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5 Facts You Did Not Know About Paulo Coelho

Bestselling author Paulo Coelho has just released his long awaited semi-autobiographical work, Hippie, adding to the literary legend’s incomparable bestselling history. Coelho’s titles have been bringing people across the world solace and wisdom for decades, and his latest title is no different. This book is a rare glimpse into Coelho’s life itself, giving readers insight into what made Coelho the writer he is today. Along with the heartbreaks of his own life, we travel with Paulo through his formative years, and through revolutionary days of modern Western philosophy – the 70’s.
So what do you need to know about Hippie?


Paulo Coelho Loves India:
While never having visited India yet, Paulo believes that Indian culture has been a huge influence on both himself and western philosophy.
As quoted in this interview with the Hindustan Times, Coelho talks about how he has been critically influenced by Rabindranath Tagore. He quotes a few lines from the Gitanjali at the beginning of Hippie, saying “Poetry is another way of seeing the world. These days people don’t pay enough attention to poetry. By quoting Tagore at the beginning of the book, I wanted to bring back attention to his work.”
Coelho first wanted to title this book ‘And where the old tracks are lost’, from the same Tagore poem. He decided against it as he was unsure as to whether it would translate across languages, and settled instead for Hippie.

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Paulo Coelho’s Parents Did Not Understand Him:
Paulo Coelho’s parents, worried that he wanted to become a writer and an artist, put their son in an insane asylum three times before the age of 20. He says, “My parents thought I was psychotic. That was the diagnosis. I used to read a lot, I was very shy and I didn’t socialise very easily. They were desperate. It wasn’t that they wanted to hurt me, but they didn’t know what to do.
“I have forgiven them. They did not do that to destroy me, they did that to save me. And it happens with love, all the time – when you have this love towards someone else, but you want this person to change, to be like you. And then love can be very destructive. It is up to you to say, ‘Stop, I love you but I’m going to do what is better for me and at the end of the day, you’re going to realise that I was right.”
After some therapy, he came to the conclusion that everyone must live out their madness a little bit. Now, he says, “If madness means being other than “normal” that is fine with me. If it is threatening for oneself and society, there is a problem. My motto is: A little bit of madness is quite healthful.”

~

Paulo Coelho Wrote Radical Songs That Sent Him To Jail:
After years of hedonism on the road, Paulo returned to Brazil to pursue a career writing songs. He built a strong and lucrative career doing this – in 1974, he was even arrested for ‘subversive’ activities by the ruling military government for writing revolutionary lyrics. He went through torture in jail at the time. He says, “I think I was more frightened when I was in jail than I have ever been, and afterwards I was frightened for seven years… it is a traumatic experience, but then after seven years, time heals everything and today I’m engaged in several projects of civil rights, Amnesty International included. Every time that I see there is something wrong, I think it is my responsibility to voice my opposition. It may not work, but at least I am not silent. I’m not a coward. I have my fears, but I am not a coward.”

~

Paulo Coelho Has a Fascinating Writing Ritual:
The theme of omens has influenced Coelho’s work from the Alchemist onward, and it is a facet of his writing influenced from his life. Coelho pays a great deal of attention to omens, and one in particular – he will start writing a new book only after finding a white feather.
“The white feather thing started before my first book, The Pilgrimage. I asked myself, shall I write that book? I was not sure and I said if I see a feather today, I’m going to write; if I don’t see it it’s not in my destiny. I found it so I said I have to write. And the next book, I followed the same ritual and then it became a tradition and now I cannot write unless I find a white feather.” This has since become more specialized, as white feathers grew increasingly easy to find. As of 2005, his challenge was to find a white feather in the January of an odd year.

~

Paulo Coelho’s Spiritual Journey began at Age 42:
For those with a taste for literary laughs, this might be the answer to life the universe and everything – when did Paulo Coelho gain enlightenment? At the age of 42.
In 1986, Coelho took a walk down Road of Santiago de Compostela, a 1000+ km walk of pilgrimage in Northern Spain. He would say, “I was very happy in the things I was doing. I was doing something that gave me food and water – to use the metaphor in The Alchemist, I was working, I had a person whom I loved, I had money, but I was not fulfilling my dream. My dream was, and still is, to be a writer.” He decided he had to do it and never looked back. Today, nearly thirty years later, he’s bringing us another exquisite walk through his life and soul, in Hippie.


