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Matching The Bhagwaan To The Pakwaan : A Taste of ‘Bhagwaan Ke Pakwaan’

The rice beer bellies of a Christian village in Meghalaya; food fed to departed Zoroastrian souls; a Kolkata-based Jewish community in decline; Tibetan monks who first serve Preta, the hungry ghost; and fifty-six-course feasts of the Jagannath temple-these are the stories in Bhagwan Ke Pakwaan (or, food of the gods), a cookbook-cum-travelogue exploring the connection between food and faith through the communities of India.

Here are some soul-stirring delicacies from the book that explore diverse faiths and unite us with God:

Rongmesek, Meghalaya 

Rice beer is the one true food of the gods…To the Karbi people, rice beer is the fuel that refreshes you with the sweet buzz of life.

Udvada, Gujarat 

 Papra and Bakhra are two of the religious dishes that are made specifically for the Stum ceremony in the death rituals. For us still living, they make great snacks.

Spiti, Himachal Pradesh 

No trip to Kye Gompa would be complete without the breakfast combination of Butter Tea (also known as ‘gur gur chai’ due to the sound it makes when churned) and Puk. There also might not be a more divisive dish than Butter Tea if your idea of tea conflicts with one that is buttery and salty. Very buttery and salty.


There are legends and lore, angsty perspectives, tangential anecdotes, a couple of life lessons and a whole lot of food. Get your copy today!

The Pathan Threat – an excerpt from ‘Dawood’s Mentor’

Tired of being bullied, a scrawny, impoverished Dawood Ibrahim is looking for a saviour, Khalid Khan Bachcha, who would teach him the ropes of handling a bunch of hooligans. Instead, what he gets is a mentor who eventually transforms him into a cunning mafia boss.

Here is an excerpt from the first chapter of Hussain Zaidi’s new book, Dawood’s Mentor


The barrel of the gun was pointed at Dawood Ibrahim’s heart. The gunman had been training his focus for a long time. He was waiting for the right moment to pull the trigger. The gunman had only one chance. If the bullet missed the target, the man at the other end would certainly gift him a not-so-exquisite death.

The man pointing the muzzle at Dawood had been sent by his arch-rivals from the underworld. The gunman was accompanied by his cronies, who were huge, hefty men called the Pathans, with Peshawari and Afghan ancestry. Since the 1950s, the Pathans, known for their moneylending habits, had taken to crime. Cousins Amirzada and Alamzeb wanted Dawood dead. The man was a menace. An audacious chit of a boy, he challenged the Pathan hegemony, and since the time he had emerged in the area as a small-time criminal, was proving to be a headache for the Pathans.

In the 1970s, the turf war among the mob generally ended with some serious skirmishes. But the Pathans were so furious with the tenacious Dawood Ibrahim that they decided to investigate his sources of power. They found a nexus between local newspaper-owner and crime reporter Iqbal Natiq and Dawood. The two shared an amazing rapport, with Dawood invariably spending a couple of hours every day at Natiq’s office in BIT Blocks in Dongri. And Natiq’s newspaper—Raazdaar (The Confidante)—exposed the Pathans often, which brought the police to their doorstep.

As retribution, the Pathans killed Natiq brutally. Dawood and his brother Sabir Kaskar swore revenge. Their first target was Saeed Batla. They did not kill Batla, preferring, instead, to maim him and amputate his fingers, something unheard of in the Indian underworld in those times. Before they could proceed with such ‘special treatment’ for the other Pathans, the police picked them up. However, the Kaskar brothers managed to secure bail on attempt-to-murder charges.

Upon receiving bail, as is routine in any police prosecution case, Sabir and Dawood were supposed to intermittently present themselves at the Nagpada police station in central Bombay (now Mumbai). They had to assure the cops that they were not up to any mischief and that they were miles away from any criminal activities. The slang for these routine police-station visits is haazari lagana (marking one’s attendance), where the accused meet the police inspector, answer a few questions and leave within a few minutes.

Dawood preferred the formality of the official haazari to the cold walls of the prison and, of course, it helped that these visits ensured that the police did not land up at their house and complain to their father, Ibrahim Kaskar, who was also a cop. Kaskar senior was an absolute disciplinarian who was known to reserve his leather-belt treatment for the unbridled Dawood, his third child.

