In this Annual Gandhi Lecture for the International Association of Gandhian Studies, Mark Shepard tackles some persistently wrong-headed views of Gandhi, offering us a more accurate picture of the man and his nonviolence.///////////////////////////////////////////////// Mark Shepard is the author of "Mahatma Gandhi and His Myths," "The Community of the Ark," and "Gandhi Today," called by the American Library Association's Booklist "a masterpiece of committed reporting." His writings on social alternatives have appeared in over 30 publications in the United States, Canada, England, Norway, Germany, the Netherlands, Switzerland, Japan, and India. ///////////////////////////////////////////////// SAMPLE I suspect that most of the myths and misconceptions surrounding Gandhi have to do with nonviolence. For instance, it's surprising how many people still have the idea that nonviolent action is passive. It's important for us to be clear about this: There is nothing passive about Gandhian nonviolent action. I'm afraid Gandhi himself helped create this confusion by referring to his method at first as "passive resistance," because it was in some ways like techniques bearing that label. But he soon changed his mind and rejected the term. Gandhi's nonviolent action was not an evasive strategy nor a defensive one. Gandhi was always on the offensive. He believed in confronting his opponents aggressively, in such a way that they could not avoid dealing with him. But wasn't Gandhi's nonviolent action designed to avoid violence? Yes and no. Gandhi steadfastly avoided violence toward his opponents. He did not avoid violence toward himself or his followers. Gandhi said that the nonviolent activist, like any soldier, had to be ready to die for the cause. And in fact, during India's struggle for independence, hundreds of Indians were killed by the British. The difference was that the nonviolent activist, while willing to die, was never willing to kill. Gandhi pointed out three possible responses to oppression and injustice. One he described as the coward's way: to accept the wrong or run away from it.

    Ambassador Prabhu Dayal shares his recollections of that period and keeps you laughing throughout his account of the bumpy ride of Pakistan’s domestic politics and its relationship with India. He tells you how a Sahiwal cow was brought into the equation, and where an elephant comes in.He says, ‘The past, the present and the future are in one continuous motion. Whatever I witnessed in Pakistan during Zia’s rule extends its long shadow not only over the present times but will do so well into the future also’. He poses the ultimate question whether the two South Asian giants can live as friends, offering his own suggestions.

    The very same morning, Karthik, an up and coming young businessman is found shot dead in his car in the middle of the road — the only witness to the incident being his employee Drishti who was in the car with him at the time. The responsibility of getting behind the root of both incidents falls on Inspector Satyajit, an intrepid and honest police officer, and his team who get cracking on both cases immediately. But as the investigation proceeds further, the incidents and the stories of those involved get increasingly confused and murkier. What illegal deals was Karthik involved in? Did these deals cause his untimely death? How is all this connected to the housewife who was killed the same morning? What is the part played by the mysterious Gun Club in all these events? Follow Satyajit as he attempts to uncover these dubious questions.

    But Gregor Muir knew them at the start; his unique memoir chronicles the birth of Young British Art. Muir, YBA’s ‘embedded journalist’, happened to be in Shoreditch and Hoxton before Jay Jopling arrived with his White Cube Gallery, when this was still a semi-derelict landscape of grotty pubs and squats. There he witnessed, amid a whirl of drunkenness, scrapes and riotous hedonism, the coming-together of a remarkable array of young artists – Hirst, the Chapman brothers, Rachel Whiteread, Sam Taylor-Wood, Angus Fairhurst - who went on to produce a fresh, irreverent, often notorious form of art - Hirst’s shark, Sarah Lucas’s two fried eggs and a kebab. By the time of the seminal Sensation show at the Royal Academy YBA had changed the art world for ever.

    India tested a nuke just months earlier, and Pakistan is desperate to acquire a few for themselves. Unfortunately for Bhutto, Pakistan’s Prime Minister, his scientists are nowhere close to building a nuclear weapon.Capt. Sablok, an intelligence analyst, is convinced that the Pakistani agent in Europe is passing sensitive weapons technology to back to Pakistan.But his evidence is weak. His inexperience and reputation for alcoholism conspire against him, and his Section Chief declines to authorise an operation.Sablok, however, has finally found a sense of purpose after two miserable years, and he will not give up without a fight. The only other person he trusts in R&AW is a washed-up Case Officer who was an outstanding field agent once.But can the two of them rein the ISI in before Pakistan steals all the technology it needs?

