Thus begins the story of Poonachi, the little orphan goat. As you follow her story from forest to habitation, independence to motherhood, you recognise in its significant moments the depth and magnitude of your own fears and longings, fuelled by the instinct for survival that animates all life. Masterly and nuanced, Perumal Murugan’s tale forces us reflect on our own responses to hierarchy and ownership, selflessness and appetite, love and desire, living and dying. Poonachi is the story of a goat who carries the burden of being different all her life, of a she-goat who survives against the odds. It is equally an expression of solidarity with the animal world and the female condition. The tale is also a commentary on our times, on the choices we make as a society and a nation, and the increasing vulnerability of individuals, particularly writers and artists, who resist when they are pressed to submit. Reviews for Poonachi “Murugan’s sarcasm speaks of the robustness of his spirit … As in all his novels, (his) story is rich in detail … (He) sustains the narrative tension right from the start.”- Elizabeth Kuruvilla, The Hindu Literary Review

    Among his expansive and impressive body of work, Gitanjali is regarded as one of his greatest achievements, and has been a perennial bestseller since it was first published in 1910.

    The story reflects the social, political and religious scene in Bengal at the turn of the century. The forces that were operating in Bengal at that time were one of the intense nationalism and revival of ancient spiritual values and also that of liberal western thought. What makes Gora a great prose epic is not only its social content but also its brilliant story of self-searching, of resolution, of conflicts and of self discovery.

    Ironically, it also became the chant of millions on the streets of India against the project of Hindu Nationalism.Even as Arundhati Roy began to ask what lay between these two calls for Freedom—a chasm or a bridge?—the streets fell silent. Not only in India, but all over the world. The coronavirus brought with it another, more terrible understanding of Azadi, making a nonsense of international borders, incarcerating whole populations, and bringing the modern world to a halt like nothing else ever could.In this series of electrifying essays, Arundhati Roy challenges us to reflect on the meaning of freedom in a world of growing authoritarianism.The essays include meditations on language, public as well as private, and on the role of fiction and alternative imaginations in these disturbing times.The pandemic, she says, is a portal between one world and another. For all the illness and devastation it has left in its wake, it is an invitation to the human race, an opportunity, to imagine another world.

    The Argumentative Indian is "a bracing sweep through aspects of Indian history and culture, and a tempered analysis of the highly charged disputes surrounding these subjects--the nature of Hindu traditions, Indian identity, the country's huge social and economic disparities, and its current place in the world" (Sunil Khilnani, Financial Times, U.K.).

    The popularity of the book is so great that it has run into forty two impressions ever since it was originally published in the year 1951

    K. Narayan in the Introduction to this new interpretation, 'is aware of the story of The Ramayana. Everyone of whatever age, outlook, education or station in life knows the essential part of the epic and adores the main figures in it - Rama and Sita. Every child is told the story at bedtime . . . The Ramayana pervades our cultural life.' Although the Sanskrit original was composed by Valmiki, probably around the fourth century BC, poets have produced countless variant versions in different languages. Here, drawing his inspiration from the work of an eleventh-century Tamil poet called Kamban, Narayan has used the talents of a master novelist to recreate the excitement and joy he has found in the original. It can be enjoyed and appreciated, he suggests, for its psychological insight, its spiritual depth and its practical wisdom - or just as a thrilling tale of abduction, battle and courtship played out in a universe thronged with heroes, deities and demons.

    In Volga’s retelling, it is Sita who, after being abandoned by Purushottam Rama, embarks on an arduous journey to self-realization. Along the way, she meets extraordinary women who have broken free from all that held them back: Husbands, sons and their notions of desire, beauty and chastity. The minor women characters of the epic as we know it – Surpanakha, Renuka, Urmila and Ahalya – steer Sita towards an unexpected resolution. Meanwhile, Rama too must reconsider and weigh out his roles as the king of Ayodhya and as a man deeply in love with his wife. A powerful subversion of India’s most popular tale of morality, choice and sacrifice, The Liberation of Sita opens up new spaces within the old discourse, enabling women to review their lives and experiences afresh. This is Volga at her feminist best.

    This Elibron Classics edition is a facsimile reprint of a 1915 edition by Macmillan and Co., Ltd., London.

    The professional meeting explodes into an intense, passionate relationship. Prague in winter is a beautiful and moody setting to the feverish love affair. The complicated and inevitably short-lived romance is poignant and deeply moving in its telling by the master of the modern Hindi novel, Nirmal Verma.This book is translation of original novel in Hindi, called Ve Din.

