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I Swallowed the Moon
A comprehensive analysis of the work of one of India's foremost poets Gulzar is arguably the most well-known contemporary poet writing in Hindustani. As a poet he occupies a unique place being a Progressive poet in a popular culture. His poetry appeals to all strata of society, without compromising either on literary merit or on its ability to convey the most exalted thought in an accessible idiom. In 'He Swallowed the Moon', Saba Bashir attempts to analyse what makes Gulzar the poet he is. What is his signature style? What are the issues that concern his poetry and what are the recurrent images in it? She also draws a parallel between the poet's film and non-film poetry and points out how they are used interchangeably. Including the most comprehensive list of all Gulzar's poems, film and non-film songs, this is a valuable addition to the corpus of work on a great poet.
Gulzar's Aandhi
At one level, Gulzar's Aandhi (1975) is a story of estranged love between two headstrong and individualistic personalities; at another, it is a tongue-in-cheek comment on the political scenario of the country. Through a close textual analysis of the film, this book examines in detail its stellar cast, the language and dialogues, and the evergreen songs which had a major role in making the film a commercial success. Gulzar's own insights into the making of Aandhi (from an interview) further enhances the readers' understanding of the film. Saba Bashir's book will delight those wanting to savour the duality and drama that befit life, or shall we say, cinema.
Cān̐da nigala gaī
Study on the selected poems of Gulazāra, born 1936, a famous lyricist and Urdu and Hindi poet.
Women of Prey (Shikari Auratein)
'The undisputed master of the modern Indian short story.'--Salman Rushdie Originally published in 1955 as Shikari Auratein, Women of Prey is a hugely entertaining and forgotten classic containing raunchy, hilarious short stories and profiles that show a completely different side of Manto. As he's enjoying a kulfi in his Victoria coach after a long day at Filmistan, a beautiful burqa-clad woman suddenly hops in next to Manto, ready to go home. What will he do next? When Ashok stumbles across a porn film for the first time in his life, he is appalled. What will happen when his wife gets a hold of the contraband? Will two bitter lovers--about to give it all up--resolve their differences, before they take each other's lives? Can Ashok Kumar, heartthrob to millions of women, handle Paro Devi's affections? In addition to these stories, this volume also includes 'Sitara', Manto's scandalous profile of the legendary Kathak dancer, famous for her troop of lovers. Appearing in English translation for the first time ever, this gem of a collection is a gloriously pulpy, sexual, hilarious and tragic romp through Manto's Bombay, Lahore and Amritsar.
Chand Nigal Gayi
Gulzar is arguably the most well-known contemporary poet writing in Hindustani. He occupies a unique place by being a Progressive poet in a popular culture. His poetry appeals to all strata of society, without compromising either on literary merit or on its ability to convey the most exalted thought in an accessible idiom. In Chand Nigal Gayi, the Hindi translation of I Swallowed the Moon, Saba Bashir attempts to analyse what makes Gulzar the poet he is. She also draws a parallel between the poet's film and non-film poetry and points out how they are used interchangeably.This is a valuable addition to the corpus of work on a great poet.
Is Critique Secular?
This volume interrogates settled ways of thinking about the seemingly interminable conflict between religious and secular values in our world today. What are the assumptions and resources internal to secular conceptions of critique that help or hinder our understanding of one of the most pressing conflicts of our times? Taking as their point of departure the question of whether critique belongs exclusively to forms of liberal democracy that define themselves in opposition to religion, these authors consider the case of the “Danish cartoon controversy” of 2005. They offer accounts of reading, understanding, and critique for offering a way to rethink conventional oppositions between free speech and religious belief, judgment and violence, reason and prejudice, rationality and embodied life. The book, first published in 2009, has been updated for the present edition with a new Preface by the authors.
Aandhi
Screenplay of a popular Hindi motion picture.
Gulzar's Ijaazat
By the time Gulzar made Ijaazat (1987), action-packed potboilers had replaced the genteel romanticism of yore, leaving few takers for a film about lost love and a broken marriage. And yet, three decades later, Ijaazat is a film that has endured. Gulzar's interpretation of a love triangle in Ijaazat - an evocative exploration of the strength and fragility of human relationships - was years ahead of its time. This book examines that interpretation to show how, thematically, the film was possibly Gulzar's most daring. It highlights how his skill as a storyteller - at once romantic and realistic - is exemplified by his complex characters. Contributing to that understanding is how the film's power also derived hugely from its sublime musical score by R.D. Burman. Drawing on Gulzar's recollections of the making of the film, Mira Hashmi''s book embraces the memory of the 'love' that for the poet wasn't always the answer, but a part of the question.
Oprah
Oprah Winfrey is a media messiah for a secular age. This book is an examination of the religious dimensions of Oprah Winfrey's empire, deploying the idiom of US religious history and metrics of religious studies to assess Winfrey's success on the national and international scene.
