Among the greatest novels of the twentieth century, A Passage to India is set in pre-Independence India. A compelling portrait of a society in the grip of imperialism, this classic depicts the fate of individuals caught in the great political and cultural conflicts of their age. It begins when Adela and her elderly companion Mrs Moore arrive in the Indian town of Chandrapore, and feel trapped by its insular and prejudiced British community. Determined to explore the ‘real India’, they seek the guidance of the charming and mercurial Dr Aziz. But a mysterious incident occurs while they are exploring the Marabar caves, and the well-respected doctor soon finds himself at the centre of a scandal.
The introduction by Harish Trivedi provides the required scholarly context for the English literature course.
Banaras, Varanasi, Kashi. India’s holy city on the banks of the Ganges has many names but holds one ultimate promise for Hindus. It is the place where pilgrims come for a good death, to be released from the cycle of reincarnation by purifying fire.
As the dutiful manager of a death hostel in Kashi, Pramesh welcomes the dying and assists the families bound for the funeral pyres that burn constantly on the ghats. ‘The soul is gone, the body is burnt, the time is past,’ he tells them. ‘Detach.’ After ten years in the timeless city, Pramesh can nearly persuade himself that here there is no past or future. He lives contentedly with his wife, Shobha, their young daughter, Rani, the hostel priests, his hapless but winning assistant, and the constant flow of families with their dying.
But one day the past arrives in the lifeless form of a man pulled from the river-a man with an uncanny resemblance to Pramesh. Called ‘twins’ in their childhood village, he and his cousin Sagar were inseparable until Pramesh left to see the world and Sagar stayed back to look after the land. After Pramesh married Shobha, defying his family’s wishes, a rift opened up between the cousins that he had long since tried to forget.
For Shobha, Sagar’s reemergence casts a shadow over the life she’s built for her family. Soon, an unwelcome guest takes up residence in the death hostel, the dying mysteriously continue to live and Pramesh is forced to confront his own ideas about death, rebirth and redemption.
Told in lush, vivid detail with an unforgettable cast of characters, The City of Good Death is a remarkable debut novel about family and love, memory and ritual, and the ways in which we honour the living and the dead.
Exuberance and dread, attachment and estrangement: in this novel, Jhumpa Lahiri stretches her themes to the limit. The woman at the center wavers between stasis and movement, between the need to belong and the refusal to form lasting ties. The city she calls home, an engaging backdrop to her days, acts as a confidant: the sidewalks around her house, parks, bridges, piazzas, streets, stores, coffee bars. We follow her to the pool she frequents and to the train station that sometimes leads her to her mother, mired in a desperate solitude after her father’s untimely death. In addition to colleagues at work, where she never quite feels at ease, she has girl friends, guy friends, and “him,” a shadow who both consoles and unsettles her. But in the arc of a year, as one season gives way to the next, transformation awaits. One day at the sea, both overwhelmed and replenished by the sun’s vital heat, her perspective will change. This is the first novel she has written in Italian and translated into English. It brims with the impulse to cross barriers. By grafting herself onto a new literary language, Lahiri has pushed herself to a new level of artistic achievement.
True love-we all long for it, only a few ever really find it and even fewer live with it forever
Avni, however, believes true love is a myth. Unlike her gregarious Punjabi parents, she prefers to live in her own little world and wants nothing more than to be left alone with her books for company.
When she comes across her new neighbour Sidharth, she is irked by his behaviour. A fun and outgoing Gujju boy, Sidharth is everything Avni detests. As fate would have it, he is instantly drawn to her on their first meeting. But Avni wants nothing to do with the boy who seems to be ruining her chances of securing the top position in college.
A series of miscommunications makes Avni believe the worst of Sidharth, further ruining his hopes of ever having a chance at love.
Can’t Quarantine Our Love is an epic love story of two neighbours with a twist of fate that puts everything they know to a heartbreaking test.
Vikram and Aditya are back in magnificent Ladakh. Having finally freed their young friend Tsering from the hands of dangerous men, they’ve set themselves up for an even greater challenge: to locate the grey ghost of the Himalayas, the snow leopard. The boys join a team of ecologists and explorers in their search for this immensely rare and beautiful creature of the wild. But high up in the Himalayas, amidst daunting mountains and dark valleys, everyone has just one question on their mind: how do you study an animal you cannot find?
