The splendour of imperial Delhi flares one last time. The young daughter of a craftsman in the city elopes with an officer of the East India Company. And so we are drawn into the story of Wazir Khanam: a dazzlingly beautiful and fiercely independent woman who takes a series of lovers, including a Navab and a Mughal prince--and whom history remembers as the mother of the famous poet Dagh. But it is not just one life that this novel sets out to capture: it paints in rapturous detail an entire civilization.Beginning with the story of an enigmatic and gifted painter in a village near Kishangarh, The Mirror of Beauty embarks on an epic journey that sweeps through the death-giving deserts of Rajputana, the verdant valley of Kashmir and the glorious cosmopolis of Delhi, the craft of miniature painting and the art of carpet designing, scintillating musical performances and recurring paintings of mysterious, alluring women. Its scope breathtaking, its language beguiling, and its style sumptuous, this is a work of profound beauty, depth and power.

    As the thalaivar, or headman, of Chevathar, he seeks to preserve the village from both catastrophe and change, and the decisions he makes will mark his family for generations to come.A gripping family chronicle, The House of Blue Mangoes spans nearly half a century and three generations of the Dorai family as they search for their place in a rapidly changing society. The novel brings vividly to life a small corner of India, while offering a stark indictment of colonialism and reflecting with great poignancy on the inexorable social transformations of the subcontinent.

    Written immediately after the partition of the Indian subcontinent, the play is a profound meditation on the politics of violence and aggressive selfhood. The moral burden of the play is that every act of violence inevitably debases society as a whole. Alok Bhalla's translation captures the essential tension between the nightmare of self-enchantment, which the story of the Kauravas represents, and the ever-present possibility of finding a way out of the cycle of revenge into a redemptive ethicality.

    Umrigar illuminates how slowly we recover from unforgettable loss, how easily good intentions can turn evil, and how far a person will go to build a new world for those he loves.When Frank and Ellie Benton lose their only child, seven-year-old Benny, to a sudden illness, the perfect life they had built is shattered. Filled with wrenching memories, their Ann Arbor home becomes unbearable, and their marriage founders. But an unexpected job half a world away offers them an opportunity to start again. Life in Girbaug, India, holds promise—and peril—when Frank befriends Ramesh, a bright, curious boy who quickly becomes the focus of the grieving man's attentions. Haunted by memories of his dead son, Frank is consumed with making his family right—a quest that will lead him down an ever-darkening path with stark repercussions. Filled with satisfyingly real characters and glowing with local color, The Weight of Heaven is a rare glimpse of a family and a country struggling under pressures beyond their control. In a devastating look at cultural clashes and divides, Umrigar illuminates how slowly we recover from unforgettable loss, how easily good intentions can turn evil, and how far a person will go to build a new world for those he loves.

    Still above is Vaikuntha, heaven, abode of God.The doorkeepers of Vaikuntha are the twins, Jaya and Vijaya, both whose names mean 'victory'. One keeps you in Swarga; the other raises you into Vaikuntha.In Vaikuntha there is bliss forever, in Swarga there is pleasure for only as long as you deserve. What is the difference between Jaya and Vijaya? Solve this puzzle and you will solve the mystery of the Mahabharata.In this enthralling retelling of India's greatest epic, the Mahabharata originally known as Jaya, Devdutt Pattanaik seamlessly weaves into a single narrative plots from the Sanskrit classic as well as its many folk and regional variants, including the Pandavani of Chhattisgarh, Gondhal of Maharashtra, Terukkuttu of Tamil Nadu and Yakshagana of Karnataka.Richly illustrated with over 250 line drawings by the author, the 108 chapters abound with little-known details such as the names of the hundred Kauravas, the worship of Draupadi as a goddess in Tamil Nadu, the stories of Astika, Madhavi, Jaimini, Aravan and Barbareek, the Mahabharata version of the Shakuntalam and the Ramayana, and the dating of the war based on astronomical data.With clarity and simplicity, the tales in this elegant volume reveal the eternal relevance of the Mahabharata, the complex and disturbing meditation on the human condition that has shaped Indian thought for over 3000 years.

    A work of intricate beauty, it provides a unique insight into early Indian mythology, religion and culture. This selection of 18 of the hymns, chosen for their eloquence and wisdom, focuses on the enduring themes of creation, sacrifice, death, women, the sacred plant soma and the gods. Inspirational and profound, it provides a fascinating introduction to one of the founding texts of Hindu scripture, an awesome and venerable ancient work of Vedic ritual, prayer, philosophy, legend and faith.

