The play is a political satire, written as historical drama. Based on the life of Nana Phadnavis (1741–1800), one of the prominent ministers in the court of the Peshwa of Pune. Its theme is how men in power give rise to ideologies to serve their purposes, and later destroy them when they become useless.

    As she steps onto her veranda, wrapped in a kimono with three black cranes swooping across the back, her world is suddenly and irrevocably altered. In the numbing aftermath of the atomic bomb that obliterates everything she has known, all that remains are the bird-shaped burns on her back, an indelible reminder of the world she has lost. In search of new beginnings, two years later, Hiroko travels to Delhi. It is there that her life will become intertwined with that of Konrad's half sister, Elizabeth, her husband, James Burton, and their employee Sajjad Ashraf, from whom she starts to learn Urdu. With the partition of India, and the creation of Pakistan, Hiroko will find herself displaced once again, in a world where old wars are replaced by new conflicts. But the shadows of history--personal and political--are cast over the interrelated worlds of the Burtons, the Ashrafs, and the Tanakas as they are transported from Pakistan to New York and, in the novel's astonishing climax, to Afghanistan in the immediate wake of 9/11. The ties that have bound these families together over decades and generations are tested to the extreme, with unforeseeable consequences.

    It is an epic narrative that moves from California to Kashmir, France, and England, and back to California again. Along the way there are tales of princesses lured from their homes by demons, legends of kings forced to defend their kingdoms against evil. And there is always love, gained and lost, uncommonly beautiful and mortally dangerous.

    Jorasanko was right at the hub of the Bengal Renaissance, with the family at the forefront of the movement, and its women playing a pivotal role.In a sprawling novel that spans a unique phase in the history of Bengal and India, Aruna Chakravarti provides a fascinating account of how the Tagore women influenced and were int urn influenced by their illustrious male counterparts, the times they lived in and the family they belonged to. She paints memorable portraits of women like Digambari, Dwarkanath's strong-willed wife who refuses to accept her husband's dalliance with alcohol and Western ways; Sarada Sundari, the obese, indolent but devoted wife of Debendranath, who is appalled to see the old world order slipping by; the indomitable Jogmaya, who takes on Debendranath and splits the Tagore family in two. There are also the young daughters and daughters-in-law. The tough, resourceful Jnanadanandini who gave the women of Bengal a new way of wearing the sari and initiated the concept of 'nuclear family'; Swarnakumari, universally acknowledged as a pioneer of women's writing in India; and Rabindranath's muse the gentle, melancholic Kadambari.Jorasanko mirrors the hopes and fears, triumphs and defeats that the women of the Tagore household experienced in their intricate interpersonal relationships, as well as the adjustments they were continually called upon to makw as daughters and daughters-in-law of one of the most eminent families of the land.

    A young Sikh girl, Simran Kaur, has run away from her father, who would rather poison his daughter than see her defiled. And Ibrahim Masud, an elderly Muslim doctor driven from the town of his birth, limps toward the new Muslim state of Pakistan, rediscovering on the way his role as a healer. As the displaced face a variety of horrors, this unlikely quartet comes together, defying every rule of self-preservation to forge a future of hope.A dramatic, luminous story of families and nations broken and formed, "Partitions" introduces an extraordinary novelist who writes with the force and lyricism of poetry.

    So she is elated to learn she is to become the second wife of a wealthy Sikh landowner in a union beneficial to both. For Sardaji’s first wife, Satya, has failed to bear him children. Roop believes that she and Satya, still very much in residence, will be friends. But the relationship between the older and younger woman is far more complex. And, as India lurches toward independence, Sardarji struggles to find his place amidst the drastic changes.Meticulously researched and beautifully written, What the Body Remembers is at once poetic, political, feminist, and sensual.

    As the thalaivar, or headman, of Chevathar, he seeks to preserve the village from both catastrophe and change, and the decisions he makes will mark his family for generations to come.A gripping family chronicle, The House of Blue Mangoes spans nearly half a century and three generations of the Dorai family as they search for their place in a rapidly changing society. The novel brings vividly to life a small corner of India, while offering a stark indictment of colonialism and reflecting with great poignancy on the inexorable social transformations of the subcontinent.

    The enthralling story of Rama, the incarnation of God, who slew Ravana, the evil demon of darkness, is known to every Indian. And in the pages of history, as always, it is the version told by the victors that lives on. The voice of the vanquished remains lost in silence. But what if Ravana and his people had a different story to tell? The story of the Ravanayana has never been told. Asura is the epic tale of the vanquished Asura people, a story that has been cherished by the oppressed castes of India for 3000 years. Until now, no Asura has dared to tell the tale. But perhaps the time has come for the dead and the defeated to speak. “For thousands of years, I have been vilified and my death is celebrated year after year in every corner of India. Why? Was it because I challenged the Gods for the sake of my daughter? Was it because I freed a race from the yoke of caste-based Deva rule? You have heard the victor’s tale, the Ramayana. Now hear the Ravanayana, for I am Ravana, the Asura, and my story is the tale of the vanquished.” “I am a non-entity – invisible, powerless and negligible. No epics will ever be written about me. I have suffered both Ravana and Rama – the hero and the villain or the villain and the hero. When the stories of great men are told, my voice maybe too feeble to be heard. Yet, spare me a moment and hear my story, for I am Bhadra, the Asura, and my life is the tale of the loser.” The ancient Asura empire lay shattered into many warring petty kingdoms reeling under the heel of the Devas. In desperation, the Asuras look up to a young saviour – Ravana. Believing that a better world awaits them under Ravana, common men like Bhadra decide to follow the young leader. With a will of iron and a fiery ambition to succeed, Ravana leads his people from victory to victory and carves out a vast empire from the Devas. But even when Ravana succeeds spectacularly, the poor Asuras find that nothing much has changed from them. It is then that Ravana, by one action, changes the history of the world.

