A rage turned to violence."Sometimes 15-year-old Mara loses control. She strikes out at people, then runs. Often, she can't recall what she's done. She knows losing control is dangerous, but she also feels that somehow the rage protects her, making her invincible.Then she meets Tibor, a sweet guy who's not put off by her attitude or her messed-up home life. There's also a teacher at school who sees a better future than Mara's ever imagined for herself. The teacher even gets Mara a volunteer job in a preschool.But the anger is never far away. The day Mara spots Tibor on his motorcycle with another girl, the rage takes over. Mara tracks the girl down and beats her senseless.Horrified, Mara finally seeks help for her behavior. But salvation isn't that simple. The injured girl is Tibor's sister. Devastated by the news, but determined to make amends, Mara takes her first steps toward a life free of violence.Filled with raw emotion and unflinching honesty, Red Rage is a vivid portrait of one teen lost in a vortex of her own violence.

    The subject is unquestionably a daring one: the events which bring about the marriage of Lord Siva to Uma and the birth of Skanda. The prose order of each sloka has been given in the commentary by using bold type, the words not actually repeated by Mallinatha being enclosed within rectangular brackets. The notes explain allusions, grammatical peculiarities not noticed by Mallinatha, copious extracts from other commentaries being given for this purpose. The book includes text, the commentary of Mallinatha, a literal English translation, notes and introduction.

    Not all the stories these characters tell are true; some are lies, wild yams, clever deceits, baroque fabrications. But whether or not a homeless kid invents an incredible history for himself isn't the point, explains diarist-of-the-street Jim Grimsley. "All these stories and lies add up to something like the truth."Inspired in part by Ovid's Metamorphoses, Iizuka's Polaroid Stories takes place on an abandoned pier on the outermost edge of a city, a way stop for dreamers, dealers and desperadoes, a no-man's land where runaways seek camaraderie, refuge and escape. Serpentine routes from the street to the heart characterize the interactions in this spellbinding tale of young people pushed to society's fringe. Informed, as well, by interviews with young prostitutes and street kids, Polaroid Stories conveys a whirlwind of psychic disturbance, confusion and longing. Like their mythic counterparts, these modem-day mortals are engulfed by needs that burn and consume. Their language mixes poetry and profanity, imbuing the play with lyricism and great theatrical force.

    These texts are characterized by a startling and macabre novelty, with elements of the grotesque, fantastic and child-like touching the imagination of the everyday. They express the cultural landscape of Stalinism -- years of show trials, mass atrocities and stifled political life. Their painful, unsettling eloquence testify to the humane and the comic in this absurdist writer's work. The translator Neil Cornwall gives a biographical introduction to his subject, enlarged upon by the poet Hugh Maxton in a contextual assessment of the writing of Flann O'Brien, Le Fanu and Doyle, and of their shared concerns with detective fiction, terror and death. Daniil Kharms 91905-42) died under Stalin. Along with fellow poets and prose-writers of the era -- Khlebnikov, Biely, Mandelstam, Zabolotsky and Pasternak -- he is one of the emerging experimentalists of Russian modernism.

    The name indicates that this is a set of stories having it's own fragrance.

    In her brief life she wrote poems, essays, short stories and a great, multivolume diary. This book is made up of a critical biography, interlaced with extracts from the diary, and Robert Danly's translations of nine representative stories.

    Collected from people of all walks of life, they include parables and allegories about life, luck, and wisdom; tales of magic and wonder; stories about rebbes and their disciples; and tales whose only purpose is to entertain. Long after the culture that produced them has disappeared, these enchanting Yiddish folktales continue to work their magic today.Part of the Pantheon Fairy Tale and Folklore Library

    Rangarajan, one of the most popular authors in Tamil literature; his literary career spanned more than four decades. Of his many works, Anita—A Trophy Wife (Ilam Manaivi) was one of the most well-known.Featuring Advocate Ganesh, of the author’s Ganesh–Vasanth duo, the novel describes the strained relationship between a middle-aged man and a beautiful young woman in poignant and simple terms. It brings out the nuances of a power struggle, while retaining the humour and wit that is a trademark of Sujatha’s novels.At one level a detective story and, at another, a psychological humdinger, in Sujatha’s deft telling, this story acquires a timelessness. Ably translated by Meera Ravishankar, the book is quintessential Sujatha—gripping, perceptive and superbly written.