On that cool afternoon in October 1980, a defenceless Dawood, along with Sabir, was the target. The Pathans—Amirzada and Alamzeb—knew that Dawood would not be carrying any weapons to the police station. They decided to take advantage of this particular visit to finish off Dawood, because under no other circumstances would they find him unarmed.

But what they did not see coming was another Pathan, Khalid Khan, who shepherded Dawood to the police station that day. Built like a mountain, with a towering height of 6 feet 2 inches and a brawny physique, Khalid was very attached to the promising young Dawood.

Earlier, Khalid had cut his teeth in crime with another don, a local strongman by the name of Bashu Dada. But that was long before Dawood endeared himself to him. Khalid was very protective of Dawood, and that particular day his instincts told him that Dawood would be vulnerable and in a tight spot around the police station. He rationalized that since Nagpada was closer to Kamathipura and Tardeo, the stronghold of the Pathans, they might make a play for Dawood.

Khalid cancelled all his engagements scheduled for that day and decided to follow Dawood to the police station. He also decided to escort him back to his headquarters at Musafir Khana, safe and unharmed. Since Khalid’s name was not in the First Information Report (FIR), he could safely accompany Dawood and also carry a weapon on the sly. The cops would not frisk him for weapons, he surmised.

After Dawood and Sabir signed their attendance and completed other formalities, they saluted the cops—there was a lot of respect for the uniform; it came from their father—and were on their way towards the exit.

They were oblivious to the face of death staring at them from the opposite building and were nonchalantly walking out unaware that their lives would irrevocably change after a few minutes. What transpired in the next few minutes, however, changed Dawood forever, making him invincible.

Khalid, who was extremely alert and looking around, scanning the perimeter, eyes darting like a panther after its prey, suddenly sensed the movement even before he saw the gun. He spotted the barrel of the gun, held by a man at the ground-floor window of Memnani Mansion next door. Khalid knew the man wanted Dawood first, not Khalid or Sabir. In that split second, both the gunman and Khalid acted swiftly.

The gunman pulled the trigger and a bullet flew out, whizzing towards Dawood.

‘Dawood, hato!’ Khalid screamed.

Khalid moved with amazing speed and, before the bullet could complete its trajectory, he managed to push Dawood aside and, in the same moment, whipped out his revolver hidden in the small of his back. Amirzada’s bullet, which was meant for Dawood’s heart, grazed Khalid’s left arm. Khalid began firing at the gunman. Amirzada, who was firing at Dawood, was oblivious to Khalid and Sabir. He had to kill Dawood and kept firing at him. By the time he realized that Khalid had retaliated, he had already been hit below the hip and the bullet got lodged in the flesh. His crony, Alamzeb, saw the blood gushing out and realized that their game was up.


What happens next? Read Dawood’s Mentor to find out!

Beast – an excerpt

When Assistant Commissioner of Police Aditi Kashyap is called upon to solve a gruesome triple homicide in a Mumbai suburb, she is dragged into the terrifying world of the Saimhas — werelions — who have lived alongside humans, hiding amongst them, since ancient times.

Faced with the unbelievable, Aditi has no choice but to join hands with Prithvi, an Enforcer called in to hunt down this seemingly otherworldly murderer.

Here is an excerpt from the first chapter of Krishna Udayasankar’s book, Beast.


The man knew these were his last moments, but his adrenaline fuelled feet kept moving through the rubble and brush. For the first—and only—time ever, he regretted his life of crime as he looked with longing at the warm light spilling out from a cluster of apartments at the far end of the field. But they were too far away to offer hope of help or safety. He had made sure of that. He had chosen this spot because it was perfect for murder.

The irony made Rajan pause, and as he did, his eyes fell on a rusted frame, the partial skeleton of a long-abandoned, industrialsized garbage bin. The smell of fear in his nostrils overpowered the rotten stench that came from it. He clambered inside and crouched down in a corner, his hands clapped over his mouth to silence his own gasps.

The others were dead. Daniel had been the first to fall, before any of them could even understand what had transpired. For his part, Rajan still did not understand.

Kailash had opened the bag to check the money when, out of nowhere, something warm had splashed across his face. A shape had gone flying through the air and landed at his feet, wriggling and squirming: Daniel’s arm, ripped off at the shoulder, the nerve endings at the tips of the fingers still unaware that the body they belonged to was no longer alive. Kailash had secured the bag with one arm while pulling out his gun with the other. He had let loose a few aimless shots in the manner of one who believed that a gun was the solution to all of life’s problems. As soon as the gunfire abated, the screaming had begun.

