Reclaimed from the sea, these would become the modern city of Bombay. A marriage of affluence and abject poverty, where a grey concrete jungle is the backdrop to a heady potpourri of ethnic, linguistic and religious subcultures, Bombay, renamed Mumbai after the goddess Mumbadevi, defies definition. Bombay, Meri Jaan, comprising poems and prose pieces by some of the biggest names in literature, in addition to cartoons, photographs, a song and a Bombay Duck recipe, tries to capture the spirit of this great metropolis. Salman Rushdie, Pico Iyer, Dilip Chitre, Saadat Hasan Manto, V.S. Naipaul, Khushwant Singh and Busybee, among others, write about aspects of the city: the high-rise apartments and the slums; camaraderie and isolation in the crowded chawls; bhelpuri on the beach and cricket in the gully; the women's compartment of a local train; encounter cops who battle the underworld; the jazz culture of the sixties; the monsoon floods; the Shiv Sena; the cinema halls; the sea. Vibrant, engaging and provocative, this is an anthology as rich and varied as the city it celebrates.

    Smuggled into India from Bangladesh and given refuge by his uncle, a leader of the ruling Communist Party, he grows up in Zakaria Street—a Little Baghdad of the old—dreaming of becoming a pukka Kalkatta-wallah. When friendship with a local gang disqualifies him from school, he ends up as assistant to a passport forger, and then a masseur. Soon enough, innocent massage leads to ‘plus plus treatments’, and Kalkatta opens its doors, drawing Jami into the world of the rich and famous, housewives, tourists and travelling executives, and occasionally to high-paying and dangerous ‘parties’. Danger looms, too, from rivals and the police, and the ever-present risk of losing his cover. Jami’s shadowy double life takes a turn for the unexpected when he meets Pablo, a young boy who suffers from leukemia, and his single mother Mandira. Made to oscillate between his refugee family, the neighbourhood gang, his massage-parlour clients, even the cultured world of Bengali intellectuals inhabited by Mandira, he succeeds in becoming a true Kalkatta-wallah, but a stranger to himself. Until his love for Pablo threatens to destroy everything, and drive him away even from his beloved Kalkatta.

    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...

    He broke hearts and he broke rules. He tinkered as furiously with his car as he did with his instrument, which he transformed technically to create the new sitar standard. And always there was the music, at the centre of his being, protected and unharmed—music that contained the sound of ‘fairies dancing, elephants walking’. Vilayat Khan saw music. He was the man who made the sitar sing. .Namita Devidayal, author of the acclaimed bestseller, The Music Room, recreates the extraordinary life of an artiste who fundamentally and forever changed Indian instrumental music. She follows his footsteps from Calcutta, through Delhi, Bombay, Shimla and Dehradun, to Princeton, USA, where he spent his last years. Filled with previously untold stories about the man and the musician, this is an intimate portrait of an uncommon genius. .It is also an absolute feat of research—and storytelling. .‘Vilayat Khan and Ravi Shankar promised each other they would never perform together after this. Kishan Maharaj later told someone, ‘If these two eyes of India play together again, one will shut for ever.’ i

    Discover the Om Puri no one knows about - the tongue-tied actor from Punjab with stars in his eyes; the incorrigible flirt in drama school; the connoisseur of food and expert cook; and the complete family man. Featuring amusing anecdotes with his family, shocking episodes with the stalwarts of Indian and British cinema, and the nail-biting suspense of his love life, the tale is complemented by rare and unusual photographs. Told with wit, honesty, and élan, this book is a fitting tribute to the inspirational tale of Om Puri - one of the most talented actors of India.

    This derives directly from the view that the real world is fundamentally unstable and unpredictable (i.e., it’s not a matter of having a better forecasting model). The best response to such a world, therefore, is to have a good grasp of what is currently happening and to respond quickly and flexibly to the evolving situation.My worldview derives from many sources ranging from religious philosophy and long-range history, to Chaos Theory and Network Theory–with many of them integrated under a broad CAS framework. Some of the foreign writers and thinkers who have influenced me include Friedrich Hayek, Joseph Schumpeter, Daniel Kahneman, Lee Kuan Yew, Nassim Taleb, Karl Popper, Charles Darwin, Sun Tzu, Vidiadhar Naipaul and Jane Jacobs, to name a few. The Indian influences are even more varied and range from ancient texts such as the Ramayana, Mahabharata, and Kautilya’s Arthashastra, to more modern thinkers such as Swami Vivekananda and Sri Aurobindo.

