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Frontiers
One Of India'S Finest Prose Stylists, Shama Futehally (1952 2004) Was Also Among The Country'S Most Accomplished Writers Of Short Fiction In English. This Posthumous Collection Brings Together All Her Short Stories, Written Over Two Decades. The First And Title Story Also The Last That She Wrote Is A Fictionalized Account Of The Uphaar Cinema Tragedy In Delhi And Was Originally Intended As A Novella. Yet, Even In Its Present Form We See The Exceptional Skill With Which Futehally Presents People And Events Whether It Is The Wealth Of Intimate Details That Make Up Individual Lives, Or The Subtle But Always Effective Awareness Of Larger Social Realities. Such Skill, And The Ability To Lay Open Whole Worlds Of Experience In Spare, Pared Down Prose, Is Evident In All The Other Stories, Where We Enter The Lives Of Maidservants And Memsaabs, Riot Victims And Victims Of Fate, Wives And Husbands, Mothers-In-Law And Daughters-In-Law. Shama Futehally'S Deeply Felt Stories Demonstrate Her Command Over Her Craft, And Her Sensitive Understanding Of The Politics Of Class And Gender And, Finally, Of Human Nature Itself.
In the Dark of the Heart
Meera, they said, was mad. She is also the symbol Mahatma Gandhi chose to inspire his modern Indian renaissance, and the archetypal female saint, whose songs of love and devotion remain an integral part of Indian life and culture. Meera was a sixteenth century Rajput princess who renounced her privileged life and royal family to live as a mendicantwandering, dancing, and singing the praises of God. A devotee of Krishna, she was part of an influential religious movement (bhakti) that rejected distinctions of caste and creed, shunned the stultifying rituals and inaccessible scripture of conservative religion, and believed that direct union with God was possible for all - men and women, highborn and lowborn.
The Right Words
Shama Futehally (1952-2004) was a 'writer's writer', unique among contemporary Indian authors for the sophistication and integrity of her work. This posthumous collection of her non-fiction writing provides a rare and rewarding insight into the literary life; into the art of observation and creation. In these essays, Futehally writes on a variety of subjects, ranging from the complexities of translation and her discovery of Meera, Premchand and Naguib Mahfouz, among others, to her early experiences as a teacher and the pleasures of bird watching. Apparent in each essay is her effortless scholarship, refined sensibility and craftsmanship of the highest order.
Indian Poetry
This Anthology Of Papers Presented At A Seminar Organised By The Sahitya Akademi In March 1988, Takes Stock Of The Indian Poetry Of The Five Decades After Independence, Raises Basic Conceptual Questions, Examines Paradigm Shifts And Interrogates The Established Canons By Foregrounding Marginalised Voices. The Papers Examine The Growth Of Modern Sensibility In Indian Poetry In Specific Linguistic Contexts, Relates It To General Cultural Issues And Examines Post-Colonial Avant-Grade Trends Including The Feminist And The Dalit Movements. The Papers Are Collected Under Three Heads: ýModernism In Retrospectý Examines The Historical, Political And Aesthetic Aspects Of Modernism;ýAfter Modernism...
Tara Lane
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Reaching Bombay Central
Ayesha Jamal Is On A Train To Bombay, On A Mission To Resolve An Unpleasant Complication In Her Husband'S Professional Life That Threatens To Destroy Everything. Uncertain, On Edge, She Responds To The Passing World Around Her, To The Realities Of Present-Day India And Her Domestic Life With A Mixture Of Helpless Anger And Desperate Hope: How Long Will This Go On, This Life Where Nothing Is Real? Can She Tell Her Fellow-Passengers The Truth And Be Done With It? Will Anything Ever Look Beautiful Again? Then, Just Hours Before Bombay Central Station, News Of A Wholly Unexpected Event, As Simple And Apposite As A Miracle, Delivers Ayesha Of All Her Burdens . . .
Inner Line
This anthology testifies to women`s many concerns, whether witht a way of life, or with being caught inside the fur walls of the home, or in a relationship with someone other than the husband, or being caught at the intersection of many forces within a situation of political violence and armed conflict. In one way or another the woman`s body becomes a site upon which many battles take place; for control, for power, for progeny, but there is seldom a resolution in which the women remains a mere victim, or more acted upon than acting. Whether she is in the palaces of the gods, or caught in the body of snake, or speaking through the spirit of the countrside which witnessed her rape, the woman`s voice is unique, singular and in each story, different. While this gives substance to the cliche that India is a countr where many and varied realities exist simultaneously, it gives the lie to the cliche that all women speak with a sameness and a commonality of experiences.
Sorry, Best Friend!
A delectable offering of the best stories written by master storytellers, including Ruskin Bond, Anita Desai, Satyajit Ray, R.K. Narayan, Salman Rushdie and Vikram Seth, to name a few. Each story represents the richness and range of contemporary writing for children, and is beautifully illustrated to make this truly a collector's item.
