Chanakya who was born around 3rd BC in Bharat (now Hindustan), astute, shrewd and ruthless political master. Equally selfless and patriotic teacher who politically united the small states post invasion of Greeks and reclaimed the boundaries of Bharat stretching from Puruvarsha (Persia, now Iran), Gansthan (now Afghanistan) to far east of Magadh (Bihar state). We know Chanakya for his Niti-shashtras, for his voluminous work on economy, maxims of wisdom and intelligence. But we do not know much about minute details with which he governed the country at that time. We do not know, during his time of around 3rd BCE, at how much advance stage the economy, public life, administration, industries, defence mechanisms, taxations, public-private partnerships, foreign policy, judicial systems, banking and accounting systems ….. were there in India. It seems, they all were in more than perfect stage compared to present scenario factoring advancement in science and technology etc. We will look at each of them one by one. In this book, “Chanakya Niti on Corruption”, we will take a look at corruption. What Chanakya thinks about sources of corruption, ways of finding about corruption, judgements and punishments of corruptions etc. Chanakya knows very well that just like it is impossible to know when and how much water a fish drinks, it is utmost difficult to know how much money government officials steal away while in charge of it. Knowing human nature which succumbs to greed, fear, lust, anger or any such tamas gunas, and indulges in acts of corruption to accumulate wealth in the country or outside. Chanakya keeps eye on conduct and life style of not only ministers, but all levels of the government officials too. Chanakya takes multi pronged approach to tackle and eradicate corruption. He knows that by establishing one department to tackle corruption problems are not going to be solved, instead will increase many fold later when that department itself becomes corrupt eventually. He relies on spying, continuous intelligence gathering, harsh punishments leading to deaths, rewards who bring to notice acts of corruptions by officials etc, promotions and rewards to who do their job righteously. Not only that, 3rd century BC, do you imagine there were clear cut rules and guidelines how to write account books, !. At that time, he knew that what impact it creates on overall economy and nation building, if sanctioned amount for projects are not utilised actually? Chanakya knows corruption is contiguous, and he tackles such problems too with well laid out and practical laws to follow at that time. Looking at the crux of the guidelines what Chanakya outlines, it seems that essence of those laws are applicable still today with more verbatim or expansion of words to suite and cover present scenarios. But, the essence remains same. He knew that in corruption free country, trade and business, entrepreneurship and industries flourishes and so overall wealth, health and security of the nation. I hope reading this book "Chanakya Niti on Corruption", will open up a window to explore further on how an Indian political guru administered this nation 3rd century BCE.

    A short critical essay which considers the significance of the title.

    Meanwhile, all's not well on the unassuming Midwestern streets of Bloggs: with local children vanishing at an alarming rate, our hero, his lady friend, and a motley assortment of poets, butchers, and punk librarians prepare to battle the darkness on the edge of town.

    Christianity has swept unstoppably across Scandinavia, leaving few enclaves of the old ways clinging on to their fading world as King Olof of Sweden works to convert his people.A young warrior, Halfdan, has witnessed the ‘mercy’ of the Christian lords, watched his people attacked, his village burned and the Odin stone toppled as heretical. Watched his father cut down by an ambitious Christian jarl and his zealous priest. Among the ashes of his world he vowed an oath of vengeance before all the gods.That oath will bring together an unlikely band of allies and carry them to the very edge of the world, fighting giants, dragons and wraiths, in pursuit of his father’s killer: Yngvar. The jarl is powerful, and the weaving of Fate difficult, but the blood price must be paid.

    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.

     The greatest villain of our legends, burnt down every year, reduced to ashes again and again, only to rise anew. His is a cycle of death and rebirth that never ends, a legend that refuses to die. And there is a reason for that. The tale of Rāvan still screams to be told, to break free of the falsehoods that have buried his truth. But in the vastness of our myths, there are bits and pieces of his legend scattered all around, leading us to the truth of what could well be the greatest unsolved mystery of all time. The truth of Rāvan's life, and his death by a God in mortal flesh… Rāvan's origin, as the descendant of Lord Brahma, his devotion to Shiva and his conquest of Swarga speak of a great king, stronger and wiser than even the Devas. How then does he succumb to lust, cowardice and finally, foolhardiness? And what was Rāvan's sin that made his death necessary? The abduction of Sitā was a mere front, for the Rām avatar had been born long before that. Why did Vishnu stand against him, when he was blessed by both Shiva and Brahma? How was Rāvan, blessed with invincibility, defeated so conveniently, by a God in human flesh? Could Rāvan not have thought of that, and prepared against it? And why did Shiva allow the death of his greatest worshipper, the one he himself had named? What if the Rāmayan was just a part of a greater story, a cosmic game of chess between Vishnu and Rāvan? What if our greatest epic is merely the end of a tale that had begun long ago?"

