'Why do they call you Baaz?' 'It means falcon,' he replies solemnly. 'Or bird of prey. Because I swoop down on the enemy planes just like a Baaz would.' Then he grins. The grey eyes sparkle. 'It's also short for bastard.' 1971. The USSR-backed India-Mukti Bahini alliance is on the brink of war against the America-aided Pakistani forces. As the Cold War threatens to turn red hot, handsome, laughing Ishaan Faujdaar, a farm boy from Chakkahera, Haryana, is elated to be in the IAF, flying the Gnat, a tiny fighter plane nicknamed 'Sabre Slayer' for the devastation it has wreaked in the ranks of Pakistan's F-86 Sabre Squadrons. Flanked by his buddies Raks, a MiG-21 Fighter, Maddy, a transport pilot who flies a Caribou, and fellow Gnatties Jana, Gana and Mana, Shaanu has nothing on his mind but glory and adventure - until he encounters Tehmina Dadyseth, famed bathing beauty and sister of a dead fauji, who makes him question the very concept of nationalism and whose eyes fill with disillusioned scorn whenever people wax eloquent about patriotism and war... Pulsating with love, laughter and courage, Baaz is Anuja Chauhan's tribute to our men in uniform.
Taking a page from Jules Verne's classic tale, Monisha Rajesh embarked on an adventure around India in eighty trains. Indian trains carry over twenty million passengers daily, plowing through cities, crawling past villages, climbing up mountains, and skimming along coasts. Monisha hopes that her journeys across India will lift the veil on a country that had become a stranger to her.
"Nair writes big, brave descriptions of one brutal murder after the next, relentlessly describing each death even as sub-inspector Santosh loses his breakfast over them."—Time Out It's the first day of Ramadan in heat-soaked Bangalore. A young man begins to dress: makeup, a sari, and expensive pearl earrings. Before the mirror he is transformed into Bhuvana. She is a hijra, a transgender seeking love in the bazaars of the city. What Bhuvana wants, she nearly gets: a passing man is attracted to this elusive young woman—but someone points out that Bhuvana is no woman. For that, the interloper's throat is cut. A case for Inspector Borei Gowda, going to seed, and at odds with those around him including his wife, his colleagues, even the informers he must deal with. More corpses and Urmila, Gowda's ex-flame, are added to this spicy concoction of a mystery novel. Most intriguing is the grim world of Bhuvana. Her hijra fantasies, emotions, and hopes are etched in a way that is chilling yet oddly touching. Some mysteries remain till almost the end, for instance Bhuvana's connection with the wealthy, corrupt Corporator Ravikumar, who lives in a mansion as grand as the Mysore Palace and controls whole districts of Bangalore. Anita Nair lives in Bangalore and is a prize-winning author. Her novel Ladies Coupe, published in the United States by St. Martin's Press, is a feminist classic which has been translated in thirty languages all over the world. This is her first crime novel.
In Lori Lansens’ astonishing second novel, readers come to know and love two of the most remarkable characters in Canadian fiction. Rose and Ruby are twenty-nine-year-old conjoined twins. Born during a tornado to a shocked teenaged mother in the hospital at Leaford, Ontario, they are raised by the nurse who helped usher them into the world. Aunt Lovey and her husband, Uncle Stash, are middle-aged and with no children of their own. They relocate from the town to the drafty old farmhouse in the country that has been in Lovey’s family for generations. Joined to Ruby at the head, Rose’s face is pulled to one side, but she has full use of her limbs. Ruby has a beautiful face, but her body is tiny and she is unable to walk. She rests her legs on her sister’s hip, rather like a small child or a doll. In spite of their situation, the girls lead surprisingly separate lives. Rose is bookish and a baseball fan. Ruby is fond of trash TV and has a passion for local history. Rose has always wanted to be a writer, and as the novel opens, she begins to pen her autobiography. Here is how she begins: I have never looked into my sister’s eyes. I have never bathed alone. I have never stood in the grass at night and raised my arms to a beguiling moon. I’ve never used an airplane bathroom. Or worn a hat. Or been kissed like that. I’ve never driven a car. Or slept through the night. Never