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Ruskin Bond is an inveterate diarist, but over the years the nature of what he wants to record has changed, for ‘In the autumn of my life, I grow reflective’. Although Landour itself is a magical world—where every month has its own flower, every walker his own style, and the countryside is filled with a beauty all its own—in his mind Bond ranges further afield. In Landour Days, he ponders on the experience of being a writer, on writers he has known and those that he loves reading, and on critics, handwriting and typewriters. Filled with warmth and gentle humour, Landour Days captures the timeless rhythm of life in the mountains, and the serene wisdom of one of India’s best-loved writers.
The result of two decades of research, this volume on Mussoorie and Landour by Ruskin Bond and Ganesh Saili documents the daily life of this old English summer hill-town.
Ruskin Bond's first novel, The Room on the Roof, written when he was seventeen, won the John Llewellyn Rhys Memorial Prize in 1957. Since then he has written several novels (including Vagrants in the Valley, A Flight of Pigeons and Delhi Is Not Far), essays, poems and children's books, many of which have been published by Penguin India. He has also written over 500 short stories and articles that have appeared in a number of magazines and anthologies. He received the Sahitya Akademi Award in 1993 and the Padma Shri in 1999.
This book represents a new vista, looking past the days when there were two distinct groups-those who were studied and those who studied them. This history of the Umatilla, Cayuse, and Walla Walla people had its beginnings in October 2000, when elders sat side by side with native students and native and non-native scholars to compare notes on tribal history and culture. Through this collaborative process, tribal members of the Confederated Tribes of the Umatilla Indian Reservation have taken on their own historical retellings, drawing on the scholarship of non-Indians as a useful tool and external resource. Primary to this history are native voices telling their own story. Beginning with ancient teachings and traditions, moving to the period of first contact with Euro-Americans, the Treaty council, war, and the reservation period, and then to today's modern tribal governance and the era of self-determination, the tribal perspective takes center stage. Throughout, readers will see continuity in the culture and in ways of life that have been present from the earliest times, all on the same landscape. Wiyaxayxt (Columbia River Sahaptin) and Wiyaakaa'awn (Nez Perce) can be interpreted to mean "as the days go by," "day by day," or "daily living." They represent the meaning of the English term "history" in two of the common languages still spoken on the Umatilla Indian Reservation.
Perched among peaks that loom over heat-shimmering plains, hill stations remain among the most curious monuments to the British colonial presence in India. In this engaging and meticulously researched study, Dane Kennedy explores the development and history of the hill stations of the raj. He shows that these cloud-enshrouded havens were sites of both refuge and surveillance for British expatriates: sanctuaries from the harsh climate as well as an alien culture; artificial environments where colonial rulers could nurture, educate, and reproduce themselves; commanding heights from which orders could be issued with an Olympian authority. Kennedy charts the symbolic and sociopolitical functions of the hill stations over the course of the nineteenth and early twentieth centuries, arguing that these highland communities became much more significant to the British colonial government than mere places for rest and play. Particularly after the revolt of 1857, they became headquarters for colonial political and military authorities. In addition, the hill stations provided employment to countless Indians who worked as porters, merchants, government clerks, domestics, and carpenters. The isolation of British authorities at the hill stations reflected the paradoxical character of the British raj itself, Kennedy argues. While attempting to control its subjects, it remained aloof from Indian society. Ironically, as more Indians were drawn to these mountain areas for work, and later for vacation, the carefully guarded boundaries between the British and their subjects eroded. Kennedy argues that after the turn of the century, the hill stations were increasingly incorporated into the landscape of Indian social and cultural life. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.
Features playful tigers, ghosts, elephants, and crows, as well as old favorites like Uncle Ken, and Miss Bun. The author's slightly eccentric grandfather and Bond himself ease in and out of these pages.
The book reviews a range of the writings of Ruskin Bond spanning over six decades, from his debut making novella, The Room on the Roof in 1956 to A Little Book about India in 2022. It provides a bird’s eye view of Mr. Bond’s compendious vision as a Nature Mystic, Metaphysic, Romantic, Environmentalist, Humanist, Historian, Biographer and Raconteur, among others. It also incorporates vignettes of the life and experiences of the author, besides his beliefs and philosophy. The book is an enhanced and enriched adaptation of a Doctoral Research which contains substantial inputs from Ruskin Bond himself and these augment the authenticity and depth of the book and gives it a first person feel.
Ruskin Bond is known internationally as one of India's most prolific writers in English for children, young adults, and adults. This literary biography analyzes the impact of personal, social, geographical, political, and literary influences on Bond's worldview, aesthetic principles, and writings. Connecting the development of Bond's writing career over the past 50 years to the evolution of the publishing industry in India, Khorana details the author's pioneering work in the field of children's and young adult literature, and his contribution to diasporic and postcolonial/post-independence literatures. She concludes that it is Bond's versatile, original, and elegant writing in a variety of genres that continue to endear him to readers around the world. According to the author, despite Bond's British background, he does not write about India from a Eurocentric perspective. Having lived the majority of his life in India, he knows the country as an insider, writing with an authenticity and emotional engagement about the land and the people of the Himalayas and small-town India. Khorana analyzes his novels and short stores, and highlights his juxtaposition of his protagonists' individual dramas against larger social, moral, and metaphysical issues. In addition, she reveals how the autobiographical and regional elements in Bond's work provide insight into universal themes such as the tension between past and present, city life versus rural values, the dignity of ordinary folk, preservation of the environment, and living in harmony with nature.
This study explores the dialogue between the biographical and authorial selves of the writer Ruskin Bond, whose liminal subjectivity is informed by the fantasies of space and time.
In this delightful collection; Ruskin Bond introduces us to the Dehradun he knows intimately and loves unreservedly—the town that he had spent many years of his childhood and youth in. A town which; when he knew it; was one of pony-drawn tongas and rickshaws; a town fond of gossip but tolerant of human foibles; a town of lush lichi trees; charming winter gardens and cool streams; a small town; a sleepy town; a town called ‘Dehra’. With classic stories and poems like ‘Masterji’; ‘Growing up with Trees’and ‘A Song for Lost Friends’ and previously unpublished treasures like ‘Silver Screen’; ‘Dilaram Bazaar’ and ‘Lily of the Valley’; this anthology is replete with journal entries; extracts from the author’s memoirs and; of course; poetry; non-fiction and stories set in or inspired by Dehra. Evocative; wistful and witty as only Ruskin Bond can be; A Town Called Dehra is a celebration of a dearly-loved town as well as an elegy for a way of life gone extinct.