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.

    Starting with a close examination of his own belief in Hinduism, he ranges far and wide in his study of the faith. He talks about the Great Souls of Hinduism, Adi Shankara, Patanjali, Ramanuja, Swami Vivekananda, Ramakrishna Paramahamsa, and many others who made major contributions to the essence of Hinduism. He delves deep into Hinduism’s most important schools of thought (such as the Advaita Vedanta). He explains, in easily accessible language, important aspects and concepts of Hindu philosophy like the Purusharthas and Bhakti, masterfully summarizes the lessons of the Gita and Vivekananda’s ecumenism, and explores with sympathy the ‘Hinduism of habit’ practised by ordinary believers. He looks at the myriad manifestations of political Hinduism in the modern era, including violence committed in the name of the faith by right-wing organizations and their adherents. He analyzes Hindutva, explains its rise and dwells at length on the philosophy of Deen Dayal Upadhyaya, its most significant ideologue. He is unsparing in his criticism of extremist ‘bhakts’, and unequivocal in his belief that everything that makes India a great and distinctive culture and country will be imperiled if religious ‘fundamentalists’ are allowed to take the upper hand. However, he also makes the point that it is precisely because Hindus form the majority that India has survived as a plural, secular democracy.A book that will be read and debated now and in the future, Why I Am a Hindu is a revelatory and original masterwork.

    But in this city redolent of timeworn customs, where pilgrims bathe in the sacred Ganges and breathe in smoke from burning ghats along the shore, Samar is offered entirely different perspectives on his country. Miss West and her circle, indifferent to the reality around them, represent those drawn to India as a respite from the material world. And Rajesh, a sometimes violent, sometimes mystical leader of student malcontents, presents a more jaundiced view. More than merely illustrating the clash of cultures, Mishra presents the universal truth that our desire for the other is our most painful joy.

    The hostage-takers threaten to shoot pilgrims every day, unless the incumbent Government accedes to their demands. With the popular Hindu festival of Diwali just around the corner and elections less than six months away, the Government at the center is under immense pressure to act. What will the Government do? The army? The intelligence agencies? The common man? No terrorist group has claimed responsibility for the attack. Who are these men? Is there a larger plot? Faced with such unprecedented events, will the country descend into unimaginable anarchy or will it rise above the issues of collective apathy and greed that have plagued it since Independence?

    The novel was Cobalt Blue, the story of a brother and sister who fall in love with the same man, and how a traditional Marathi family is shattered by the ensuing events – a work that both shocked and spoke to Marathi readers.

    Shivaji Sawant's Mrityunjaya is an outstanding instance of such a literary masterpiece in which a contemporary Marathi novelist investigates the meaning of the bewildering skein that is life through the personae of the Mahabharata protagonists. For over two decades since its first publication the vast non- Marathi and non-Hindi readership remained deprived of this remarkable exploration of the human psyche till the publication of this English translation by the Writers workshop – a contribution for which there is much to be grateful for. Mrityunjaya is the autobiography of Karna, and yet it is not just that. With deceptive case, Sawant brings into play an exceptional stylistic innovation by combining six "dramatic soliloquies" to form the nine books of this novel of epic dimensions. Four books are spoken by Karna. These are interspersed with a book each from the lips of his unwed mother Kunti, Duryodhana (who considers Karna his mainstay), Shon (Shatruntapa, his foster-brother, who here-worships him), his wife Vrishali to whom he is like a god and, last of all, Krishna. Sawant depicts an uncanny similarity between Krishna and Karna and hints at a mystic link between them, investing his protagonist with a more-than-human aura to offset the un-heroic and even unmanly acts which mar this tremendously complex and utterly fascinating creating of Vyasa.

    This is the story of students who came to join college at the age of 18 and after three years,being twenty-one they spread their wings to take flight in the vast sky of life.

    George, announce his engagement on television. Seeking revenge, she begins writing a tell-all book, exposing John.

