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Bhagwaan Ke Pakwaan – An Excerpt

Bhagwan Ke Pakwaan (or, food of the gods), a cookbook-cum-travelogue explores the connection between food and faith through the communities of India. In this book authored by Devang Singh and Varud Gupta, you will find legends and lore, angsty perspectives, tangential anecdotes, a couple of life lessons and a whole lot of food.

Here is a quite simple, unique yet delicious recipe for you to try out!


CHICKEN WITH BAMBOO SHOOTS 

(Serves 4)

Past Peng’s watchful gaze, we enter the Karbi kitchen—the most sacred of domestic spaces—where the cuisine rests upon three cooking styles: Kangmoi or alkaline preparations which use ingredients such as banana bark or bamboo ash for the salt alkali; Ka-lang-dang or boiled preparations; and lastly, Han-thor, or sour preparations which dominate the cuisine.

The village traditionally uses fermented bamboo, but since it’s hard to procure and production has decreased over time, we replaced it with the canned variety and adapted the recipe accordingly.

Ingredients

½ cup canned bamboo shoots

2 tbsp mustard oil

1 tbsp ginger, finely chopped

1 garlic clove, finely chopped

2–3 red onions, sliced thinly

2–3 green chillies, sliced

1 tsp turmeric

1 kg chicken (halved chunks of legs,

thighs and wings)

½ cup rice powder

Salt to taste

Wash the bamboo shoots and boil in water for 10 minutes until tender. Drain the water and set the shoots aside.

Heat the mustard oil in a pan and fry up the bamboo shoots, about 3–4 minutes.

Add the ginger, garlic, onions and green chillies. Continue to sauté until they begin to brown.

Add the salt and turmeric.

Add the chicken pieces and let them brown for 4–5 minutes, before adding one cup water.

Continue to simmer until the chicken is cooked through, 7–8 minutes.

Slowly add the rice powder, a spoon at a time, until the gravy thickens. It should have a gelatinous consistency. Serve piping hot  with rice.

 

Martyrdom

Gandhi lived one of the great 20th-century lives. He inspired and enraged, challenged and delighted millions of men and women around the world. He lived almost entirely in the shadow of the British Raj, which for much of his life seemed a permanent fact, but which he did more than anyone else to bring down.

In a world defined by violence and warfare and by fascist and communist dictatorships, he was armed with nothing more than his arguments and example. While fighting for national freedom, he also attacked caste and gender hierarchies, and fought (and died) for inter-religious harmony.

Here is an excerpt from the chapter title Martyrdom from Ramachandra Guha’s book, Gandhi: The Years that Changed the World 1914-48.


When he broke his fast on 18 January, Gandhi told those who had signed the pledge presented to him that while it bound them to keep the peace in Delhi, this did not mean that ‘whatever happens outside Delhi will be no concern of yours’. The atmosphere that prevailed in the capital must prevail in the nation too.

That same evening, Jawaharlal Nehru addressed a large public meeting at Subzi Mandi, where he remarked that ‘there is only one frail old man in our country who has all along stuck to the right path. We had all, some time or the other, strayed away from his path. In order to make us realize our mistakes he undertook this great ordeal.’ Congratulating the people of Delhi for taking the pledge to restore communal harmony, Nehru said the next step was to ensure peace ‘not merely in Delhi but in the whole of India’.

Later that evening, a group of Muslims returned to Subzi Mandi, where they ‘were given a hearty welcome in the vegetable market where they [had] felt somewhat insecure’.

Monday the 19th was a day of silence for Gandhi. He spent it attending to his correspondence and writing articles for Harijan. In their daily report, the doctors attending on him said: ‘There is considerable weakness still. There are signs of improvement in his kidneys. The diet is being slowly worked up. He is still on liquids.’

Also on the 19th, the general secretary of the Hindu Mahasabha issued a statement saying that while they were relieved that Gandhi was out of danger, the Mahasabha had not signed the peace pledge, since ‘the response to his fast has been wholly one-sided, the Pakistan Government still persisting in its attitude of truculence . . . The net result of the fast has been the weakening of the Hindu front and strengthening of the Pakistan Government.’ The statement went on: ‘What we oppose is the basic policy of Mahatma Gandhi and the followers of his way of thinking that whatever might be done to the Hindus of Pakistan, Muslim minorities in India must be treated equally with other minorities. This is a policy that the Hindu Mahasabha can never accept . . .’