    Fiction by Hugo and Nebula award winners and nominees as well as talented newcomers. Stories were selected by the Unidentified Funny Objects series curator Alex Shvartsman.

    The novel, by award-winning writer Rita Chowdhury, documents the struggles, suffering, and tragedies of the Chinese Assamese over the past two centuries, culminating in their wrongful expulsion from India during the 1962 Sino-Indian War.Based on interviews with more than one hundred Chinese Assamese, Chowdhury’s moving narrative blends nineteenth century history with the tragedy of 1962, revealing how the Chinese were brought to India decades earlier by the British in order to work as laborers on the tea plantations. Once there, the Chinese married into different communities and began to speak with a mix of their native and local languages. However, during the Sino-Indian war, the Chinese Assamese, though now completely assimilated, were brutally and unjustly forced to leave India because of their Chinese origin. Around fifteen hundred Chinese Assamese from Makum, a small town in upper Assam, were imprisoned as spies and prisoners of war, before being deported to China. The untold story of this terrible incident, captured here in Makam, created an uproar in India when first published.

    Called by The New York Times, 'The best Japanese novelist [since] Mishima and Kawabata...', Abe is one of the most highly regarded writers in Japan today.

    Hard-core realism, experimental prose, and black humor; exoticism and eroticism;shocking tales of brutality, tender evocations of love, and engrossing mysteries all coexist in an anthology that spans nearly a decade, ten years that have witnessed a dizzying array of societal and political changes. Almost all of the stories appear in English translation for the first time. Includes Shi Tiesheng, “First Person”; Hong Ying, “The Field”; Su Tong, “The Brothers Shu”; Wang Meng, “A String of Choices”; Li Rui, “Sham Marriage”; Duo Duo, “The Day I Got to Xi’an”; Chen Ran, “Sunshine Between the Lips”; Li Xiao, “Grass on the Rooftop”; Yu Hua, The Past and the Punishments”; Mo Yan, “The Cure”; Ai Bei, “Green Earth Mother”; Cao Naiqian, “When I Think of You Late at Night, There’s Nothing I Can Do”; Can Xue, “The Summons”; Bi Feiyu, “The Ancestor”; Yang Zhengguang, “Moonlight over the Field of Ghosts”; Ge Fei, “Remembering Mr. Wu You”; Chen Cun, “Footsteps on the Roof”; Chi Li, “Willow Waist”; Kong Jiesheng, “The Sleeping Lion”; Wang Xiangfu, “Fritter Hollow Chronicles.”

    All these creative talents come into play in delightful, unexpected ways in his new bilingual collection Green Poems, which celebrates his innate connection with nature.Gulzar writes about rivers, forests, mountains; snow, rain, clouds; the sky, the earth and space; a familiar tree, a disused well; Kullu, Chamba, Thimpu. Like glimpses of nature, the poems are often short, an image captured in a few words. And sometimes the image gives rise to a striking thought: 'When I pass through the forest I feel my ancestors are around me ...'.For those new to Gulzar's work as well as his many fans, Green Poems will prove to be a true joy.

    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.

    Though counted among the five supremely virtuous women, honoured as pancha sati in mythology, the name Draupadi still bears stigma and is often contemptuously uttered by people in society as the woman who brought about the greatest war of all times.Pratibha Ray makes a determined effort for a balanced portrayal of the epic character and brings to the surface the broader and deeper aspects of Draupadi's mind that lay submerged in the majestic sweep of the grand Mahabharata.