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"All the figures in this book...are irresistible comic manifestations."—The New Yorker This witty and perceptive novel is about Prem, a young teacher in New Delhi who has just become a householder and is finding his responsibilities perplexing.
India's first biography of Shashi Kapoor sheds light on one of the country's most enigmatic personalities-an actor who straddles the worlds of commercial Hindi cinema, theatre and small-budget art movies; who is, at once, an earnest householder and a committed star. In this rare book, we are offered glimpses of Shashi Kapoor, the family man-son of Prithviraj Kapoor, husband of Jennifer Kendal, and father to Kunal, Karan and Sanjna. We are led through Shashi Kapoor's film career-his debut as a bright-eyed child-actor in Awara; his emergence, in the hectic 1970s, as India's busiest performer-with a slew of hits including Deewaar and Trishul; and his rise to international prominence with Merchant-Ivory's The Householder and a 'trilogy' of films on older men with fading pasts. Equally, we are provided with an astute analysis of Shashi Kapoor, the businessman-the proprietor of Film-Valas; the producer of Shyam Benegal films; and the distributor of Bobby. With luminous and thus-far undisclosed stories by the actor's family (Neetu Singh, Rishi, Sanjna and Kunal Kapoor), co-stars (Shabana Azmi, Simi Garewal, Sharmila Tagore), colleagues (Shyam Benegal, Govind Nihalani, James Ivory, Hanif Kureishi, Aparna Sen), and friends; a compelling foreword by Karan Johar; and stunning photographs from Merchant-Ivory's archives, Shashi Kapoor, the biography-by one of India's best-known film journalists-is as captivating as Shashi Kapoor, the star.
Casual and conversational, Hidden Treasures presents the Universal Laws of Abundance from a spiritual perspective. These ideas are astonishing; and you'll feel empowered as they comfort, encourage, and enlighten you on your journey to financial deliverance, even prosperity.While the author learned these principles in a secular arena through more than a decade of study and successful application, she now hopes to bring the principles to God-fearing people everywhere. How often have we been promised, "Ask and ye shall receive?" The problem is we don?t really believe it. Why? Because, so often it just doesn?t happen. So how does one develop the kind of faith required to see miracles in his/her financial life?"There is a law, irrevocably decreed in heaven before the foundations of this world, upon which all blessings are predicated?and when we obtain any blessing from God, it is by obedience to that law upon which it is predicated" (Doctrine and Covenants 130:20-21). So if you've ever wondered: "If the 'righteous shall prosper,' why am I so broke?" or, "Do I 'set my heart upon riches,' or just resign myself to the smothering prison of debt and the stain of poor credit?" ...then this book is for you.The answers to these questions (and many more) are the very answers which led Leslie and her husband to finally escape their own financial bondage, AND develop a closer relationship with God through the process. While the author is a member of the Church of Jesus Christ of Latter-day Saints, the ideas and applications of scriptures are solely her own and do not necessarily represent the beliefs or doctrines of any particular denomination. In a compelling way, she brings hope to individuals in strained relationships, mothers who want to come home from work, and fathers who want to spend more time with their family. Hidden Treasures brilliantly delivers a profound message of hope for all who believe there is a God.
Chosen by The New York Times Book Review as one of the best books of 1986, this volume of stories, selected by the author from her own early work, represents the essence of her Indian experience. Bearing Jhabvala's hallmark of balance, subtlety, wry humor, and beauty, these stories present characters that prove to be as vulnerable to the contradictions and oppressions of the human heart as to those of India itself.
Winner of the Booker Prize as best novel of the year in 1983, Heat and Dust was also made into a major motion picture starring Julie Christie, now regarded by many as a classic.
The irreverent, brilliant memoirs of the legendary filmmaker James Ivory In Solid Ivory, a carefully crafted mosaic of memories, portraits, and reflections, the Academy Award–winning filmmaker James Ivory, a partner in the legendary Merchant Ivory Productions and the director of A Room with a View, Howards End, Maurice, and The Remains of the Day, tells stories from his remarkable life and career as one of the most influential directors of his time. At times, he touches on his love affairs, looking back coolly and with unexpected frankness. From first meeting his collaborator and life partner, Ismail Merchant, at the Indian Consulate in New York to winning an Academy Award at age eighty-nine for Call Me by Your Name; from seeing his first film at age five in Klamath Falls, Oregon, to memories of Satyajit Ray, Jean Renoir, The New Yorker magazine’s film critic Pauline Kael (his longtime enemy), Vanessa Redgrave, J. D. Salinger, George Cukor, Kenneth Clark, Bruce Chatwin, Ruth Prawer Jhabvala, and Merchant—Ivory writes with invariable fluency, wit, and perception about what made him who he is and how he made the movies for which he is known and loved. Solid Ivory, edited by Peter Cameron, is an utterly winning portrait of an extraordinary life told by an unmatched storyteller.
