By demystifying the fantasies surrounding cancer, Sontag shows cancer for what it is - just a disease. Cancer, she argues, is not a curse, not a punishment, certainly not an embarrassment and, it is highly curable, if good treatment is followed. Almost a decade later, with the outbreak of a new, stigmatized disease replete with mystifications and punitive metaphors, Sontag wrote a sequel to Illness as Metaphor, extending the argument of the earlier book to the AIDS pandemic.These two essays now published together, Illness as Metaphor and AIDS and Its Metaphors, have been translated into many languages and continue to have an enormous influence on the thinking of medical professionals and, above all, on the lives of many thousands of patients and caregivers.

    Over the next few months, he was charged with more crimes-of criminal conspiracy, murder, possession of arms and rioting, among others-and incarcerated in one of the most notorious prisons in Maharashtra, the Nagpur central jail.This is an account of the nearly five years that Ferreira was imprisoned. We read in stark and unsparing detail about life in prison-the torture, the beatings, the corrupt system, the codes of behaviour among inmates, the strikes mounted by prisoners to protest brutality, the general air of helplessness and the small consolations that keep hope alive.In September 2011, Ferreira was acquitted of all charges and a breath away from freedom when he was re-arrested by plainclothes policemen at the prison gates. He never got a glimpse of his family who were waiting just outside. He began to fight the system all over again, until with the help of courageous friends and activists, he was cleared of all the trumped up charges that had put him in prison.Colors of the cage is the real story of what goes on behind bars-not the celluloid or novelistic version that readers will be familiar with. However, it is not just a gritty, harrowing account of life in prison but also a memoir of astonishing power and grace-about a mans stubborn fight for justice and the triumph of the human will.Arun Fereira gives us a clear-eyed, unsentimental account of custodial torture, years of imprisonment on false cases and the flagrant violation of procedure that passes as the rule of law. His experience is shared by tens of thousands of our fellow countrymen and women, most of whom do not have access to lawyers or legal aid. This country needs many more books like this one.

    These unique temples are not just places of worship, but living museums of architectural wonders, mind-boggling sculptures, graceful dances, colourful crafts and many other cultural activities. More than anything, they are treasure troves of lore and legend, teeming with tales of gods and goddesses, demons and devotees, plants and beasts, the magical and the mysterious – all just waiting to be discovered by you. Join Sudha G. Tilak as she takes you on an unusual journey to the country’s most sacred places, where the lines between fact and faith are blurred and stories come alive!

    His theories, which the French press has termed "l'hypothèse girardienne," have sparked interdisciplinary, even international, controversy. In The Scapegoat, Girard applies his approach to "texts of persecution," documents that recount phenomena of collective violence from the standpoint of the persecutor--documents such as the medieval poet Guillaume de Machaut's Judgement of the King of Navarre, which blames the Jews for the Black Death and describes their mass murder.Girard compares persecution texts with myths, most notably with the myth of Oedipus, and finds strikingly similar themes and structures. Could myths regularly conceal texts of persecution? Girard's answers lies in a study of the Christian Passion, which represents the same central event, the same collective violence, found in all mythology, but which is read from the point of view of the innocent victim. The Passion text provides the model interpretation that has enabled Western culture to demystify its own violence--a demystification Girard now extends to mythology.Underlying Girard's daring textual hypothesis is a powerful theory of history and culture. Christ's rejection of all guilt breaks the mythic cycle of violence and the sacred. The scapegoat becomes the Lamb of God; "the foolish genesis of blood-stained idols and the false gods of superstition, politics, and ideologies" are revealed.

    She guides us through the ruins and construction sites of post-communist cities--St. Petersburg, Moscow, Berlin, and Prague--and the imagined homelands of exiles-Benjamin, Nabokov, Mandelstahm, and Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, Boym unravels the threads of this global epidemic of longing and its antidotes.