    Ballroom dancing, flying fighter planes, detonating bombs, skinning and eating snakes in times of dire need, and everything else in between—there’s nothing our officers can’t do!Read twenty-one nail-biting stories of daring. Hear from some amazing men and women about what the forces have taught them—and decide if the olivegreen uniform is what you want to wear too.

    In Toscanelli's map, used by Columbus as the basis of his voyages, “Cipango” occupies a prominent place to the east of Asia, with no American continent between it and Europe. It was the aim of Columbus, and of many subsequent explorers, to find a route to this reputedly rich island and to the eastern shores of Asia. The latitude of the most northern point of Yezo is 45° 35', and the latitude of the most southern point of Kyushu is 31°. The longitude of the most eastern point of Yezo is 146° 17', and the longitude of the most western point of Kyushu is 130° 31'. The four principal islands therefore extend through 14° 35' of latitude and 15° 46' of longitude. The empire consists of four large islands and not less than three thousand small ones. Some of these small islands are large enough to constitute distinct provinces, but the greater part are too small to have a separate political existence, and are attached for administrative purposes to the parts of the large islands opposite to which they lie. The principal island is situated between Yezo on the north and Kyushu on the south. From Omasaki, the northern extremity at the Tsugaru straits, to Tokyo, the capital, the island runs nearly north and south a distance of about 590 miles, and from Tokyo to the Shimonoseki straits the greatest extension of the island is nearly east and west, a distance of about 540 miles. That is, measuring in the direction of the greatest extension, the island is about 1130 miles long. The width of the island is nowhere greater than two hundred miles and for much of its length not more than one hundred miles. The second largest island is Yezo, lying northeast from the Main island and separated from it by the Tsugaru straits. Its longest line is from Cape Shiretoko at its northeast extremity to Cape Shira-kami on Tsugaru straits, about 350 miles; and from its northern point, Cape Soya on the La Perouse straits to Yerimosaki, it measures about 270 miles. The centre of the island is an elevated peak, from which rivers flow in all directions to the ocean. Hakodate the principal port is situated on Tsugaru straits and possesses one of the most commodious harbors of the empire

    The images were taken when Banksy joined Bristol's radical football team The Easton Cowboys on a tour of Mexico to play football against the Zapatista freedom fighters. The new edition also contains sections on the Banksy vs Bristol Museum show, Exit Through The Gift Shop, The Tesco Value Petrol Bomb, an interview with John Nation and more. The book is a celebration of Banksy's street art in his home city of Bristol and places him in the context of 3D, John Nation from the Barton Hill Youth Club, Inkie, Nick Walker and the other artists and musicians who were instrumental in linking Bristol to the original New York hip-hop scene. It is the most revealing account of Banksy's formative years and contains more than one hundred images of his Bristol art, as well as pictures of Banksy at work, many of which have never been published before. Steve Wright, traces Banksy's roots back to the rave culture of the Nineties and draws a rounded picture of an artist who is most famous for being anonymous.

    When alcoholism destroyed her marriage she decided to spend seven months in exotic South East Asia doing everything she shouldn’t.With only her backpack and a broken heart, Julie found herself dancing all night at Thailand’s famous Full Moon Party, crashing her scooter, eating happy pizza, kissing gorgeous men with accents, hitchhiking, breaking into national monuments, and couch surfing all over India, Sri Lanka, and Thailand. A 10 day silent meditation retreat finally connected Julie with the deep inner reserves that allowed her to grieve and break with her past. She realized that even if her life is a train wreck all she has to do is face in the right direction and keep walking. Brave, brutally honest, sexy, and laugh-out-loud funny, Travel, Sex, and Train Wrecks is the story of one young woman’s first steps towards living, loving, and praying on her own terms.