Rajan had not waited to see what became of Kailash, or to identify the nature of their enemy—the mangled limb at his feet had made it clear that their attacker, whoever it was, ought not to be messed with.

His breath now under control, Rajan set himself to listen for signs of pursuit. Silence sharpened his fear, turning it into a stabbing cramp in the pit of his stomach, as though some force were sucking him dry from within his body.

A rustle, and he started whimpering. Then a loud crash as the wall of the metal bin crumpled inwards, struck from the outside by a powerful force. Another strike and the bin toppled over, ejecting its contents onto the ground. A new stink rose as Rajan soiled himself. All restraint gone, he began wailing loudly, his despair so terrible that it drove all words—even memories of mother and god—out of his mind. He turned to hide his face against the ground as a lithe form stalked out from behind the bin. His hand fell on the bag he was carrying.

A faint hope fluttered through the thug. He staggered to his feet, holding out the bag. ‘Take it. Take it all. Take it, but leave me alive, please, take it, take it, leave me!’

Then, he saw his hunter. Panic turned into a calm madness that made him fall silent and stand still. He was dreaming. He was not dreaming. This could not be happening. It was. Nothing made sense any more. Not even death. This was worse.

Words, he realized, meant nothing to the hunter. Nor did the money. But was there something in his tone, his entreating, that made sense to the monster? It tilted its head to one side, evaluating him, his whimpers.

‘Please . . .?’ Rajan pleaded, one last time.

Its breath was hot. He felt it against his face as the thing sunk its teeth, its long, ivory-white teeth, into his neck. Its thick tongue smacked against his face as it sucked up the blood that began to flow. His blood. He began screaming, but no sound came from his mouth. His vocal cords were already severed. How was it that he was alive?

Even as the thought occurred to him, the creature rectified its apparent omission, biting off his skull like a petulant child pulling off a doll’s head.

Bone crunched against tooth as the creature rolled its toy around in its mouth. With a dissatisfied rumble, it spit the morsel out. The beast clawed once at the headless corpse, like a kitten asking to play, before giving up on the lifeless form. Then, licking its blood-soaked muzzle, it stalked away into the night.


To know how the story unfolds, grab your copy of Beast by Krishna Udayasankar!

Meet the Author of ‘The Beauty of the Moment’

Tanaz Bhathena’s The Beauty of the Moment is the story of Susan and Malcolm, and how despite being so different from one another they find themselves irrevocably in love with each other. Despite her parents’ impending divorce Susan is sincere and is driven towards making her parents proud. On the other hand, ever since his mother passed away Malcolm has had a reputation of being troublemaker and a bad boy. His adulterous father contributes further into making his life a mess.

Despite their respective burdens, Susan and Malcolm fall for each other. They confide their dreams and aspirations in each other. Read this book to know more about their unbreakable bond that shows the importance of being true to oneself.

Here we tell you a few interesting things about the author:


Even though Tanaz Bhathena was born in Mumbai, she spent her childhood in many different places like Riyadh, Jeddah and Toronto.

~

Tanaz Bhathena has also authored the young-adult novel A Girl Like That, which was nominated for the 2019 OLA White Pine award and was also name Best Book of 2018 by The Globe and Mail, CBC, Quill & Quire, Seventeen, PopSugar, and The Times of India. 

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Tanaz Bhathena is fond of travelling, learning bits of foreign languages and taking photographs.

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Many of Tanaz Bhathena’s short stories have been featured in various journals such as Blackbird, Witness and Room.

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As a child, Tanaz Bhathena was an avid reader and began writing at the age of eight. By the the time she was thirteen-years-old, she had made up her mind to be a writer.

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One of the reasons for Tanaz Bhathena to start writing was that she wanted more people like her – Bhathena belongs to the Parsi community – featured in literature, making the readers aware of the South Asian identity and the diaspora in world literature.

~

Tanaz Bhathena currently lives in the Toronto area with her family.


Love is messy and families are messier, but in spite of their burdens, Susan and Malcolm fall for each other. The ways they drift apart and come back together are the picture of being true to oneself. Grab your copy of The Beauty of the Moment now!

