It is also the city of poets, the city of love, longing, sin and splendour. This anthology brings together verse and prose: essays, stories, chronicles and profiles by people who have shared a relationship with Lahore. From the mystical poems of Madho Lal Hussain and Bulleh Shah to Iqbal’s ode and Faiz’s lament, from Maclagan and Aijazuddin’s historical treatises and Kipling’s ‘chronicles’ to Samina Quraeshi’s intricate portraits of the Old City and Irfan Husain’s delightful account of Lahori cuisine, City of Sin and Splendour is a marriage of the sacred and profane.While Pran Nevile paints a vivid sketch of Lahore’s Hira Mandi, Shahnaz Kureshy brings alive the legend of Anarkali and Khalid Hasan pays a tribute to the late ‘melody queen’ Nur Jehan. Mohsin Hamid’s essay on exile, Bina Shah’s account of the Karachi vs Lahore debate and Emma Duncan’s piece on elections are essential to the understanding of modern-day Lahore.But the city is also about Lahore remembered. Ved Mehta and Krishen Khanna write about ‘going back’ as Khushwant Singh writes about his pre-Partition years in Lahore. Sara Suleri’s memories of her hometown, the landscapes of Bapsi Sidhwa’s fiction, Khaled Ahmed’s homage to Intezar Hussain and Urvashi Butalia’s Ranamama are tributes to memory as much as they are tributes to remarkable lives and unforgettable places.Including fiction old and new—from Manto and Chughtai to Ashfaq Ahmed and Zulfikar Ghose; Saad Ashraf and Sorayya Khan to Mohsin Hamid and Rukhsana Ahmad, City of Sin and Splendour is a sumptuous collection that reflects the city it celebrates.

    As he observes the slow but sure destruction of everything the Jarawa require for their survival, Harish is moved by a need to understand, to do something. His unlikely friend and partner on this quest is uncle Pame, a seventy-year-old Karen boatman whose father was brought to the islands from Burma by the British in the 1920s. The islands also bring him to Seema, a 'local born'-a descendant of the convicts who were lodged in the infamous cellular jail of port Blair. Seema has seen the world, but unlike most educated islanders of her generation, she has decided to return home. Harishs earnestness, his fascination and growing love for the islands, their shared attempt to understand the Jarawa and the loss of her own first love, all draw Seema closer to Harish. As many things seem to fall in place and parallel journeys converge, an unknown contender appears-the giant tsunami of December 2004. The last wave is a story of lost loves, but also of a culture, a community, an ecology poised on the sharp edge of time and history.

    James Ogilvie is the third generation.Pitchforked with mixed feelings into imperial Britain’s elite military academy, Sandhurst, and then into the family regiment, he finds himself in 1894 a subaltern en route to India – a torrid journey out that teaches him the first lessons of military life and the command of men.His initiation is made more difficult by the vindictive attentions of the adjutant, Captain Black, and by the high expectations placed on him by his own irascible father, his Divisional Commander on the North West Frontier of India.Ogilvie gets his first taste of action when the Royal Strathspeys are sent through the Khyber Pass to contain the rebel Ahmed Khan outside Jalalabad. Fighting the border tribesmen brings brushes with death, but also many opportunities for the kind of glory that can forge a distinguished military career. But as the campaign goes on, Ogilvie also starts to doubt the entire Imperial project.‘Drums Along the Khyber’ is a thrilling historical adventure story, rich in period detail. It is the first in the Ogilvie series of novels by Philip McCutchan. ‘The adventure-writer succeeds who makes you read faster than you really can…Drums Along the Khyber has something of this quality’ – The Sunday Times Philip McCutchan (1920-1996) grew up in the naval atmosphere of Portsmouth Dockyard and developed a lifetime's interest in the sea. Military history was an early interest resulting in several fiction books, from amongst his large output, about the British Army and its campaigns, especially in the last 150 years.Endeavour Press is the UK's leading independent publisher of digital books.