    Why should His Holiness not have a cat?‘If only she could speak,’ continued the actress. ‘I’m sure she’d have such wisdom to share.’And so the seed was planted . . . I began to think that perhaps the time had come for me to write a book of my own—a book that would convey some of the wisdom I’ve learned sitting not at the feet of the Dalai Lama but even closer, on his lap. A book that would tell my own tale . . . how I was rescued from a fate too grisly to contemplate to become the constant companion of a man who is not only one of the world’s greatest spiritual leaders and a Nobel Peace Prize Laureate but also a dab hand with a can opener.” Starving and pitiful, a mud-smeared kitten is rescued from the slums of New Delhi and transported to a life she could have never imagined. In a beautiful sanctuary overlooking the snow-capped Himalayas, she begins her new life as the Dalai Lama’s cat.Warmhearted, irreverent, and wise, this cat of many names opens a window to the inner sanctum of life in Dharamsala. A tiny spy observing the constant flow of private meetings between His Holiness and everyone from Hollywood celebrities to philanthropists to self-help authors, the Dalai Lama’s cat provides us with insights on how to find happiness and meaning in a busy, materialistic world. Her story will put a smile on the face of anyone who has been blessed by the kneading paws and bountiful purring of a cat.

    Based on the present political situation in Kashmir valley.

    Tezuka evidences his profound grasp of the subject by contextualizing the Buddha’s ideas; the emphasis is on movement, action, emotion, and conflict as the prince Siddhartha runs away from home, travels across India, and questions Hindu practices such as ascetic self-mutilation and caste oppression. Rather than recommend resignation and impassivity, Tezuka’s Buddha predicates enlightenment upon recognizing the interconnectedness of life, having compassion for the suffering, and ordering one’s life sensibly. Philosophical segments are threaded into interpersonal situations with ground-breaking visual dynamism by an artist who makes sure never to lose his readers’ attention.Tezuka himself was a humanist rather than a Buddhist, and his magnum opus is not an attempt at propaganda. Hermann Hesse’s novel or Bertolucci’s film is comparable in this regard; in fact, Tezuka’s approach is slightly irreverent in that it incorporates something that Western commentators often eschew, namely, humor.

    Saadiq Haider, a renowned gene therapist and professor at Stanford University, receives a phone call that changes his life. Abandoning his duties and responsibilities, Saadiq hurriedly boards a flight bound for India, embarking on a journey that spans thousands of miles and pulls him back into a past Saadiq thought long-buried. Seated next to him on the flight, Anne Miller—an intrepid journalist with a nose for headline news—senses the reclusive genius has a story to tell.During the flight, Anne manages to break through Saadiq’s hard exterior and listens, rapt, as he unfurls a tale fraught with love and heartbreak.His story transports Anne back in time to a small, sleepy town nestled in the mountains of northern India, where Saadiq spent his childhood. Through Saadiq’s narrative, Anne meets Maryam and witnesses the friendship between Maryam and Saadiq mature into an intense love; a love that is tested when tragedy strikes and the lovers are separated. Try as they might, their devotion is no match against the workings of fate, and the tighter Saadiq and Maryam cling to one another, the faster they slip apart.Now, after two decades of trying to forget his past with alcohol and drug abuse, Saadiq tells Anne that fate has acted again; Maryam is the hospital, her condition critical. When their plane lands in India, the newfound friends part ways and while Saadiq rushes to Maryam’s side, Anne returns to her life, grateful to have met the enigmatic man.Months later, Anne learns that after wrenching Maryam from the indomitable grip of death, Saadiq took her back to America, where they finally married. But, her assumption that the greatest love story she had ever known would end happily is shattered when Anne receives devastating news.

    An Alaskan alone—and lonely—in Japan, she begins to pay attention.My Year of Dirt and Water is a record of that journey. Allowed only occasional and formal visits to see her cloistered husband, Tracy teaches English, studies Japanese, and devotes herself to making pottery. Her teacher instructs her to turn cup after cup—creating one failure after another. Past and present, East and West intertwine as Tracy is twice compelled to return home to Alaska to confront her mother’s newly diagnosed cancer and the ghosts of a devastating childhood. Revolving through the days, My Year of Dirt and Water circles hard questions: What is love? What is art? What is practice? What do we do with the burden of suffering? The answers are formed and then unformed—a ceramic bowl born on the wheel and then returned again and again to dirt and water.

    One of this platoon’s section commanders was a 20-year old regular soldier called Bob Kearney, who led a series of deadly patrols, operating in isolation and extreme danger ahead of the main Australian forces.