    A lifetime ago. Before the murder of her father. Before she became Kota Rani, the wise regent who rules over Kashmir with a firm hand.As invaders and immigrants disturb the tranquillity of her land, Kota must find a way to protect her people. But at what personal cost? Can she weather the political intrigues and power-play of the court? Will she succeed in preserving the splendour and diversity of her society? Will social hypocrisy and notions of what a woman should be keep Kota from being the sovereign she knows she is?Set in fourteenth-century Kashmir, The Last Queen of Kashmir is the sweeping saga of a civilization in peril. It is also the tale of one of the greatest queens of the land - one that will speak to the men and women of today.

    The country’s periphery, however, is dotted with sleepy towns and desolate villages whose people, simply by having more in common with citizens of neighbouring nations than with their own, have to prove their Indian identity every day.It is these specks on the country’s map that Pradeep Damodaran rediscovers as he travels across India’s borders for a little more than a year, experiencing life in far-flung areas that rarely feature in mainstream conversations. In Borderlands, he recounts his encounters with the war-weary fishermen of Dhanushkodi at the southernmost tip of Tamil Nadu, who live in fear both of the Indian Coast Guard and the Sri Lankan navy; farmers in Hussainiwala, a village on Punjab’s border with Pakistan, who are unwilling to build concrete houses for fear of them being destroyed in an ever looming war; Tamil traders of Moreh, a town straddling the Manipur–Myanmar border, who pay bribes to at least ten different militant organizations so they can safely conduct their business; and ex-servicemen in Campbell Bay who were resettled there three generations ago and have long been forgotten by the mainland.From Minicoy in Lakshadweep to Taki in West Bengal, Tawang in Arunachal Pradesh to Raxaul in Bihar, Damodaran’s compelling narrative reinforces the idea that, in India, a land of contrasts and contradictions, beauty and diversity, conflict comes in many forms.

    The fragile peace between the two powers is threatened when Balaji Vishvanath Bhat, Peshwa of the Confederacy, foils the plans of Nizam Ul Mulk of the Mughal Empire, and asserts the power of the Marathas. However, little does the Peshwa know that he has dealt the Nizam an unintended wound—one with roots in his mysterious past and one that he would seek to avenge till his last breath.When the Peshwa surrenders his life to a terminal illness dark clouds gather over the Confederacy as it is threatened by a Mughal invasion as well as an internal rebellion.All the while a passive spectator, the Peshwa’s son, Bajirao Bhat, now needs to rise beyond the grief of his father’s passing, his scant military and administrative experience, and his intense love for his wife and newborn son to rescue everything he holds dear. Will the young man be able to protect the Confederacy from internal strife and crush the armies of the Empire all while battling inner demons? Will he live up to his title of Peshwa?

    She discovers a book written by Julian Winslett, a British war hero and writer, who was a young boy she cared for while working as a 16-year-old nanny in Bengal. His book is about those old days, and features the two of them as named characters. The 1920s British Raj was an era of expansive homes and gardens, elegant rail travel, and very strict divisions between Indians, Anglo-Indians and the British. For the rulers of India, it was a glorious period; but for Menakshi, it's a time she'd rather forget. She'd pushed away all her old feelings for Julian…but now they're back. As Menakshi reads Julian's book, she returns to a vanished world where luxury and deprivation co-exist in the same grand bungalow--and romance breaks all rules in the hills of Darjeeling and on the Bengal-Nagpur Railway. Menakshi's own recollections add suspense as his family heads toward rupture, and she is torn between loyalty toward the children and her own secret dreams. THE AYAH'S TALE is a 202-page novella by Sujata Massey, author of THE SLEEPING DICTIONARY, a longer novel set in British India that was published by Simon & Schuster in 2013. She is also the author of the contemporary Rei Shimura mystery novel series set in modern Japan, which starts with THE SALARYMAN'S WIFE.

    My experiences, observations, and/or studies have led me to believe the following:* Racism has done more to promote non-justice than any other socio-material system known to have been produced or supported by the people of the known universe.* No major problem that exists between the people of the known universe can be eliminated, until Racism is eliminate

    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.

    But Dharavi is much more than cold a statistic. What makes it special are the extraordinary people who live there, many of whom have defied fate and an unhelpful State to prosper through a mix of backbreaking work, some luck and a great deal of ingenuity. It is these men and women whom journalist Kalpana Sharma brings to life through a series of spellbinding stories. While recounting their tales, she also traces the history of Dharavi from the days when it was one of the six great koliwadas or fishing villages to the present times when it, along with other slums, is home to almost half of Mumbai.

    Weaving tales of India and of the new settlers in America, Chitra Divakaruni's stories explore themes of solitude, expectations, love and betrayal, as well as other reflections on life in both the East and the West.