A Gujarat Here, A Gujarat Here – an excerpt about the author

Part novel, part memoir, part feminist anthem, A Gujarat Here, A Gujarat There by Krishna Sobti is not only a powerful tale of Partition loss and dislocation but also charts the odyssey of a spirited young woman determined to build a new identity for herself on her own terms.

Translated from Gujarat Pakistan Se, Gujarat Hindustan Tak by Daisy Rockwell, the introduction talks about the Sobti MagicHere is an excerpt from there!


I. Sobti Magic

Krishna Sobti is a magical being. Everyone knows this. From her experimental prose to her legendary parties to her unique sense of style to her male alter ego, the writer ‘Hashmat’, everything about her is deeply considered and infused with her special warmth. I myself only had the opportunity to meet her in her nineties, but I consider myself much improved as a result. Perched on one of her sofas, strategizing when I might start asking her the meanings of particular words I wasn’t able to find in the dictionary that no one else seemed to know, stuffing myself with the never-ending delicacies emerging from the kitchen, worrying that I would not be up to the task of translating her novel, I suddenly started to understand the answers to my questions without ever asking some of them at all. To sit in her presence is to open the Sobti lexicon and immerse oneself in Sobti logic. Complex turns of phrase, confusing references, it all made sense once I was there. Translating Krishna Sobti and learning from her made me understand how to use my instincts and creativity to translate things that seemed untranslatable before, and it also taught me how read Sobti style.

II. Krishna Sobti Is Not Here to Tell You Stories

Yes, Krishna Sobti tells stories—interesting ones too—in her writing, and in conversation, but she has an equal if not greater interest in language and style. Her preferred forms have been the novella and the essay, and this is perhaps because she has sought to boil sentences, phrases and entire narratives into the smallest number of words possible. She claims she has never been a poet, but her prose resembles poetry more than anything else. She will often use the fewest words possible in a sentence, sometimes just one, if she can find the perfect fit. The words are carefully considered, weighed out and often very difficult to define or translate into English with just one equivalent word. Sobti’s use of language is experimental and central to her writing, and unlike many women authors, she is not terribly bothered if you don’t understand what she means, or if you cannot entirely follow the story. She is not writing to help you understand, she’s writing to reveal and learn what language can do.

In the section of A Gujarat Here, A Gujarat There that most resembles poetry, Sobti talks of Partition in a stream of words and phrases, interspersing her own family’s experiences with observations about refugees and migrants. In these particular lines, so spare and elegant, Sobti enters the minds of the mobs, the migrants, those fleeing and those chasing, those attacking and those under attack:

Who’s the sinner?
Who’s the criminal?
Who is witness to the crime?
One dagger-plunging hand. Another, match-striking,
lighting an oil-soaked rag.
One stands far off, gathering a crowd.
A clutch of terrified men and women holding their breath in
a jungle of half-dead, frightened voices: They just came—we
just went—we just died—don’t make a sound. Let them pass by.
Piles upon piles of corpses, mounting ever higher.
A wake of vultures roots about.
Rings on hands grown cold; necklaces encircle throats.

Where other authors have spilled buckets of ink writing histories and novels about the Partition, Sobti attempts to use the smallest amount of ink possible, to cut the story of migrancy and violence down to the bone. Even Manto rarely managed so few words in his Siyah Hashiye (Black Borders), his ultra-short stories of the Partition.


To know more about the book, click here!

Eight Steps to Hacking your Corporation with Jugaad 3.0

Dr. Simone Ahuja – consultant, author, speaker and entrepreneur, is the CEO of Blood Orange where her mission is to empower innovators in large organizations and mobilize them with entrepreneurial tools for a single purpose: to transform the corporate culture from the inside out using design and lean principles. In Jugaad 3.0 Hacking the Corporation, she shifts the focus from ‘entrepreneurs’ to ‘intrapreneurs’, the incredible ‘corporate hackers’ who tap into and around the bureaucratic machinery surrounding them to advance their projects. Or we could call them ‘constructive disrupters’, since today’s intrapreneurs often seriously challenge existing business from product offering to business model, yet they do it actively from the inside and, by doing this, help keep the enterprise viable.

Based on hundreds of interviews, as well as the author’s consulting work within companies, Jugaad 3.0 Hacking the Corporation identifies the competencies these corporate hackers possess. It also offers a spectrum of carefully crafted archetypes to help people see themselves in this trend and allow organizations identify the innovators in their midst.

