Bhyrappa. Aavarana means enveloping or covering something. This novel deals with the historical period in Indian history when the Mogul Emperor Aurangzeb ruled most part of India. Aavarana was sold out even before its release in February 2007. The novel went on to create a record in the Indian literary world by witnessing 10 reprints within five months of its release. S.L.Bhyrappa says that 'Aavarana' is the result of his search for truth about history.

    The popularity of the book is so great that it has run into forty two impressions ever since it was originally published in the year 1951

    In the suburban streets of Calcutta where they wandered before dusk and in the hyacinth-strewn ponds where they played for hours on end, Udayan was always in his older brother's sight. So close in age, they were inseparable in childhood and yet, as the years pass - as U.S tanks roll into Vietnam and riots sweep across India - their brotherly bond can do nothing to forestall the tragedy that will upend their lives. Udayan - charismatic and impulsive - finds himself drawn to the Naxalite movement, a rebellion waged to eradicate inequity and poverty. He will give everything, risk all, for what he believes, and in doing so will transform the futures of those dearest to him: his newly married, pregnant wife, his brother and their parents. For all of them, the repercussions of his actions will reverberate across continents and seep through the generations that follow. Epic in its canvas and intimate in its portrayal of lives undone and forged anew, The Lowland is a deeply felt novel of family ties that entangle and fray in ways unforeseen and unrevealed, of ties that ineluctably define who we are. With all the hallmarks of Jhumpa Lahiri's achingly poignant, exquisitely empathetic story-telling, this is her most devastating work of fiction to date.

    This edition includes extensive notes on Indian myths, religion, social customs, and the Independence movement which fill out the background for the American reader's more complete understanding and enjoyment.

    More than forty years passed before Devi read Bengal Nights, the novel Eliade had fashioned out of their encounter, only to find small details and phrases, even her given name, bringing back episodes and feelings she had spent decades trying to forget. It Does Not Die is Devi's response. In part a counter to Eliade's fantasies, the book is also a moving account of a first love fraught with cultural tensions, of false starts and lasting regrets.Proud of her intelligence, Maitreyi Devi's father had provided her with a fine and, for that time, remarkably liberal education — and encouraged his brilliant foreign student, Eliade, to study with her. "We were two good exhibits in his museum," Devi writes. They were also, as it turned out, deeply taken with each other. When their secret romance was discovered, Devi's father banished the young Eliade from their home. Against a rich backdrop of life in an upper-caste Hindu household, Devi powerfully recreates the confusion of an over-educated child simultaneously confronting sex and the differences, not only between European and Indian cultures, but also between her mother's and father's view of what was right. Amid a tangle of misunderstandings, between a European man and an Indian girl, between student and teacher, husband and wife, father and daughter, she describes a romance unfolding in the face of cultural differences but finally succumbing to cultural constraints. On its own, It Does Not Die is a fascinating story of cultural conflict and thwarted love. Read together with Eliade's Bengal Nights, Devi's "romance" is a powerful study of what happens when the oppositions between innocence and experience, enchantment and disillusion, and cultural difference and colonial arrogance collide. "In two novels written forty years apart, a man and a woman tell stories of their love. . . . Taken together they provide an unusually touching story of young love unable to prevail against an opposition whose strength was tragically buttressed by the uncertainties of a cultural divide."—Isabel Colegate, New York Times Book Review"Recreates, with extraordinary vividness, the 16-year-old in love that she had been. . . . Maitreyi is entirely, disarmingly open about her emotions. . . . An impassioned plea for truth."—Anita Desai, New Republic"Something between a reunion and a duel. Together they detonate the classic bipolarities: East-West, life-art, woman-man."—Richard Eder, New York Newsday"One good confession deserves another. . . . Both books gracefully trace the authors' doomed love affair and its emotional aftermath."—Nina Mehta, Chicago Tribune

    Soon he finds himself looking for his wife as well in a netherworld that lies beneath the placid surface of Tokyo. As these searches intersect, Okada encounters a bizarre group of allies and antagonists: a psychic prostitute; a malevolent yet mediagenic politician; a cheerfully morbid sixteen-year-old-girl; and an aging war veteran who has been permanently changed by the hideous things he witnessed during Japan's forgotten campaign in Manchuria.Gripping, prophetic, suffused with comedy and menace, The Wind-Up Bird Chronicle is a tour de force equal in scope to the masterpieces of Mishima and Pynchon.Three books in one volume: The Thieving Magpie, Bird as Prophet, The Birdcatcher. This translation by Jay Rubin is in collaboration with the author.

    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.