At his prayer meeting on the 20th, Gandhi said he hoped to go to Pakistan, but only if the government there had no objection to his coming, and only when he had regained his strength. As he was speaking, there was a loud explosion. This scared Manu Gandhi, sitting next to him, as well as members of the audience. Gandhi, however, was unruffled. After the noise died down, he continued his speech.

The explosion was the sound of a bomb going off behind the servants quarters of Birla House, some 200 feet from the prayer meeting. Inquiries revealed that a group of men had come earlier in the evening in a green car and ‘moved around in a suspicious manner’. After the explosion, watchmen arrived on the scene, and apprehended a young man who had a hand grenade. His accomplices had meanwhile fled. The man, named Madan Lal Pahwa—who was ‘well dressed, of fair complexion and of medium height’—said he was opposed to Gandhi’s peace campaign since he ‘had lost everything he had in West Punjab’. A refugee from Montgomery district, he was living in a mosque in Paharganj from where he had just been evicted (as it had been restored to the Muslims).

On hearing of the incident, Nehru came to Birla House, met Gandhi and also discussed the matter with the police.


This magnificent book, now available as an e-book, tells the story of Gandhi’s life from his departure from South Africa to his dramatic assassination in 1948.

For Abba with Love – from Shabana Azmi

Kaifi Azmi’s literary legacy remains a bright star in the firmament of Urdu poetry. His poetic temperament-ranging from timeless lyrics in films like Kagaz Ke Phool to soaring revolutionary verses that denounced tyranny-seamlessly combined the radical and the progressive with the lyrical and the romantic.

Kaifiyat, a scintillating new translation of his poems and lyrics that reflect Kaifi’s views on women and romance is accompanied by an illuminating introduction by Rakhshanda Jalil on Kaifi Azmi’s life and legacy, as well as a moving foreword by his daughter Shabana Azmi.

Here is an excerpt from the foreword.


Early 1990s

He was always different, a fact that didn’t sit too easily on my young shoulders. He didn’t go to ‘office’ or wear the normal trousers and shirt like other ‘respectable’ fathers but chose to wear a white cotton kurta-pyjama twenty-four hours of the day. He did not speak English and, worse still, I didn’t call him ‘Daddy’ like other children, but some strange-sounding ‘Abba’! I learned very quickly to avoid referring to him in front of my classmates and lied that he did some vague ‘business’! Imagine letting my school friends know that he was a poet. What on earth did that mean—a euphemism for someone who did no work?

Being my parent’s child was, for me, unconventional in every way. My school required that both parents speak English. Since neither Abba nor Mummy did, I faked my entry into school. Sultana Jafri, Sardar Jafri’s wife, pretended to be my mother and Munish Narayan Saxena, a friend of Abba’s, pretended to be my father. Once in the tenth standard, the vice principal called me and said that she’d heard my father at a recent mushaira and he looked quite different from the gentleman who had come in the morning for Parents’ Day! Understandably, I went completely blue in the face and said: ‘Oh he’s been suffering from typhoid and has lost a lot of weight, you know’ . . . and made up some sort of story to save my skin!

It was no longer possible to keep Abba in the closet. He had started writing lyrics for films and one day a friend of mine said that her father had read my father’s name in the newspaper. That did it! I owned him up at once! Of all the forty children in my class, only my father’s name had appeared in the newspaper! I perceived his being ‘different’ as a virtue for the first time. I need no longer feel apologetic about his wearing a kurta-pyjama! In fact, I even brought out the black doll he had bought me. I didn’t want it when he first gave it to me. I wanted a blonde doll with blue eyes, like all the others had in my class. But he explained, in that quiet gentle way of his, that black was beautiful too and I must learn to be proud of my doll. It didn’t make sense to my seven-year-old mind but I had accepted him as ‘weird’ in any case and so I quietly hid the doll. Three years later, I pulled it out as proof that I was a ‘different’ daughter of a ‘different’ father! In fact, I now displayed it with such newfound confidence that instead of being sniggered at by my classmates, I became an object of envy. That was the first lesson he taught me, of turning what is perceived as a disadvantage into a scoring point.

When I opened my eyes to the world, the first colour I saw was red. Till I was nine years old we lived at Red Flag Hall, a commune-like flat of the Communist Party of India (CPI). A huge red flag used to greet visitors at the entrance. It was only later that I realized red was the colour of the worker, of revolution. Each comrade’s family had just one room; the bathroom and lavatory was common. Being party members had redefined the husband–wife relationship of the whole group. Most wives were working and it became the responsibility of whichever parent was at home to look after the child. My mother was touring quite a lot with Prithvi Theatre and in her absence Abba would feed, bathe and look after both my brother Baba and me, as a matter of course.