Read on to find out how to ‘hack’ your corporation from within itself with these eight essential principles

Keep It Frugal

Intrapreneurs actively solve problems and seek opportunities, relying on pre-existing elements and recombining resources for novel uses.

What organizations need now are the right tools and a ready mindset to innovate from within. The Jugaad 3.0 agenda items that follow directly support my main message: deep-six the deep pockets. Simple tools, small budgets and human ingenuity can deliver impressive results, including maximum agility with fewer ‘business as usual’ strings attached. Knowing that nothing innovative

is ever truly linear (or one size fits all), consider these to be á la carte strategies for keeping it frugal:

  1. Remain Asset-Based
  2. Keep It Simple
  3. Encourage Frugal Experiments
  4. Focus on Teams
  5. Rethink Incentives

~

Make It Permissionless

Lets leaders provide support without crushing the creativity and potential of upstart intrapreneurs. Companies need a culture of permissionless innovation a innovation isn’t something that you should be asking approval for.

Making intrapreneurship sustainable requires creating a permission-lite environment for intrapreneurs. It’s autonomy with guardrails. The goal is to establish a network of support rather than a system of tight control by leaders. This ‘support, don’t control’ mantra reinforces frugal funding and has two additional benefits. First, it is an easy fit for intrapreneurs, who want a safe space to pursue new ideas and side projects. Second, it doesn’t oblige large companies and their leaders to bend over backward to manage and measure early-stage projects. Here are the plays that put permissionless to work:

  1. Support, Don’t Control
  2. Say ‘Yes’ More Often
  3. Add Light Structure

 ~

Let Customers Lead

Even though being ‘customer-led’ might sound obvious, it isn’t put into practice by many would-be innovators. Rather than sitting in an ivory tower and thinking about what the customer needs, ask the customer what they want. Look at how the customer is using your product.

Organizations that allow intrapreneurs to take their cues from customers create an instant advantageand avoid many of the barriers that derail internal innovation. These are the plays that I have seen work best in industries and environments across the board:

  1. Create Leading-Edge Customer Focus
  2. Hack Better Access to Customers
  3. Turn Customers into Innovation Partners
  4. Make Intrapreneurship a Sales Priority

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Keep It Fluid

Since fluid team formation does not happen naturally in most organizations, companies need light structures to enable new levels of information sharing, networking and mobility across their talent pools.

Fluidity delivers more control and autonomy to individual intrapreneurs and small groups, and less to the management layers above them. This tricky little paradigm switch packs a positive punch that promises to increase innovation if managed properly. The trouble is that the type of organizational structure that enables fluidity is less rigid than we are accustomed to today. Just as everything digital tears down existing walls, we need to eliminate artificial, outdated boundaries and allow intrapreneurs some latitude to selfdirect, self-manage and self-organize. Here’s a look at how

to make it work:

  1. Create a Team of Teams
  2. Make Management Fluid
  3. Support Agility Through Structure

 ~

Maximize Return on Intelligence

‘Return on intelligence’ is a reformulation of ROI that puts the short term emphasis on intellectual rather than financial gains.

Intrapreneurs rely on constant learning in an open, agile environment where the culture can balance structure with autonomy and metrics with flexibility as part of these J3.0 principles:

  1. When in Doubt, Test It Out
  2. Make Learning a Priority
  3. Measure Return on Intelligence
  4. Make Failure Feasible

 ~

Create the Commons

The corporation should create ‘the commons’, or a space where information is openly shared, for the whole development community,  involving many more types of people and thinking.

 

The idea that intrapreneurship should be open and inclusive should not surprise anyone. Still, we are left with the question of how to achieve that goal. My approach throughout this book has been to hold up principles to help you create your own J3.0 playbook. That approach reflects the realities that (a) best practices are forever changing, and (b) the ‘best’ answers will, in any case, never come down to cookie-cutter solutions but will be customized to particular settings. With that in mind, start your playbook with these field-tested, flexible ideas for inclusive intrapreneurship:

  1. Plan for Full Inclusion
  2. Make It Safe to Innovate
  3. Use Technology in Appropriate Measure
  4. Train Future Intrapreneurs
  5. Create Porous Networks

~

Engage Passion and Purpose

Passion is what motivates intrapreneurs to keep going when the work seems thankless or when seemingly insurmountable challenges arise.

