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Nightwalkers
About Nightwalkers: This is fine work by two poets whose work combines an enjoyment of language with formal attentiveness. Debarshi Mitra's poems synthesize the hysteria of dream visuals with a spareness of line as he conjures a 'city held by lights' where 'mannequins walk gingerly' and 'a one-eyed man grins'. An arresting mix of irony and image characterizes Goirick Brahmachari's evocation of a city that speaks 'a language of snakes and ladders' -- 'hyper-productive, genetically modified, pre-defined'. - Arundhathi Subramaniam In this rare collection of poems, Debarshi Mitra and Goirick B engage in a soulful poetic conversation around the nightlife in the city. The poems travel in diverse d...
Breaking Barriers in Post-independence India
This book looks at India of the 1950s and 1960s while it was still emerging from two centuries of colonial rule and striving to come together as a nation. It critically explores the history of nationalism and identity in Northeastern India, a region with diverse ethnolinguistic communities and people, through the personal history of the first Manipuri (Meitei) direct recruit in the Indian Administrative Services. The book weaves in autobiographical stories with the story of Northeast India, capturing its politics, socio-cultural distinctiveness and milieus that set the region apart from the rest of the country. It covers the career of the author in the IAS, serving in Manipur and Karnataka, ...
For The Love Of Pork
Goirick Brahmachari was the winner of Muse India - Satish Verma Young Writer Award (Poetry) 2016 and Srinivas Rayaprol Poetry Prize, 2016. About 'For the Love of Pork': "Drawing upon a rich seam of autobiography, navigating evanescent hillscapes and cityscapes while being pursued by a dogged fear of home and homelessness, Goirick Brahmachari's poems often blur the distinction between the lyric and the narrative with evocative skill"- Robin Ngangom "These ardent, heartfelt, gritty poems open up a surprisingly new poetic landscape - that of the many border crossings, highways, and derelict towns of India's northeast and its surroundings. Brahmachari's poetry maps a poignant, on-the-road coming-of-age. This is a journey whose criss-crossing movement also takes in the arid, hallucinatory modernity of the country's capital. To the experience of belonging to several places as well as none For the Love of Pork brings an unexpected and memorable flavour."- Anjum Hasan "Goirick's poems are marked, all at once, by sense of place and wanderlust, by rage and nostalgia, by and veracity. You will travel landscapes and infinite multiplicities."- Janice Pariat
Wet Radio and Other Poems
A personal diary of love, longing, places, politics and disillusionment.
One Man, Two Executions
About the Book 'EXPERIMENTAL AND INQUISITIVE, THESE ARE POEMS THAT DEMAND AN IMAGINATION WHERE "DRAVIDIAN" IS STRUCK OUT FOR "DARWINIAN" AND "WHALE" REPLACED BY "WHILE", TIME BECOMING SPACE LIKE IT DOES ON A CLOCKFACE.' -SUMANA ROY In his latest poetry collection, Arjun Rajendran begins by resurrecting voices and stories from 18th-century Pondicherry: of a French ship that must change its flag to render itself invisible to the English fleet, of blind men contemplating a lunar eclipse or an unfortunate condemned to the absurdity of a second execution. Then jumping across centuries, the other two sections in this book explore intimacy, travel, hauntings and generational angst. About the Author Arjun Rajendran is the author of Snake Wine (Les Éditions du Zaporogue, 2014), The Cosmonaut in Hergé's Rocket (Paperwall, 2017) and a chapbook, Your Baby Is Starving (Aainanagar/VAYAVYA, 2017). Arjun was the Charles Wallace Fellow in Creative Writing (University of Stirling, Scotland, 2018). He is also the poetry editor at The Bombay Literary Magazine and the founder of The Quarantine Train, a poetry community that is a response to the great pandemic.
The Ugliness of the Indian Male and Other Propositions
Some years ago the author of this book was struck by the contrast between the beauty of Hindi film heroines and the ugliness of Hindi film heroes. After researching the matter the author concluded that the explanation was straightforward: leading men in Hindi films were ugly because they were Indian men and Indian men were measurably uglier than Indian women ... While this observation was accurate and the data gathered was reliable, the author made the mistake of attributing the ugliness of the Indian male to nature. He knows now that Indian men aren't born ugly: they achieve ugliness through practice. It is their habits and routines that make them ugly. If the author were to be schematic, he would argue that Indian men are ugly on account of the three Hs: hygiene, hair, and horrible habits ... Why are Indian men like this? How do they achieve the bullet-proof unselfconsciousness that allows them to be so abandonedly ugly? The author thinks it comes from a sense of entitlement that's hard-wired into every male child that grows up in an Indian household. That, and the not unimportant fact that, despite the way they look, they're always paired off with good-looking women.
Half of What I Say
Conflicted over his sinister duties with the Lokshakti, Vyas writes a confessional love-letter to his wife. But how did the letter end up with the scholar-politician, Durga Dhasal? And when the Lokshakti murders Dhasal, Vyas has to find the incriminating letter before it's too late. The trail leads Vyas to various people, including: the passionate scientist torn between exit and loyalty; the businessman who collects ruins; the beguiling actress who was once Shahzadi Jahanara; the eunuch poet fond of Jewish jokes. It leads him to a powerful, subversive new myth. The lost letter leads Vyas to himself.
Daughters of the Sun
In 1526, when the nomadic Timurid warrior-scholar Babur rode into Hindustan, his wives, sisters, daughters, aunts and distant female relatives travelled with him. These women would help establish a dynasty and empire that would rule India for the next 200 years and become a byword for opulence and grandeur. By the second half of the seventeenth century, the Mughal empire was one of the largest and richest in the world. The Mughal women-unmarried daughters, eccentric sisters, fiery milk mothers and powerful wives-often worked behind the scenes and from within the zenana, but there were some notable exceptions among them who rode into battle with their men, built stunning monuments, engaged in...
Breaking the Bow
A long time ago, a young prince, the heir to a great South-Asian kingdom, wielded Siva’s mighty bow and won the heart of a brave princess. The story of what happened next to the married couple—the Ramayana—told and re-told countless times over the centuries, begins where most stories end. The twenty-five stories in Breaking the Bow take a similar courageous leap into the unknown. Inspired by the Ramayana and its cultural importance, the anthology dares to imagine new worlds. Stories by some of the best writers in contemporary south-Asian fiction, including Abha Dawesar, Rana Dasgupta, Priya Sarukkai Chabria, Tabish Khair, Kuzhali Manickavel, Mary Anne Mohanraj and Manjula Padmanabhan. Stories from India, Sri Lanka and Thailand, but also Holland, Israel, the United Kingdom and the United States. Published by Zubaan.
A God at the Door
Shortlisted for the Forward Prize for Best Collection 2021 'May we always have the music and elegant fury of Tishani Doshi's poetry.' FATIMA BHUTTO 'The poems of Tishani Doshi's A God at the Door operate on the grand scale, reaching for visionary responses ... stunning and ambitious.' THE GUARDIAN 'At the core of Doshi's poetry is a quest, traced through anguish and exhilaration, for that hidden yet ever-present harmony which connects all species, animates all things, heals all trauma. A reader could explore the topographies of this book for ever.' RANJIT HOSKOTE Tishani Doshi's new book of poems tackles hyper-nationalism and misogyny head on, transforming a collective grief, anger and loneliness into a beam of hope and resilience. Shortlisted for the 2021 Forward Prize for Best Collection, A God at the Door is nothing short of a tour de force.