In the beginning, Mummy had to take up a job because all the money Abba earned was handed over to the party. He was allowed to keep only Rs 40 per month which was hardly enough for a family of four. But later when we were monetarily better off and had moved to Janki Kutir, Mummy continued to work in the theatre because she loved being an actor. Once, she was to participate in the Maharashtra State Competition in the title role of Pagli. She was completely consumed by the part and would suddenly, without warning, launch into her lines in front of the dhobi, cook, etc. I was convinced she’d gone mad and started weeping with fright. Abba dropped his work and took me for a long walk on the beach. He explained that Mummy had very little time to rehearse her part and that as family it was our duty to make it possible for her to rehearse her lines as many times as she needed to or else she wouldn’t win the competition—all this to a nine-year-old child. It made me feel very adult and very included. To this day, whenever my mother is acting in a new play or new film, my father sits up with her and rehearses her cues.

She participates in his life equally; at a price of course! She fell in love with him because he was a poet. However, she learned soon enough that a poet is essentially a man of the people and she would have to share him with his countless admirers (a large number of them female!) and friends. When I was about nine years old, I remember an evening at a big industrialist’s home. His wife, a typical socialite, announced in a rather flirtatious manner, ‘Kaifi Saheb, my usual farmaish, the “Do Nigahon Ka” something something . . . You know, folks, Kaifi Saheb has written this nazm in praise of me.’ And Abba, without batting an eyelid, started reciting this poem which was in fact written for my mother. I was outraged and started screaming that the poem was written for my mother and not for this stupid woman. A deathly silence prevailed and my mother said, ‘Hush, child, hush,’ but I am sure unke dil mein laddoo phoot rahe thay! Mummy took me into a corner and said that I wasn’t to take such things to heart—after all, ‘Abba’ was a poet and such were his ways—he didn’t seriously mean that the poem was written for this lady, etc. I would hear nothing of it. Needless to say, that was a poem Kaifi Azmi could never use again and that woman still hates me!

Amongst his female friends Begum Akhtar was my favourite. She would sometimes stay with us as a houseguest. In fact, Josh Malihabadi, Firaq Gorakhpuri and Faiz Ahmed Faiz would stay with us too despite there being no separate guestroom, not even an attached bathroom. Luxury was never the central concern of these artists; they preferred the warmth of our tiny home to the five-star comforts available to them. I was fascinated by the mehfils at home. I would sit up in rapt attention, not even half understanding what they recited, but excited nevertheless. Their beautiful words fell like music on my young ears. I found the atmosphere fascinating—the steady flow of conversation, the tinkering of glasses, the smoke-filled room. I was never rushed off to bed; in fact I was encouraged to hang around, provided I took the responsibility for getting up in time for school the next day. It made me feel very grown-up and included.

 

 


This beautifully curated volume brings together poems and lyrics that reflect Kaifi’s views on women and romance

Emergency Chronicles – an excerpt

As the world once again confronts an eruption of authoritarianism, Gyan Prakash’s Emergency Chronicles takes us back to the moment of India’s independence to offer a comprehensive historical account of Indira Gandhi’s Emergency of 1975-77. Stripping away the myth that this was a sudden event brought on solely by the Prime Minister’s desire to cling to power, it argues that the Emergency was as much Indira’s doing as it was the product of Indian democracy’s troubled relationship with popular politics, and a turning point in its history.

Here is an excerpt from the prologue of his book.


On the recommendation of Prime Minister Indira Gandhi, the president of India declared a state of Emergency just before midnight on June 25, 1975, claiming the existence of a threat to the internal security of the nation. The declaration suspended the constitutional rights of free speech and assembly, imposed censorship on the press, limited the power of the judiciary to review the executive’s actions, and ordered the arrest of opposition leaders. Before dawn broke, the police swooped down on the government’s opponents. Among those arrested was seventy- two- year- old Gandhian socialist Jayaprakash Narayan. Popularly known as JP, Narayan was widely respected as a freedom fighter against British rule and had once been a close associate of Indira’s father, Jawaharlal Nehru. In 1973, JP had come out of political retirement to lead a student and youth upsurge against Indira’s rule. Although most opposition political parties supported and joined his effort to unseat Indira, JP denied that his goal was narrowly political. He claimed his fight was for a fundamental social and political transformation to extend democracy, for what he called Total Revolution. JP addressed mass rallies of hundreds of thousands in the months preceding the imposition of the Emergency, charging Indira’s Congress party government with corruption and corroding democratic governance.

