Whether focused on a lesson, a teacher, or the girls themselves as they collectively school -- or refuse to -- the poems explore ways girls are trained in the broadest sense of the word.Gossips, the second section, is a shorter sequence narrated by women as they talk about other women in a variety of isolations; these poems, told from the outside looking in, highlight a speculative voicing of all the gossips cannot know. In Early Lessons, the third section, children narrate as they also observe similarly solitary women, the children's innocence allowing them to see in farther than the gossips can. The fourth section offers studies of women and men in situations in which gender, with all of its complexities, figures powerfully.The follow-up to the Pulitzer Prize-winning collection Late Wife, Figure Studies upholds Emerson's place among contemporary poetry's elite.The Mannequin above Main Street MotorsWhen the only ladies' dress shop closed, she was left on the street for trash, unsalvageable, one arm missing, lost at the shoulder, one leg at the hip. But she was wearing a blue-sequined negligee and blonde wig, so they helped themselves to her on a lark -- drunken impulse -- and for years kept her leaning in a corner, beside an attic window, rendered invisible. The dusk was also perpetual in the garage below, punctuated only by bare bulbs hung close over the engines. An oily grime coated the walls, and a decade of calendars promoted stock-car drivers, women in dated swimsuits, even their bodies out of fashion. Radio distorted there; cigarette smoke moaned, the pedal steel conceding to that place a greater, echoing sorrow. So, lame, forgotten prank, she remained, back turned forever to the dark storagebehind her, gaze leveled just above anyone's who could have looked up to mistake in the cast of her face fresh longing -- her expression still reluctant figure for it.

    The powerful district committee of Mityala routinely dismisses the suicide and refuses compensation to his widow. Gangiri, his brother, makes it his life’s mission to bring justice to the dead by influencing the committee to validate similar farmer suicides.Keyur Kashinath of the Democratic Party - first-time member of Parliament from Mityala, and son of Vaishnav Kashinath, the party’s general secretary - is the heir to his father’s power in Delhi politics. He faces his first crisis every suicide in his constituency certified by the committee as debt-related is a blot on the party’s image, and his competence.The brilliant farmer battles his inheritance of despair, the arrogant politician fights for the power he has received as legacy. Their two worlds collide in a conflict that pushes both to the limits of morality from where there is no turning back. At stake is the truth about ‘inherited’ democratic power. And at the end, there can only be one winner. Passionate and startlingly insightful, Shoes of the Dead is a chilling parable of modern-day India.A book that will make you stroll through India’s corridors of power and politics with a perfect portrayal of how its consequences creep into the lives of the farmers forcing them to commit suicide. Get ready to read a gripping tale by Kota Neelima.

    Bitter Fruit presents the best collection of Manto's writings, from his short stories, plays and sketches, to portraits of cinema artists, a few pieces on himself, and his letters to Uncle Sam which have references to communism, Russia, politics after the Partition and his own financial condition. The concluding section of the book has acknowledgements and reminiscences from Saadat's friends and relatives. Bitter Fruit includes stories like A Wet Afternoon, The Return, A Believer's Version, Toba Tek Singh, Colder Than Ice, The Assignment, Odour, By The Roadside, Bribing the Almighty, The Kingdom's End, The Woman in the Red Raincoat, The Room with the Bright Light, The Great Divide, The Angel, Siraj, An Old Fashioned Man, The Price of Freedom, It Happened in 1919, The Girl from Delhi, A Man of God, Free for All, and A Tale of 1947. There is a collection of sketches too. Manto used to write radio plays and this book has one of the dramas he penned, called In This Vortex. His short stories bring out the most delicate nuances of human nature.

    It is this changing world of Mysore which Mahesh Rao's novel speaks about. In this story, Mysore is gearing for an international remake with the construction of HeritageLand, Asia's largest theme park. Citizens and government officials alike prepare themselves for a complete makeover, one that not everybody welcomes. An elderly widow finds herself forced into a secretive new life, and another woman is succumbing to the cancerous power of gossip as she tries to escape her past. Another woman must come to terms with reality as her husband's troubling behaviour steeps out of hand. In Mysore, where the modern and the eclectic fuse to become something else entirely, everyone must hang on to their own escapes or find themselves swept under the carpet of the sublime change called development.

