Literature & Fiction Books

Skims the murky world of dispossessed youth while sporting a spare, swift style’—The Hindu Sathi is a young soda-seller in a run-down cinema hall in a small town. Ill-paid and always weary, he finds relief from everyday tedium in marijuana and his friends—vulnerable, desperate young men who work around the movie hall. An intense and tender friendship with one of the men sustains Sathi, until a train of events casts the meagre certainties of his days and nights into disarray. Slick, visceral and startlingly inventive, Current Show unfolds in a manner that simulates rapid cinematic cuts. Murugan’s keen eye and crackling prose plumb the dark underbelly of small-town life, bringing Sathi’s world and entanglements thrillingly to life.

Nadia and Saeed are two ordinary young people attempting to do an extraordinary thing—to fall in love—in a world turned upside down. Theirs will be a love story but also a story about how we live now and how we might live tomorrow, of a world in crisis and two human beings travelling through it. Civil war has come to the city that Nadia and Saeed call home. Before long they will need to leave their motherland behind—when the streets are no longer useable and the unknown is safer than the known. They will join the great outpouring of people fleeing a collapsing city, hoping against hope, looking for their place in the world

A masaledaar mix of fact and fiction, action and emotion, drama and passion—these strange, funny, intriguing tales from small-town Uttar Pradesh have been passed orally from one generation to the next. They are likely to make one exclaim, ‘This couldn’t have happened!’ even as the narrators swear they are nothing but pure fact. The bizarre chronicle of a lazy daughter-in-law, the court clerk who loved eating chaat, two cousins inseparable even in death, a blind teacher who fell in love with a woman with beautiful eyes and other wild tales from Bareilly, Lucknow, Hapur, Badaun, Sapnawat and Pilibhit, places big and small, in that fascinating part of India called Uttar Pradesh.

Everything that you’ve always loved about Ruskin Bond is back. His mesmerizing descriptions of nature and his wonderful way with words—this is Ruskin Bond at his finest. Read on as Rusty tells the story of his grandfather’s relationship with the trees around him, who’s convinced that they love him back with as much tenderness as he loves them.

Fourteen-year-old Zoon Razdan is witty, intelligent and deeply perceptive. She also has a deep connection with magic. She was born into it. The house that she lives in is fantastical—life thrums through its wooden walls—and she can talk to everything in it, from the armchair and the fireplace to the books, pipes and portraits! But Zoon doesn’t know that her beloved house once contained a terrible force of darkness that was accidentally let out by one of its previous owners. And when the darkness returns, more powerful and malevolent than ever, it is up to her to take her rightful place as the Guardian of the house, and subsequently, Kashmir.

It was death at first sight . . . Miss Ripley-Bean was sitting on a bench beneath the deodars, having a quiet moment to herself, when suddenly two shadows, larger than life, appeared on the outside wall; they were struggling with each other. Only afterwards, when a dead body was discovered, did Miss Ripley-Bean realize she had witnessed a murder – and that the murderer had seen her . . . In this marvelous collection of brand-new stories set in the Mussoorie of a bygone era, Ruskin Bond recounts the deliciously sinister cases of a murdered priest, an adulterous couple, a man who is born evil, and the body in the box bed; not to forget the strange happenings involving the arsenic in the post, the strychnine in the cognac, a mysterious black dog, and the Daryaganj strangler. As the elderly Miss Ripley-Bean, her Tibetan terrier Fluff, her good friend Mr Lobo, the hotel pianist, and Nandu, the owner of the Royal, mull over the curious murders, the reader will be enthralled and delighted – until the murderer is finally revealed.

Of the seven books that comprise the Valmiki Ramayana, the Uttara Kanda is the final and perhaps the most problematic: Rama banishes his beloved Sita into the forest; Rama kills Shambuka, a low caste man practising austerities that are above his station; Rama is reunited with his sons during a sacrifice at which he loses his wife forever; Rama watches over the death of his devoted brother Lakshmana who knowingly submits to a curse that will take his life. In Uttara, Arshia Sattar exquisitely captures the heady delights of the original text in all its sensuous, colourful detail—frenzied battles, simmering intrigue, lustful demons and the final and tragic act in Rama and Sita's love story. But the Uttara Kanda raises more questions than it answers, and Sattar’s accompanying essays skillfully explore the shattering consequences of Rama’s actions even as they unravel the complex moral universe of the Ramayana.