    The essays in this collection compare Silko's many retellings of Yellow Woman stories from a variety of angles, looking at crucial themes like storytelling, cultural inheritances, memory, continuity, identity, interconnectedness, ritual, and tradition.This casebook includes an introduction by the editor, a chronology, an authoritative text of the story itself, critical essays, and a bibliography for further reading in both primary and secondary sources.  Contributors include Kim Barnes, A. LaVonne Ruoff, Paula Gunn Allen, Patricia Clark Smith, Bernard A. Hirsch, Arnold Krupat, Linda Danielson, and Patricia Jones.

    The play is a political satire, written as historical drama. Based on the life of Nana Phadnavis (1741–1800), one of the prominent ministers in the court of the Peshwa of Pune. Its theme is how men in power give rise to ideologies to serve their purposes, and later destroy them when they become useless.

    It seeks to clarify such questions as: does correctness matter?; and is it more important to speak fluently and write imaginatively or to communicate one's message?

    Kudos to the writer.” ~Rajeev Patel, an Amazon top 1000 reviewerSummary:Vedgarh, an ancient home of purebred Aryans, is a secret world in modern times where the chants of Vedic Mantras mingle with Acoustics and Applied Physics, the Maharathi warriors fight alongside Indian Army Veterans, and Ancient Daivi Astras join hands with modern Sonic Weapons. Gurukul, Vedgarh’s school, is the sole protector and preacher of sacred Vedic scriptures and Celestial powers. It is due to these powers that Vedgarh is the only corner of the universe where Dwapara Yuga persists even today. Vedgarh is in a continuous state of war with the rising dark powers of Kaliyuga: The Asuras. If Vedgarh falls, the Universe will drown in the darkness of Kaliyuga forever. Sitting on the verge of yet another war with Asuras, Vedgarh is suffering from a lack of warriors. Seeing no promising talents in the Gurukul, Vedgarh opens its gates for modern science and selects a few from the contemporary world to work on a grand mission: a mission to harmonize ancient Vedic powers with modern scientific miracles, to prepare an army of warriors equipped with ancient and modern techniques of fighting, and to invoke Daivi Astras (celestial weapons of Gods) using light and compact modern Sonic weapons. Get ready to witness Vedic Scholars, Physicists, Professors, Sacred Gurus, Ancient warriors, and Indian Army soldiers preparing for the greatest upcoming war of Daivi Astras in the history of mankind.

    The only way to save her is to track down the Key of Apollo, a key that hasn't been seen in thousands of yearsTo succeed, Lucy must embrace her destiny and overcome the Primordial Trials, tests set up by the gods themselves.So armed with little to no knowledge of the world of Iphigenesis, one best friend who trips over his own feet, and another who could get blown over by a strong breeze, Lucy is about to take on the challenges of the gods.What could possibly go wrong?For a limited time, pick up the The Key of Apollo for only $0.99!

    Something else.'A remote cabin on the cliffs, a man and a woman, and a moonless night.The River is a bewitching new play from the writer of the international smash-hit Jerusalem. It premiered at the Royal Court Theatre, London, in October 2012, in a production directed by Ian Rickson.Jez Butterworth's first play Mojo opened at the Royal Court, winning five awards including the Evening Standard and Critics' Circle Awards for Most promising Playwright and the Olivier Award for Best Comedy. His most recent play Jerusalem also premiered at the Royal Court, before taking the West End and Broadway by storm.

    . . . Hustle is full of dashing nerve, linguistic flair, and unfakeable heart."—Tony HoaglandThe dark peoples with things:for keys, coins, pencilsand pens our pockets grieve.No street lights or signs,no liquor stores or bars,only a lighter for a flashlight,and the same-faced trees,similar-armed stonesand crooked bushesstaring back at me.There is no path in the woods for a boy from the city.I would have set fire to get off this wildernessbut Palomar is no El Camino in an empty lot,the plastic dripping from the dashand the paint bubbling like a toad's throat.If mountains were old pieces of furniture,I would have lit the fabric and danced.If mountains were abandoned crack houses,I would have opened their meanings with flame,if that would have let the wind and trees lead my eyesor shown me the moon's tiptoe on the moss—as you effect my hand,as we walk into the side of a Sunday night.David Tomas Martinez has published in San Diego Writer's Ink, Charlotte Journal, Poetry International, and has been featured in Border Voices. A PhD candidate at the University of Houston, Martinez is also an editor for Gulf Coast.

    

    But things are not going as planned. He, instead, awakens a supreme evil and there’s only one way to save planet Earth.Abhay needs to decode a truth about a legendary Hindu God that even the Vedas were afraid to share. A truth that will change the destiny of the entire human race for once and all.The past is not far behind, and when an age-old conflict threatens the world yet again, Abhay is stuck in a race against time. Can he overcome the odds, or will fate finally take its revenge for the injustices long forgotten? Join Abhay on the quest to finish a story that started centuries ago as he unveils the truth behind the Shiva Origins!