It is divided into three parts: the first is introduced by a powerful prayer for the dead of 9/11; the second by a searching meditation on Martin Luther King Jr., and the last by a heart-wrenching eulogy for James Baldwin. In the writings and speeches included here, Morrison takes on contested social issues: the foreigner, female empowerment, the press, money, "black matter(s)," and human rights. She looks at enduring matters of culture: the role of the artist in society, the literary imagination, the Afro-American presence in American literature, and in her Nobel lecture, the power of language itself. And here too is piercing commentary on her own work (including The Bluest Eye, Sula, Tar Baby, Jazz, Beloved, and Paradise) and that of others, among them, painter and collagist Romare Bearden, author Toni Cade Bambara, and theater director Peter Sellars. In all, The Source of Self-Regard is a luminous and essential addition to Toni Morrison's oeuvre.

    For months Kantor and Twohey had been having confidential discussions with top actresses, former Weinstein employees and other sources, learning of disturbing long-buried allegations, some of which had been covered up by onerous legal settlements. The journalists meticulously picked their way through a web of decades-old secret payouts and nondisclosure agreements, pressed some of the most famous women in the world--and some unknown ones--to risk going on the record, and faced down Weinstein, his team of high-priced defenders, and even his private investigators. But nothing could have prepared them for what followed the publication of their Weinstein story. Within days, a veritable Pandora's Box of sexual harassment and abuse was opened, and women who had suffered in silence for generations began coming forward, trusting that the world would understand their stories. Over the next twelve months, hundreds of men from every walk of life and industry would be outed for mistreating their colleagues. But did too much change--or not enough? Those questions plunged the two journalists into a new phase of reporting and some of their most startling findings yet. With superlative detail, insight, and journalistic expertise, Kantor and Twohey take us for the first time into the very heart of this social shift, reliving in real-time what it took to get the story and giving an up-close portrait of the forces that hindered and spurred change. They describe the surprising journeys of those who spoke up--for the sake of other women, for future generations, and for themselves--and so changed us all.

    One of modern day's most articulate statesmen, Jawaharlal Nehru wrote a on a wide variety of subjects. Describing himself as "a dabbler in many things," he committed his life not only to politics but also to nature and wild life, drama, poetry, history, and science, as well as many other fields. These two volumes help to illuminate the depth of his interests and knowledge and the skill and elegance with which he treated the written word!!

    These have offered us problems and claimed their solutions from us, the penalty of non-fulfilment being death or degradation.

    It is the story of notorious gangsters like Haji Mastan, Karim Lala, Varadarajan Mudaliar, Chhota Rajan, Abu Salem, but above all, it is the story of a young man who went astray despite having a father in the police force. Dawood Ibrahim was initiated into crime as a pawn in the hands of the Mumbai police and went on to wipe out the competition and eventually became the Mumbai police’s own nemesis.The narrative encompasses several milestones in the history of crime in India, from the rise of the Pathans, formation of the Dawood gang, the first ever supari, mafia’s nefarious role in Bollywood, Dawood’s move to Karachi, and Pakistan’s subsequent alleged role in sheltering one of the most wanted persons in the world. This story is primarily about how a boy from Dongri became a don in Dubai, and captures his bravado, focus, ambition, and lust for power in a gripping narrative. The meticulously researched book provides an in-depth and comprehensive account of the mafia’s games of supremacy and internecine warfare.

    K. Narayan shares his life story, beginning in his grandmother's garden in Madras with his ferocious pet peacock. As a young boy with no interest in school, he trains grasshoppers, scouts, and generally takes part in life's excitements. Against the advice of all, especially his commanding headmaster father, the dreaming Narayan takes to writing fiction, and one of his pieces is accepted by Punch magazine (his "first prestige publication"). Soon his life includes bumbling British diplomats, curious movie moguls, evasive Indian officials, eccentric journalists, and "the blind urge" to fall in love. R. K. Narayan's larger-than-life perception of the human comedy is at once acute and forgiving, and always true to it.