    When he first arrives in Aayakudi to investigate a curious tip about a ghost, the place seems like an ordinary, traditional farming village. Soon, though, Rajendran finds himself entangled in a head-spinning mystery involving ancient treasure, spirit possession, and a series of grisly killings. There's also the beautiful, troubled daughter of the village panchayat president... and the notorious evil sorcerer who wants her dead. Indra Soundar Rajan, one of the stalwarts of the Tamil pulp fiction scene, has been writing his unique brand of supernatural mystery thrillers for over 30 years. He's also known for his television screenplays, such as the long-running superhit serial Marmadesam (Land of Mystery). He lives in Madurai.

    If you think you can escape me, you're already doomed.Rahul, an intelligence officer on a secret mission, is undercover at a major's house. In the process, he falls in love with the major's daughter, Akriti, unknowingly putting her in danger. To protect her, Rahul decides to hide her at his parents' house. However, estranged from his family for years, he must first make amends with them.Just when he thinks he has found a haven for Akriti, she goes missing. That's when a research wing officer is put on the job, and Rahul realizes she is someone who seems all too familiar. Or is she really?As Rahul comes closer to the truth, he is faced with the biggest shock of his life.

    A week later, her son -- fifteen-year-old Mark -- vanishes. The boy's uncle, novelist Timothy Underhill, searches his hometown of Millhaven for clues that might help unravel this horrible dual mystery. He soon learns that a pedophilic murderer is on the loose in the vicinity, and that shortly before Nancy's suicide, Mark had become obsessed with an abandoned house where he imagined the killer might have taken refuge. No mere empty building, the house whispers from basement to attic with the echoes of a long hidden true-life horror story, and Tim comes to fear that in investigating its unspeakable history, Mark stumbled across its last and greatest secret: a ghostly lost girl who may have coaxed the needy, suggestible boy into her mysterious domain.

    For that is what it is: the story of a young English girl's growth towards maturity in the 1930s. We see Mary at school in Kensington and on holiday in Somerset; her attempt at drama school; her year in Paris learning dressmaking and getting engaged to the wrong man; her time as a secretary and companion; and her romance with Sam. We chose this book because we wanted to publish a novel like Dusty Answer, I Capture the Castle or The Pursuit of Love, about a girl encountering life and love, which is also funny, readable and perceptive; it is a 'hot-water bottle' novel, one to curl up with on the sofa on a wet Sunday afternoon. But it is more than this. As Harriet Lane remarks in her Preface: 'It is Mariana's artlessness, its enthusiasm, its attention to tiny, telling domestic detail that makes it so appealing to modern readers.' And John Sandoe Books in Sloane Square (an early champion of Persephone Books) commented: 'The contemporary detail is superb - Monica Dickens's descriptions of food and clothes are particularly good - and the characters are observed with vitality and humour. Mariana is written with such verve and exuberance that we would defy any but academics and professional cynics not to enjoy it.'

    The collection explores multiple emotions, ranging from nostalgia to obsession, the feeling of first love to that of delusion, from doubt to self-belief and from resignation to hope.Eight stories, eight spirited young writers--and a must-read book that doesn't just make you smile and think at the same time, but also brings you closer to the joy of reading and the craft of writing.

    And yet, have we never wondered why his young wife, Yashodhara, still recovering from the birth of their son nine days ago, sleeps soundly as her husband, the over-protected prince departs, leaving behind his family and wealth and kingdom? In Yashodhara, the gaps of history are imagined with fullness and fierceness: Who was the young girl and what shaped her worldview? When she married Siddhartha at the age of sixteen, did she know her conjugal life would soon change drastically? The Yashodhara we meet in Volga's feminist novel is quick-witted, compassionate and wants to pave a way for women to partake in spiritual learning as equals of men.

    To the tough-minded and self-reliant farmers, the monopolistic, land-grabbing railroad represented everything they despised: consolidation, organization, conformity. But Norris idealizes no one in this epic depiction of the volatile situation, for the farmers themselves ruthlessly exploited the land, and in their hunger for larger holdings they resorted to the same tactics used by the railroad: subversion, coercion and outright violence. In his introduction, Kevin Starr discusses Norris's debt to Zola for the novel's extraordinary sweep, scale and abundance of characters and details.