Yet there was much that seemed oddly familiar: staying with women in Purdah reminded Jamie of her own family past; the intense religious ceremonies brought back memories of Orangemen marching through Glasgow. This is a superbly written, entertaining and important book: a narrative of people and local life, that crosses Western and Islamic cultures. Originally published as The Golden Peak, Jamie returned to Pakistan to write an Afterword and Preface for this new edition.

    In an old ruined city, emptied of most of its inhabitants, Ustad Ramzi, a famous wrestler past his prime, and Gohar Jan, a well-known courtesan whose kotha once attracted the wealthy and the eminent, contemplate the former splendour of their lives and the ruthless currents of time and history that have swept them into oblivion.

    But Ruttie was just sixteen and her outraged father forbade the match. But when Ruttie turned eighteen, they married and Bombay society, its riches and sophistication notwithstanding, was scandalized. Everyone sided with the Petits and Ruttie and Jinnah were ostracized. It was an unlikely union that few thought would last. But Jinnah, in his undemonstrative, reserved way was unmistakably devoted to his beautiful, wayward child-bride—as proud of her fashionable dressing as he was of her intelligence, her wide reading and her fierce commitment to the nationalist struggle. Ruttie, on her part, worshipped him and could tease and cajole the famously unbending Jinnah, whom so many people found intimidating and distant. But as the tumultuous political events increasingly absorbed him, Ruttie felt isolated and alone, cut off from her family, friends and community. The unremitting effort of submitting her personality to Jinnah’s, his frequent coldness, his preoccupation with politics and the law, took its toll. Ruttie died at twenty-nine, leaving her daughter, Dina and her inconsolable husband, who never married again. Sheela Reddy, well-known journalist and former books editor of Outlook magazine, uses never-before-seen personal letters of Ruttie and her close friends as well as accounts left by contemporaries and friends to portray this marriage that convulsed Indian society, with a sympathetic, discerning eye. A product of intensive and meticulous research in Delhi, Bombay and Karachi and based on first-person accounts and sources, Reddy brings the solitary, misunderstood Jinnah and the lonely, wistful Ruttie to life. A must-read for all those interested in politics, history and the power of an unforgettable love story.

    Suleri; of her tenacious grandmother Dadi and five siblings; and of her own passage to the West."Nine autobiographical tales that move easily back and forth among Pakistan, Britain, and the United States. . . . She forays lightly into Pakistani history, and deeply into the history of her family and friends. . . . The Suleri women at home in Pakistan make this book sing."—Daniel Wolfe, New York Times Book Review"A jewel of insight and beauty. . . . Suleri's voice has the same authority when she speaks about Pakistani politics as it does in her literary interludes."—Rone Tempest, Los Angeles Times Book Review"The author has a gift for rendering her family with a few, deft strokes, turning them out as whole and complete as eggs."—Anita Desai, Washington Post Book World"Meatless Days takes the reader through a Third World that will surprise and confound him even as it records the author's similar perplexities while coming to terms with the West. Those voyages Suleri narrates in great strings of words and images so rich that they left this reader . . . hungering for more."—Ron Grossman, Chicago Tribune"Dazzling. . . . Suleri is a postcolonial Proust to Rushdie's phantasmagorical Pynchon."—Henry Louise Gates, Jr., Voice Literary Supplement

    But Anarkali's exuberant hubbub cannot conceal the fact that Pakistan is a country at the edge of a precipice. In recent years, the easy sociability that had once made up this vibrant community has been replaced with doubt and fear. Old-timers like Awais, who inherited his shop from his father and hopes one day to pass it on to his son, are being shouldered aside by easy money, discount stores, heroin peddlers, and the tyranny of fundamentalists. Every night before Awais goes to bed, he plugs in his cell phone and hopes. He hopes that the city will not be plunged into a blackout, that the night will remain calm, that the following morning will bring affluent and happy customers to his shop and, most of all, that his three sons will safely return home. Each of the boys, though, has a very different vision of their, and Pakistan's, future. The Bargain from the Bazaar -- the product of eight years of field research -- is an intimate window onto ordinary middle-class lives caught in the maelstrom of a nation falling to pieces. It's an absolutely compelling portrait of a family at risk -- from a violently changing world on the outside and a growing terror from within.

    The account of modernism presented here challenges the vaunted principle of vision itself. And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction.The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today.In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about smart Jewish girls with their typewriters in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-Fran�ois Lyotard.To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as Anti-Form. These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

    But when the refugees he's come to help do not appear and artillery begins to fall in the distance along the border, the story takes an unexpected turn.This haunting, resonant tour de force about one man's desire to live a moral life offers a moving exploration of the tensions between poverty and wealth, the ethics of intervention, the deep cultural differences that divide the world, and the essential human similarities that unite it.