    A cow stands inside, angled diagonally to fit. It doesn’t look uncomfortable, merely impatient. “It is for the housewarming ceremony on the third floor,” explains the woman who stands behind the cow, holding it loosely with a rope. She has the sheepish look of a person caught in a strange situation who is trying to act as normal as possible. She introduces herself as Sarala and smiles reassuringly. The door closes. I shake my head and suppress a grin. It is good to be back. When Shoba Narayan—who has just returned to India with her husband and two daughters after years in the United States—asks whether said cow might bless her apartment next, it is the beginning of a beautiful friendship between our author and Sarala, who also sells fresh milk right across the street from that thoroughly modern apartment building. The two women connect over not only cows but also family, food, and life. When Shoba agrees to buy Sarala a new cow, they set off looking for just the right heifer, and what was at first a simple economic transaction becomes something much deeper, though never without a hint of slapstick.The Milk Lady of Bangalore immerses us in the culture, customs, myths, religion, sights, and sounds of a city in which the twenty-first century and the ancient past coexist like nowhere else in the world. It’s a true story of bridging divides, of understanding other ways of looking at the world, and of human connections and animal connections, and it’s an irresistible adventure of two strong women and the animals they love.

    Childhood tells the story of a misfit child's single-minded determination to become a poet; Youth describes her early experiences of sex, work, and independence. Dependency picks up the story as the narrator embarks on the first of her four marriages and goes on to describe her horrible descent into drug addiction, enabled by her sinister, gaslighting doctor-husband.Throughout, the narrator grapples with the tension between her vocation as a writer and her competing roles as daughter, wife, mother, and drug addict, and she writes about female experience and identity in a way that feels very fresh and pertinent to today's discussions around feminism. Ditlevsen's trilogy is remarkable for its intensity and its immersive depiction of a world of complex female friendships, family and growing up--in this sense, it's Copenhagen's answer to Elena Ferrante's Neapolitan Novels. She can also be seen as a spiritual forerunner of confessional writers like Karl Ove Knausgaard, Annie Ernaux, Rachel Cusk and Deborah Levy. Her trilogy is drawn from her own experiences but reads like the most compelling kind of fiction.Born in a working-class neighborhood in Copenhagen in 1917, Ditlevsen became famous for her poetry while still a teenager, and went on to write novels, stories and memoirs before committing suicide in 1976. Having been dismissed by the critical establishment in her lifetime as a working-class, female writer, she is now being rediscovered and championed as one of Denmark's most important modern authors, with Tove fever gripping readers.

    Even the most arrogant female writer has to work over time to build an ego that is robust enough to get her through January, never mind all the way to December.' Deborah Levy

    Her old encounters with overdrawn bank accounts and oversized ambitions in the big city have given way to a new set of challenges. The first essay, "Matricide," opens without flinching:People who weren't there like to say that my mother died at home surrounded by loving family. This is technically true, though it was just my brother and me and he was looking at Facebook and I was reading a profile of Hillary Clinton in the December 2009 issue of Vogue.Elsewhere, she carefully weighs the decision to have children—"I simply felt no calling to be a parent. As a role, as my role, it felt inauthentic and inorganic"—and finds a more fulfilling path as a court-appointed advocate for foster children. In other essays, she skewers the marriage-industrial complex and recounts a harrowing near-death experience following a sudden illness. Throughout, Daum pushes back against the false sentimentality and shrink-wrapped platitudes that surround so much of contemporary American experience and considers the unspeakable thoughts many of us harbor—that we might not love our parents enough, that "life's pleasures" sometimes feel more like chores, that life's ultimate lesson may be that we often learn nothing. But Daum also operates in a comic register. With perfect precision, she reveals the absurdities of the New Age search for the "Best Possible Experience," champions the merits of cream-of mushroom-soup casserole, and gleefully recounts a quintessential "only-in-L.A." story of playing charades at a famous person's home. Combining the piercing insight of Joan Didion with humor reminiscent of Nora Ephron's, Daum dissects our culture's most dangerous illusions, blind spots, and sentimentalities while retaining her own joy and compassion. Through it all, she dramatizes the search for an authentic self in a world where achieving an identity is never simple and never complete.