    Here is their story as re-imagined by Thomas Pynchon, featuring Native Americans and frontier folk, ripped bodices, naval warfare, conspiracies erotic and political, major caffeine abuse. We follow the mismatch'd pair—one rollicking, the other depressive; one Gothic, the other pre-Romantic—from their first journey together to the Cape of Good Hope, to pre-Revolutionary America and back, through the strange yet redemptive turns of fortune in their later lives, on a grand tour of the Enlightenment's dark hemisphere, as they observe and participate in the many opportunities for insanity presented them by the Age of Reason.

    Desperate to leave a private tragedy behind, Maya abandons herself to the rhythms of the little village, where people coexist peacefully with nature. But all is not as it seems, and she soon learns that no refuge is remote enough to keep out the modern world. When power-hungry politicians threaten her beloved mountain community, Maya finds herself caught between the life she left behind and the new home she is determined to protect.

    The plot of the novel reveals the various dimensions of life in the backdrop of the Sannyasi Rebellion—such as the plight of the people wrecked by lack of food and hunger that drove them to the brink of cannibalism, the militant rebels, and women’s participation alongside their husbands. It is considered one of the most remarkable works of Bangla language and Indian literature. The rebellion was fought by the sannyasi’s or monks and the common multitudes who took up arms against the tyranny of the British colonisers and their excesses, especially taxes in such a time of privation. Bankim also gave us the song ‘Vande Mataram’ which became the rallying call for rebels. The first two stanzas eventually became the National song of India. One of the gems of Indian Literature, ‘Anandmath’ carries a deep sentiment of nationalism which was the essence of the freedom struggle.

    As Bonamy Dobree said, "It releases us into a different and quite complete world. Mr. Ahmed Ali makes us hear and smell Delhi...hear the flutter of pigeons’ wings, the cries of itinerant vendors, the calls to prayer, the howls of mourners, the chants of qawwals, smell jasmine and sewage, frying ghee and burning wood." The detail, as E.M. Forster said, is "new and fascinating," poetic and brutal, delightful and callous. First published by the Hogarth Press in 1940. Twilight in Delhi was widely acclaimed by critics and hailed in India as a major literary event. Long since considered a landmark novel, it is now available in the U.S. as a New Directions Classic. Twilight in Delhi has also been translated into French, German, Portuguese, Spanish, and Urdu.

    But when he sets out to find the author's other works, he makes a shocking discovery: someone has been systematically destroying every copy of every book Carax has written. In fact, Daniel may have the last of Carax's books in existence. Soon Daniel's seemingly innocent quest opens a door into one of Barcelona's darkest secrets--an epic story of murder, madness, and doomed love.--back cover

    Tower A is a relic from a co-operative housing society established in the 1950s. When a property developer offers to buy out the residents for eye-watering sums, the principled yet arrogant teacher is the only one to refuse the offer, determined not to surrender his sentimental attachment to his home and his right to live in it, in the name of greed. His neighbours gradually relinquish any similar qualms they might have and, in a typically blunt satirical premise take matters into their own hands, determined to seize their slice of the new Mumbai as it transforms from stinky slum to silvery skyscrapers at dizzying, almost gravity-defying speed.

    Jeo and Mikal are foster brothers from a small town in Pakistan. Though they were inseparable as children, their adult lives have diverged: Jeo is a dedicated medical student, married a year; Mikal has been a vagabond since he was fifteen, in love with a woman he can’t have. But when Jeo decides to sneak across the border into Afghanistan—not to fight with the Taliban against the Americans, rather to help care for wounded civilians—Mikal determines to go with him, to protect him. Yet Jeo’s and Mikal’s good intentions cannot keep them out of harm’s way. As the narrative takes us from the wilds of Afghanistan to the heart of the family left behind—their blind father, haunted by the death of his wife and by the mistakes he may have made in the name of Islam and nationhood; Mikal’s beloved brother and sister-in-law; Jeo’s wife, whose increasing resolve helps keep the household running, and her superstitious mother—we see all of these lives upended by the turmoil of war. In language as lyrical as it is piercing, in scenes at once beautiful and harrowing, The Blind Man’s Garden unflinchingly describes a crucially contemporary yet timeless world in which the line between enemy and ally is indistinct, and where the desire to return home burns brightest of all.

    1760) is one of the greatest novels of Chinese literature. The first part of the story, The Golden Days, begins the tale of Bao-yu, a gentle young boy who prefers girls to Confucian studies, and his two cousins: Bao-chai, his parents' choice of a wife for him, and the ethereal beauty Dai-yu. Through the changing fortunes of the Jia family, this rich, magical work sets worldly events - love affairs, sibling rivalries, political intrigues, even murder - within the context of the Buddhist understanding that earthly existence is an illusion and karma determines the shape of our lives.