    Swallows wheel and dive silently over the branches, and the scent of jasmine threads through the air. Pomegranates hang heavy, their skins darkening to a deep crimson. Neglected now, the trees are beginning to grow wild, their fruit left to spoil on the branches.Many miles away, a frail young man is flung out of prison gates. Looking up, scanning the horizon for swallows in flight, he stumbles and collapses in the roadside dust. His ravaged body tells the story of fifteen years of brutality.Just one image has held and sustained him through the dark times -- the thought of the young girl who had left him dumbstruck with wonder all those years ago, whose eyes were lit up with life.A tale of tenderness in the face of great and corrupt power, In The Orchard, The Swallows is a heartbreaking novel written in prose of exquisite stillness and beauty.

    He is also not what he appears to be. As acclaimed author Jon Krakauer discovered, Mortenson has not only fabricated substantial parts of his bestselling books Three Cups of Tea and Stones into Schools, but has also misused millions of dollars donated by unsuspecting admirers like Krakauer himself.This is the tragic tale of good intentions gone very wrong.

    The Last Step tells the story of their extraordinary expedition. Illustrations. of color photos.

    withdraws from the longest war in its history.THE BROOKINGS ESSAY: In the spirit of its commitment to high-quality, independent research, the Brookings Institution has commissioned works on major topics of public policy by distinguished authors, including Brookings scholars. The Brookings Essay is a multi-platform product aimed to engage readers in open dialogue and debate. The views expressed, however, are solely those of the author.

    Dulat and Asad Durrani. One was a former chief of RAW, India's external intelligence agency, the other of ISI, its Pakistani counterpart. As they could not meet in their home countries, the conversations, guided by journalist Aditya Sinha, took place in cities like Istanbul, Bangkok and Kathmandu. On the table were subjects that have long haunted South Asia, flashpoints that take lives regularly. It was in all ways a deep dive into the politics of the subcontinent, as seen through the eyes of two spymasters. Among the subjects: Kashmir, and a missed opportunity for peace; Hafiz Saeed and 26/11; Kulbhushan Jadhav; surgical strikes; the deal for Osama bin Laden; how the US and Russia feature in the India-Pakistan relationship; and how terror undermines the two countries' attempts at talks. When the project was first mooted, General Durrani laughed and said nobody would believe it even if it was written as fiction. At a time of fraught relations, this unlikely dialogue between two former spy chiefs from opposite sides-a project that is the first of its kind-may well provide some answers.

    Kim Barker is not your typical, impassive foreign correspondent—she is candid, self-deprecating, laugh-out-loud funny. At first an awkward newbie in Afghanistan, she grows into a wisecracking, seasoned reporter with grave concerns about our ability to win hearts and minds in the region. In The Taliban Shuffle, Barker offers an insider’s account of the “forgotten war” in Afghanistan and Pakistan, chronicling the years after America’s initial routing of the Taliban, when we failed to finish the job. When Barker arrives in Kabul, foreign aid is at a record low, electricity is a pipe dream, and of the few remaining foreign troops, some aren’t allowed out after dark. Meanwhile, in the vacuum left by the U.S. and NATO, the Taliban is regrouping as the Afghan and Pakistani governments floun­der. Barker watches Afghan police recruits make a travesty of practice drills and observes the disorienting turnover of diplomatic staff. She is pursued romantically by the former prime minister of Pakistan and sees adrenaline-fueled col­leagues disappear into the clutches of the Taliban. And as her love for these hapless countries grows, her hopes for their stability and security fade. Swift, funny, and wholly original, The Taliban Shuffle unforgettably captures the absurdities and tragedies of life in a war zone.

    Then. Misbah is a dreamer and storyteller, newly married to Toufiq in an arranged match. After their young life is shaken by tragedy, they come to the United States and open the Cloud’s Rest Inn Motel, hoping for a new start. Juniper, California. Now. Salahudin and Noor are more than best friends; they are family. Growing up as outcasts in the small desert town of Juniper, California, they understand each other the way no one else does. Until The Fight, which destroys their bond with the swift fury of a star exploding. Now, Sal scrambles to run the family motel as his mother Misbah’s health fails and his grieving father loses himself to alcoholism. Noor, meanwhile, walks a harrowing tightrope: working at her wrathful uncle’s liquor store while hiding the fact that she’s applying to college so she can escape him—and Juniper—forever. When Sal’s attempts to save the motel spiral out of control, he and Noor must ask themselves what friendship is worth—and what it takes to defeat the monsters in their pasts and the ones in their midst. From one of today’s most cherished and bestselling young adult authors comes a breathtaking novel of young love, old regrets, and forgiveness—one that’s both tragic and poignant in its tender ferocity.

    The only clue is an enigmatic message in blood scrawled on the Coke machine. A series of murders follows. But in a country where half the population is hidden beneath chadors, tracking a murderer can be difficult.