Kalidasa is the greatest poet and playwright in classical Sanskrit literature and one of the greatest in world literature. Kalidasa is said to have lived and composed his work at the close of the first millennium BC though his dates have not been conclusively established. In all, seven of his works have survived: three plays, three long poems and an incomplete epic. Of these, this volume offers, in a brilliant new translation, his two most famous works, the play Sakuntala, a beautiful blend of romance and fairy tale with elements of comedy; and Meghadutam (The Cloud Messenger), the many-layered poem of longing and separation. Also included is Rtusamharam (The Gathering of the Seasons), a much-neglected poem that celebrates the fulfillment of love and deserves to be known better. Taken together, these works provide a window to the remarkable world and work of a poet of whom it was said: Once, when poets were counted, Kalidasa occupied the little finger; the ring finger remains unnamed true to its name; for his second has not been found
Catagory: Literature & Fiction
Byomkesh Bakshi (1)
Byomkesh Bakshi’s appeal as the self-styled inquisitor, a detective not by profession but by passion, found him a dedicated following among generations of readers. This collection of stories, all set in Kolkata of the 1950s and 1960s, brings together four mysteries that put the sleuth’s remarkable mental agility to the ultimate test. In ‘the Menagerie’ (adapted by master film-maker Satyajit Ray for his 1967 film Chiriakhana) Byomkesh cracks a strange case involving broken motor parts, a seemingly natural death and the peculiar inhabitants of Golap Colony who seem capable of doing just about anything to safeguard the secrets of their tainted pasts. In ‘the Jewel Case’ he investigates the mysterious disappearance of a priceless necklace, while in ‘the Will That Vanished’ he solves a baffling riddle to fulfil the last wish of a close friend. And, in ‘the Quills of the Porcupine’, the shrewd detective is in his element as he expertly foils the sinister plans of a ruthless opportunist. Sreejata Guha’s translation captures brilliantly the thrill and ingenuity of Byomkesh’s exploits just as it does Saradindu Bandyopadhyay’s remarkable portrayal of a city struggling to overcome its colonial past and come into its own.
Shakuntala
On the ghats of Kashi, the most ancient of cities, a woman confronts memories that have pursued her through birth and rebirth. In the life she recalls, she Shakuntala of the northern mountains-spirited, imaginative, but destined like her legendary namesake to suffer ‘the samskaras of abandonment’. Stifled by social custom, hungry for experience, she deserts home and family for the company of a Greek horse merchant she meets by the Ganga. Together, they travel far and wide and surrender to unbridled pleasure, as Shakuntala assumes the identity of Yaduri, the fallen woman. But an old restlessness compels her to forsake this life as well-and court tragedy.
Chowringhee
Here, day and night were interchangeable. The immaculately dressed Chowringhee, radiant in her youth, had just stepped on to the floor at the nightclub.’ Set in 1950s Calcutta, Chowringhee is a sprawling saga of the intimate lives of managers, employees and guests at one of Calcutta’s largest hotels, the Shahjahan. Shankar, the newest recruit, recounts the stories of several people whose lives come together in the suites, restaurants, bar and backrooms of the hotel. As both observer and participant in the events, he inadvertently peels off the layers of everyday existence to expose the seamy underbelly of unfulfilled desires, broken dreams, callous manipulation and unbidden tragedy. What unfolds is not just the story of individual lives but also the incredible chronicle of a metropolis. Written by best-selling Bengali author Sankar, Chowringhee was published as a novel in 1962. Predating Arthur Hailey’s Hotel by three years, it became an instant hit, spawning translations in major Indian languages, a film and a play. Its larger-than-life characters-the enigmatic manager Marco Polo, the debonair receptionist Sata Bose, the tragic hostess Karabi Guha, among others-soon attained cult status. With its thinly veiled accounts of the private lives of real-life celebrities, and its sympathetic narrative seamlessly weaving the past and the present, it immediately established itself as a popular classic. Available for the first time in English, Chowringhee is as much a dirge as it is a homage to a city and its people.
The Shattered Thigh & Other Plays
The Girl
Moving On
A father who delights in the human body, its mysteries, its passion, and the knowledge that it contains and conceals. A mother who wields the power of her love mercilessly. A sister separated in childhood. An uncle who plays games of life and death as a member of the Bombay underworld. A passionate love affair that tears the family apart. And a young woman left to make sense of the world and of her own sexuality. Shashi Deshpande’s novel is about the secret lives of men and women who love, hate, plot and debate with an intensity that will absorb every reader.
It is a story that begins, conventionally enough, with a woman’s discovery of her father’s diary. As Manjari unlocks the past through its pages, rescuing old memories and recasting events and responses, the present makes its own demands: a rebellious daughter, devious property sharks and a lover who threatens to throw her life out of gear again. The ensuing struggle to reconcile nostalgia with reality and the fire of the body with the desire for companionship races to an unexpected resolution, twisting and turning through complex emotional landscapes.
In Moving On Shashi Deshpande explodes the stereotypes of familial bonds with an uncanny insight into the nature of human relationships and an equally unerring eye for detail.
Sunlight on a Broken Column
Laila, orphaned daughter of a distinguished Muslim family, is brought up in her grandfather’s house by orthodox aunts who keep purdah. At fifteen she moves to the home of a ‘liberal’ but autocratic uncle in Lucknow. Here, during the 1930s, as the struggle for Indian independence intensifies, Laila is surrounded by relatives and university friends caught up in politics. But Laila is unable to commit herself to any cause: her own fight for independence is a struggle against the claustrophobia of traditional life, from which she can only break away when she falls in love with a man whom her family has not chosen for her. With its beautiful evocation of India, its political insight and unsentimental understanding of the human heart, Sunlight on a Broken Column, first published in 1961, is a classic of Muslim life.
The Orphan Diaries
Among the thousands of orphaned children adopted after 47 there are a few less than twenty who were planted here by Jinnah’s men . . .
At thirty-eight, feeling ancient and used up, Colonel Rajan Menon Raja knows his best years as a commando are behind him. But he is soon tested as never before. The Prime Minister s granddaughter has been abducted, and the kidnappers want some sensitive diaries in the possession of the CBI, the contents of which, if made public, can throw the country into turmoil. Raja works out a meticulous rescue plan, but the raid ends in a disaster the girl is killed, not a single kidnapper is captured and the diaries disappear. And all the evidence points to Raja s complicity. Hounded by the police and, inexplicably, a ruthless psychopath, Raja is on the run, determined to clear his name. As he makes his harrowing journey towards the truth, a sinister plot unfolds an astounding account that began in 1947 . . .
In the Country of Deceit
Why did I do it? Why did I enter the country of deceit? What took me into it? I hesitate to use the word love, but what other word is there?’
Devayani chooses to live alone in the small town of Rajnur after her parents’ death, ignoring the gently voiced disapproval of her family and friends. Teaching English, creating a garden and making friends with Rani, a former actress who settles in the town with her husband and three children, Devayani’s life is tranquil, imbued with a hard-won independence. Then she meets Ashok Chinappa, Rajnur’s new District Superintendent of Police, and they fall in love despite the fact that Ashok is much older, married, and-as both painfully acknowledge from the very beginning-it is a relationship without a future.
Deshpande’s unflinching gaze tracks the suffering, evasions and lies that overtake those caught in the web of subterfuge. There are no hostages taken in the country of deceit; no victors; only scarred lives. This understated yet compassionate examination of the nature of love, loyalty and deception establishes yet again Deshpande’s position as one of India’s most formidable writers of fiction