    Shantaram is narrated by Lin, an escaped convict with a false passport who flees maximum security prison in Australia for the teeming streets of a city where he can disappear.Accompanied by his guide and faithful friend, Prabaker, the two enter Bombay's hidden society of beggars and gangsters, prostitutes and holy men, soldiers and actors, and Indians and exiles from other countries, who seek in this remarkable place what they cannot find elsewhere.As a hunted man without a home, family, or identity, Lin searches for love and meaning while running a clinic in one of the city's poorest slums, and serving his apprenticeship in the dark arts of the Bombay mafia. The search leads him to war, prison torture, murder, and a series of enigmatic and bloody betrayals. The keys to unlock the mysteries and intrigues that bind Lin are held by two people. The first is Khader Khan: mafia godfather, criminal-philosopher-saint, and mentor to Lin in the underworld of the Golden City. The second is Karla: elusive, dangerous, and beautiful, whose passions are driven by secrets that torment her and yet give her a terrible power.Burning slums and five-star hotels, romantic love and prison agonies, criminal wars and Bollywood films, spiritual gurus and mujaheddin guerrillas—this huge novel has the world of human experience in its reach, and a passionate love for India at its heart. Based on the life of the author, it is by any measure the debut of an extraordinary voice in literature.

    It’s as strange, beautiful and unexpected, as precise and exquisite in its movings, as bees in a hive. I loved it' HELEN MACDONALD, author of H IS FOR HAWKA fascinating, insightful and inspiring account of a novice beekeeper's year of keeping honeybees, which will appeal to readers of H is For Hawk and The Outrun Entering her thirties, Helen Jukes feels trapped in an urban grind of office politics and temporary addresses – disconnected, stressed. Struggling to settle into her latest job and home in Oxford, she realises she needs to effect a change if she’s to create a meaningful life for herself, one that can accommodate comfort and labour and love. Then friends give her the gift of a colony of honeybees – according to folklore, bees freely given bring luck – and Helen embarks on her first full year of beekeeping. But what does it mean to ‘keep’ wild creatures? In learning about the bees, what can she learn of herself? And can travelling inside the hive free her outside it?   As Helen grapples with her role in the delicate, awe-inspiring ecosystem of the hive, the very act of keeping seems to open up new perspectives, deepen friendships old and new, and make her world come alive.  A Honeybee Heart Has Five Openings is at once a fascinating exploration of the honeybee and the hive, the practices of honey-gathering and the history of our observation of bees; and a beautifully wrought meditation on responsibility and care, on vulnerability and trust, on forging bonds and breaking new ground.

    Between Em, the mother, driven frequently to hospital after her failed suicide attempts, and The Big Hoom, the father, trying to hold things together as best he could, they tried to be a family.

    None of this felt right; and as she got older, she longed for more stories that allowed disability to be complex and ordinary, uncomfortable and fine, painful and fulfilling.Writing about the rhythms and textures of what it means to live in a body that doesn’t fit, Rebekah reflects on everything from the complications of kindness and charity, living both independently and dependently, experiencing intimacy, and how the pervasiveness of ableism in our everyday media directly translates to everyday life.Disability affects all of us, directly or indirectly, at one point or another. By exploring this truth in poignant and lyrical essays, Taussig illustrates the need for more stories and more voices to understand the diversity of humanity. Sitting Pretty challenges us as a society to be patient and vigilant, practical and imaginative, kind and relentless, as we set to work to write an entirely different story.

    For Jhumpa Lahiri, that love was for Italian, which first captivated and capsized her during a trip to Florence after college. And although Lahiri studied Italian for many years afterward, true mastery had always eluded her. So in 2012, seeking full immersion, she decided to move to Rome with her family, for “a trial by fire, a sort of baptism” into a new language and world. In Rome, Lahiri began to read, and to write—initially in her journal—solely in Italian. In Other Words, an autobiographical work written in Italian, investigates the process of learning to express oneself in another language, and describes the journey of a writer seeking a new voice. Presented in a dual-language format, it is a book about exile, linguistic and otherwise, written with an intensity and clarity not seen since Nabokov. A startling act of self-reflection and a provocative exploration of belonging and reinvention.