a private talk. Or solo walk. I’ve never climbed a tree. Or faded into a crowd. So many things I’ve never done, but oh, how I’ve been loved. And, if such things were to be, I’d live a thousand lives as me, to be loved so exponentially. Ruby, with her marvellous characteristic logic, points out that Rose’s autobiography will have to be Ruby’s as well — and how can she trust Rose to represent her story accurately? Soon, Ruby decides to chime in with chapters of her own. The novel begins with Rose, but eventually moves to Ruby’s point of view and then switches back and forth. Because the girls face in slightly different directions, neither can see what the other is writing, and they don’t tell each other either. The reader is treated to sometimes overlapping stories told in two wonderfully distinct styles. Rose is given to introspection and secrecy. Ruby’s style is "tell-all" — frank and decidedly sweet. We learn of their early years as the town "freaks" and of Lovey’s and Stash’s determination to give them as normal an upbringing as possible. But when we meet them, both Lovey and Stash are dead, the girls have moved back into town, and they’ve received some ominous news. They are on the verge of becoming the oldest surviving craniopagus (joined at the head) twins in history, but the question of whether they’ll live to celebrate their thirtieth birthday is suddenly impossible to answer. In Rose and Ruby, Lori Lansens has created two precious characters, each distinct and loveable in their very different ways, and has given them a world in Leaford that rings absolutely true. The girls are unforgettable. The Girls is nothing short of a tour de force. From the Hardcover edition.
Twenty-five-year-old Jinni lives in Mumbai, works in a hip animation studio and is perfectly happy with her carefree and independent existence. Until her bossy grandmother shows up and announces that it is Jinni's 'duty' to drop everything and come and contest the upcoming Lok Sabha elections from their sleepy hometown, Bittora.Of course Jinni swears she won't. But she soon ends up swathed in cotton saris and frumpy blouses, battling prickly heat, corruption and accusations of nymphomania as candidate Sarojini Pande, a daughter of the illustrious Pande dynasty of Pavit Pradesh. And if life isn't fun enough already, her main opposition turns out to be Bittora ex-royal, Zain Altaf Khan - an irritatingly idealistic though undeniably lustworthy individual with whom Jinni shares a complicated history...Enlivened by Chauhan's characteristic brand of wicked humour and sexy romanticism, this is a rollicking new tale of young India.
Sometimes life can be like a bad movie. You sit through it, hoping it will get better, suspecting that it won't and wondering at what point you can reasonably walk out . . . Kit Audrey Butler is the manager of the Orange, a dilapidated independent cinema. Estranged from her father, undermined by her boyfriend, and with her third screenplay recently rejected Kit finds herself badly adrift. Her favourite therapy, renting the appropriate video and scrutinizing the footage for clues on how to behave, no longer provides her with all the answers. But when new ownership threatens the Orange, Kit is forced to confront reality and discovers that help and heroes come in the unlikeliest forms . . .
Set around the time of Partition and written with absorbing intelligence and sympathy, Difficult Daughters is the story of a young woman torn between the desire for education and the lure of illicit love. 'Difficult Daughters is intensely imagined, fluidly written, moving. Through our struggles with our parents, it flings us into their own momentous times, their youthful yearnings for love and independence and life. And so it becomes an urgent and important story about family and partitions and love.' Vikram Chandra
This story continues after Chapter 36 in Jane Austen's "Pride and Prejudice." On his return trip to Pemberley from Rosings after his offer of marriage was refused by Miss Elizabeth Bennet, Mr. Darcy's carriage overturns,and he is rendered unconscious. Having written Georgiana previously that he was going to ask for her hand, Georgiana, thinking they are engaged, writes to Elizabeth, begging her to come to Pemberley, thinking she may be able to help draw him out. Visit Kara Louise's website at www.ahhhs.net, Jane Austen's Land of Ahhhs, to read additional stories.