The story of Tapti Gaina is intimately linked with the lives of two men, her husband and his brother. Exploring caste, student politics, the freedom struggle and the Emergency, Brothers traces the history of the Gaina family, beginning with their village origins across the emerging metropolis of Ajmer and ending at the height of political power in Jaipur. It is a masterful portrayal of ambition, desire, betrayal and anguish, enacted against the shifting terrain of family dynamics.

If you know the answer and do not respond, your head will shatter into pieces!’ In a land of glorious kings, bloodthirsty demons and talking spirits, was born the lore of Vikram and the Vetal. After a series of mysterious events, King Vikramaditya carries the vetal, a witty ghost, on a long journey through death's playground. The vetal narrates the most fascinating tales and asks the most puzzling riddles, leaving Vikram completely stumped. Deepa Agarwal's beautiful translation brings age-old wisdom alive through the vetal's wondrous stories that are bound to confound and captivate readers even today.

Jaya's life comes apart at the seams when her husband is asked to leave his job while allegations of business malpractice against him are investigated. Her familiar existence disrupted, her husband's reputation in question and their future as a family in jeopardy; Jaya, a failed writer, is haunted by memories of the past. Differences with her husband, frustrations in their seventeen-year-old marriage, disappointment in her two teenage children, the claustrophia of her childhood-all begin to surface. In her small suburban Bombay flat, Jaya grapples with these and other truths about herself-among them her failure at writing and her fear of anger. . . Shashi Deshpande gives us an exceptionally accomplished portrayal of a woman trying to erase a 'long silence' begun in childhood and rooted in herself and in the constraints of her life

The friendship between Renuka, a Bengali poet, and Rachel, an American missionary, lies at the heart of this novel. Two women from entirely different backgrounds, they share a bond that overcomes the barriers of nationality, race and religion. Both are exiled to a hill station, which is populated with provincial and prudish memsahibs, who adjust their recipes to compensate for the altitude and substitute ingredients from home. While Rachel's husband works at a psychiatric hospital in the plains, in Ranchi, she looks after their sons who attend a mission school in the hills. While editing a cookbook, Rachel begins to realize the contradictions within her community. She also discovers the seductive voice of Renuka's poetry ... Renuka, Stephen Alter's fourth novel, builds to a startling climax, while uncovering hidden truths about love, sexuality and passion.

In 1839, Maharaja Ranjit Singh of Punjab died and his empire was plunged into chaos. Less than a decade later, weakened by internecine rivalry, Punjab fell into the hands of the British. The ruler who signed away the kingdom and its treasures, including the famed Koh-i-noor diamond, was the eleven-year-old Duleep Singh, the youngest of Ranjit Singh’s acknowledged sons. In this nuanced and poignant novel, tion of his lost legacy turned Duleep into a rebel. He became a Sikh again and sought to return to and lead his people. Navtej Sarna tells the unusual story of the last Maharaja of Punjab. Soon after the British annexed his kingdom, Duleep was separated from his mother and his people, taken under British guardianship and converted to Christianity. At sixteen, he was transported to England to live the life of a country squire—an exile that he had been schooled to seek himself. But disillusionment with the treatment meted out to him and a late realizahe attempt would drag him into the murky politics of nineteenth-century Europe, leaving him depleted and vulnerable to every kind of deceit and ridicule. His end came in a cheap hotel room in Paris, but not before one last act of betrayal and humiliation.

We are not here without a purpose,’ the shaman explained. ‘Our purpose is to fulfil our destiny…All life is light and shadow.’ Like any other place on earth, the territory of the Adis in the mountains of Arunachal Pradesh is ‘Pensam’—the ‘in-between’ place. Anything can happen here, and everything can be lived, and ‘the narrow boat that we call life sails along somehow in calm or stormy weather’. A mysterious boy who fell from the sky is accepted as a son of the village and grows up to become a respected elder. A young woman wounded in love is healed by a marriage of which she expected little. A mother battles fate and the law for a son she has not seen since she lost him as an infant. A remote hamlet gets a road, but the new world that comes with it threatens upheaval. And as villages become small towns and towns approximate cities, the brave and patient few guard the old ways, negotiating change with memory and remembrance. An intricate web of stories, images and the history of a tribe, The Legends of Pensam is a lyrical and moving tribute to the human spirit. With a poet’s sense for incident and language, Mamang Dai paints a memorable portrait of a land that is at once particular and universal.

