous of heart. That Diriye Osman should possess so much talent is only fair in light of his goodness. Read this book.' - MESHELL NDEGEOCELLO -The characters in these fairy tales are displaced in multiple, complicated ways. But Osman's storytelling creates a shelter for them; a warm place which is both real and imaginary, in which they find political, sexual, and ultimately psychic liberation.' - ALISON BECHDEL 'East Africa. South London. Queer. Displaced. Mentally Ill. My excitement over Osman and his writing comes, in part, out of delight at the impossibility of categorisation.' - ELLAH ALLFREY The Telegraph
Endeavouring To Accomplish An Intract-Able Tight Rope Walking, Indian English Literature Seeks To Incorporate Indian Themes And Experience In A Blend Of Indian And Western Aesthetics. What The Diverse Dimensions Of The Indian Experience And The Evolving Literary Form Are And Whether The Former Reconciles With The Latter Or Not Is Sought To Be Examined In The Present Volume Of This Anthology. A Strikingly Fresh Perspective On The Hitherto Unexplored Areas Of Old Works. A Bold And Incisive Critique Of New Works.
A Feeling For Feminism Is A Collection Of Stories Written By V. K. Subramanian, Which Reflects His Empathy For Women, Especially The Women Of India.In These Stories, Various Feminine Facets Are Dealt With Understanding And Insight: Women As Affectionate Sisters, Tender, Loving Mothers, Devoted Wives, And Women Facing The Brutal Realities Of Life: Betrayal, Disappointment And Ingratitude.A Feeling For Feminism Will Provide Entertaining Reading For All. For Feminists It Will Be Soothing Nectar. For Those Who Live Outside India, The Book Will Be A Revealing Guide To The Social Mores Of India. To Movie Makers And Television Producers, It Will Be A Veritable Treasurehouse Of Ideas.
As The Giving Tree turns fifty, this timeless classic is available for the first time ever in ebook format. This digital edition allows young readers and lifelong fans to continue the legacy and love of a classic that will now reach an even wider audience. "Once there was a tree...and she loved a little boy." So begins a story of unforgettable perception, beautifully written and illustrated by the gifted and versatile Shel Silverstein. This moving parable for all ages offers a touching interpretation of the gift of giving and a serene acceptance of another's capacity to love in return. Every day the boy would come to the tree to eat her apples, swing from her branches, or slide down her trunk...and the tree was happy. But as the boy grew older he began to want more from the tree, and the tree gave and gave and gave. This is a tender story, touched with sadness, aglow with consolation. Shel Silverstein's incomparable career as a bestselling children's book author and illustrator began with Lafcadio, the Lion Who Shot Back. He is also the creator of picture books including A Giraffe and a Half, Who Wants a Cheap Rhinoceros?, The Missing Piece, The Missing Piece Meets the Big O, and the perennial favorite The Giving Tree, and of classic poetry collections such as Where the Sidewalk Ends, A Light in the Attic, Falling Up, Every Thing On It, Don't Bump the Glump!, and Runny Babbit. And don't miss the other Shel Silverstein ebooks, Where the Sidewalk Ends and A Light in the Attic!
NEW YORK TIMES 10 BEST BOOKS OF THE YEAR • “An epic road trip [that also] captures the unruly intimacies of marriage and parenthood ... This is a novel that daylights our common humanity, and challenges us to reconcile our differences.” —The Washington Post In Valeria Luiselli’s fiercely imaginative follow-up to the American Book Award-winning Tell Me How It Ends, an artist couple set out with their two children on a road trip from New York to Arizona in the heat of summer. As the family travels west, the bonds between them begin to fray: a fracture is growing between the parents, one the children can almost feel beneath their feet. Through ephemera such as songs, maps and a Polaroid camera, the children try to make sense of both their family’s crisis and the larger one engulfing the news: the stories of thousands of kids trying to cross the southwestern border into the United States but getting detained—or lost in the desert along the way. A breath-taking feat of literary virtuosity, Lost Children Archive is timely, compassionate, subtly hilarious, and formally inventive—a powerful, urgent story about what it is to be human in an inhuman world.
Award-winning illustrator Duncan Tonatiuh brings to life debut author Gloria Amescua's lyrical biography of an indigenous Nahua woman from Mexico who taught and preserved her people's culture through modeling for famous artists She was Luz Jiménez, child of the flower-song people, the powerful Aztec, who called themselves Nahua— who lost their land but who did not disappear. As a young Nahua girl in Mexico during the early 1900s, Luz learned how to grind corn in a metate, to twist yarn with her toes, and to weave on a loom. By the fire at night, she listened to stories of her community’s joys, suffering, and survival, and wove them into her heart. But when the Mexican Revolution came to her village, Luz and her family were forced to flee and start a new life. In Mexico City, Luz became a model for painters, sculptors, and photographers such as Diego Rivera, Jean Charlot, and Tina Modotti. These artists were interested in showing the true face of Mexico and not a European version. Through her work, Luz found a way to preserve her people's culture by sharing her native language, stories, and traditions. Soon, scholars came to learn from her. This moving, beautifully illustrated biography tells the remarkable story of how model and teacher Luz Jiménez became “the soul of Mexico”—a living link between the indigenous Nahua and the rest of the world. Through her deep pride in her roots and her unshakeable spirit, the world came to recognize the beauty and strength of her people. The book includes an author’s note, timeline, glossary, and bibliography.