"Mr. Hamid reaffirms his place as one of his generation's most inventive and gifted writers." –Michiko Kakutani, The New York Times "A globalized version of The Great Gatsby . . . [Hamid's] book is nearly that good." –Alan Cheuse, NPR "Marvelous and moving." –TIME Magazine From the internationally bestselling author of The Reluctant Fundamentalist and Exit West, the boldly imagined tale of a poor boy’s quest for wealth and love His first two novels established Mohsin Hamid as a radically inventive storyteller with his finger on the world’s pulse. How to Get Filthy Rich in Rising Asia meets that reputation—and exceeds it. The astonishing and riveting tale of a man’s journey from impoverished rural boy to corporate tycoon, it steals its shape from the business self-help books devoured by ambitious youths all over “rising Asia.” It follows its nameless hero to the sprawling metropolis where he begins to amass an empire built on that most fluid, and increasingly scarce, of goods: water. Yet his heart remains set on something else, on the pretty girl whose star rises along with his, their paths crossing and recrossing, a lifelong affair sparked and snuffed and sparked again by the forces that careen their fates along. How to Get Filthy Rich in Rising Asia is a striking slice of contemporary life at a time of crushing upheaval. Romantic without being sentimental, political without being didactic, and spiritual without being religious, it brings an unflinching gaze to the violence and hope it depicts. And it creates two unforgettable characters who find moments of transcendent intimacy in the midst of shattering change.
'Bunny Suraiya, in a haunting, exquisite serenade, has written a history of heartbreak, tracing its subtleties through the metaphor of family, layer by layer, shadow by shadow' - M.J.Akbar Calcutta, 1959... a time when the city's social and cultural mosaic included Indians, the British and Anglo-Indians, who belonged to neither ommunity but claimed kinship with the English. The Ryans are a typical middle- class Anglo- Indian family. The head of the family, Robert, a senior executive with a managing agency, has dreams of going 'home' to England as soon as he can. His wife, the beautiful Grace, however, is unsure about leaving her comfortable life in india. Their two daughters, Shirley and Paddy, are meanwhile discovering new emotions and relationships which will make them cross invisible but inflexible boundaries. The Ryan household as included Ayah and her husband Apurru, a middle-aged Muslim couple who are making their own plans to go home - to an East Pakistan they have never seen. Also working in the same agency house as Robert is Ronen Mookerjee, the anglicized misfit son of a barrister who belongs to the Bengali landed gentry. Through the stories of these men and women, Calcutta Exile evokes a bygone era of one of the most vibrant and cosmopolitan cities in the world. It also raises questions about individual and collective identities, the foremost among which is: where is home?
In 1878, as the king of Burma lay dying, one of his queens schemed for his forty-first son, Thibaw, to supersede his half-brothers to the throne. For seven years, King Thibaw and Queen Supayalat ruled from the resplendent, intrigue-infused Golden Palace in Mandalay, where they were treated as demigods. After a war against Britain in 1885, their kingdom was lost, and the family exiled to the secluded town of Ratnagiri in British-occupied India. Here they lived, closely guarded, for over thirty-one years. The king's four daughters received almost no education, and their social interaction was restricted mainly to their staff. As the princesses grew, so did their hopes and frustrations. Two of them fell in love with 'highly inappropriate' men. In 1916, the heartbroken king died. Queen Supayalat and her daughters were permitted to return to Rangoon in 1919. In Burma, the old queen regained some of her feisty spirit as visitors came by daily to pay their respects. All the princesses, however, had to make numerous adjustments in a world they had no knowledge of. The impact of the deposition and exile echoed forever in each of their lives, as it did in the lives of their children. Written after years of meticulous research, and richly supplemented with photographs and illustrations, The King in Exile is an engrossing human-interest story of this forgotten but fascinating family.
A novel based on a true story Wise Enough to Be Foolish is a fictionalized memoir that traces the journey of an Indian girl’s life, with all its challenges and delightful surprises, as she blossoms from an insecure child into a confident young woman. This rollercoaster ride of adventure, laughter and heartache, as she balances her love life with her struggle for independence, will keep you guessing – What rules will she break next? How far will she go to find herself?
The record-breaking, bestselling sequel to Spud! It?s 1991, and John ?Spud? Milton?s journey to manhood is still creeping along at a snail?s pace. Nearly fifteen, Spud?s starting his second year at boarding school and?to his utter mortification?he?s still a spud! To make things worse, his dorm mates, the legendary Crazy Eight, have an unusual new member (Roger the cat), and his house is home to a new batch of unruly first years. Spud is soon plagued with women trouble, coerced into expulsion-worthy adventures, and frustrated to find his dreams of fame in tatters after landing the part of the Dove of Peace in a disastrous production of Noah?s Ark. Join Spud as he takes another tentative step forward while all around him the madness continues. . . .