was reminded of the JP- led popular upsurge in August 2011, when I saw a crowd of tens of thousands brave the searing Delhi heat to gather in the Ramlila Maidan, a large ground customarily used for holding religious events and political rallies. Young and old, but mostly young, they came from all over the city and beyond in response to a call by the anti- corruption movement led by another Gandhian activist, seventy- four- yearold Anna Hazare. The atmosphere in the Maidan was festive, the air charged with raw energy and expectations of change. The trigger for the anti- corruption movement was the scandal that broke in 2010 alleging that ministers and officials of the ruling Congress party government had granted favors to telecom business interests, costing the exchequer billions of dollars. Widely reported in newspapers, on television, and on social media, the alleged scam rocked the country. It struck a chord with the experiences of ordinary Indians whose interactions with officialdom forced them to pay bribes for such routine matters as obtaining a driving license, receiving entitled welfare subsidies, or even just getting birth and death certificates. Venality at the top appeared to encapsulate the rot in the system that forced the common people to practice dishonesty and deceit in their daily lives. Into this prevailing atmosphere of disgust with the political system stepped Anna Hazare. Previously known for his activism in local struggles, he shot into the national limelight as an anti- corruption apostle when he went on a hunger strike in April 2011 to demand the appointment of a constitutionally protected ombudsman who would prosecute corrupt politicians. His fast sparked nationwide protests, giving birth to the anti- corruption movement. An unnerved Congress government capitulated, but the weak legislation it proposed did not satisfy Hazare, who announced another fast in protest. The hundreds of thousands who gathered in August 2011 had come to show their support for his call to cleanse democracy. When the diminutive Hazare appeared on the raised platform, a roar of approval rent the air.

Meanwhile, as the newspapers and television channels reported, the ruling Congress leaders fretted nervously in their offices and bungalows, uncertain how to respond to something without a clear political script. In a reprise of 1975, it was again a Gandhian who was shaking the government to its core with his powerful anti- corruption movement, arguing that the formal protocols of liberal democracy had to bend to the people’s will. And like his Gandhian predecessor Jayaprakash Narayan, Hazare enjoyed great moral prestige as a social worker without political ambitions. Similar to the 2010 Arab Spring and the Occupy movements, there was something organic about the 2011 popular upsurge in India. The enthusiastic participants demanding to be heard were mostly young and without affiliation to organized political parties. The Tahrir Square uprising ended the Mubarak regime; the Occupy movement introduced the language of the 99 versus 1 percent in political discourse; and the Congress government in India never recovered from the stigma of corruption foisted on it by the Anna Hazare movement, leading to its defeat in the 2014 parliamentary elections.

Since then, the populist politics of ressentiment has convulsed the world. In India, the Narendra Modi– led Bharatiya Janata Party (BJP) devised a clever electoral campaign that used the “development” slogan while stoking Hindu majoritarian resentments against minorities to ride to power in 2014.1 We have witnessed anti- immigrant and Islamophobic sentiments whipped up in the successful Brexit campaign and Donald Trump’s victory in the 2016 U.S. presidential election. Across Europe, a roiling backlash against refugees has reshaped the political landscape. The role of conventional political parties as gatekeepers of liberal democracy in Germany, France, Italy, and several other countries is in crisis under the pressure of majoritarian sentiments. Strongmen like Victor Orbán in Hungary, Recep Erdoğan in Turkey, and Rodrigo Dutarte in the Philippines have mobilized populist anger as a strategy of rule. They incite pent- up anger and a sense of humiliation to fuel rightwing nationalist insurgencies against groups depicted as enemies of “the people” to shore up their authoritarian power and suppress dissent.


In Emergency Chronicles, Gyan Prakash delves into the chronicles of the preceding years to reveal how the fine balance between state power and civil rights was upset by the unfulfilled promise of democratic transformation.

A Translator’s Perspective Of ‘In The City, A Mirror Wandering’: Ashk and I

Unfolding over the course of a single day, Ashk’s sweeping sequel to Falling Walls, In The City a Mirror Wandering explores the inner struggles of Chetan, an aspiring young writer, as he roams the labyrinthine streets of 1930s’ Jalandhar, haunted by his thwarted ambitions but intent on fulfilling his dreams.