"The most important Kavyas of Kalidasa-Raghuvamsa and Kumarasambhava-are distinguished by their independence of treatment and excellence of poetical beauty. The Kumarasambhava of Kalidasa varies from the loveliness of spring and the delights of married love to the utter desolation induced by the death of beloved. The subject is unquestionably a daring one: the events which bring about the marriage of Lord Siva to Uma and the birth of Skanda.

The prose order of each sloka has been given in the commentary by using bold type, the words not actually repeated by Mallinatha being enclosed within rectangular brackets. The notes explain allusions, grammatical peculiarities not noticed by Mallinatha, copious extracts from other commentaries being given for this purpose. The book includes text, the commentary of Mallinatha, a literal English translation, notes and introduction.

The hero of this poem is a divine being, and one of the Dhirodatta class. The prevailing sentiments is Sringara, Karuna and Santa, though not very prominent, being accessories to it. The 3rd and the 5th Cantos are a good illustration of Vipralambha, the 4th that of Karuna, the 7th of Vivaha, and the 8th of Sambhoga. The subject of each following canto is hinted at the end of each precedding one.
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"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

Its author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet. "

"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

The author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet."

"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

Its author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet."

"The Abhijnanasakuntalam is an unparalleled work of the great poet and playwright Kalidasa, the brightest star in the firmament of Indian poetry. No other composition of this poet displays more the richness of poetical genius, the warmth and play of fancy, the profound knowledge of human heart that this masterly production.

The present edition is unique in several essentials. The editor has adopted the most popular and appropriate version of the text. He has put the variants in the footnotes. He has added a short Sanskrit commentary, copious notes, an exhaustive introduction and several useful appendices. The English translation of the text is literal as well as idiomatic.

It is hoped that this edition will meet the long-felt requirement of university students and the general reader alike."

"The Abhijnanasakuntalam is an unparalleled work of the great poet and playwright Kalidasa, the brightest star in the firmament of Indian poetry. No other composition of this poet displays more the richness of poetical genius, the warmth and play of fancy, the profound knowledge of human heart that this masterly production.

The present edition is unique in several essentials. The editor has adopted the most popular and appropriate version of the text. He has put the variants in the footnotes. He has added a short Sanskrit commentary, copious notes, an exhaustive introduction and several useful appendices. The English translation of the text is literal as well as idiomatic.

It is hoped that this edition will meet the long-felt requirement of university students and the general reader alike."

"The Dasa-kumara-carita or `Adventures of the Ten Princes`, contains stories of common life and reflects a faithful picture of Indian society during the period.

The Dasakumaracarita consists of It consists of (1) Purvapithika, (2) Dasakumaracarita Proper, and (3) Uttarapithika. The Purvapithika consists of five Uchchhvasas of which the first one deals with the birth of the ten boys, the second with the Digvijaya of Rajavahana, the third with the adventures of Somadatta and his marriage with Princess Vamalocana, the fourth with the adventures of Puspodbhava and his wedlock with the adventures of Puspodbhava and his wedlock with Balacandrika and fifth with the marriage of Rajavahana with Avantisundari. The Dasakumaracarita proper consists of eight Uchchhvasas which deal with the adventures of (1) Rajavahana, (2) Apaharavaram, (3) Upaharavarman, (4) Arthapala, (5) Pramati, (6) Mitragupta, (7) Mantragupta, and (8) Visruta. The Uttarapithika which is a short chapter by way of supplement winds up the story which ends with the slaying of Manasara and the annexation of Malava to Puspapura and division of the empire into several principalities.

The edition consists of variants, English translation, explanatory and critical notes and an exhaustive introduction. It is designed to meet the requirements of the University students in all respects."

"The Dasa-kumara-carita or `Adventures of the Ten Princes`, contains stories of common life and reflects a faithful picture of Indian society during the period.