    Hanumarathnam, a village healer with some renown as an astrologer, has approached her parents with a marriage proposal. In keeping with custom, he provides his prospective in-laws with his horoscope. The problem is that his includes a prediction, albeit a weak one, that he will die in his tenth year of marriage. Despite the ominous horoscope, Sivakami’s parents hesitate only briefly, won over by the young man and his family’s reputation as good, upstanding Brahmins. Once married, Sivikami and Hanumarathnam grow to love one another and the bride, now in her teens, settles into a happy life. But the predictions of Hanumarathnam’s horoscope are never far from her new husband’s mind. When their first child is born, as a strategy for accurately determining his child’s astrological charts, Hanumarathnam insists the midwife toss a lemon from the window of the birthing room the moment his child appears. All is well with their first child, a daughter, Thangam, whose birth has a positive influence on her father’s astrological future. But this influence is fleeting: when a son, Vairum, is born, his horoscope confirms that his father will die within three years.Resigned to his fate, Hanumarathnam sets himself to the unpleasant task of readying his household for his imminent death. Knowing the hardships and social restrictions Sivakami will face as a Brahmin widow, he hires and trains a servant boy called Muchami to help Sivakami manage the household and properties until Vairum is of age.When Sivakami is eighteen, Hanumarathnam dies as predicted. Relentless in her adherence to the traditions that define her Brahmin caste, she shaves her head and dons the white sari of the widow. With some reluctance, she moves to her family home to raise her children under the protection of her brothers, but then realizes that they are not acting in the best interests of her children. With her daughter already married to an unreliable husband of her brothers’ choosing, and Vairum’s future also at risk, Sivakami leaves her brothers and returns to her marital home to raise her family.With the freedom to make decisions for her son’s future, Sivakami defies tradition and chooses to give him a secular education. While her choice ensures that Vairum fulfills his promise, it also sets Sivakami on a collision course with him. Vairum, fatherless in childhood, childless as an adult, rejects the caste identity that is his mother’s mainstay, twisting their fates in fascinating and unbearable ways.

    This novel tells the story of the atmosphere in the small house where they live. Chaudhuri writes precisely and carefully trying to capture in the rhythms of his prose the faded happiness of things, the strange, pure remembered moments

    Life revolves around his family: Mama, Papa, sister Shahnaz, brothers Adil and Akhtar and, his favourite, older brother Bilal. It also revolves around Munnu’s two favourite things – sugar and drawing.But Munnu’s is a childhood experienced against the backdrop of conflict. Bilal’s classmates are crossing over into the Pakistan-administered portion of Kashmir to be trained to resist the ‘occupation’; Papa and Bilal are regularly taken by the military to identification parades where informers will point out ‘terrorists’; Munnu’s school is closed; close neighbours are killed and the homes of Kashmiri Hindu families lie abandoned, as once close, mixed communities have ruptured under the pressure of Kashmir’s divisions.Munnu is an amazingly personal insight into everyday life in Kashmir. Closely based on Malik Sajad’s own childhood and experiences, it is a beautiful, evocatively drawn graphic novel that questions every aspect of the Kashmir situation – the faults and responsibilities of every side, the history of the region, the role of Britain and the West, the possibilities for the future. It opens up the story of this contested and conflicted land, while also giving a brilliantly close, funny and warm-hearted portrait of a boy’s childhood and coming-of-age.

    She thinks the woman who wore it must have possessed a wild sexual nature. A feeling of companionship envelops her; the sexual lives of the two women begin to mingle and blur.In Hypnosis, another young woman-a TV journalist on perpetual night duty-has an unconsummated but passionate affair with a famous musician that leaves her shattered. In the nightmarish sequence of events that follows, she allows herself to be hypnotized and drugged to aid her search for love.Exposing our darkest desires and deepest fears when it comes to love, the effect of Sangeeta Bandyopadhyay's ferocious storytelling is deliciously anarchic and deeply unsettling.

    This selection features twenty-one of the very best stories from the region.Here, the reader will find one of Rabindranath Tagore’s most revered stories ‘The Kabuliwallah’ in a glinting new translation, memorable studies of ordinary people from Tarashankar and Bibhutibhushan Bandyopadhyay, the iconic Sarat Chandra Chattopadhyay’s wrenching study of Bengali society, ‘Mahesh’, as well as over a dozen other astounding stories by some of the greatest practitioners of the form—Buddhadeva Bose, Ashapurna Debi, Premendra Mitra, Satyajit Ray, Ritwik Ghatak, Mahasweta Devi, Sunil Gangopadhyay and Nabarun Bhattacharya, among others. These are stories of anger, loss, grief, disillusionment, magic, politics, trickery, humour and the darkness of mind and heart. They reimagine life in ways that make them unforgettable.

    It is written around 200BC by the great Hindu Scholar Pandit Vishnu Sharma. Panchatantra means "the five books". It is a "Nitishastra" which means book of wise conduct in life. The book is written in the form of simple stories and each story has a moral and philosophical theme which has stood the test of time in modern age of atomic fear and madness. It guides us to attain success in life by understanding human nature. Panchatantra is commonly available in an abridged form written for children. Here is the complete translation of the book as written by Vishnu Sharma.

    This collection features his best-known work: the great poem Meghadutam (The Cloud Messenger), a haunting depiction of longing and separation; the play Sakuntala, which describes the troubled love between a Lady of Nature and King Duhsanta; and the poem Rtusamharam (The Gathering of the Seasons), an exuberant observation of the sheer variety of the natural world as it teems with the energies of the great god Siva.

    Written when the author was seventeen, it brilliantly describes the hopes and passions that capture young minds and hearts. A moving tale of love and friendship, it has endured as Bond’s most beloved novel.

    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.