In the town live three generations of two families, one Hindu and the other Muslim, whose lives will be changed forever by the coming violence. At risk are Dada, the ageing grandfather who lovingly tends and talks to the plants on his estate; his strong-willed grandchildren, Abu and Fareeda; the newly married Devaki, who cannot fathom the forces that are turning her husband and her father into fanatics; Mariam, of the gifted hands, who kneads and pounds the fatigued muscles of tourists into submission; and Garuda, the high-school teacher who, in his own desperate way, is trying to impart the truth about the country’s history to a classroom of uninterested students. Quietly but surely, the spectre of religious intolerance is beginning to haunt the community in the guise of the Self-Respect Forum whose mission is to divide the town and destroy the delicate balance of respect and cooperation that has existed for hundreds of years. Told with brilliance, restraint and extraordinary power, Annie Zaidi’s book is destined to become a classic.

    But in this city redolent of timeworn customs, where pilgrims bathe in the sacred Ganges and breathe in smoke from burning ghats along the shore, Samar is offered entirely different perspectives on his country. Miss West and her circle, indifferent to the reality around them, represent those drawn to India as a respite from the material world. And Rajesh, a sometimes violent, sometimes mystical leader of student malcontents, presents a more jaundiced view. More than merely illustrating the clash of cultures, Mishra presents the universal truth that our desire for the other is our most painful joy.

    The immaculately dressed Chowringhee, radiant in her youth, had just stepped on to the floor at the nightclub.’ Set in 1950s Calcutta, Chowringhee is a sprawling saga of the intimate lives of managers, employees and guests at one of Calcutta’s largest hotels, the Shahjahan. Shankar, the newest recruit, recounts the stories of several people whose lives come together in the suites, restaurants, bar and backrooms of the hotel. As both observer and participant in the events, he inadvertently peels off the layers of everyday existence to expose the seamy underbelly of unfulfilled desires, broken dreams, callous manipulation and unbidden tragedy. What unfolds is not just the story of individual lives but also the incredible chronicle of a metropolis. Written by best-selling Bengali author Sankar, Chowringhee was published as a novel in 1962. Predating Arthur Hailey’s Hotel by three years, it became an instant hit, spawning translations in major Indian languages, a film and a play. Its larger-than-life characters—the enigmatic manager Marco Polo, the debonair receptionist Sata Bose, the tragic hostess Karabi Guha, among others—soon attained cult status. With its thinly veiled accounts of the private lives of real-life celebrities, and its sympathetic narrative seamlessly weaving the past and the present, it immediately established itself as a popular classic. Available for the first time in English, Chowringhee is as much a dirge as it is a homage to a city and its people.An excerpt (Chapter 1) from the book :http://arunavasinha.in/2011/05/27/cho...

    In ???A Handful of Nuts', the first of the novellas in this book, the reader is treated to vintage Bond??"a gloriously funny and unexpectedly tender story of being young and adventurous in small town India. The central character would like to establish himself as a writer but he is constantly diverted from his task by assorted escapades, romances, friends and other distractions. Containing some of Bond's finest writing it is a classic coming of age story, told in a fresh and compelling way. ???The Sensualist', the second novella, is altogether more sombre but deals with a similar theme??"the trials and tribulations of a young man's coming of age. Gripping, erotic, even brutal, it explores the demons that its protagonist must grapple with before he is able to come to terms with himself...

    He approaches the city from unexpected angles, taking us into the criminal underworld of rival Muslim and Hindu gangs; following the life of a bar dancer raised amid poverty and abuse; opening the door into the inner sanctums of Bollywood; and delving into the stories of the countless villagers who come in search of a better life and end up living on the sidewalks.

    This novel describes a day in the life of Bakha, sweeper and toilet-cleaner, as he searches for a meaning to the tragic existence he has been born into - and comes to an unexpected conclusion.