    September 1975. Diya Nair is eighteen, a diligent student, hopelessly in love with Aditya. Married against her wishes to Rajagopal, ten years older than her, Diya is exposed to an orthodox family where they follow archaic customs that are alien to her modern upbringing. Despite this, Diya adjusts to her life in Rajagopal's ancestral house, winning his family over and even changing some of their regressive practices. But she is not able to understand Rajagopal. She gives her all to the marriage, and is blessed with two wonderful kids who become her world. Only Rajagopal's erratic, abusive behaviour is a constricting thorn in her side. He continues to break her spirit. Her thoughts keep returning to Aditya and the mango sapling they had planted together as proof of their love. Eating the fruits of the tree together seems a distant dream, an impossibility. Made resilient by repeated tribulations, will Diya overcome her biggest problems and find peace? Will Aditya and Diya ever reunite? Will Rajagopal mend his ways? Will her confidence help her find the balance in turmoil? And will life come a full circle for Diya under the very mango tree she had planted? To know more, undertake this nostalgic trip with true incidents, happenings and emotions interspersed with a dosage of fiction.

    Weaving history, myth and current political realities, these stories explore troubling motifs in contemporary Indian life through the figures and narratives of indigenous tribes in India. At once delicate and violent, Devi's stories map the experiences of the "tribals" and tribal life under decolonization. In "The Hunt," "Douloti the Bountiful" and the deftly wrought allegory of tribal agony "Pterodactyl, Pirtha, and Puran Sahay," Ms. Devi links the specific fate of tribals in India to that of marginalized peoples everywhere.Gayatri Spivak's readings of these stories connect the necessary "power lines" within them, not only between local and international structures of power (patriarchy, nationalisms, late capitalism), but also to the university.

    One shot, one man. Right man, wrong man. But that was thirty years ago. I shot people through their heads then. I pack jeera in a basement now.This is me and here is my story.He was the best sharpshooter in the state. A true bullet artist. But he gave it all up to lead a happy, normal, stable life . . . with his loving wife and dear son. And that proved to be his undoing. Resonant and deeply affecting, The Jeera Packer is the gripping tale of a man who after three decades of playing the happy family man returns to his profession of old for one final work—to shoot the chief minister.Convinced that this is his raison d'etre, will he manage to pull off this one last act, as his concluding hat tip to the man he could have been? Will he be able to brush away the jeera dust and rediscover himself? Or has the middle-aged family man already throttled the sharpshooter in him?

    54 pages of chapter summaries, quotes, character analysis, themes, and more – everything you need to sharpen your knowledge of Shantaram: A Novel. This detailed literature summary also contains Topics for Discussion on Shantaram: A Novel by Gregory David Roberts.

    His plan is to put the humble cane-panipuri vendor, found in every other street in a metropolitan city, on a digital platform.As they gear up to launch an app to sell panipuri, the cloud of risk looms large. All five entrepreneurs who earlier ventured into the business had died in road accidents. But all that is overlooked and forgotten in the excitement of the team reaching the verge of a VC funding.Is the death of all five entrepreneurs a coincidence? Can Sagar and his team overcome the odds? Why are the ordinary vendors dying one after another like a pack of cards?The Panipuri Crimes is a thrilling story weaving together the world of entrepreneurship and struggle, love and other demons, and the murky world of crime.

    It is clear, from his writings, that his mind was amazingly modern, humane and sensitive, especially for the seventh-century India in which he lived. Bana had a healthy irreverence towards many of the established orthodoxies of his time and his strength lies in his skill as a storyteller and as a creator of characters vibrant with life and individuality.Kadambari is a lyrical prose romance that narrates the love story of Kadambari, a Gandharva princess, and Chandrapida, a prince who is eventually revealed to be the moon god. Acclaimed as a great literary work, it is replete with eloquent descriptions of palaces, forests, mountains, gardens, sunrises and sunsets and love in separation and fulfillment. Featuring an intriguing parrot-narrator, the story progresses as a delightful romantic thriller played out in the magical realms between this world and the other, in which the earthly and the divine blend in idyllic splendour.

