Everything changes for Aster the night her brother dies. Suddenly she's the only hope of the family, and instead of an early marriage to a boy from her small village in Pakistan, her parents decide to send her to the government high school in her brother's place. Aster is excited about this unexpected opportunity for a career, but, as a Christian, she is unprepared her for the difficulties of attending a Muslim school: her fellow students are far from welcoming and one of her teachers takes an instant dislike to her. One day, she is accused of intentionally making a spelling mistake to insult the holy prophet. Her teacher is incensed and accuses her of blasphemy. A violent crowd forms outside the school and Aster is taken to jail to be tried at a later date.A young social justice lawyer takes up her case, and Aster's Australian cousin, Maryam, starts an online campaign to free Aster. But will it be enough to save her?

    Historians have underestimated the role of British strategic interests: fears about the USSR's control of Middle Eastern oil wells and access to the Indian Ocean. New material on figures like Gandhi, Jinnah, Mountbatten, Churchill, Attlee, Wavell, and Nehru are offered.

    Richards stresses the dynamic quality of Mughal territorial expansion, their institutional innovations in land revenue, coinage and military organization, ideological change and the relationship between the emperors and Islam. He also analyzes institutions particular to the Mughal empire, such as the jagir system, and explores Mughal India's links with the early modern world.

    His groundbreaking work explores India's sexual fantasies and ideals, the "unlit stage of desire where so much of our inner theater takes place."Kakar's sources are primarily textual, celebrating the primacy of the story in Indian life. He practices a cultural psychology that distills the psyches of individuals from the literary products and social institutions of Indian culture. These include examples of lurid contemporary Hindi novels; folktales; Sanskrit, Tamil, and Hindi proverbs; hits of the Indian cinema; Gandhi's autobiography; interviews with women from the slums of Delhi; and case studies from his own psychoanalytic practice. His attentive readings of these varied narratives from a vivid portrait of sexual fantasies and realities, reflecting the universality of sexuality as well as cultural nuances specific to India.Moving from genre to genre, Kakar offers a brilliant reading of verses from the Laws of Manu, the original source of Hindu religious laws, to uncover their psychological foundations—male terror of the female sexual appetite that shields itself by idealizing women's maternal role. Kakar also examines the psychosexual history of Gandhi at length, though his near-lifelong celibacy makes him an atypical subject. Gandhi's story is universal, Kakar says, because "we all wage war on our wants."In India's lore and tradition, complex symbols abound—snakes that take the shape of sensual women or handsome men, celibates sleep with naked women, gods rape their daughters, and a goddess fries a king in oil. With the analyst's "third ear," Kakar listens, decodes, and translates the psychological longings that find expression in Indian sexual relations.

    The Shilappadikaram has been called an epic and even a novel, but it is also a book of general education. Adigal packed his story with information: history merging into myth, religious rites, caste customs, military lore, descriptions of city and country life. And four Cantos are little anthologies of the poetry of the period (seashore and mountain songs, hunters’ and milkmaid’s song). Thus the story gives us a vivid picture of early Indian life in all its aspects.

    It takes the reader on a journey through the lives of minstrels and storytellers; weavers, potters, ironsmiths and carvers; farmers and cooks; and poet rebels.Find out how these men and women shaped Indian civilization and made it richer with their skills and their wondrous innovations. From the first storytellers who wove tales of great imagination and then passed them down generations, to skilled workers who discovered how to weave cotton or created marvelous works of art like the Chola bronzes; from the farmers who fed everyone and even adopted new seeds and crops that have become staples now to poet rebels like Kabir and Guru Nanak who changed society with love and songs.Concise yet filled with relevant details and accompanied by attractive colour illustrations, the Exploring India series will make history fascinating and unforgettable for every reader.

    Peeling away notions of a rigid pre-modern Islamic gender system, Afsaneh Najmabadi provides a compelling demonstration of the centrality of gender and sexuality to the shaping of modern culture and politics in Iran and of how changes in ideas about gender and sexuality affected conceptions of beauty, love, homeland, marriage, education, and citizenship. She concludes with a provocative discussion of Iranian feminism and its role in that country's current culture wars. In addition to providing an important new perspective on Iranian history, Najmabadi skillfully demonstrates how using gender as an analytic category can provide insight into structures of hierarchy and power and thus into the organization of politics and social life.