When Tara Sundaram learns that her father has found her the perfect husband she is not convinced. She may be from a traditional Indian family, but she is far from conventional… Perhaps she should check out her future husband in secret (just in case!?) Bumping into Vikram Krishnan—all six feet of deliciousness—Tara's blushes betray her outward coolness—maybe marriage to Vikram will have its perks! But before she says "yes", Tara has a few little rules for her husband-to-be.
The idea for this book grew out of Wendy Cope's experience of meeting her audience, when reading her poems in schools. This is an edition of the poems which identifies the references, verse-forms, contexts and occasions of her work, and which offers readers a new arrangement of the poetry as a whole. The notes also identify dates of composition, so that it is possible to observe the development of her work. As well as drawing on Wendy Cope's three published books, the selection also includes a significant number of poems collected or published for the first time.
Conventional wisdom says that integration into the global marketplace tends to weaken the power of traditional faith in developing countries. But, as Meera Nanda argues in this path-breaking book, this is hardly the case in today’s India. Against expectations of growing secularism, India has instead seen a remarkable intertwining of Hinduism and neoliberal ideology, spurred on by a growing capitalist class. It is this “State-Temple-Corporate Complex,” she claims, that now wields decisive political and economic power, and provides ideological cover for the dismantling of the Nehru-era state-dominated economy. According to this new logic, India’s rapid economic growth is attributable to a special “Hindu mind,” and it is what separates the nation’s Hindu population from Muslims and others deemed to be “anti-modern.” As a result, Hindu institutions are replacing public ones, and the Hindu “revival” itself has become big business, a major source of capital accumulation. Nanda explores the roots of this development and its possible future, as well as the struggle for secularism and socialism in the world’s second-most populous country.
HE'S THE MAN OF HER DREAMS . . . In a world full of frogs, Alison Carter is determined to find her prince. Maybe her dating past is more Titanic than Love Boat, but she's seen enough happy marriages to know that true love is possible. No matter what, she won't give up on happily-ever-after. If she can't find Mr. Right, she'll simply hire someone who can. SHE JUST DOESN'T KNOW IT YET When Brandon Scott inherits a successful matchmaking business, he thinks his prayers have been answered. Set up a few lonely ladies, collect the fee, how hard can it be? No one needs to know he's not really a professional matchmaker-especially not his first client, the beautiful, spirited Alison. Soon he's falling for her-and her dreams of kids and carpools. But Alison is getting close to figuring out his secret, and if she learns he's deceived her too, she'll walk right out the door, taking Brandon's heart with her.
When Mona Mathur of Dehradun had married her college sweetheart Ramit Deol of Amritsar, there were two things she wasn't prepared for: 1. The size of the Deol family - it put any Sooraj Barjatiya movie to shame 2. The fertility of the Deol family - they reproduce faster than any other species known to mankind For four years now, Mona and Ramit have done the unthinkable and remained childless. Of course, that also means that they've battled that one question day in and day out: 'Koi Good News?' It doesn't matter that they have been happy to be child-free - they are married; they are expected to make babies. After all, there are grandparents, great-grandparents, uncles, aunts and even colony aunties in waiting. Brutally honest, thoroughly irreverent, Koi Good News? is the funniest book you'll read this year.
Laurel will do anything to save her Santorini inn from the powerful Damon family, and that includes manipulating Andrew Damon, the man they’ve sent to get her off the property. Andrew might have a reputation for being irresistible to women, but she won’t have any problem resisting him. This is war, after all, and the Damons drew their weapons first. Andrew has spent most of his life chasing women and wasting time, but he’s determined to do his duty by his family, even if that means ousting an infuriating (and gorgeous) widow from the inn that legally belongs to the Damons. He doesn’t expect to fall for her. And he definitely doesn’t expect to discover that he’s been played.
A tremendous first novel from an exciting young author.