 

Recognizing the passion and purpose parts of intrapreneurship allows companies to think more broadly about how to match their people with the problems they care most about. For employees, having the opportunity to work on passion projects creates greater engagement. For companies, it makes the most of creativity and ingenuity. Here’s how to put this win-win dynamic to work in a Jugaad 3.0 way:

  1. Make Purpose Programmatic
  2. Leverage Passion That Bubbles Up
  3. Push Passion Viral

~

Add Discipline to Disruption

There should be a full spectrum of innovation options for intrapreneurs in any organization, from eye-popping, potentially disruptive innovations to clever little hacks on existing solutions. They are all valid, and companies can create disciplined systems by thinking through three streams of innovation.

 The J3.0 approach requires structure and discipline in the right measure in order to extract the most value from each stream of innovation and install metrics that guide and measure success

without losing the learning or limiting the idea. The prescriptive plays look like this:

  1. Develop Multiple Streams of Innovation
  2. Create a Culture That Enables Hybridity
  3. Manage Disruption with Discipline

Jugaad 3.0: Hacking the Corporation will prove that every organization’s best chance, to survive and become better than ever, lies within itself.

Books to Read this Navroz!

In celebration of the Parsi New Year, we put some of our books together that will be perfect for you to read this Navroz, from authors Tanaz Bhathena, Sujata Massey, Bapsi Sidhwa, Rohinton Mistry and Roshen Dalal!

The Beauty of the Moment by Tanaz Bhathena

Love is messy and families are messier, but in spite of their burdens, Susan and Malcolm fall for each other. The ways they drift apart and come back together are the picture of being true to oneself.

 

A Girl Like That by Tanaz Bhathena

This beautifully written debut novel from Tanaz Bhathena reveals a rich and wonderful new world to readers; tackles complicated issues of race, identity, class and religion; and paints a portrait of teenage ambition, angst and alienation that feels both inventive and universal.

 

A Murder on Malabar Hill by Sujata Massey

A Murder on Malabar Hill is set against the backdrop of colonial Bombay and follows the gripping tale of an incomparable sleuth, a female lawyer, Perveen Mistry.

 

The Satapur Moonstone by Sujata Massey

When a dispute arises between the royal ladies over the education of the young crown prince, a lawyer’s counsel is required to settle the matter. Since the maharanis live in purdah, the one person who can help is Perveen Mistry, Bombay’s only female lawyer.

 

The Crow Eaters by Bapsi Sidhwa

Faredoon (Freddie) Junglewalla is either the jewel of the Parsi community or a murdering scoundrel. In this wickedly comic novel, the celebrated author of Ice-Candy Man takes us into the heart of the Parsi community, portraying its varied customs and traits with contagious humor.

 

Family Matters by Rohinton Mistry

When Nariman Vakeel’s condition worsens he is forced to take up residence with Roxana, his own daughter, her husband, Yezad, and their two young sons. The effect of the new responsibility on Yezad, who is already besieged by financial worries, pushes him into a scheme of deception. This sets in motion a series of events – a great unravelling and a revelation of the family’s love-torn past, that leads to the narrative’s final outcome.

 

Tales from Firozsha Baag by Rohinton Mistry

Here is a wonderful introduction to the residents of Firozsha Baag, an apartment complex in Bombay. We enter the daily routine and rhythm of their lives, and by the time we reach the final story we are as familiar with the people of Firozsha Baag as we are with our own neighbours. The crowded, throbbing life of India is brilliantly captured in this series of stories.

 

The Religions of India: A Concise Guide to Nine Major Faiths by Roshen Dalal

In India, the birthplace of some of the world’s major faiths and home to many more, religion is a way of life, existing as much in temples, mosques, churches and wayside shrines as it does in social laws, cultural practices and the political arena.

The Religions of India contains, in a single volume, a comprehensive account of every major faith practised in the country today.

 

Why Taxes? Understanding the Role of Government in an Economy – an excerpt

On 1 July 2017, Goods and Services Tax (GST) became a reality. The government hailed it as the biggest tax reform of independent India which would herald a new freedom for the nation and unify it with ‘One Nation One Tax’.

