It takes the reader on a journey through the lives of minstrels and storytellers; weavers, potters, ironsmiths and carvers; farmers and cooks; and poet rebels.Find out how these men and women shaped Indian civilization and made it richer with their skills and their wondrous innovations. From the first storytellers who wove tales of great imagination and then passed them down generations, to skilled workers who discovered how to weave cotton or created marvelous works of art like the Chola bronzes; from the farmers who fed everyone and even adopted new seeds and crops that have become staples now to poet rebels like Kabir and Guru Nanak who changed society with love and songs.Concise yet filled with relevant details and accompanied by attractive colour illustrations, the Exploring India series will make history fascinating and unforgettable for every reader.

    Richards stresses the dynamic quality of Mughal territorial expansion, their institutional innovations in land revenue, coinage and military organization, ideological change and the relationship between the emperors and Islam. He also analyzes institutions particular to the Mughal empire, such as the jagir system, and explores Mughal India's links with the early modern world.

    They give a crucial new impetus to the story of the Grail by establishing a provenance for the sacred vessel - and for the Round Table itself - in the Biblical past; and through the controlling figure of Merlin they link the story of Joseph of Arimathea with the mythical British history of Vortigern and Utherpendragon, the birth of Arthur, and the sword in the stone, and then with the knightly adventures of Perceval's Grail quest and the betrayal and death of Arthur, creating the very first Arthurian cycle. Ambitious, original and complete in its conception, this trilogy - translated here for the first time - is a finely paced, vigorous piece of storytelling that provides an outstanding example of the essentially oral nature of early prose. NIGEL BRYANT is head of drama at Marlborough College. He has also provided editions in English of the anonymous thirteenth-century romance Perlesvaus, published as The High Book of the Grail, and Chretien's Perceval: The Story of the Grail.

    Milarepa was an eleventh-century Buddhist poet and saint, a cotton-clad yogi who avoided the scholarly institutions of his time and wandered from village to village, teaching enlightenment and the path to Buddhahood through his spontaneously composed songs. Wherever he went, crowds of people gathered to hear his sweet sounding voice "singing the Dharma." The Hundred Thousand Songs of Milarepa, says the book's translator, "has been read as the biography of a saint, a guide book for devotions, a manual of Buddhist yoga, a volume of songs and poems, and even a collection of Tibetan folklore, and fairy tales." With titles like "The Salvation of the Dead," "A Woman's Role in the Dharma," and "Challenge from a Wise Demoness," Milrepa's poems are filled with fascinating tales of miraculous encounters and colorful imagery, and present a valuable insight into the living quality of Tibetan Buddhism. Central as this book is to Tibetan culture, the arcane dialect and obscurity of many original passages daunted translators for centuries; this was the first complete version of the classic to appear in the West.

    In the 300 years since its initial publication, Li Yu's book has been widely read in China, where it is recognized as a benchmark of erotic literature and currently enjoys the distinction of being a banned-in-Beijing classic.

    A new arrival, Miss Gomez, lives for her postal correspondence with the Church of the Brethren of the Way in Jamaica. No one will believe Miss Gomez when she announces her revelation of a hideous sex crime soon to be committed in Crow Street. Until Prudence Tuke disappears, the police arrive, and the newspapers herald a 'Sex Crime Prophecy'...

    Chandragupta Vikramaditya has a special place in history because he proved that the love of power is not all that is needed to create an empire. Also needed are the love of a wise w