THE INSTANT BESTSELLER • An indelible portrait of girls, the women they become, and that moment in life when everything can go horribly wrong NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Washington Post • NPR • The Guardian • Entertainment Weekly • San Francisco Chronicle • Financial Times • Esquire • Newsweek • Vogue • Glamour • People • The Huffington Post • Elle • Harper’s Bazaar • Time Out • BookPage • Publishers Weekly • Slate Northern California, during the violent end of the 1960s. At the start of summer, a lonely and thoughtful teenager, Evie Boyd, sees a group of girls in the park, and is immediately caught by their freedom, their careless dress, their dangerous aura of abandon. Soon, Evie is in thrall to Suzanne, a mesmerizing older girl, and is drawn into the circle of a soon-to-be infamous cult and the man who is its charismatic leader. Hidden in the hills, their sprawling ranch is eerie and run down, but to Evie, it is exotic, thrilling, charged—a place where she feels desperate to be accepted. As she spends more time away from her mother and the rhythms of her daily life, and as her obsession with Suzanne intensifies, Evie does not realize she is coming closer and closer to unthinkable violence. Finalist for the Los Angeles Times Book Prize • Finalist for the National Book Critics Circle John Leonard Award • Shortlisted for The Center for Fiction First Novel Prize • The New York Times Book Review Editors’ Choice • Emma Cline—One of Granta’s Best of Young American Novelists Praise for The Girls “Emma Cline has an unparalleled eye for the intricacies of girlhood, turning the stuff of myth into something altogether more intimate.”—Lena Dunham “Spellbinding . . . a seductive and arresting coming-of-age story.”—The New York Times Book Review “Extraordinary . . . Debut novels like this are rare, indeed.”—The Washington Post “Hypnotic.”—The Wall Street Journal “Gorgeous.”—Los Angeles Times “Savage.”—The Guardian “Astonishing.”—The Boston Globe “Superbly written.”—James Wood, The New Yorker “Intensely consuming.”—Richard Ford “A spectacular achievement.”—Lucy Atkins, The Times “Thrilling.”—Jennifer Egan “Compelling and startling.”—The Economist “Elegant and nostalgic.”—Julie Beck, The Atlantic “Masterful . . . In the cult dynamic, Cline has seen something universal—emotions, appetites, and regular human needs warped way out of proportion—and in her novel she’s converted a quintessentially ’60s story into something timeless.”—Christian Lorentzen, New York
Scholars and readers alike need little help identifying the infamous Bridget Jones or Carrie Bradshaw. While it is no stretch to say that these fictional characters are the most recognizable within the chic lit genre, there are certainly many others that have helped define this body of work. While previous research has focused primarily on white American chick lit, Theorizing Ethnicity and Nationality in the Chick Lit Genre, takes a wider look at the genre, by exploring chick lit novels featuring protagonists from a variety of ethnic backgrounds set both within and outside of the US.
“Promise me you'll never let go.” “It’s because I love you that I have to let you go.” She couldn’t look away from his eyes; he couldn’t look away from her smile. But still, the first thing they did was fight. They fought with each other and they fought the attraction between them. Obviously fate had something else in store for them, so they became friends. Could their friendship survive this attraction? By some odd twist of fate, they managed to fall in love. Life was beautiful until they got a reality check. When they realised they were old enough to get married, they also realised that they were not old enough to marry each other. So what do they do? Could their love survive this reality? They screamed out loud, “We’re forever!” Then they sobbed, “We’re over!” Or were they?
Why do we humans have hearts? Science says to keep the blood flowing through our body, to sustain life. Literature says to give meaning to our existence, to love someone. Spirituality says to endure pain and evolve, to survive loss. I believe it’s an amalgamation of all the three.
This book investigates fiction in English, written within, and published from India since 2000 in the genre of mythology-inspired fiction in doing so it introduces the term ‘Bharati Fantasy’. This volume is anchored in notions of the ‘weird’ and thus some time is spent understanding this term linguistically, historically (‘wyrd’) as well as philosophically and most significantly socio-culturally because ‘reception’ is a key theme to this book’s thesis. The book studies the interface of science, Hinduism and itihasa (a term often translated as ‘history’) within mythology-inspired fiction in English from India and these are specifically examined through the lens of two overarching interests: reader reception and the genre of weird fiction. The book considers Indian and non-Indian receptions to the body of mythology-inspired fiction, highlighting how English fiction from India has moved away from being identified as the traditional Indian postcolonial text. Furthermore, the book reveals broader findings in relation to identity and Indianness and India’s post-millennial society’s interest in portraying and projecting ideas of India through its ancient cultures, epic narratives and cultural (Hindu) figures.