    An elderly passenger looked at him and said, "We're all trying to go that way," pointing to the rear. "You, you're going this way?"Giridharadas was returning to the land of his ancestors, amid an unlikely economic boom. But he was interested less in its gold rush than in its cultural upheaval, as a new generation has sought to reconcile old traditions and customs with new ambitions and dreams.In "India Calling," Giridharadas brings to life the people and the dilemmas of India today, through the prism of his emigre family history and his childhood memories of India. He introduces us to entrepreneurs, radicals, industrialists, and religious seekers, but, most of all, to Indian families. He shows how parents and children, husbands and wives, cousins and siblings are reinventing relationships, bending the meaning of Indianness, and enduring the pangs of the old birthing the new.Through their stories, and his own, he paints an intimate portrait of a country becoming modern while striving to remain itself."

    Within five weeks, Prime Minister Indira Gandhi declared the Emergency, suspending fundamental rights and imposing press censorship, and soon reckless policies said to be authored by the prime minister's younger son were unleashed on India's citizens. As the country suffered under the iron fist of an elected icon and her chosen heir, Tavleen observed that a small, influential section of Delhi's society people she knew well remained strangely unaffected by the perilous state of the nation. Before long, members of this circle were entrenched in key positions in the Indian government. In 1984, following Indira Gandhi's assassination, Rajiv Gandhi became prime minister, fortified by a huge mandate from a nation desperate for change. But, belying its hopes, the young leader chose for himself a group of advisors, friends and acolytes from the drawing rooms of Delhi, as inexperienced as him and just as unaware of the ground realities of a complex nation. It was the beginning of a political culture of favouritism and ineptitude that would take hold at the highest levels of government, stunting India's ambitions and frustrating its people well into the next century. Seasoned reporter and distinguished newspaper columnist Tavleen Singh's Durbar is a sharp account of these turbulent years. Describing the Nehruvian era of her childhood, the Emergency of her youth and the political shifts that followed, Tavleen writes of the birth and evolution of insurgencies in Punjab and Kashmir, the blood spilt in assassinations and massacres, of crises internal and external and the clumsy attempts to set things right. A remarkable memoir, vivid with the colour of election campaigns and society dinners, low conspiracies and high corruption, Durbar rewards us with this truth: that if India is to achieve a better future the past can no longer be ignored or forgotten.

    In Joe Marshall, we found that person, but the happy surprise was that we also found a poet, a storyteller, and an educator who led us through challenging terrain with great patience and wisdom." —Michael Wright, executive in charge of production, Into The WestNative American lineage holders have long been cautious about sharing their spiritual truths because the essence of this wisdom has been so often misunderstood. In Walking with Grandfather, authentic Lakota lineage holder and award-winning storyteller Joseph M. Marshall breaks this silence with the very best from a lifetime of lessons passed on to him by his grandfather. With him, you will gain access to the timeless teachings that until now remained largely unheard outside the culture of the Lakota people.Part of an unbroken series of narratives dating back countless centuries, this rare new transmission includes Marshall's rendition of legendary stories such as:"Follow Me"—why it is not authority but character, compassion, and experience that make a good leader• "The Way of Wolves"—surprising lessons about the meaning of family• "The Bow and the Arrow"—the intricate dynamics of spiritual partnership• "The Shadow Man"—how to honor the sacred warrior in all of us• "The Wisdom Within"—the passage of truly becoming an elder• Plus many more stories

    Gulzar witnessed the horrors of Partition first-hand and it is a theme that he has gone back to again and again in his writings. Footprints on Zero Line brings together a collection of his finest writings - fiction, non-fiction and poems - on the subject. What sets this collection apart from other writings on Partition is that Gulzar's unerring eye does not stop at the events of 1947 but looks at how it continues to affect our lives to this day. Wonderfully rendered in English by well-known author and translator Rakhshanda Jalil, this collection marks seventy years of India's Independence. Footprints on Zero Line is not only a brilliant collection on a cataclysmic event in the history of our nation by one of our finest contemporary writers, it is also a timely reminder that those who forget the errors of the past are doomed to repeat them.

