Walter Crocker, the Australian high commissioner to India, admired Nehru the man—his grace, style, intelligence and energy—and was deeply critical of many of his political decisions—the invasion of Goa, India’s Kashmir policy, the Five Year Plans. This book, written shortly after Nehru’s death, is full of invaluable first hand observations about the man and his politics. Many of Crocker’s points, too—especially the implications of the Five Year Plans and of the introduction of democracy to India—are particularly relevant today.

    From the darkest days of the British Raj through to the aftermath of World War I, Belonging tells the interwoven story of three generations and their struggles to understand and free themselves from a troubled history steeped in colonial violence. It is a novel of secrets that unwind through Lila's story, through her grandmother’s letters home from India and the diaries kept by her father, Henry, as he puzzles over the enigma of his birth and his stormy marriage to the mysterious Rebecca.

    E. B. Du Bois of black Americans in his classic The Souls of Black Folk. A hundred years later, Vijay Prashad asks South Asians, "How does it feel to be a solution?"In this kaleidoscopic critique, Prashad looks into the complexities faced by the members of a model minority—one, he claims, that is consistently deployed as a weapon in the war against black America. On a vast canvas, The Karma of Brown Folk attacks the two pillars of the model minority image—that South Asians are both inherently successful and pliant—and analyzes the ways in which U.S. immigration policy and American Orientalism have perpetuated these stereotypes.Prashad uses irony, humor, razor-sharp criticism, personal reflections, and historical research to challenge the arguments made by Dinesh DSouza, who heralds South Asian success in the U.S., and to question the quiet accommodation to racism made by many South Asians. A look at Deepak Chopra and others whom Prashad terms Godmen shows us how some South Asians exploit the stereotype of inherent spirituality, much to the chagrin of other South Asians.Following the long engagement of American culture with South Asia, Prashad traces India's effect on thinkers like Cotton Mather and Henry David Thoreau, Ravi Shankar's influence on John Coltrane, and such essential issues as race versus caste and the connection between antiracism activism and anticolonial resistance. The Karma of Brown Folk locates the birth of the model minority myth, placing it firmly in the context of reaction to the struggle for Black Liberation. Prashad reclaims the long history of black and South Asian solidarity, discussing joint struggles in the U.S., the Caribbean, South Africa, and elsewhere, and exposes how these powerful moments of alliance faded from historical memory and were replaced by Indian support for antiblack racism.Ultimately, Prashad writes not just about South Asians in America but about America itself, in the tradition of Tocqueville, Du Bois, Richard Wright, and others. He explores the place of collective struggle and multiracial alliances in the transformation of self and community--in short, how Americans define themselves.Vijay Prashad is assistant professor of international studies at Trinity College in Hartford, Connecticut.

    They also saw the structure of the army, with its recruitment on the basis of caste and religion, as incompatible with their hopes for a new secular nation.India has successfully preserved its democracy, however, unlike many other colonial states that inherited imperial "divide and rule" armies, and unlike its neighbor Pakistan, which inherited part of the same Indian army in 1947. As Steven I. Wilkinson shows, the puzzle of how this happened is even more surprising when we realize that the Indian Army has kept, and even expanded, many of its traditional "martial class" units, despite promising at independence to gradually phase them out.Army and Nation draws on uniquely comprehensive data to explore how and why India has succeeded in keeping the military out of politics, when so many other countries have failed. It uncovers the command and control strategies, the careful ethnic balancing, and the political, foreign policy, and strategic decisions that have made the army safe for Indian democracy. Wilkinson goes further to ask whether, in a rapidly changing society, these structures will survive the current national conflicts over caste and regional representation in New Delhi, as well as India's external and strategic challenges.

    In its journey from coalition politics to single-party hegemony, it has emerged as a very different entity from the one that first came to power in 1998. Veteran journalist Saba Naqvi—who has spent two decades covering the BJP—tells the story from the party’s founding in 1980 to its two stints in power. Shades of Saffron: From Vajpayee to Modi is both a first-person account of racy events as they unfolded in the nation’s history, and a work that raises larger analytical points about the BJP’s growth. It examines the role of the RSS cadre and its equations with elected leaders, the calibration of ideology, the issue of political finance and the social expansion of the party, as also the cults of personality that would emerge around, first, Atal Bihari Vajpayee and then, more forcefully, around Narendra Modi. The book provides a riveting account of the party’s difficult journey from ‘untouchability’ (when allies were unwilling to join) to its presumed ‘invincibility’ today. Naqvi’s long-standing equations with members of the party, developed over two decades of consistently fair reporting, delivers a narrative full of insights that are both fresh and deep, and anecdotes that are as lively as they are telling. In revealing hitherto unknown aspects, and reminding readers of the bigger picture, Shades of Saffron is a deep dive into the contemporary history of a party that keeps reinventing itself.

    The protagonists are helpless victims of psychological maladies. Their suppressed libido and Oedipus complex are areas Tamil writers generally dared not enter - at any rate in the 1960s, when they were written.The brilliant introvert Rajaraman is the quintessential good boy. The play of circumstances kindles oedipal fancies in him. The incandescent consummation with Sarada Mami is a catharsis. A rishi is born looking at the world with a disdain at once benignly distant and compellingly personal.Well-educated and well-employed Janaki lives under the protective cover of her paranoid, possessive, puritanical mother. Her healthy friendship with a collegemate of yesteryear promises liberation. Her short-lived taste of freedom is stamped out and she is sucked back into her mother's bizarre, overwhelming orbit. The success of Jayakanthan lies in evoking in the reader a profound empathy with the tragically deviant characters of the two stories.