Here is an evocative understanding of the author from the eyes of the translator, Daisy Rockwell:


“Part of the richness of In the City a Mirror Wandering lies in the sheer number of poems, folk sayings and songs quoted throughout the text. Some of these quotations are from famous texts and will be readily recognized even by readers of the English version, and some are not.

Among the famous quotations, several contain errors. Where I and other readers have identified these, I’ve added translator’s footnotes, giving the correct version of the text, especially if it was from another language (Sanskrit) or from a famous line of Urdu poetry that we retained in the translation.But why did Ashk include so many errors in his text? Was it because he had no internet, or relied on faulty recollections of famous poems?

Was he sloppy and did he not check his work? Having researched his files years ago, I am inclined towards a different explanation. What I found then was that Ashk was a compulsive editor. If an article was written about him in a newspaper or journal, he’d clip it out and mark it up, as though he were the author himself. This was not so much to make something appear more favourable or flattering, but rather to correct what he perceived as flaws in style or grammar. He would then have these documents retyped and placed in the file alongside the originals, drawing upon them for the purpose of blurbs or further quotation in writing about critical responses to his own work.”

 


Intensely poignant and vividly evocative, In the City a Mirror Wandering is an exploration of not only a dynamic, bustling city but also the rich tapestry of human emotion that consumes us all.

 

Praise to the River Ganga: an excerpt

The river Ganga enjoys a special place in the hearts of millions. In Ganga: The Many Pasts of a River, historian Sudipta Sen tells the fascinating story of the world’s third-largest river from prehistoric times to the present.

Here is an excerpt from the first chapter titled The World of Pilgrims


Of the many odes written to the Ganga in various Indian languages, these lines are perhaps the most poignant:

O River, daughter of Sage Janhu, you redeem the virtuous
But they are redeemed by their own good deeds—
where’s your marvel there?
If you can give me salvation—I, a hopeless sinner—then I would say
That is your greatness, your true greatness
Those who have been abandoned by their own mothers,
Those that friends and relatives will not even touch
Those whose very sight makes a passerby gasp and take the name of the Lord
You take such living dead in your own arms
O Bhagirathi, you are the most compassionate mother of all

These Sanskrit s´lokas, taken from an eight-stanza ode to the Ganga, have been a part of the oral tradition in Bengal for centuries, and many people knew them by heart just a generation ago. They were composed—surprisingly—not by a Brahmin, not even by a Hindu, but by a thirteenth-century author who went by the popular name of Darap Khan Gaji. The noted Bengali linguist Suniti Kumar Chatterji identified “‘Darap Khan’” as Zafar Khan Ghazi, who is credited with daring military exploits during the first major phase of Islamic expansion in Bengal toward the end of the thirteenth century, after the Turkish Sultanate had been established in northern India around Delhi as the new capital. To find what remains of the memory of Zafar Khan, a self-proclaimed virtuous warrior of Islam in Bengal, you have to travel to Tribeni, a small town in Hugli in West Bengal on the banks of the Bhagirathi, which is the name of the Ganga there. This place, which was considered very sacred in antiquity, is where the Ganga once branched off into three streams: the Saraswati River flowed southwest beyond the port of Saptagram, the Jamuna River2 flowed southeast, and the Bhagirathi proper flowed through the present Hugli channel all the way to the location where English traders much later erected a city, Calcutta.

Zafar Khan Ghazi was said to have struck terror among the local Hindus, attacking their temples and idols during the late thirteenth and early fourteenth centuries. He conquered the pilgrimage of Tribeni and the port of Saptagram, destroyed a large and ancient temple there, and allegedly used the spoils to build an imposing mosque. He took the title of Ghazi, warrior of Islam, and established a school for Arabic learning and a charity (dar-ulkhairat). One of the oldest Bengali Shia texts has a curious tribute to the Ghazi:

On the quays of Tribeni pay respect to Daraf Khan
Whose water for wazu [ritual ablutions] came from the River Ganga