In Hippie, his most autobiographical novel to date, Paulo Coelho takes us back in time to re-live the dream of a generation that longed for peace and dared to challenge the established social order-authoritarian politics, conservative modes of behavior, excessive consumerism, and an unbalanced concentration of wealth and power.
 

The Non Violent Struggle for Freedom – an Excerpt

It was Gandhi, first in South Africa and then in India, who both evolved a technique that he called ‘satyagraha’ that he characterised in terms of its ‘non-violence’. In this, ‘non-violence’ was forged as both a new word in the English language, and as a new political concept.
The Non-violent Struggle for Freedom by David Hardiman brings out in graphic detail exactly what this entailed, and the formidable difficulties that the pioneers of such resistance encountered in the years 1905-19.
Here is an excerpt from the book:


The idea of nonviolence as a form of political strategy was theorised by Gandhi in India during the second decade of the twentieth century.   The Oxford English Dictionary states that the first recorded usage of the word – in its hyphenated form – was in the nineteenth century as a medical term describing either a certain type of surgical procedure (Britain) or the failure of the body to resist the violence that is inflicted on it by disease (USA).  Only in 1914 did it appear in a political context when a Wisconsin newspaper contrasted ‘rumpus and riot’ with ‘the tenets of moderation, orderly thinking and non-violence’.   The next usage recorded in the dictionary was by Gandhi, who stated in 1920: ‘I believe that non-violence is infinitely superior to violence, forgiveness is more manly than punishment.’  Despite the preceding appearances of the word in Britain and the USA, the dictionary gives its etymology as a translation of the Sanskrit word ahimsa, which is a combination of a- (non-) and himsa (violence).   This indeed was how Gandhi was to project the idea – namely that nonviolence was a major philosophical principle that was rooted in ancient India.  If, however, we look at the nineteenth-century Sanskrit- English dictionary by Monier-Williams, we find that the term – spelt here as ahinsa – is translated as ‘not injuring anything, harmlessness (one of the cardinal virtues of most Hindu sects, but particularly of the Buddhists and Jains; also personified as the wife of Dharma)…security, safeness’.  Ahinsa-nirata is defined as ‘harmlessness or gentleness’, ahinsana as ‘not hurting’, and ahinsra as ‘innocuous, harmless behaviour’.  The term thus suggested passivity, rather than a principled resistance to wrong-doing that avoids the use of violence – as Gandhi understood it.

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In the past, ahimsa was hardly deemed to have any applicability to popular protest, or be some sort of political technique.   This only became possible in the epistemic space that we associate with modernity, with its emphasis on the need of states to enjoy popular legitimacy and with acts of mass civil protests becoming one major way in which popular feeling may be expressed.   In emphasising the need for peaceful means, dissent could be expressed without the need for that violence that could threaten both civil tolerance and even civil society itself.  Although such a principle was conceived initially conceived in terms of the secular method of ‘passive resistance’, with peaceable methods being deployed tactically rather than as a matter of principle, it was Gandhi who first tried to make ahimsa-cum-nonviolence into an imperative principle for all forms of civil protest. In doing so, he claimed a compelling power to a moral stance that was, as he understood it, invested with divine power – that of ‘truth force’.   In this, God/Truth was accorded agency.   Secular notions of ‘passive resistance’, ‘civil resistance’, ‘people power’ and the like never made such a daring claim.
 Gandhi only began to talk about ahimsa as an informing principle of his method of resistance after his return to India from South Africa in 1915. Gandhi only began to talk about ahimsa as an informing principle of his method of resistance after his return to India from South Africa in 1915.  Although Gandhi had already forged his method of satyagraha, he had never previously described it as a form of either ‘ahimsa’ or ‘nonviolence’.  There has been some confusion on this matter, as the Collected Works of Mahatma Gandhi gives the impression that he deployed the concept when he launched his first campaign of passive resistance in 1906.  In this source, Gandhi had allegedly asserted: ‘This is for us the time for deeds, not words. We have to act boldly; and in doing so, we have to be humble and non-violent.’   If we examine the original version in Gujarati, we find that he is quoted as saying ‘…narmash vaparvani che’ which literally means ‘make use of softness’.   In fact, the root of ‘narmash’ is the noun ‘naram’, which means soft and smooth, gentle, tender, humble, soft, weak, effeminate.    In other words, it suggests passivity, a connotation that Gandhi was soon to distance himself from.