    It includes his personal experiences when India became independent, and his ideas on freedom and liberty.The book takes the form of an autobiographical narrative and goes over the happenings of the Indian Independence movement. The book traces the events that took place and ultimately led to the partition in a frank and profound manner. The book says that politics was responsible for the partition more than religion. It also states that India failed to maximise its potential when it gained independence. The book discusses political hypocrisy, and also touches upon contemporaries of the author’s, like Nehru, Gandhi, and Subhash Chandra Bose, and highlights their mind-sets during that time.

    However, an encounter with Chanakya, the man she had planned to kill, sets her on an unexpected path…She lands the highly-coveted job of a spy, masquerading as a dancing girl. In a kingdom fraught with intrigue, Misrakesi must always remain one step ahead. With the help of her handsome but arrogant chief Pushyamitra, she must concoct the perfect blend of sweetness and seduction to vanquish the enemies of the state. But when she is sent to subtly conquer a powerful neighboring kingdom, she might be in for more than what she bargained for. Will she succeed in her mission? Or more importantly, will she even survive to tell the tale? Meticulously researched, this historical page-turner packs in romance, political intrigue, and mystery to make for a racy read.

      No matter where one goes in India, one will find a landscape in which mountains, rivers, forests, and villages are elaborately linked to the stories of the gods and heroes of Indian culture. Every place in this vast landscape has its story, and conversely, every story of Hindu myth and legend has its place. Likewise, these places are inextricably tied to one another—not simply in the past, but in the present—through the local, regional, and transregional practices of pilgrimage.  India: A Sacred Geography tells the story of the pilgrim’s India. In these pages, Diana Eck takes the reader on an extraordinary spiritual journey through the living landscape of this fascinating country –its mountains, rivers, and seacoasts, its ancient and powerful temples and shrines.  Seeking to fully understand the sacred places of pilgrimage from the ground up, with their stories, connections and layers of meaning, she acutely examines Hindu religious ideas and narratives and shows how they have been deeply inscribed in the land itself.  Ultimately, Eck shows us that from these networks of pilgrimage places, India’s very sense of region and nation has emerged. This is the astonishing and fascinating picture of a land linked for centuries not by the power of kings and governments, but by the footsteps of pilgrims.  India: A Sacred Geography offers a unique perspective on India, both as a complex religious culture and as a nation. Based on her extensive knowledge and her many decades of wide-ranging travel and research, Eck's piercing insights and a sweeping grasp of history ensure that this work will be in demand for many years to come.

    Filmmaker and writer Anungla Zoe Longkumer brings together, for the first time, a remarkable set of stories, poems, first-person narratives, and visuals that showcase the breadth of Naga women’s creative and literary expression. The essays are written in English, a language the Nagas—who had no tradition of written literature—made their own after the arrival of Christianity in the region during the nineteenth century. In The Many That I Am, each writer speaks of the many journeys women undertake to reclaim their pasts and understand their complex present.

    On a trip to India, they fall in love with Jyothi: a small, shy girl, whose family has been ruined by poverty. Jyothi has been living on the streets of Bombay, seeking comfort in the music she hears around her. When her mother is involved in a tragic accident, Jack and Monika are determined to adopt the orphan child. Eventually they return to England, but Jyothi finds it difficult to adapt to her new home. She feels more alone than ever and music becomes her solace once more. Even when Jyothi’s extraordinary musical talent transforms into a promising career, she still doesn’t feel like she belongs. Then a turbulent love affair causes her to question everything. And Jyothi realises that before she can embrace her future, she must confront her past...

    But these visions that keep flashing through his mind are far from an ordinary fantasy-they are vivid episodes from the god's life. Through these scenes, as Krishna's mystifying schemes are revealed, Anirudh slowly comes to terms with his real identity . . .He is the last avatar of Vishnu, sent to restore the balance between good and evil. But an ancient and powerful nemesis, burning with the fire of revenge, has already started assembling a clan of mighty sorcerers to finally be rid of the protector god and unleash depravity on earth.Will Anirudh realize his potential before it's too late? Or will the enemy destroy everything in their wake before the avatar finally manifests? This gripping read is the first part in the Kalki Chronicles, which unveils the greatest legend of the Kali yuga.

    Events, anecdotes and personalities drive its narrative to illustrate the cocktail of hostility, nationalism and nostalgia that defines every facet of the relationship. It looks at the main events through the eyes and words of actual players and contemporary observers to illustrates how, both in India and in Pakistan, these past events are seen through radically different prisms, how history keeps resurfacing and has a resonance that cannot be avoided to this day. Apart from political, military and security issues, The People Next Door evokes other perspectives: divided families, peacemakers, war mongers, contrarian thinkers, intellectual and cultural associations, unwavering friendships, the footprint of Bollywood, cricket and literature: all of which are intrinsic parts of this most tangled of relationships.

    The trilogy is the story of growing up in India. It traces Apu´s growth from childhood - cruelly poor but brightened by a passion for creativity and learning - to battered maturity. This 50th Anniversary volume, containing a foreword and working sketches by Ray presents the first authorized publication of these scripts in their entirety along with extensive interviews with Ray himself. Fresh material special to this edition includes an expansive interview with Ray by Shyam Benegal, himself a leading filmmaker with several award winning films to his credit. In the interaction between the two directors, Ray talks about early influences, the experience of making the Apu Trilogy, the importance of music and the portrayal of women in his film as well as other aspects of his craft. This edition also includes a complete filmography.

    In his insider account, author RVS Mani discloses how the country’s internal security establishment functioned in the period of 2004-2014 when India faced some of the bloodiest terrorist carnages. This former Home Ministry official posted in the Internal Security Division between 2006-2010 also poses several questions that the nation should seek answers to.