Sir Michael had become increasingly alarmed at the effect Gandhi was having on his province, as well as recent demonstrations, strikes, and shows of Hindu-Muslim unity. All these things, to Sir Michael, were a precursor to a second Indian revolt. What happened next shocked the world. An unauthorized gathering in the Jallianwallah Bagh in Amritsar in April 1919 became the focal point for Sir Michael’s law enforcers. Dyer marched his soldiers into the walled garden, blocking the only exit. Then, without issuing any order to disperse, he instructed his men to open fire, turning their guns on the thickest parts of the crowd, filled with over a thousand unarmed men, women, and children. For ten minutes, the soldiers continued firing, stopping only when they ran out of ammunition. According to legend, eighteen-year-old Sikh orphan Udham Singh was injured in the attack, and remained surrounded by the dead and dying until he was able to move the next morning. Then, he supposedly picked up a handful of blood-soaked earth, smeared it across his forehead, and vowed to kill the men responsible. The truth, as the author has discovered, is more complex—but no less dramatic. Award-winning journalist Anita Anand traced Singh’s journey through Africa, the United States, and across Europe until, in March 1940, he finally arrived in front of O’Dwyer himself in a London hall ready to shoot him down. The Patient Assassin shines a devastating light on one of history’s most horrific events, but it reads like a taut thriller and reveals the incredible but true story behind a legend that still endures today.

    Still above is Vaikuntha, heaven, abode of God.The doorkeepers of Vaikuntha are the twins, Jaya and Vijaya, both whose names mean 'victory'. One keeps you in Swarga; the other raises you into Vaikuntha.In Vaikuntha there is bliss forever, in Swarga there is pleasure for only as long as you deserve. What is the difference between Jaya and Vijaya? Solve this puzzle and you will solve the mystery of the Mahabharata.In this enthralling retelling of India's greatest epic, the Mahabharata originally known as Jaya, Devdutt Pattanaik seamlessly weaves into a single narrative plots from the Sanskrit classic as well as its many folk and regional variants, including the Pandavani of Chhattisgarh, Gondhal of Maharashtra, Terukkuttu of Tamil Nadu and Yakshagana of Karnataka.Richly illustrated with over 250 line drawings by the author, the 108 chapters abound with little-known details such as the names of the hundred Kauravas, the worship of Draupadi as a goddess in Tamil Nadu, the stories of Astika, Madhavi, Jaimini, Aravan and Barbareek, the Mahabharata version of the Shakuntalam and the Ramayana, and the dating of the war based on astronomical data.With clarity and simplicity, the tales in this elegant volume reveal the eternal relevance of the Mahabharata, the complex and disturbing meditation on the human condition that has shaped Indian thought for over 3000 years.

    Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.

    And his eyes! They look at you intently, they pierce you! I am scared of his eyes. It all started that day, actually it was night. I was sleeping near my daddy. All of a sudden, a noise woke me up. Whole house was shaking violently with the noise. It was a drum beating loudly, rhythmically. The beat was moving everything in the surrounding. Suddenly, the noise stopped. Then it was the sound of a honey fly, goo, goo, again the drum beats started. I was so scared, I tried to wake up daddy, it was then I realized that daddy was not in his bed. I was alone; there was no one else on the bed. Daddy was nowhere, I felt lonely! The darkness surrounded me and that drum beat was getting on my nerves. I screamed at the top of my voice." When you start reading these stories something familiar, something unfamiliar will create fear in your minds. It will freeze you; it will be so very realistic that you will forget that it is unreal. The fear never experienced before, but somewhere within you, deep inside, it will start beating drums in your mind. Listen to it carefully, surely it will clear your mind of all the hidden consciousness you had till today. This great author introduces us to our own fears buried deep inside.

    Biskind began as a radical journalist and film critic, excavating the likes of Rocky and Thunderbolt and Lightfoot for their hidden political subtexts in small lefty rags. Now he can legitimately describe himself - as he does in his autobiographical introduction to this book - as a "recovering celebrity journalist."" The ghosts of McCarthyism and the blacklist haunt Gods and Monsters as do the casualties of the counterculture and the New Hollywood. At the heart of the book are the likes of Martin Scorsese, Robert Redford, Terrence Malick, Sue Mengers, and uber-producer Don Simpson, all of whom Biskind portrays in great Dickensian detail, charting how they have had a simultaneously strangulating and liberating effect on the industry.