The Pulitzer Prize–winning author brings “clarity, intelligence and grace” to the tale of building a home in this New York Times Bestseller (The New York Times Book Review). It’s 1983 and Jonathan and Judith Souweine are ready to build their forever home on a four-acre lot just outside of Amherst, Massachusetts. A lawyer and a psychologist, neither has much experience with the process. In this New York Times bestseller, Tracy Kidder leads readers through the grand adventure of building the American dream. In his portrayal, constructing a staircase or applying a coat of paint becomes a riveting tale of conflicting wills, the strength and strain of relationships, and pride in craftsmanship. With drama, sensitivity, and insight, the Pulitzer Prize-winning author of The Soul of the New Machine takes us from blueprints to moving day. In the process, he sheds new light on objects usually taken for granted and creates a vivid cast of characters you will not soon forget. “Tracy Kidder has done it again. . . . What might seem like ordinary work takes on an extraordinary, unpredictable life of its own. The subject is fascinating, the book a remarkable piece of craftsmanship in itself.” —Chicago Tribune Book World “Kidder makes us feel with a splendid intensity the complex web of relationships and emotions that inevitably comes into play in the act of bringing a work of architecture to fruition.” —The New York Times Book Review
What if all the Palestinians in Israel simply disappeared one day? What would happen next? How would Israelis react? These unsettling questions are posed in Azem’s powerfully imaginative novel. Set in contemporary Tel Aviv forty eight hours after Israelis discover all their Palestinian neighbors have vanished, the story unfolds through alternating narrators, Alaa, a young Palestinian man who converses with his dead grandmother in the journal he left behind when he disappeared, and his Jewish neighbor, Ariel, a journalist struggling to understand the traumatic event. Through these perspectives, the novel stages a confrontation between two memories. Ariel is a liberal Zionist who is critical of the military occupation of the West Bank and Gaza, but nevertheless believes in Israel’s project and its national myth. Alaa is haunted by his grandmother’s memories of being displaced from Jaffa and becoming a refugee in her homeland. Ariel’s search for clues to the secret of the collective disappearance and his reaction to it intimately reveal the fissures at the heart of the Palestinian question. The Book of Disappearance grapples with both the memory of loss and the loss of memory for the Palestinians. Presenting a narrative that is often marginalized, Antoon’s translation of the critically acclaimed Arabic novel invites English readers into the complex lives of Palestinians living in Israel.
A New York Times Book Review Editors' Choice Multilayered, subtle, insightful short stories from the inimitable Booker Prize–winning author, with an introduction by Anita Desai Nobody has written so powerfully of the relationship between and within India and the Western middle classes than Ruth Prawer Jhabvala. In this selection of stories, chosen by her surviving family, her ability to tenderly and humorously view the situations faced by three (sometimes interacting) cultures—European, post–Independence Indian, and American—is never more acute. In “A Course of English Studies,” a young woman arrives at Oxford from India and struggles to adapt, not only to the sad, stoic object of her infatuation, but also to a country that seems so resistant to passion and color. In the wrenching “Expiation,” the blind, unconditional love of a cloth shop owner for his wastrel younger brother exposes the tragic beauty and foolishness of human compassion and faith. The wry and triumphant “Pagans” brings us middle–aged sisters Brigitte and Frankie in Los Angeles, who discover a youthful sexuality in the company of the languid and handsome young Indian, Shoki. This collection also includes Jhabvala’s last story, “The Judge’s Will,” which appeared in The New Yorker in 2013 after her death. The profound inner experience of both men and women is at the center of Jhabvala’s writing: she rivals Jane Austen with her impeccable powers of observation. With an introduction by her friend, the writer Anita Desai, At the End of the Century celebrates a writer’s astonishing lifetime gift for language, and leaves us with no doubt of Ruth Prawer Jhabvala’s unique place in modern literature. "The stories—all of them elegantly plotted and unsentimental, with an addictive, told–over–tea quality—are largely character studies of people isolated, often tragically, by custom or self–delusion . . . Vivid, unsparing portraits are leavened with the kind of humanizing moments that evoke a total world within their compression."—Megan O’Grady, The New York Times Book Review