It is is a story of friendship and betrayal, of terrible violence, of an astonishing modern city and its dark side.Seven years in the making, Sacred Games is an epic of exceptional richness and power. Vikram Chandra's novel draws the reader deep into the life of Inspector Sartaj Singh—and into the criminal underworld of Ganesh Gaitonde, the most wanted gangster in India. Sartaj, one of the very few Sikhs on the Mumbai police force, is used to being identified by his turban, beard and the sharp cut of his trousers. But "the silky Sikh" is now past forty, his marriage is over and his career prospects are on the slide. When Sartaj gets an anonymous tip-off as to the secret hide-out of the legendary boss of G-Company, he's determined that he'll be the one to collect the prize. Vikram Chandra's keenly anticipated new novel is a magnificent story of friendship and betrayal, of terrible violence, of an astonishing modern city and its dark side. Drawing inspiration from the classics of nineteenth-century fiction, mystery novels, Bollywood movies and Chandra's own life and research on the streets of Mumbai, Sacred Games evokes with devastating realism the way we live now but resonates with the intelligence and emotional depth of the best of literature.

    This seems a deliberate souring of an uplifting narrative. Rams refusal to remarry to produce a royal heir adds to the complexity. The intention seems to be to provoke thought on notions of fidelity, property and self-image.And so the mythologist and illustrator Devdutt Pattanaik retells the Ramayana, drawing attention to the many oral, visual and written retellings composed in different times, in different places, by different poets, each one trying to solve the puzzle in its own unique way. This book approaches Ram by speculating on Sita: her childhood with her father, Janaka, who hosted sages mentioned in the Upanishads; her stay in the forest with her husband, who had to be a celibate ascetic while she was in the prime of her youth; her interactions with the women of Lanka, recipes she exchanged, emotions they shared; her connection with the earth, her mother, and with the trees, her sisters; her role as the Goddess, the untamed Kali as well as the demure Gauri, in transforming the stoic prince of Ayodhya into God.

    It was followed in 1932 by a sequel Aparajito, which was later also adapted into a film of the same name by Satyajit Ray.

    In the intimate atmosphere of the all-women sleeping car - the 'Ladies Coupe' - Akhila asks the five women the question that has been haunting her all her adult life: can a woman stay single and be happy, or does she need a man to feel complete?This wonderfully atmospheric, deliciously warm novel takes the reader into the heart of women's lives in contemporary India, revealing how the dilemmas that women face in their relationships with hunsbands, mothers, friends, employers and children are the same world over.

    As they move from a cramped, ant-infested shack to a larger house on the other side of Bangalore, and try to adjust to a new way of life, the family dynamic begins to shift. Allegiances realign; marriages are arranged and begin to falter; and conflict brews ominously in the background. Things become “ghachar ghochar”—a nonsense phrase uttered by one meaning something tangled beyond repair, a knot that can't be untied. Elegantly written and punctuated by moments of unexpected warmth and humor, Ghachar Ghochar is a quietly enthralling, deeply unsettling novel about the shifting meanings—and consequences—of financial gain in contemporary India.

    They are lovers, vixens, wives to themselves. And their stories are just how that woman in the bar likes it – dirty, neat and sexy as smoke.

    Virmati, a young woman born in Amritsar into an austere and high-minded household, falls in love with a neighbour, the Professor--a man who is already married. That the Professor eventually marries Virmati, installs her in his home (alongside his furious first wife) and helps her towards further studies in Lahore, is small consolation to her scandalised family. Or even to Virmati, who finds that the battle for her own independence has created irrevocable lines of partition and pain around her.

    The novel sweeps across India, from an island, to a valley, a city, and a snow desert to tell a love story of epic proportions. We follow a scientist who studies trees and a clairvoyant who speaks to them; a geologist working to end futile wars over a glacier; octogenarian lovers; a mother struggling to free her revolutionary son; a yeti who seeks human companionship; a turtle who transforms first into a boat and then a woman; and the ghost of an evaporated ocean as restless as the continents. Binding them all together is a vision of life as vast as the universe itself. A young writer awarded one of the most prestigious prizes in India for this novel, Shubhangi Swarup is a storyteller of extraordinary talent and insight. Richly imaginative and wryly perceptive, Latitudes of Longing offers a soaring view of humanity: our beauty and ugliness, our capacity to harm and love each other, and our mysterious and sacred relationship with nature.