    Set in Bengal, it tells the story of a family of executioners with a long lineage, beginning in the fourth century BC. The protagonist of the novel, Chetna, is a strong and tenacious woman who struggles to inherit this profession.According to noted literary critic M. Leelavathy, Aarachaar is one of the best literary works produced in Malayalam and follows the legacy of O. V. Vijayan's classic work Khasakkinte Itihasam. The novel received the 2013 Kerala Sahitya Akademi Award. It was also awarded the prestigious Odakkuzhal Award in 2013 and Vayalar Award in 2014.

    In the state of Kerala, on the southernmost tip of India, a skyblue Plymouth with chrome tailfins is stranded on the highway amid a Marxist workers' demonstration. Inside the car sit two-egg twins Rahel and Esthappen, and so begins their tale. . . .Armed only with the invincible innocence of children, they fashion a childhood for themselves in the shade of the wreck that is their family—their lonely, lovely mother, Ammu (who loves by night the man her children love by day), their blind grandmother, Mammachi (who plays Handel on her violin), their beloved uncle Chacko (Rhodes scholar, pickle baron, radical Marxist, bottom-pincher), their enemy, Baby Kochamma (ex-nun and incumbent grandaunt), and the ghost of an imperial entomologist's moth (with unusually dense dorsal tufts).When their English cousin, Sophie Mol, and her mother, Margaret Kochamma, arrive on a Christmas visit, Esthappen and Rahel learn that Things Can Change in a Day. That lives can twist into new, ugly shapes, even cease forever, beside their river "graygreen." With fish in it. With the sky and trees in it. And at night, the broken yellow moon in it.The brilliantly plotted story uncoils with an agonizing sense of foreboding and inevitability. Yet nothing prepares you for what lies at the heart of it.The God of Small Things takes on the Big Themes—Love. Madness. Hope. Infinite Joy. Here is a writer who dares to break the rules. To dislocate received rhythms and create the language she requires, a language that is at once classical and unprecedented. Arundhati Roy has given us a book that is anchored to anguish, but fueled by wit and magic.

    This seems a deliberate souring of an uplifting narrative. Rams refusal to remarry to produce a royal heir adds to the complexity. The intention seems to be to provoke thought on notions of fidelity, property and self-image.And so the mythologist and illustrator Devdutt Pattanaik retells the Ramayana, drawing attention to the many oral, visual and written retellings composed in different times, in different places, by different poets, each one trying to solve the puzzle in its own unique way. This book approaches Ram by speculating on Sita: her childhood with her father, Janaka, who hosted sages mentioned in the Upanishads; her stay in the forest with her husband, who had to be a celibate ascetic while she was in the prime of her youth; her interactions with the women of Lanka, recipes she exchanged, emotions they shared; her connection with the earth, her mother, and with the trees, her sisters; her role as the Goddess, the untamed Kali as well as the demure Gauri, in transforming the stoic prince of Ayodhya into God.

    Each set of family members occupies a floor of the home, in accordance to their standing within the family. Poisonous rivalries between sisters-in-law, destructive secrets, and the implosion of the family business threaten to unravel bonds of kinship as social unrest brews in greater Indian society. This is a moment of turbulence, of inevitable and unstoppable change: the chasm between the generations, and between those who have and those who have not, has never been wider. The eldest grandchild, Supratik, compelled by his idealism, becomes dangerously involved in extremist political activism—an action that further catalyzes the decay of the Ghosh home.Ambitious, rich, and compassionate, The Lives of Others anatomizes the soul of a nation as it unfolds a family history, at the same time as it questions the nature of political action and the limits of empathy. It is a novel of unflinching power and emotional force.

    In the intimate atmosphere of the all-women sleeping car - the 'Ladies Coupe' - Akhila asks the five women the question that has been haunting her all her adult life: can a woman stay single and be happy, or does she need a man to feel complete?This wonderfully atmospheric, deliciously warm novel takes the reader into the heart of women's lives in contemporary India, revealing how the dilemmas that women face in their relationships with hunsbands, mothers, friends, employers and children are the same world over.