Although non-violence is associated above all with the towering figure of M.K. Gandhi, David Hardiman shows – in his book, The Non Violent Struggle for Freedom – that civil forms of resistance were already being practiced by nationalists in British-ruled India under the rubric of ‘passive resistance’.

Seven Things You Didn't Know about A.R. Rahman

Who really is A.R. Rahman? We know his music. We know him as a nation’s pride, winner of multiple national film awards, Oscars and Grammys. But what about the man? In this intimate biography, Notes of a Dream, by Krishna Trilok, Rahman opens up about his life like never before.
Here are seven interesting facts you didn’t know about A.R. Rahman: the man behind the music,  and the music that made the man:
 
‘A.R. Rahman is obsessed with all things tech, and one look around his hall is enough for someone to get the idea. Even the creamy curtains covering the windows are automated. And there are numerous laptops, tablets and other devices, including at least one virtual reality headset and a drone, strewn across the room. As there are in all his studios.’
 
‘He’s a man interested in a million things. He’s very aware of what’s happening in the world, right from politics to warfare. He goes on to the Net and gets information all the time. He’s interested in visual media; cameras, drones and all that. He knows more about these than most directors even.’
 
‘He wants to produce films. To guide films. He has so many stories written. He is looking at media as a whole. He is extending his talent beyond music.’
 
‘His father, R.K. Shekhar, was also a very talented musical pioneer. Rajagopala Kulashekhara Shekhar was born on 7 November 1933. Shekhar’s own father, K. Rajagopal, was a school dropout who became an electrician and part-timed as a bhagavathar, composing and singing Hindu religious songs. Shekhar inherited the musical talent. He learnt to play the harmonium from a paternal uncle and eventually mastered the instrument. He went on to play at Carnatic concerts in the halls of Mylapore in Chennai, the stronghold of Carnatic music. Shekhar was eventually picked up by a famous drama troupe named R.S. Manohar. He was the first person to introduce electronic music instruments – which he brought in from abroad, Singapore mainly – to South Indian music.’
 
‘A.R. and his family did not convert from Hinduism to Islam until long after Shekhar’s death. Only towards the end of the 1980s, shortly before the advent of Roja, did AR and his mother and sisters turn to Islam as a source of hope, faith and guidance. Their relating to the religion, however, definitely began with Shekhar’s death and the hard days leading up to it.’
 
‘As a child, AR did receive some formal musical training. A man named Joseph used to teach him and his sister how to play the guitar. And AR also started learning Indian classical music from Nithyanandam and from Dakshinamoorthy, the man who “discovered” his father. He also learnt Western music from Dhanraj, who had taught some of the biggest names in Chennai’s film music scene, including Shekhar.’
 
‘Whenever he got some time to himself, AR would jam with other musicians he had met at recording sessions or came to be acquainted with socially: John Antony, Sivamani Anandan, (the late) Jojo and many others. They were the closest things he had to friends. With them, he could channel all his creative energy and actually make music. At recording sessions, he was just playing the notes someone else had conceived.’


From his early days as a composer of advertisement jingles to his first big break in feature films, Notes of a Dream captures Rahman’s extraordinary success story with all the rhythm and melody, the highs and lows, of a terrific soundtrack by the man himself.