The little we can surmise about Zafar Khan’s life and death reminds us that the sacredness and the value of a river and the landscape that it flows through are entwined with the practice of everyday life. He seemed to have realized this later in life. He became a friend of the poor, donned the robes of a Sufi mystic, learned to write beautiful Sanskrit, and eventually won the hearts of the local people he had tried to convert forcibly to Islam in his youth. For generations to come, Zafar Khan became an emblem of the composite culture of Hindus and Muslims in Bengal, which shared a sense of enchantment with the landscape of the delta. The noted Bengali critic, novelist, and historian Bhudev Mukhopadhyay, writing in the latter half of the nineteenth century in his utopian history of India, imagined a country where people of all faiths paid obeisance to the river by singing the hymns of Darap Khan.4 Mirza Ghalib, the foremost Urdu poet of his time, echoed a similar sentiment when he visited Varanasi (Banaras) in the early spring of 1828 and fell in love with the city, composing a poem in Persian called “Chiragh-e-Dair” [The Lamp of the Temple], a memorable tribute in which he named the city the “Kaba of Hindustan”:

May Heaven keep
The Grandeur of Banaras,
Arbour of bliss, meadow of joy,
For oft-returning souls
Their journey’s end.

He almost wished that he could have left his own religion to pass his life on the bank of the Ganga with prayer beads, a sacred thread, and a mark on his forehead.

One of the oldest explanations for this abiding faith in the purity of the waters of the Ganga has to do with the practice of pilgrimage that has for centuries provided a stage on which to reenact the difficult inner journey
of reconciliation and atonement, often imagined through the pristine Himalayan landscape of mountains and glacial melts—a terrain that the great Sanskrit poet Kalidasa describes as “dis´ı¯ devata¯tma¯” [the country of divine beings]. Ritual baths and offerings at sacred spots along the river are tied to this sense of geography, which is steeped in ideas and images drawn from history, myth, and nature as shared forms of reckoning, an experience (tı¯rthabha¯va) difficult to capture in words. When Guru Nanak, the founder of Sikhism, traveled in search of wisdom on the Hindu pilgrimages of the east, as recorded in the Janam Sakhi, it was not the usual places of ritual obeisance that impressed him. He was entranced instead by a flock of migratory swans alighting nearby. They appeared much closer to heaven than did the throngs of pious Hindus. With their shining silver-white plumage and burnished eyes, the swans were messengers who flew across the Himalayas, from India to Central Asia and back, year after year.8 It is the journey, the story conveys, and not the destination, that defines the purpose of pilgrimage. Such convictions and practices, along with other aspects of Hindu practice, have been misunderstood by an array of observers and critics from the West, including missionaries, colonial administrators, authors, and travel writers.


Seamlessly weaving together geography, ecology and religious history, Ganga: The Many Pasts of a River paints a remarkable portrait of India’s most sacred and beloved river.

The 108 Upanishads – An Excerpt

The Upanishads contain the most crystallized bits of wisdom gleaned from Hinduism.In The 108 Upanishads, Professor Dalal explains the concepts at the core of each Upanishad clearly and lucidly. Moreover, her vast, diverse philosophical and theological readings add priceless scholarly context, making this volume indispensable for students of religious studies.

Here is an enlightening excerpt from the introduction.


“The Upanishads are a series of Sanskrit texts which contain a profound philosophy. They form part of the literature of the Vedas, the most sacred texts of Hinduism. The term ‘upanishad’ is often interpreted as ‘sitting near the feet of a master’, the word being broken up into ‘upa’ (near) and ‘nishad’ (sitting down).

However, different interpretations arise when ‘ni’ and ‘shad’ are separated. ‘Ni’ means ‘totality’, and one of the meanings of ‘shad’ is destruction’, and ‘upanishad’ therefore, is ‘that which destroys ignorance’. Shankara (Adi Shankaracharya), the eighth- to ninth century philosopher and the greatest exponent of the Upanishads, suggests this meaning. However, the original meaning of the word, provided in early texts, is ‘secret doctrine’. Yet another meaning of Upanishad is ‘a connection’ or ‘equivalence’; thus, the texts discover and reveal the connections between different topics.

Vedic Literature

How do the Upanishads fit in with the rest of Vedic literature? ‘Veda’ comes from the Sanskrit root ‘vid’, to know, and the word implies ‘divine knowledge’. The main texts of Vedic literature are the four Vedic Samhitas, that is, the Rig Veda, Yajur Veda, Sama Veda and Atharva Veda, along with the Brahmanas, Aranyakas and Upanishads. All these texts are said to be ‘shruti’ or ‘heard’, and are believed to be directly revealed from a divine source. These four categories of texts are broadly divided into two parts, the first consisting of the Samhitas, and the second of the rest. These texts are interrelated, yet different. Even the four Samhitas differ. The Rig Veda is the earliest text, usually dated between 1500 and 1000 BCE, though it could be earlier.”