Journey in search of the elusive Snow Leopard with an enthralling tale set in one of India’s most splendid destinations.
The earthly King Pururavas rescues the celestial nymph Urvashi from a demon, and thus begins a majestic love story that brings heaven and earth together. Both are struck with Kama’s arrow in their very first meeting, but each shies away from saying anything because the distance between them seems insurmountable. Even when they do confess their love, magical transformations and heavenly curses keep the lovers apart. Will Pururavas succeed in his quest for Urvashi?
A magnificent drama based on an episode from the Rig Veda, Vikramorvashiyam is filled with dramatic turns of event, music and dance. The scenes, characters and dialogues are at once lively and theatrical as well as sensitive and speculative. Believed to be the second of Kalidasa’s three plays, Vikramorvashiyam is an undisputed classic from ancient Indian literature. A.N.D. Haksar’s brilliant new translation gives contemporary readers an opportunity to savour this delightful tale.
Sanjay de Silva lives in Colombo, under the thumb of a controlling Sri Lankan father, having lost his English mother at an early age. When his father is diagnosed with cancer, he feels the ground shifting under his feet, the balance of power realigning. Though it is something he has dreamed of all his life, he is uneasy when it happens. Learning that he is entitled to live in England-thanks to his half-English parentage-he arrives in south London.
It is 1980, the start of the glorious blue-rinsed Thatcher years, when every girl looks like Princess Diana but not every boy looks like Prince Charles. He meets and falls in love with a fellow Sri Lankan, Janine, who is old enough to be his mother and famous within the acid-tongued Sri Lankan community as ‘a hooker of the very highest class, with royal connections’.
Sanjay manages to buy an old wreck of a house in Brixton and succeeds, against all odds, in converting it into two flats. But all is not well with that house. At night there are voices . . .
This is the story of south London’s first Asian builder who in eight years developed and sold eighty-four flats, cashing in his winnings just before the crash of 1988. But at its heart it is about grief: how each of us copes in our inimitable way with the hidden mysteries of family and the loss of loved ones. Because, as Sanjay is about to find out, grief is only the transmutation of love, of the very same chemical composition-liquid, undistilled-the one inevitably turning to the other like ice to water.
Women Who Misbehave, much like the women within its pages, contains multitudes and contradictions-it is imaginative and real, unsettling and heartening, funny and poignant, dark and brimming with light.
At a party to celebrate her friend’s wedding anniversary, a young woman spills a dangerous secret. A group of girls mourns the loss of their strange, mysterious neighbour. A dutiful daughter seeks to impress her father even as she escapes his reach. A wife weighs the odds of staying in her marriage when both her reality and the alternative are equally frightening. An aunt comes to terms with an impulsive mistake committed decades ago.
In this wildly original and hauntingly subversive collection of short stories, Sayantani Dasgupta brings to life unforgettable women and their quest for agency. They are violent and nurturing, sacred and profane. They are friends, lovers, wives, sisters and mothers. Unapologetic and real, they embrace the entire range of the human experience, from
the sweetest of loves and sacrifices to the most horrific of crimes.
Impetuous Women is about women who step across the Lakshman Rekha, whose transgressions fly in the face of the establishment, the patriarchy, often their own families and loved ones. From two housewives who play a potentially lethal game of keeping up to an expert baker who serves revenge with chocolate sprinkles on top; from a stern hostel warden who examines her relationship with the teenagers she must surveil to a grouchy widow shuts out the world; from a couple madly in love and desperate for a bit of privacy to a tender bond between a husband and wife, these stories create an unforgettable portrait of modern-day India and the experiential realities of being impetuous, of being women.
This darkly comic, thrillingly tragic collection of stories is sensuous, bittersweet and whimsical by turns, and always wildly, subversively original.
Offering a unique expression of thought reflecting feeling more than meaning, Grains of Stardust is a synesthetic stream of consciousness that does not distinguish between journey and destination, but meanders unchecked upon the river of human emotion.
‘Read my poetry out loud
Breathe it in
and taste the letters pour out.
A delicious sound.
Do you hear the colours take form?
Feel the pages move you
as you float in space
make some space
Open your mind
and get inside
and see all that
shimmering
marmalade liquid.
Grains of stardust‘
