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The Queen of Jasmine Country
Myths, dreams, desires, the timeless reality of the body and soul - in the midst of nature's bounty - that is the essence of The Queen of Jasmine Country. It is an astounding work of fiction. - Volga Tonight, under this arena of starlight, I take up my stylus and press it by the glow of a clay lantern into dry palmyra leaves. It is on this night that I dedicate myself - to my self, to who I truly am, to what is invincible and without bondage of time, that predates me, that will outlive me. Ninth century. In Puduvai, a small town in what we now know as Tamil Nadu, young Kodhai is taught to read and to write by her adoptive father, a garland-weaving poet. As she discovers the power of words, s...
The High Priestess Never Marries: Stories of Love and Consequence
A Sri Lankan mermaid laments the Arthurian Fisher King; a woman treks to a cliff in the Nilgiris with honey gatherers of the Irula tribe; a painter fears she will lose her sanity if she leaves her marriage, and lose her art if she stays faithful within it; one woman marries her goddess; another, sitting in a bar, says to herself, 'I like my fights dirty, my vodka neat and my romance anachronistic.' The women in this collection are choice makers, consequence facers, solitude seekers. They are lovers, vixens, wives to themselves. And their stories are just how that woman in the bar likes it - dirty, neat and sexy as smoke.
The Altar of the Only World
'Sharanya's poems are, in her own phrase, a form of phosphorescence - glowing in darkness, simmering with wonder, mythic in resonance, boldly embodied, hence surprisingly spiritful, even spiritual in the finest sense of the word. They are also skeptical and reflective, tempering and enhancing the glowing flame. Riptides of Tamil hide beneath or within her honed English, for those who can hear and see.' - David Shulman. Sita in a forest, loved and left behind, looks towards the night sky and sees Lucifer's fall from grace. Inanna enters the underworld, holding her heart before her like a torch. It is not easy to bear the weight of light; wilderness takes time to turn into sanctuary. These are poems of exile, resurrection, impossible love, lasting redemption - and above all else, the many meanings of grace.
The Ammuchi Puchi
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Fish in a Dwindling Lake
THE BODY WAS THE ONLY TRUTH SHE KNEW. IT WAS THE BODY ALONE THAT WAS LEFT, EVEN AS SHE WENT BEYOND THE BODY. JOURNEYS FORM THE LEITMOTIF OF THESE ASTONISHING NEW STORIES BY AMBAI. SOMETIMES CULMINATING IN AN UNCONVENTIONAL LOVE AFFAIR, SOME ARE EXTRAORDINARY TALES OF LOYALTY AND INTEGRITY; OTHERS TOUCH ON THE ALMOST FANTASTIC, ABSURD ASPECT OF MUMBAI. YET OTHERS EXPLORE THE NOTION OF A WHOLESOME SELF, AND ITS TRAGIC ABSENCE AT TIMES.
Love Stands Alone
The breathtaking poems in Love Stands Alone speak to us across time, space, language and culture. The interior, akam, and the exterior, puram, form their two overarching themes. The akam poems are concerned with love in all its varied situations: clandestine and illicit; conjugal happiness and infidelity; separation and union. The puram poems encompass all other aspects of worldly life: wars and battlefields, the munificence of kings and chieftains, and the wisdom of bards. With a comprehensive introduction by A.R. Venkatachalapathy, M.L. Thangappa’s translations delight the senses and bring alive a world long past.
The Girl in the Garden
The Namesake meets The Secret Garden in this enchanting debut novel that is a dark, grown-up fairytale. The redemptive journey of a young woman unsure of her engagement, who revisits in memory the events of one scorching childhood summer when her beautiful yet troubled mother spirits her away from her home to an Indian village untouched by time, where she discovers in the jungle behind her ancestral house a spellbinding garden that harbors a terrifying secret.