    He had had a revulsion from the country, all its romance had turned to sordidness, but now the land filled him again with delight. He was thinking of Rosa. "Promise me," she had whispered, "promisme me you won't go back without me."Mystery pervades this story of Anglo-Indian lifle in a memory-haunted house in old Calcutta, as secret as a sundial in a ruined garden.

    Ours is such a time, and rising to the challenge, novelist and poet Fanny Howe suggests new and fruitful ways of thinking about both the artist's role and the condition of doubt. In these original meditations on bewilderment, motherhood, imagination, and art-making, Howe takes on conventional systems of belief and argues for another, brave way of proceeding. In the essays "Immanence" and "Work and Love" and those on writers such as Carmelite nun Edith Stein, French mystic Simone Weil, Thomas Hardy, and Ilona Karmel—who were particularly affected by political, philosophical, and existential events in the twentieth century--she directly engages questions of race, gender, religion, faith, language, and political thought and, in doing so, expands the field of the literary essay. A richly evocative memoir, "Seeing Is Believing," situates Howe's own domestic and political life in Boston in the late '60s and early '70s within the broader movement for survival and social justice in the face of that city's racism. Whether discussing Weil, Stein, Meister Eckhart, Saint Teresa, Samuel Beckett, or Lady Wilde, Howe writes with consummate authority and grace, turning bewilderment into a lens and a light for finding our way.

    Beauty/Beauty is a book with tenderness running through its veins, exploring salvation, reparation, and the fullness of being alive; the difficulty of defining what love is, the heartbreak, the faraway friends, the overwhelming abundance of things in museums. It is alive with memories, with old loves hanging around in the corners of dark rooms, ghost mouths hidden inside the mouth you are kissing, and eulogies to dearly departed pets. Each poem creates its own tiny world to be lived in and explored; a stegosaurus is adored, a million silver spiders play dead, a list of flowers is not really a list of flowers, adorable dogs want to be friends, the flightless grow wings, and the stars turn green.

    You'll be good at it. And I had said, 'Are you on crack?' And he replied, continuing to fold a blue twill jacket, ""Yes, a little.""--Lorrie Moore'Hey,' Paul yelled out. 'Why's everybody talking behind the patient's back?' 'Shut up, we're having sex,' she called back. She poured a cup for herself. 'He seems pretty chipper this morning.' 'Yeah, I don't know what to hope for,' I said. 'Quality, I guess. And then not too much quantity.' --David Gates'If everything we said had been a poem, the index of first lines would have formed a pattern: 'Do you remember', 'Tell me if I remember wrong', 'There was that time', 'Wasn't it funny when' --Anne BeattieAnd Abeer Ayyoub, Bernard Cooper, Olivia Laing, Laura Kasischke, Thomas McGuane, Colin McAdam, Katherine Faw Morris, Melinda Moustakis, Norman Rush, Edmund White and Joy Williams

    (Yuba City Poems).Groups of interlinked poems divided into six sections are peopled by many of the same characters and explore varying themes. Here, Divakaruni is particularly interested in how different art forms can influence and inspire each other. One section, entitled Indian Miniatures, is based on and named after a series of paintings by Francesco Clemente. Another, called Moving Pictures, is based on Indian films, including Mira Nair's "Salaam Bombay" and Satyajit Ray's "Ghare Baire." Photographs by Raghubir Singh inspired the section entitled Rajasthani. The trials and tribulations of growing up and immigration are also considered here and, as with all of Divakaruni's writing, these poems deal with the experience of women and their struggle to find identities for themselves.This collection is touched with the same magic and universal appeal that excited readers of "Arranged Marriage." In "Leaving Yuba City," Chitra Banerjee Divakaruni proves once again her remarkable literary talents.

    The book celebrates Chicago’s Wicker Park in the late 1990’s, Coval’s home as a young artist, the ancestral neighborhood of his forebears, and a vibrant enclave populated by colorful characters. Allston’s illustrations honor the neighborhood as it once was, before gentrification remade it. The book excavates and mourns that which has been lost in transition and serves as a template for understanding the process of displacement and reinvention currently reshaping American cities.

    It’s a narrative, the story of an American innocent’s descent into hell and his excruciating return to life on the surface. Weigl may have written the best novel so far about the Vietnam War, and along the way a dozen truly memorable poems.” — Russell Banks