But why taxes? Here is an excerpt from the first chapter of Arun Kumar’s new book, Ground Scorching Tax to help understand the role of the Government in an economy and elaborates on the kinds of taxes.


GST is an indirect tax that is levied on goods and services. It is supposed to cover the entire chain of supply from raw material to the final stage of sale. By themselves, indirect taxes result in an increase in the prices of the goods and services on which they are imposed. So, why levy such a tax? And, what is the importance of putting a tax on goods and services?

In modern day economies, governments have to perform a variety of tasks which the markets are unable to perform efficiently. As societies have become more complex, the markets have not been able to perform many of the essential tasks and the public sector has been given a larger and larger role in the economy in most
countries. A key task in a poor country like India has been promoting development to overcome poverty and deprivation.

For a majority of the poor, the market does not provide a solution in crucial areas like education, health, drinking water, food, sewage and energy. So, the government has to provide these services in addition to what the individual cannot provide like defence, foreign policy, security and functioning of money. All these activities need to be financed and taxes are a source of revenue. So, people pay for the services that the government provides. In effect, services become available collectively rather than each one creating services on their own.

Kinds of Taxes: Direct and Indirect

GST has run into a plethora of problems from day one. But, there were difficulties with the earlier forms of taxes which were replaced by GST and that is why the need was felt for introducing the new tax. So, one could ask, why not do away with indirect taxes altogether. But then resources for running the government would be short. Are there other taxes that could substitute for indirect taxes? To understand whether one should replace one kind of taxes by another or not, it is necessary to understand the nature of the different kinds of taxes.

Broadly speaking there are two kinds of taxes—direct and indirect. Both fall on the income of the citizens but there is a difference as to how they work. As the name suggests, direct taxes fall on the income, the moment an income is earned. That is why they are called direct taxes. The indirect taxes fall on incomes when the goods and services are purchased/used.

Differences between Direct and Indirect Taxes

The implication is that direct taxes cannot be postponed while the indirect taxes can be postponed by not purchasing goods and services. As soon as an income is earned a direct tax becomes due. Due to this difference which at first glance appears to be small or inconsequential, the macroeconomic impact of these two kinds of
taxes on the economy is different.1 So, one is not equivalent to the other. Thus, one cannot replace direct taxes by indirect taxes without some (adverse) macroeconomic consequences.

Why do these differences arise when the tax is paid either way by the citizen? In the case of direct taxes, cost of production is not directly affected. It is paid on the income after costs are subtracted from the revenue earned. To explain better, let us consider this in greater detail. In the process of production, economic entities (individual and firms) earn an income—it can be profit or wage and salary. Out of profit, interest, rent and dividend are paid.

Profits are calculated as revenue minus costs, that is, revenue of the firm from the sales less the cost of production. When a tax (corporation tax) is levied on this business income, it does not change the cost of production. It only affects the firm’s income in hand (called disposable income). Similarly, when a worker gets a wage or a manager the salary, an income tax on this income does not impact the production cost. The employer does not adjust the wage or salary when the income tax changes (except in rare cases).

An indirect tax like excise duty or sales tax is levied on the value of the good or the service being sold and that raises the price of the good or the service. No wonder each time an excise duty is raised, the price of the good on which it is levied, rises. This leads to inflation and a fall in demand. All else remaining the same, indirect taxes are ‘stagflationary’, that is output stagnates while prices rise. No wonder, when the government wishes to stimulate the demand for a good, it cuts excise duty or sales tax on that item. During the global financial crisis starting in 2007, the Government of India cut excise duties.

In brief, indirect taxes add to the cost of a good or a service while direct taxes do not do so. Thus the former impacts production while the latter does not do so.


In this book, well-known economist Arun Kumar explains the reality behind GST. Known for not pulling any punches, the author explains why GST is a double-edged sword for the common man, why it will increase inequality across sectors and regions, why it will hurt small businesses-everything the government does not want you to know.

6 Things You Didn’t Know About Krishna Sobti

A Gujarat Here, A Gujarat There by Krishna Sobti is a tale of young Krishna and her journey of making an identity for herself in the state of Delhi in 1947. Krishna applies for a position at a preschool in the princely state of Sirohi, which is beginning to transition into the republic of India. She boldly faces various challenges that come her way regarding her refugee status and sexist backlashes by the man in-charge of hiring at the school.