    Now Vicky Rai is dead, killed at his farmhouse at a party he had thrown to celebrate his acquittal. The police search each and every guest. Six of them are discovered with guns in their possession.In this elaborate murder mystery we join Arun Advani, India's best-known investigative journalist, as the lives of these six suspects unravel before our eyes: a corrupt bureaucrat; an American tourist; a stone-age tribesman; a Bollywood sex symbol; a mobile phone thief; and an ambitious politician. Each is equally likely to have pulled the trigger. Inspired by actual events, Vikas Swarup's eagerly awaited second novel is both a riveting page turner and an insightful peek into the heart and soul of contemporary India.

    As the action spirals up through the floors of the building, the dramas of the residents' lives unfold: Mr. Jalal's obsessive search for higher meaning; Vinod Taneja's longing for the wife he has lost; the comic elopement of Kavita Asrani, who fancies herself the heroine of a Hindi movie.Suffused with Hindu mythology, this story of one apartment building becomes a metaphor for the social and religious division of contemporary India, and Vishnu's ascent of the staircase parallels the sours progress through the various stages of existence. As Vishnu closes in on the riddle of his own mortality, he begins to wonder whether he might not be the god Vishnu, guardian not only of the fate of the building and its occupants, but of the entire universe.

    Humour flows effortlessly for her, which is the biggest strength of the novel.' The Hindu‘I am very grateful to have my faith in new Indian fiction restored. This is a classic, timeless book that illuminates and entertains by turn.’ Suchi Govindarajan‘A delightful read from start to finish. There were places where I was grinning so much as I read it that my kids were looking at me strangely. But under the humour, the frivolity, the nostalgia of an Eighties life, there are several growing-up lessons taking place. Yet, the book never gets maudlin… although it does leave you with an ache for things that could have been. Brilliant writing.’ Andaleeb WajidSet in small-town Kerala of the 1980s, Mango Cheeks, Metal Teeth is part coming-of-age story, part social satire and part comedy of errors. Geetha, elevenish, is off for the annual family vacation in Kerala and is looking forward to all the fun with her cousins – visits to the beach and trips to the market to buy glass bangles and kites and shuttlecocks, evenings in the veranda listening to her grandfather’s ridiculous ghost stories which he swears are all true, marathon card games and ferocious boys-versus-girls battles with the bristles of brooms made from coconut fibre… But as the summer unfolds, Geetha finds herself spending more time instead at the back of the house with the free-spirited cook, the hypochondriac cleaner, the virile gardener, a cheeky helper girl… ...And Babu, son of Koovait Kannan, the bumbling plumber who made good. Babu’s family is immersed, meanwhile, in the wedding preparations for Babu’s sister, who is marrying the most eligible bachelor in the neighbourhood: Constable Venu, an expert thrasher of suspects and son of that wealthy black-marketer of supplies, Ration Raaman. But Babu’s mind is otherwise occupied… with thoughts of a face as rounded as a Malgova mango, of an oiled plait as thick as the ropes used to tie the fishing boats, of eyes that sparkle like the sea on a sunlit morn… As Geetha and Babu’s closely linked but widely divergent lives intersect, both are about to lose some of the blissful ignorance and innocence of childhood. Charmingly quirky and often laugh-out-loud hilarious, Mango Cheeks, Metal Teeth gently explores the themes of growing up, loss of innocence and the intimate yet aloof nature of upstairs-downstairs relationships.

    Her familiar existence disrupted, her husband's reputation in question and their future as a family in jeopardy, Jaya, a failed writer, is haunted by memories of the past. Differences with her husband, frustrations in their seventeen-year-old marriage, disappointment in her two teenage children, the claustrophia of her childhood—all begin to surface. In her small suburban Bombay flat, Jaya grapples with these and other truths about herself—among them her failure at writing and her fear of anger. Shashi Deshpande gives us an exceptionally accomplished portrayal of a woman trying to erase a 'long silence' begun in childhood and rooted in herself and in the constraints of her life.