The 108 Upanishads is a thoroughly researched primer on the 108 Upanishads, philosophical treatises that form a part of the Vedas, the revered Hindu texts.

 

Rhymes and Riddles – An Excerpt from ‘The Fork, The Witch and The Worm’

It’s been a year since Eragon departed Alagaësia in search of the perfect home to train a new generation of Dragon Riders. Now he is struggling with an endless sea of tasks: constructing a vast dragonhold, wrangling with suppliers, guarding dragon eggs and dealing with belligerent Urgals and haughty elves. The Fork, The Witch and The Worm features three original stories set in Alagaësia, interspersed with scenes from Eragon’s own unfolding adventure.

Relish the incomparable imagination of Christopher Paolini in this thrilling new collection of stories based in the world of the Inheritance Cycle.

Here is an excerpt from the book:


Rhymes and Riddles

Eragon stared across his desk at Angela the herbalist, studying her.

She was sitting in the dark pinewood chair the elves had sung for him, still clad in her furs and travel cloak. Flakes of melted snow beaded the tips of the rabbit-hair trim, bright and shiny by the light of the lanterns.

On the floor next to the herbalist lay the werecat, Solembum, in his feline form, licking himself dry. His tongue rasped loudly against his shaggy coat.

Billows of snow swirled past the open windows of the eyrie, blocking the view. Some slipped in and dusted the sills, but for the most part, the wards Eragon had set kept out the snow and cold.

The storm had settled on Mount Arngor two days past, and it still showed no signs of letting up. Nor was it the first. Winter on the eastern plains had been far harsher than Eragon expected. Some-thing to do with the effects of the Beor Mountains on the weather, he suspected.
Angela and Solembum had arrived with the latest batch of traders: a group of bedraggled humans, travel-worn and half frozen to death.

Accompanying the herbalist had also been the dragon-marked child Elva—she who carried the curse of self-sacrifice Eragon had inadvertently laid upon her. A curse instead of a blessing, and every time he saw her, he still felt a sense of responsibility.

They’d left the girl on the lower levels, eating with the dwarves. She’d grown since Eragon had last seen her, and now she looked to be nearly ten, which was at least six years in advance of her actual age.

“Now then, where’s the clutch of bouncing baby dragons I was expecting?” said Angela. She pulled off her mittens and then folded her hands over her knee and matched his gaze. “Or have they still not hatched?”

Eragon resisted the urge to grimace. “No. The main part of the hold is far from finished— as you’ve seen—and stores are tight. To quote Glaedr, the eggs have already waited for a hundred years; they can wait one more winter.”

“Mmm, he might be right. Be careful of waiting too long, though, Argetlam. The future belongs to those who seize it. What about Saphira, then?”

“What about her?”

“Has she laid any eggs?”

Eragon shifted, uncomfortable. The truth was Saphira hadn’t, not yet, but he didn’t want to admit as much. The information felt too personal to share. “If you’re so interested, you should ask her yourself.”


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The Economic Puzzle of Demonetization – an excerpt

In his book Of Counsel: The Challenges of the ModiJaitley Economy, Arvind Subramanian provides an inside account of his rollercoaster journey as the chief economic advisor to the Government of India from 201418. Subramanian’s trusteeship saw the country through one of the most hotly contested and turbulent periods of economic governance and policymaking in recent decades, including the controversial recall of 85 per cent of circulated currency during demonetization.
In a chapter titled The Two Puzzles of Demonetization, he lays out his hypothesis on the political and economic puzzles of demonetization as a post facto analysis based on publicly known facts.
Puzzle 1: Why was demonetization so popular politically if it imposed economic costs? Specifically, why did demonetization turn out to be an electoral vote winner in the short-term (in the Uttar Pradesh elections of early 2017) if it imposed so much hardship on so many people?
Puzzle 2: Why didn’t the draconian 86 per cent reduction in the cash supply have bigger effects on overall economic growth? To put this more provocatively, the question was not whether demonetization imposed costs—it clearly did—but why it did not impose much greater costs?
Here is an excerpt of the second puzzle.