    It covers a range of items from the political integration of India to the making of Indian constitution, the history of Indian sports, economy, movies, science, among other topics. Through this exciting train journey we will meet the various historic characters - Nehru, Patel, Ambedkar, Tendulkar, VP Menon, Kalam, Homi Bhaba, Narasimha Rao. The first 9 chapters of this 18 chapter book focus on the darker side of the history - wars, accidents, disasters and deaths. The second 9 chapters focus on the brighter side of the history - the various achievements India has made in foreign policy, economics, science and art. We will start with the distant past history that led to 1947 and we will end with the recipes for the future.

    If we started off with rudimentary utterances on the level of "man throw spear," how did we end up with sophisticated grammars, enormous vocabularies, and intricately nuanced degrees of meaning?Drawing on recent groundbreaking discoveries in modern linguistics, Deutscher exposes the elusive forces of creation at work in human communication, giving us fresh insight into how language emerges, evolves, and decays. He traces the evolution of linguistic complexity from an early "Me Tarzan" stage to such elaborate single-word constructions as the Turkish sehirlilestiremediklerimizdensiniz ("you are one of those whom we couldn't turn into a town dweller"). Arguing that destruction and creation in language are intimately entwined, Deutscher shows how these processes are continuously in operation, generating new words, new structures, and new meanings.

    The economic boom impacted a large section of Indians, even if unequally. With sustained high growth over an extended period, India could have achieved what economists call a 'take-off' (rapid and self-sustained GDP growth). The global financial meltdown disrupted this momentum in 2008. In the decade that followed, each time the country's economy came close to returning to that growth trajectory, political events knocked it off course.In 2019, India's GDP is growing at the rate of 7 per cent, making it the fastest-growing major economy in the world, but little on the ground suggests that Indians are actually better off. Economic discontent and insecurity are on the rise, farmers are restive and land-owning classes are demanding quotas in government jobs. The middle class is palpably disaffected, the informal economy is struggling and big businesses are no longer expanding aggressively.India is not the star it was in 2008 and in effect, the 'India growth story' has devolved into 'growth without a story'. The Lost Decade tells the story of the slide and examines the political context in which the Indian economy failed to recover lost momentum.

    The study of travel writing has, however, tended to remain either naively celebratory, or dismissive, treating texts as symptoms of imperial ideologies.Imperial Eyes explores European travel and exploration writing, in conjunction with European economic and political expansion since 1700. It is both a study in the genre and a critique of an ideology. Pratt examines how travel books by Europeans create the domestic subject of European imperialism, and how they engage metropolitan reading publics with expansionist enterprises whose material benefits accrued mainly to the very few. These questions are addressed through readings of travel accounts connected with particular sentimental historical travel writing. It examines the links with abolitionist rhetoric; discursive reinventions of South America during the period of its independence (1800-1840); and 18th-century European writings on Southern Africa in the context of inland expansion.

    This book is not a revision of the previous People's Almanac but a brand new book containing over one million new words. Its contents equal ten-normal sized books. It searches behind the facts to offer inside information as well as constant entertainment.

    The usually venerated characters of this ancient Indian epic are here subjected to a rational enquiry that places them in context, unravels their hopes and fears, and imbues them with wholly human motives, thereby making their stories relevant and astonishing to contemporary readers. Irawati Karve, thus, presents a delightful collection of essays, scientific in spirit, yet appreciative of the literary tradition of the Mahabharata. She challenges the familiar and formulates refreshingly new interpretations, all the while refusing to judge harshly or venerate blindly.

    In it, he looks at the world and takes the perhaps surprising view that it's actually not nor will be the end of the world. His vivid prose, his clear-sightedness and the wonderful anecdotes about the many strange people and places he has come across - from emperors to movie stars, from Chelsea to China - all add up to a richly satisfying read. And with his long experience and his remarkable ability to explain what's really going on out there, he offers us all a crumb of comfort in desperate times.

    Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.

    In a city where almost everyone is certain that someone, somewhere, is worse off than them, she fights to survive, and to win.Beautiful Thing, one of the most original works of non-fiction from India in years, is a vivid and intimate portrait of one reporter’s journey into the dark, pulsating and ultimately damaged soul of Bombay.

    He approaches the city from unexpected angles, taking us into the criminal underworld of rival Muslim and Hindu gangs; following the life of a bar dancer raised amid poverty and abuse; opening the door into the inner sanctums of Bollywood; and delving into the stories of the countless villagers who come in search of a better life and end up living on the sidewalks.