    Instead of crowding around a TV set, Nem opted for lonely walks where he could indulge his passion for photography, until the night he saw Nicholas, a young professor from London, with another male student. The affair is passionate and brief. When Nicholas returns to London, Nem must move on. He graduates and soon finds success as a critic in New Delhi’s burgeoning art world. Then comes an invitation to speak to artists in London, and the past is suddenly resurrected. As London's cosmopolitan art scene envelops Nem, he is haunted by the possibilities of a life with Nicholas. But Nicholas eludes Nem, avoiding a reunion with his old student, but leaving clues that lead to someone else: Myra, a woman Nem thought was Nicholas's sister. Brought together by their love for Nicholas, Nem and Myra embark on a surprising friendship.Janice Pariat explores the concept of emotional memory with the inquisitive mind of a scientist and the prowess of a poet. Rich, immersive prose drives a story with international scope, one that seeks answers to the age-old mystery of what binds us to others, and how we can ever let them go.

    A Passage North begins with a message from out of the blue: a telephone call informing Krishan that his grandmother's caretaker, Rani, has died under unexpected circumstances--found at the bottom of a well in her village in the north, her neck broken by the fall. The news arrives on the heels of an email from Anjum, an impassioned yet aloof activist Krishnan fell in love with years before while living in Delhi, stirring old memories and desires from a world he left behind.As Krishan makes the long journey by train from Colombo into the war-torn Northern Province for Rani's funeral, so begins an astonishing passage into the innermost reaches of a country. At once a powerful meditation on absence and longing, as well as an unsparing account of the legacy of Sri Lanka's thirty-year civil war, this procession to a pyre "at the end of the earth" lays bare the imprints of an island's past, the unattainable distances between who we are and what we seek.Written with precision and grace, Anuk Arudpragasam's masterful new novel is an attempt to come to terms with life in the wake of devastation, and a poignant memorial for those lost and those still alive.

    All signs being auspicious, the villagers triumphantly assured Sampath's proud parents that their son was destined for greatness. Twenty years of failure later, that unfortunately does not appear to be the case. A sullen government worker, Sampath is inspired only when in search of a quiet place to take his nap. "But the world is round," his grandmother says. "Wait and see Even if it appears he is going downhill, he will come up the other side. Yes, on top of the world. He is just taking a longer route." No one believes her until, one day, Sampath climbs into a guava tree and becomes unintentionally famous as a holy man, setting off a series of events that spin increasingly out of control. A delightfully sweet comic novel that ends in a raucous bang, Hullabaloo in the Guava Orchard is as surprising and entertaining as it is beautifully wrought.

    Landlords rule over a feudal system that forces peasants to break their backs in the fields or be punished. As a small spark of defiance begins to spread among communities, the landlords vow to break them; party organizers suffer grisly deaths and the flow of food into the marketplaces dries up. But it only strengthens the villagers' resistance. Finally, the landlords descend on one village to set an example for the others. An exciting new release from this Chennai-based poet, writer and activist.

    More terrifying than the savage murder of historian Ram Mathur on the ghats of Ganga, are the questions that follow. Desperate for answers, Sia turns to esoteric writer & friend Om Patnaik. But what begins as a hunt for the killer, becomes an extraordinary trail of riddles strewn across the country, that must end at the gates of an enigma.An ancient enigma so powerful that even gods would kill for it!!!In another time and space, rules an Emperor who plays with phenomenal forces that make him supreme…who faces these very forces when they threaten the survival of the human race. An Emperor who must ultimately pay homage to the enigma… As Patnaik and Sia race from one riddle to another, towards a royal secret that has remained alive for centuries….will the final truth, save them or destroy them forever?The path beckons. Can you solve The Emperor’s Riddles?Check out the Online Extract here on Goodreads and the Official HD Trailer on YouTube.

    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.

    A truck leaves the village of Campbellpur after news of the impending Partition pours in. It is carrying people who don't know where they will go. They have just heard words like 'border' and 'refugee', and are struggling to understand how drawing a line might carve out Pakistan from Hindustan. As they reach the border, the caravan disperses and people go their own ways. Gulzar's first novel tracks the lives of the people in that truck right from 1946 up to the Kargil war. A novel on what the Partition entailed for ordinary people, Two is also a meditation on the fact that the division of India and the carnage that followed, once set into motion, kept happening inexorably and ceaselessly, and people like those who left their homes on that truck never found another home; they kept looking for a place called home, a place to belong to.