    But as all our lives become increasingly entwined with our online presence, British Muslims are taking to social media to carve their own narratives and tell their own stories, challenging stereotypes along the way. Follow Me, Akhi explores how young Muslims in Britain are using the internet to determine their own religious identity, both within their communities and as part of the country they live in. Entering a world of Muslim dating apps, social media influencers, online preachers, and LGBTQ and ex-Muslim groups, journalist Hussein Kesvani explores how British Islam has evolved into a multi-dimensional cultural identity that goes well beyond the confines of the mosque. He shows how a new generation of Muslims who have grown up in the internet age use blogs, vlogging, and tweets to define their religion on their terms—something that could change the course of 'British Islam' forever.

    Chandragupta Vikramaditya has a special place in history because he proved that the love of power is not all that is needed to create an empire. Also needed are the love of a wise w

    This book examines the sources of royal women's power and assesses the reactions of contemporaries, which ranged from loyal devotion to armed opposition. By examining political action in the context of household networks, Leslie Peirce demonstrates that female power was a logical, indeed an intended, consequence of political structures. Royal women were custodians of sovereign power, training their sons in its use and exercising it directly as regents when necessary. Furthermore, they played central roles in the public culture of sovereignty--royal ceremonial, monumental building, and patronage of artistic production. The Imperial Harem argues that the exercise of political power was tied to definitions of sexuality. Within the dynasty, the hierarchy of female power, like the hierarchy of male power, reflected the broader society's control for social control of the sexually active.

    History has already begun its steady march. Six native women clad in black and scarlet pichauras huddle around Naineetal Lake, attempting to cleanse it of threatening new influences. For, these are the days of Upper Mall Road (for Europeans and their horses) and Lower Mall Road (‘for dogs, servants and other Indians’). And this is the story of feisty young Tilottama Dutt, whose uncle hangs when he protests the reigning order—and her daughter, Deoki, who will confront change as Indians and as women. Things to Leave Behind brings alive the romance of the mixed legacy of British-Indian past. Full of the fascinating backstory of Naineetal and its unwilling entry into Indian history, throwing a shining light on the elemental confusion of caste, creed and culture, illuminated with painstaking detail, here is a fascinating historical epic and Namita Gokhale’s most ambitious novel yet.

    But even after her death, Savitri remains in the house, invisible yet constantly audible. Gradually, the inmates begin to rely on Savitri’s voice to have their lives managed.One day, Savitri falls silent. Soon afterwards, Moom, a young girl of 11 or 12 mysteriously appears in Agarwal House. And her arrival reveals several secrets.

    In the centuries before the British Raj, when the Mughals were the preeminent power in the subcontinent, a wide array of migrants known as ‘firangis’ made India their home. In this book, Jonathan Gil Harris, a twenty-first-century firangi, tells their stories. These gripping accounts are of healers, soldiers, artists, ascetics, thieves, pirates and courtesans who were not powerful or privileged. Often they were escaping poverty or religious persecution; many were brought here as slaves; others simply followed their spirit of adventure. Some of these migrants were absorbed into the military. Others fell in with religious communities—the Catholics of Rachol, the underground Jews of Goa, the fakirs of Ajmer, the Sufis of Delhi. Healers from Portugal and Italy adapted their medical practice in accordance with local traditions. Gifted artisans from Europe joined Akbar’s and Jahangir’s royal ateliers, and helped create enduring works of art. And though almost invisible within the archival record, some migrant women such as the Armenian Bibi Juliana and the Portuguese Juliana Dias da Costa found a home in royal Mughal harems. Jonathan Gil Harris uses his own experience of becoming Indian through the process of acclimatizing to the country’s culture, customs, weather, food, clothes and customs to bring the stories of these shadowy figures to vivid life.

    This Amar Chitra Katha tells some of the tales that depict Indra's bravery, his generosity and also, his occasional arrogance.

    Kalidasa, the greatest of Sanskrit poets, wove a tale that caters to every reader's taste. Warring cousins, wily courtiers, jealous wives, disguised princesses, all play their part in his play, which continues to thrill centuries after it was first written.