    In his national bestseller "The Blood Countess," Andrei Codrescu brought to life the bloodthirsty royal Elizabeth Bathory, who embodied nearly all the contradictions of the seventeenth century. Now he depicts the astonishing life of the legendary Casanova, as the old adventurer relives his life while writing his memoirs in a provincial Bohemian castle at the end of the eighteenth century. Far from being defeated by age, Casanova delights in the maidservants, reacts with intellectual vigor to the unfolding of the French Revolution, and collaborates with Mozart on "Don Giovanni." Long considered the rhapsodist of an age of aristocratic mirth, scandal, and innumerable affairs, Casanova was also a first-rate intellect who corresponded and argued with Voltaire and Rousseau. His published work, besides the celebrated "History of My Life," includes a multivolume fantasy fiction novel that predates and anticipates Jules Verne; translations of Italian classics into French; and a number of plays that were produced on the great stages of Europe.Casanova's romantic legend overshadowed his literary work, which was, for the most part, not published until 1960. The fate of his writings was nearly as fabulous and intriguing as that of their author. Still, even in abridged, bowdlerized, and fragmentary form, Casanova's memoirs have inspired writers as diverse as Flaubert, Stendhal, Hermann Hesse, and now, Andrei Codrescu. Codrescu's vivid fictional account illuminates the interest we still havein this uncompromising and magical libertine, while it imagines how his life would have continued if Casanova's immortality had extended beyond the literary.In Codrescu's retelling of the Casanova legend, readers are introduced to an age far less inhibited than our own, and far more interesting in its vices. At once a libertine, a defender of women, a reactionary, a revolutionary, a brilliant observer, and a visionary, Casanova was a man ahead of his time both in thought and in action. Finally, in this inventive and absorbing work, Casanova is given due credit for his writings, his philosophies, and, of course, for the amorous magic that has been made known to so many.

    How wrong he was. In What Am I Bid? he tells of life after the events he described in his previous memoirs, An Auctioneer's Lot and Sold to the Man with the Tin Leg, to bring his story up to date. From dodgy cars to fakes in the sales room; angry livestock, mangled silverware and tortuous--not to mention muddy--experiences in local markets and farm sales, Serrell has been there, done that, and got the hoof prints on his suit to prove it.

    Kalidasa, the greatest of Sanskrit poets, wove a tale that caters to every reader's taste. Warring cousins, wily courtiers, jealous wives, disguised princesses, all play their part in his play, which continues to thrill centuries after it was first written.

    In the centuries before the British Raj, when the Mughals were the preeminent power in the subcontinent, a wide array of migrants known as ‘firangis’ made India their home. In this book, Jonathan Gil Harris, a twenty-first-century firangi, tells their stories. These gripping accounts are of healers, soldiers, artists, ascetics, thieves, pirates and courtesans who were not powerful or privileged. Often they were escaping poverty or religious persecution; many were brought here as slaves; others simply followed their spirit of adventure. Some of these migrants were absorbed into the military. Others fell in with religious communities—the Catholics of Rachol, the underground Jews of Goa, the fakirs of Ajmer, the Sufis of Delhi. Healers from Portugal and Italy adapted their medical practice in accordance with local traditions. Gifted artisans from Europe joined Akbar’s and Jahangir’s royal ateliers, and helped create enduring works of art. And though almost invisible within the archival record, some migrant women such as the Armenian Bibi Juliana and the Portuguese Juliana Dias da Costa found a home in royal Mughal harems. Jonathan Gil Harris uses his own experience of becoming Indian through the process of acclimatizing to the country’s culture, customs, weather, food, clothes and customs to bring the stories of these shadowy figures to vivid life.

    This Amar Chitra Katha tells some of the tales that depict Indra's bravery, his generosity and also, his occasional arrogance.

    Bright with wit and incident by a master storyteller, it mounts to a startling , but credible climax.

    Bullies and misers, dreamers and the narrow-minded, all got a taste of his wit, much to the delight of readers.

    The general is in fact in Spain, on his deathbed, but Francis is deeply troubled, as is his daughter Gillian, who lives with him in Cleaver Square. Francis' account of his haunting is by turns witty, cantankerous and nostalgic. At times he drifts back to his days in Madrid, when he rescued a young girl from a burning building and brought her back to London with him. There are other, darker events from that time, involving an American surgeon called Doc Roscoe, and a brief, terrible act of betrayal. When Gillian announces her forthcoming marriage to a senior civil servant, Francis realizes he has to adapt to new circumstances and confront his past once and for all. Highly atmospheric, and powerfully dramatic, rich in pathos and humour, Last Days in Cleaver Square confirms a major storyteller at the height of his powers.'[W]onderfully sinister ... a delight ... you are in for a thrilling ride.' Spectator on The Wardrobe Mistress