The Dasakumaracarita consists of It consists of (1) Purvapithika, (2) Dasakumaracarita Proper, and (3) Uttarapithika. The Purvapithika consists of five Uchchhvasas of which the first one deals with the birth of the ten boys, the second with the Digvijaya of Rajavahana, the third with the adventures of Somadatta and his marriage with Princess Vamalocana, the fourth with the adventures of Puspodbhava and his wedlock with the adventures of Puspodbhava and his wedlock with Balacandrika and fifth with the marriage of Rajavahana with Avantisundari. The Dasakumaracarita proper consists of eight Uchchhvasas which deal with the adventures of (1) Rajavahana, (2) Apaharavaram, (3) Upaharavarman, (4) Arthapala, (5) Pramati, (6) Mitragupta, (7) Mantragupta, and (8) Visruta. The Uttarapithika which is a short chapter by way of supplement winds up the story which ends with the slaying of Manasara and the annexation of Malava to Puspapura and division of the empire into several principalities.

The edition consists of variants, English translation, explanatory and critical notes and an exhaustive introduction. It is designed to meet the requirements of the University students in all respects."

"This work aims at teaching the principles of polity guided by morality, presenting them in the agreeable form of stories written mainly in prose interspersed with verse. It belongs to that class of compositions which imparts instructions through fables inspired by the wisdom of its place and time. Yet every fable in this work and every maxim drawn from it can still be applied to human characters irrespective of time and place.

The work is divided into four books: The book I describes how to win friends. The book II deals with the circumstances leading to the loss of friends. The book III relates war and the book IV to conciliation. The object of the work is to train the young mind in the chief affairs of life by acquainting them with the accumulated experiences of past ages. The work is very interesting as well as instructive.

This edition contains the text, the sanskrit commentary ""Marma Prakasika"", a full translation and notes in English. All difficult words and expressions have been explained in easy Sanskrit and English. A few slokas have been interpreted in a new way and an attempt has been made to give a meaning to a few quotation from Kamandaka, hitherto given up by commentators as knotty."

"The Kiratarjuniyam of Bharavi: Cantos I-III (Text, Eng. Tr. & Introd.): Text with Mallinatha's commentary, Prose order of the Slokas, Notes, Translation into English and Hindi by M.R. Kale.

The Kiratarjuniya is a Mahakavya and is named after its chief incident, viz. the fight between Siva under the guise of a Kirata (Mountaineer) and Arjuna. This metrical composition describes the journey of Arjuna to the mountain Indrakila, part of Himalayas, for the propitiation of the gods Indra and Siva and the final obtainment of the divine weapons Pasupata and others from the gods."

The plot of the Malvikagnimitra is a masterpiece of clever construction, where the interest is chiefly concentrated on the central story of the king's love for the maid, and every incident is subordinated to the main theme. The element of conflict, which is of the very essence of drama is mainly external; we see how the queen almost feebly and pathetically opposes the king's attempts to secure the sight of Malavika; but finding that the forces ranged against her were too strong for her, she decides to go along the current and make the better of its course rather than endeavour to stem the tide at the risk of a capsize.

This edition is, to our knowledge, the first which is infinitely more useful and handy than either having the translation on the same page just below the text, or at the end of the text. Further it has been our endeavour to make the work as critical and useful for the students as possible, without either encumbering it with tiresome discussions of technical and scholastic points, or skipping over difficult and necessary details about rhetorical or grammatical points. Special care has been taken to give a correct orthography of the Prakrit words, after a careful and critical comparison of the various editions of the play before us.

It will be readily admitted that in spite of the many critical edition of the plays of Kalidasa, editions of the plays on the lines of the up-to-date editions of the classics in the West have not so far been published. This edition is, to our knowledge, the first which is infinitely more useful and handy than either having the translation on the same page just below the text, or at the end of the text. Further it has been our endeavour to make the work as critical and useful for the students as possible, without either encumbering it with tiresome discussions of technical and scholastic points, or skipping over difficult and necessary details about Variae Lectiones or rhetorical or grammatical points. Special care has been taken to give a correct orthography of the Prakrit words, after a careful and critical comparison of the various editions of the play before us.