    Despite being part of the country's small Hindu community, that is terrorized at every opportunity by Muslim fundamentalists, they refuse to leave their country, as most of their friends and relatives have done. Sudhamoy, an atheist, believes with a naive mix of optimism and idealism that his motherland will not let him down... And then, on 6 December 1992, the Babri Masjid at Ayodhya in India is demolished by a mob of Hindu fundamentalists. The world condemns the incident but its fallout is felt most acutely in Bangladesh, where Muslim mobs begin to seek out and attack the Hindus... The nightmare inevitably arrives at the Duttas' doorstep - and their world begins to fall apart.

    Bitter Fruit presents the best collection of Manto's writings, from his short stories, plays and sketches, to portraits of cinema artists, a few pieces on himself, and his letters to Uncle Sam which have references to communism, Russia, politics after the Partition and his own financial condition. The concluding section of the book has acknowledgements and reminiscences from Saadat's friends and relatives. Bitter Fruit includes stories like A Wet Afternoon, The Return, A Believer's Version, Toba Tek Singh, Colder Than Ice, The Assignment, Odour, By The Roadside, Bribing the Almighty, The Kingdom's End, The Woman in the Red Raincoat, The Room with the Bright Light, The Great Divide, The Angel, Siraj, An Old Fashioned Man, The Price of Freedom, It Happened in 1919, The Girl from Delhi, A Man of God, Free for All, and A Tale of 1947. There is a collection of sketches too. Manto used to write radio plays and this book has one of the dramas he penned, called In This Vortex. His short stories bring out the most delicate nuances of human nature.

    I shall release you -SAKUNTALA When?KING When?When, like a bee, I kiss the bud of your unbruised lipAnd flood my thirsting mouth with nectar.Kalidasa's play about the love of King Dusyanta and Sakuntala, a hermitage girl, their separation by a curse, and eventual reunion, is the supreme work of Sanskrit drama by its greatest poet and playwright (c.4th century CE). Overwhelmingly erotic in tone, in peformance The Recognition of Sakuntala aimed to produce an experience of aesthetic rapture in the audience, akin to certain types of mystical experience.The pioneering English translation of Sakuntala in 1789 caused a sensation among European composers and writers (including Goethe), and it continues to be performed around the world. This vibrant new verse translation includes the famous version of the story from the Mahabharata, a poetic and dramatic text in its own right and a likely source for Kalidasa. The introduction discusses the play in the aesthetic and cultural context of ancient India.

    Still above is Vaikuntha, heaven, abode of God.The doorkeepers of Vaikuntha are the twins, Jaya and Vijaya, both whose names mean 'victory'. One keeps you in Swarga; the other raises you into Vaikuntha.In Vaikuntha there is bliss forever, in Swarga there is pleasure for only as long as you deserve. What is the difference between Jaya and Vijaya? Solve this puzzle and you will solve the mystery of the Mahabharata.In this enthralling retelling of India's greatest epic, the Mahabharata originally known as Jaya, Devdutt Pattanaik seamlessly weaves into a single narrative plots from the Sanskrit classic as well as its many folk and regional variants, including the Pandavani of Chhattisgarh, Gondhal of Maharashtra, Terukkuttu of Tamil Nadu and Yakshagana of Karnataka.Richly illustrated with over 250 line drawings by the author, the 108 chapters abound with little-known details such as the names of the hundred Kauravas, the worship of Draupadi as a goddess in Tamil Nadu, the stories of Astika, Madhavi, Jaimini, Aravan and Barbareek, the Mahabharata version of the Shakuntalam and the Ramayana, and the dating of the war based on astronomical data.With clarity and simplicity, the tales in this elegant volume reveal the eternal relevance of the Mahabharata, the complex and disturbing meditation on the human condition that has shaped Indian thought for over 3000 years.

    Jayant Kaikini’s gaze takes in the people in the corners of Mumbai—a bus driver who, denied vacation time, steals the bus to travel home; a slum dweller who catches cats and sells them for pharmaceutical testing; a father at his wit’s end who takes his mischievous son to a reform institution. In this metropolis, those who seek find epiphanies in dark movie theaters, the jostle of local trains, and even in roadside keychains and lost thermos flasks. Here, in the shade of an unfinished overpass, a factory worker and her boyfriend browse wedding invitations bearing wealthy couples’ affectations—“no presents please”—and look once more at what they own. Translated from the Kannada by Tejaswini Niranjana, these resonant stories, recently awarded the DSC Prize for South Asian Literature, take us to photo framers, flower markets, and Irani cafes, revealing a city trading in fantasies while its strivers, eating once a day and sleeping ten to a room, hold secret ambitions close.