    Here, lives intertwine and unravel. A widower struggles with his love for an unmarried cousin. Bakul, a motherless daughter, runs wild with Mukunda, an orphan of unknown caste adopted by the family. Confined in a room at the top of the house, a matriarch goes slowly mad; her husband searches for its cause as he shapes and reshapes his garden. As Mukunda and Bakul grow, their intense closeness matures into something else, and Mukunda is banished to Calcutta. He prospers in the turbulent years after Partition, but his thoughts stay with his home, with Bakul, with all that he has lost—and he knows that he must return.

    Sixty-eight-year-old Noni Appa finds herself drawn to a married man – ‘Why do people have to define relationships, underline each word till the paper gives way beneath,’ she wonders. Bablu Kewat becomes obsessed with sanitary napkins much to his family’s horror, and a young woman keeps checking the weather forecast as she meticulously plans each of her five weddings. Funny, observant and wise, this is storytelling at its most irresistible.

    Here, at the ashram of Kulapati Shaunaka, a dustry traveller arrives with sad tidings: Maharishi Krishna Dweipayana Vyasa has passed on. Yet the great collator of the Vedas has left behind a fabulous legacy, the epic narrative poem called Maha Bharata. At the urging of the ashramites, the traveller Suta begins to recite the great composition, starting with the incredible creation myths and tales of god and giants, snake-mothers and gargantuan eagles. And as the night wears on and the tale grows darker, he senses the presence of countless ghostly beings in the shadows beyond the flickering oil-lamps, the restless souls of the many millions butchered in the climactic war that ended the great tale itself, gathering now to hear the epic saga that led eventually to their destruction and the decimation of the Kuru Bharata race.

    A chronicle of the final seven days of a town that is about to be razed to the ground by an invading army. The lonely voyage of an elephant from Kerala to a princess’s palace in Morocco. A fabled cook who flavours his food with precious stones. A coterie of international diplomats trapped in near-Earth orbit. These, and the other stories can be found in this collection.

    Despite being in a loving and sexually satisfying relationship, they are relentlessly hounded by the taunts and insinuations of the people around them. Ultimately, all their hopes and apprehensions come to converge on the chariot festival in the temple of the half-female god Ardhanareeswara and the revelry surrounding it. Everything hinges on the one night when rules are relaxed and consensual union between any man and woman is sanctioned. This night could end the couple’s suffering and humiliation. But it will also put their marriage to the ultimate test. Acutely observed, One Part Woman lays bare with unsparing clarity a relationship caught between the dictates of social convention and the tug of personal anxieties, vividly conjuring an intimate and unsettling portrait of marriage, love and sex.

    By the time the monsoon broke, almost a million of them were dead, and all of northern India was in arms, in terror, or in hiding. The only remaining oases of peace were a scatter of little villages lost in the remote reaches of the frontier. One of these villages was Mano Majra.”It is a place, Khushwant Singh goes on to tell us at the beginning of this classic novel, where Sikhs and Muslims have lived together in peace for hundreds of years. Then one day, at the end of the summer, the “ghost train” arrives, a silent, incredible funeral train loaded with the bodies of thousands of refugees, bringing the village its first taste of the horrors of the civil war. Train to Pakistan is the story of this isolated village that is plunged into the abyss of religious hate. It is also the story of a Sikh boy and a Muslim girl whose love endured and transcends the ravages of war.Introduction by Arthur Lall

    From the mass of Indian short fiction by women writing in India,Britain and America,here is a constellation of some of the most dazzling stories.A Spectrum of voices and an abundance of forms - from the ghost story to the animal fable - are all anchored in experiences of a multicultural and multilingual sub-continent.The overlapping worlds of tradition and skepticism,of collective responsibilities and individual choice strike a tenuous balance giving us stories that are violent,funny,tragic as they explore old themes-caste and hierarchy,colonialism and its aftermath.relationships,sexuality and the search for identity- with new vigour.This anthology boasts a distinguished range of writers from Anita Desai to Sunita Namjoshi,Kamala Das to Mashasveta Devi;it includes stories,some written in English,most translated from the regional languages - Urdu,Hindi,Bengali,Tamil,Kannada,Malayalam - that reflect a marvellous diversity, and provides a sampler of same of the finest writing from India.