This edition includes extensive notes on Indian myths, religion, social customs, and the Independence movement which fill out the background for the American reader's more complete understanding and enjoyment.

    A powerful three-generational saga of a Sri Lankan family's search for coherence and continuity in a country broken by colonial occupation and riven by ethnic wars.

    So, when a proposal from a young, handsome NRI comes along, her mother jumps at the opportunity and packs her daughter off to the US with her perfect groom.Nithya seems to have settled in with Ashok, ostensibly happy, if as yet childless, in her new life. When an old flame comes back into her life, however, the cracks in her perfect marriage begin to show…

    The past is what you leave as you go. There is nothing more to it.Vasantha retired early, bought himself a van with his savings, and now works as a driver for hire. As he drives through Sri Lanka, carrying aid workers, businessmen, and families and meeting lonely soldiers and eager hoteliers, he engages them with self-deprecating wit and folksy wisdom—and reveals for us their uncertain lives.On his journey from the army camps in northern Jaffna to the moonlit ramparts of Galle, in the south, Vasantha begins to discover the depth of the problems of the past—his own and his country’s—and the promise the future might hold.From the writer praised by The Guardian for the “vivid originality” of his vision, here is a wonderful collection—perceptive, somber, finely tuned—that draws a potent portrait of postwar Sri Lanka and the ghosts of civil war.

    If Eddie wants to wed Menaka, it is Thilak Rupasinghe, her orthodox terror of a father, whom he must woo and whose farts he must kiss – Thilak wants his daughter to marry someone of the same race, religion and caste, and if possible from the same locality.In a desperate bid to make his dream a reality, Eddie tries to connect with Thilak in other ways – eating curries that make him bleed spice and breathe fire, driving drunk through red lights, threatening co-workers with violence, and sleeping with snakes. But will Eddie ever be good enough for a man who hates the colour of his skin?Sparkling with wit and featuring an endearing cast of characters, The Amazing Racist is the story of a man who finds a home among strangers, of a father-in-law whose bark is worse than his bite, and of bonds that grow to be stronger than family ties.

    The East India Company is seeking to make inroads into the region and the local people—in particular the Abor and Mishmee tribes—fear their coming and are doing all they can to keep them out of their territories. The author takes a recorded historical event—the mysterious disappearance of a French priest, Father Nicolas Krick in the 1850s and the execution of Kajinsha from the Mishmee tribe for his murder—and woven a gripping, densely imagined work of fiction around it. And, even as the novel tells the story of an impossible journey and an elopement, it explores the themes of the lure of unknown worlds, the love people have for each other and their land and the forces of history. Gimur, a girl from the Abor tribe, runs away with Kajinsha from the Mishmee tribe, and they settle down on his land near the Tibetan border. Father Krick’s attempts to reach Tibet to set up a Jesuit mission are foiled repeatedly by the local people not because of any personal animus towards the priests or their work, but because they feel—rightly—that once the priests come, the British, with their guns and their garrisons will follow. The story revolves around events in Gimur’s and Kajinsha’s villages and is also seen from the point of view of Father Krick, a gentle, intelligent man, devout but no bigot, whose determination to reach Tibet no matter what the cost, impacts tragically on all those who encounter him.

    Written immediately after the partition of the Indian subcontinent, the play is a profound meditation on the politics of violence and aggressive selfhood. The moral burden of the play is that every act of violence inevitably debases society as a whole. Alok Bhalla's translation captures the essential tension between the nightmare of self-enchantment, which the story of the Kauravas represents, and the ever-present possibility of finding a way out of the cycle of revenge into a redemptive ethicality.