Why didn’t the draconian 86 per cent reduction in the cash supply have bigger effects on overall economic growth? To put this more provocatively, the question was not whether demonetization imposed costs—it clearly did—but why did it not impose much greater costs?
Demonetization was a massive, draconian, monetary shock: in one fell swoop 86 per cent of the currency in circulation was withdrawn. Figure 1 shows that real GDP growth was clearly affected by demonetization. Growth had been slowing even before, but after demonetization the slide accelerated. In the six quarters before demonetization growth averaged 8 per cent and in the seven quarters after, it averaged about 6.8 per cent (with a four-quarter window, the relevant numbers are 8.1 per cent before and 6.2 per cent after).

I don’t think anyone disputes that demonetization slowed growth. Rather, the debate has been about the size of the effect, whether it was 2 percentage points, or much less. After all, many other factors affected growth in this period, especially higher real interest rates, GST implementation and rising oil prices.
I do not have a strongly backed empirical view apart from the fact that the welfare costs especially on the informal sector were substantial.
As a monetary economist, though, what is striking is how small the effect was compared to the magnitude of the shock. There are many ways of seeing this. Figure 2 compares what happened to cash with what happened to nominal GDP. It is a stunning picture. Prior to demonetization, cash and GDP move closely together. Then, currency collapses and recovers (the dotted line), but through all of this, the economy seems to have been chugging along almost unmindful of the currency in circulation. You have to squint to see any downward movement of the solid black line (for nominal GDP) after demonetization: in fact, there isn’t, and all the downward blips reflect seasonality, which leads to a lower level of activity in the first (April–June) quarter every year.

What could possibly explain this apparent resilience? A number of hypotheses need to be considered. First and foremost, it could simply be an artefact of the way that GDP numbers are created. In India, there are no timely measures of informal sector activity, so it is proxied by formal sector indicators. Normally, this is not a problem, since the two move in tandem. But when a shock like demonetization occurs that primarily affects the informal sector, relying on formal indicators to measure overall activity will overstate GDP.
This hypothesis goes only a small way towards explaining the puzzle, since any squeeze in informal sector incomes would depress demand in the formal sector, and this effect should have been sizable.
As a result, we need to search for other explanations. One possibility is that people found ways around the note ban, for example by continuing to use the Rs 500 note even after its use had been formally banned, so the currency shock wasn’t actually as big as conventionally measured. Another possibility is that production was sustained by extending informal credit: people simply agreed to pay their bills as soon as currency became available. Finally, to a certain extent, people may have shifted from using cash to paying by electronic means, such as debit cards and electronic wallets.
Or, there may be other, completely different explanations that have eluded my understanding of demonetization, one of the unlikeliest economic experiments in modern Indian history.


Recognized as one of the Top 100 Global Thinkers according to Foreign Policy magazine, Arvind Subramanian’s Of CounselThe Challenges of the Modi-Jaitley Economy is a deep-dive into the man, the moments, the measures and the means

Meet the Characters from Anand Neelakantan's 'Vanara'

Baali and Sugreeva of the Vana Nara tribe were orphan brothers who were born in abject poverty and grew up as slaves like most of their fellow tribesmen. Sandwiched between the never-ending war between the Deva tribes in the north and the Asura tribes in the south, the Vana Naras seemed to have lost all hope. But Baali was determined not to die a slave. Aided by his beloved brother, Sugreeva, Baali built a country for his people. For a brief period in history, it seemed as if mankind had found its ideal hero in Baali.
But then fate intervened through the beautiful Tara, the daughter of a tribal physician. Loved by Baali and lusted after by Sugreeva, Tara became the cause of a fraternal war that would change history for ever.
The love triangle between Baali, Tara and Sugreeva is arguably the world’s first. Written by Anand Neelakantan Vanara is a classic tale of love, lust and betrayal. Let’s meet the characters.


Baali – the chief of Vana Naras, an indomitable warrior, a noble savage, and straight as an arrow. He loves his brother Sugreeva deeply and would give him anything he asks for – except Tara, who is the love of his life.

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Sugreeva – The greatest warrior in Vana Nara tribe after Baali. He loves his brother and would do anything for him. He has always been the second man and for him, the end justifies his means. If he wasn’t lusting after Tara, his devotion to his brother was incomparable.

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Tara – Daughter of an impoverished but principled and kindhearted tribal doctor. She was considered to be the wisest of all and the most desirable women as per Baali. She was deeply in love with Baali, her husband. If Baali had not been there, perhaps Sugreeva had a chance of marrying her.
 


Shakespearean in its tragic depth and epic in its sweep, Vanara gives voice to the greatest warrior in the Ramayana-Baali.

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