    In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

    Life revolves around his family: Mama, Papa, sister Shahnaz, brothers Adil and Akhtar and, his favourite, older brother Bilal. It also revolves around Munnu’s two favourite things – sugar and drawing.But Munnu’s is a childhood experienced against the backdrop of conflict. Bilal’s classmates are crossing over into the Pakistan-administered portion of Kashmir to be trained to resist the ‘occupation’; Papa and Bilal are regularly taken by the military to identification parades where informers will point out ‘terrorists’; Munnu’s school is closed; close neighbours are killed and the homes of Kashmiri Hindu families lie abandoned, as once close, mixed communities have ruptured under the pressure of Kashmir’s divisions.Munnu is an amazingly personal insight into everyday life in Kashmir. Closely based on Malik Sajad’s own childhood and experiences, it is a beautiful, evocatively drawn graphic novel that questions every aspect of the Kashmir situation – the faults and responsibilities of every side, the history of the region, the role of Britain and the West, the possibilities for the future. It opens up the story of this contested and conflicted land, while also giving a brilliantly close, funny and warm-hearted portrait of a boy’s childhood and coming-of-age.

    If you steal 55,000 crores then you get to stay in a 40-foot cell which has four split units, internet, fax, mobile phones and a staff of 10 to clean your shoes and cook your food (in case it is not being delivered from Hyatt that particular day).’They say that prison can be a great leveler – but does this apply if you are a VIP inmate in an Indian prison? Maybe not.Based on extensive first-hand interviews with some of India’s most well-known inmates, award-winning journalist Sunetra Choudhury gives you a peek into the VIP prison life. It includes some interesting anecdotes about the lives of the rich and powerful prisoners: What does Peter Mukherjea do all day in his 4 x 4 cell in Arthur Road Jail? How does a 70-year-old Doon school alumnus who has spent more than 7 years in jail find a will to continue petitioning the state and fight his cases? Who came to visit Amar Singh during those 4 fateful days and why this scarred him and his wife for life, determining his future friends and allies?Apart from certain depictions in popular culture or the occasional news reports, there is little information about how rules are bent and law takes a backseat when it comes to people like Sanjeev Nanda, Vikas and Vishal Yadav, Anca Varma and Manu Sharma, who were given special benefits and often sent out on parole and furlough for their good behaviour.For the first time, India’s most famous prisoners share their own stories – from terror tales of ‘bladebaaz’ to torture chambers, from air conditioners in cells to food from five-star hotels, from cushy beds to private parties – and how they negotiate life in prison or the so-called ‘jail-ashram’.With unbelievable details of the life inside prison and the sorry state of hundreds of undertrials languishing in jails, this book questions the primary purpose of imprisonment – is it actually reform, punishment or just misusing the system we are a part of?

    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.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    Indignant at the silence on the issue in India, she wrote an article for an Indian women’s magazine questioning how we perceive rape and rape victims. Thirty years later her story went viral in the wake of the 2012 fatal gang rape in Delhi and the global outcry that followed. In 2013, Abdulali published an op-ed in the New York Times called “After Being Raped, I Was Wounded; My Honor Wasn’t” that was widely circulated. Now, as the #metoo and #timesup movements blow open the topic of sexual assault and rape, What We Talk About When We Talk About Rape is a brilliant and entirely original contribution to our understanding.Drawing on her own experience, her research, her work with hundreds of survivors as the head of a rape crisis center in Boston, and three decades of grappling with the issue as a feminist intellectual and writer, Abdulali examines the contemporary discourse about rape and rape culture, questioning our assumptions and asking how we want to raise the next generation. She interviews survivors whose moving personal stories of hard-won strength, humor, and wisdom collectively tell the larger story of how societies may begin to heal.Abdulali also explores what we don’t say. Is rape always a life-defining event? Does rape always symbolize something? Is rape worse than death? Is rape related to desire? Who gets raped? Is rape inevitable? Is one rape worse than another? How does one recover a sense of safety and joy? How do we raise sons? Is a world without rape possible? Both deeply personal and meticulously researched, What We Talk About When We Talk About Rape is a rallying cry and required reading for us all.