    There's West. And then there's Maya…Maya, her mother Nalini, and her brother Satchin have left a carefree life in India to come to England. But when Maya's father disappears, leaving only deceit and debt behind, they are left to fend for themselves in a strange, damp land.Maya, though, doesn't know of her father's betrayal. Nalini, determined to preserve her children's pride, tells them that their father died in an accident and, as their struggle to make a life begins, whole realities are built on this lie. While Nalini cooks exotic pickles which enchant all who eat them, Maya begins to adapt to her new home – the unfamiliar food, the language, the music – and then to explore and make bold plans, plans that her mother does not understand.But even a white lie cannot remain hidden forever – and when the truth resurfaces, it changes everything…

    K. Narayan has produced his own versions of tales taken from the Ramayana and the Mahabarata. Carefully selecting those stories which include the strongest characters, and omitting the theological or social commentary that would have drawn out the telling, Narayan informs these fascinating myths with his urbane humor and graceful style."Mr. Narayan gives vitality and an original viewpoint to the most ancient of legends, lacing them with his own blend of satire, pertinent explanation and thoughtful commentary."—Santha Rama Rau, New York Times"Narayan's narrative style is swift, firm, graceful, and lucid . . . thoroughly knowledgeable, skillful, entertaining. One could hardly hope for more."—Rosanne Klass, Times Literary Supplement

    The Prisons We Broke provides a graphic insight into the oppressive caste and patriarchal tenets of the Indian society, but nowhere does the writing descend to self-pity. With verve and colour the narrative brings to life, among other things, the festivals, rituals, marriages, snot-nosed children, hard lives and hardy women of the Mahar community. The original Marathi work, Jina Amucha, re-defined autobiographical writing in Marathi in terms of form and narrative strategies adopted, and the selfhood and subjectivities that were articulated. It is the first autobiography by a Dalit woman in Marathi, probably even the first of its kind in any Indian language.

    The original inhabitants of India, these Adivasis still live in forests and hills, with religious beliefs, traditions and rituals so far removed from the rest of the country that they represent an anthropological wealth of our heritage.This book weaves together prose, oral narratives and Adivasi history to tell the stories of six remarkable tribes of India—reckoning with radical changes over the last century—as they were pulled apart and thrown together in ways none of them fathomed.

    A prostitute, her lover and a policeman play for high stakes in BombDay. Injectionwala exposes chilling medical malpractices and a lovelorn vigilantes twisted game plan. In Coma Man, a man awakens from coma after twenty years, and sets out in search of his wife and himself. Gritty love stories, manipulative cops and hard-boiled slumlords form the backdrop of this unputdownable thriller. Its MUMBAISTAN all the way. Mumbai, a city of dreams for many. But for others, a nightmare. Behind the façade of lustre and glamour churns a seething underbelly of squalor, corruption and crime. Mumbaistan’s three explosive crime novellas unravel the subterranean secrets of maximum city—from the teeming maw of Dharavi and the wanton streets of Kamathipura to the swank high-rises of Bandra. A prostitute, her lover and a policeman play for high stakes in Bomb-Day. Injectionwala exposes chilling medical malpractices and a lovelorn vigilante’s twisted game plan. In Coma Man, a man awakens from coma after twenty years, and sets out in search of his wife— and himself. Macabre love stories, conniving cops and hard-boiled slumlords form the backdrop of a schizophrenic city that is brooding...dying. Welcome to Mumbaistan; a gritty, compelling take on the megalopolis that lives on the edge.

    Two lives. Three generations. Four places. Chitrangda Chatterjee, 32, has been moving from one dead-end offshore job to another. Kathputli’s story begins after Chitrangda has quit her latest job and sets out in search of the perfect story for her Great Indian Novel. This takes her to a family reunion of her grandmother’s clan, where a story of the long-lost daughter of a once-powerful Zamindar family begins to take shape.  Unravelling the mystery of Mala’s disappearance a few years after the brutal murder of the boy she loved becomes an obsession for Chitrangda. One which draws Chitrangda out of her shell; and introduces her to the unaccustomed joys of getting to know new people and places.  What emerges, however, undermines the very foundation of Chitrangda’s understanding of her own family.  The novel goes back and forth between Chitrangda’s present-day search for all the missing pieces of Mala’s story and the story itself, set in 1940s Kolkata.