An opportunity to serve as a governess to the child maharaja Tej Singh gives her the perfect chance to make Sirohi her new home. However, it remains to be seen how long this ideal job opportunity lasts. Immerse yourself into this exceptional tale of Partition loss and dislocation to know more.

Here we give you 6 interesting facts about the author:


Krishna Sobti was born in Gujrat which is now in Pakistan’s Punjab province.

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Krishna Sobti spent her childhood in Delhi and Shimla.

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Krishna Sobti won the Sahitya Akademi award in the year 1980 for her renowned book Zindaginama.

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In the year 1996, Krishna Sobti was awarded the highest award of the Akademi, the Sahitya Akademi Fellowship.

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Krishna Sobti had also written a few of her works under the name Hashmat.

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Krishna Sobti is considered to be the grande dame of Hindi Literature.


Part novel, part memoir, part feminist anthem, A Gujarat Here, A Gujarat There is not only a powerful tale of Partition loss and dislocation but also charts the odyssey of a spirited young woman determined to build a new identity for herself on her own terms.

 

 

Sophie Kinsella on her New Book, Writing, and More!

Fixie, the protagonist in Sophie Kinsella’s new standalone, I Owe You One, can’t help herself from fixing things…she just has to put things right. It’s how she got her nickname, after all. After saving a stranger’s laptop from certain disaster, he scribbles her an IOU, as a thank you. Soon the pair are caught up in a series of IOUs.

Here is an interview with Sophie, as we talk to her about her book, writing and more!


The Pigeon asks…

What research did you do for the book?

I got inspiration for Farr’s store from visiting a wonderful shop in Dorset called Harts of Stur. Of course it’s nothing like Farr’s as far as organisation goes – it’s an amazingly thriving shop. But because it’s family owned, it showed me the potential for a family shop as a setting.

 

How important is setting for your writing?

When I start to write a book, I know that whatever setting I choose is a world I will be spending a lot of time in – so it’s vital! For me, setting is often a way to enhance the plot. I love the irony in I Owe You One that the family shop is all about creating a harmonious, beautiful home – but the family running it is far from harmonious!

 

How much of your writing is built on personal experiences, be they yours or of those you know?

I often use ideas from real life but build on them. For example, when I was planning I Owe You One I was sitting in a coffee shop, thinking ‘How should my protagonists meet?’ when an American man asked me to mind his laptop and I thought ‘That’s how!’ But I couldn’t leave it there – I had to create a far more dramatic fictional scene. I like my characters to go through quite extreme journeys and those are all from my head!

 

Name the first book first that forever changed your outlook on life?

The Hitchhiker’s Guide to the Galaxy was the first book that made me really laugh out loud. I couldn’t believe that so much comedy could come out of one book and it was definitely inspirational.

 

Do you live where you write?

I write where I live. Though my desk is not in the main part of the house, because if it was I would never write a single word!

 

What is your favourite book of the year and where were you when you read it?

I loved The Overstory by Richard Powers. I read it at home, where I can see lots of trees, and I became mildly obsessed with the amazing qualities of trees.

 

What is your go-to comfort food?

Marmite on toast. Or a cocktail. Or both.

 

What is the best music to write to?

Loud energetic music. I have a mini playlist for each book as I’m writing it – often with the same song on a perpetual loop.

 

Describe your writing day.

I plan for ages. Weeks, or months. During that time, I walk, think, sit in coffee shops and scribble notes. Then, when I get on to the actual writing, I aim for 1,000 words a day. If you do that for enough days, you’ll end up with a book. At least, that’s the theory…

 

Name your Sunday afternoon film (just one).

The Sound of Music.

 

What is your aim as a writer? How does a book do that? 

I aim to entertain – to make people laugh and cry and whip over the pages. If the story is good, the plot works and the characters are relatable, I hope that will happen.

 

What is the worst job you’ve done? 

I’m not sure about the worst job – but I can think of some things I was really bad at. I worked as a journalist at Pensions World magazine and I was like my Shopaholic heroine Becky Bloomwood: I would sit at financial press conferences, nodding my head and scribbling notes but not really understanding a word.

 

How do you unwind? 

I like to exercise, play tennis, play the piano and dance.

 

What keeps you up at night? 

Box sets.


The irresistible new standalone from Sophie Kinsella is a story of love, empowerment and an IOU that changes everything . . .get your copy here!

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