How to Save a Life – an Excerpt from Sohaila Abdulali's Book on Rape

Sohaila Abdulali was the first Indian survivor to speak out about rape. In her book, What We Talk About When We Talk About Rape, writing from the viewpoint of a survivor, writer, counsellor and activist, and drawing on three decades of grappling with the issue personally and professionally and her work with hundreds of survivors, Sohaila Abdulali looks at what we-women, men, politicians, teachers, writers, sex workers, feminists, sages, mansplainers, victims and families-think about rape and what we say.
She also explores what we don’t say.
Here is an excerpt from the chapter in the book titled How to save a life


When Audrey phoned from Rome and told her friends what had happened to her, they flew straight to her from different parts of the world without a moment’s hesitation.
When an unnamed woman (#LionMama) in South Africa heard that her daughter had been raped, she killed the rapist.
When a High Court judge in Punjab and Haryana read a victim statement about the men who raped her, he decided she was promiscuous and rescinded their sentences.
When a twelve-year-old in Pakistan told her mother she had been raped, her mother went to the village elders, who ordered the rape of one of the rapists’ sisters.
When my father found me, he wrapped me in his arms, carried me up four sets of stairs to the roof, and said, “What do you want? We’ll do whatever you want.”
Four years later, when I was counseling survivors, training professionals, and speaking at schools, I found myself using my father—a middle-aged Muslim man who had never
studied psychology, sociology or gender dynamics—as the textbook model for how to behave with a survivor.
It’s a simple formula. Give unstinting control, acceptance and support. That’s it.
A couple of days after the rape, I got ready to go take a bus to a different part of town. My father came in, saw my bright pink and blue silk shirt, and said, “Don’t wear that on the bus!”
“Arre, why not?”
“I don’t know … people might see you!”
We stared at each other, both horrified at what he had said. I understood that he wasn’t ashamed of me. He wanted to protect me, to make me invisible so that nobody could see me, and hurt me.
“Let them see me!” I said.
“Yes, let them.”
Then there was the uncle who first didn’t want to call the police, then didn’t want to tell my mother, then didn’t want anyone to talk about it, ever. Once again, my father, usually the decisive one, turned to me for a cue.
“It’s not a secret,” I fumed. “Why should I hide it, why?”
He took that and ran with it, much to many people’s discomfiture. All he wanted was for me to feel better and get whatever I needed. A few days later, we were paying a social call to some people we didn’t know very well, who had no idea what had so recently happened. In the middle of tea and biscuits and a totally unrelated conversation, my father suddenly broke in with, “My daughter was raped!” Talk about a conversation-killer … I still laugh when I think about that moment.
Despite the simple formula, it’s not always easy to decide what to do. We are always looking for reasons to play down sexual assault. And one of the easiest reasons is plain old discomfort. One woman told me about an uncle groping her, and how she still socialized with him until he died many years later. Shunning him would have meant hurting her aunt, whom she loved. Always making sure there was a table between her uncle and her was easier than creating a huge schism in the family. She and her parents agreed on this. But it’s a slippery slope—suppose she had not been able to bear family gatherings? For her, it was not a huge deal to see the creepy old man. For someone else, it might have been.


Get your copy of What We Talk About When We Talk About Rape now!

Ten Quotes from 'All of My Heart' That Will Make You Swoon

All of My Heart by Sara Naveed is a love story about two friends who traverse the depth of their friendship. Rehaan has always been in love with Zynah since they were kids. After many years of separation, he moves to London and wishes to meet Zynah there. All his hopes are crushed when he finds out that Zynah is betrothed to someone else.
Can Rehaan tell Zynah his heart’s desire even after such a turn of events? Find out in this charming read!
Here we give you a few quotes from the book that are sure to flood you with their intensity:


“I fell in love with Zynah Malik at the very first sight and forgot all my troubles.”

~

“My heart pulsated wildly, and my breath seemed to stop. What had her smile done to me?”

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“I did not believe in love at first sight. However, she made me rethink my own beliefs. I had never thought that one encounter could make me fall head over heels for someone.”

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“She would acknowledge me with a nod of her head and one of her rare, winning smiles. My heart would sink and my stomach turn somersaults. Not knowing how to react, I would hastily smile back and turn my attention towards my books.”

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“Apart from her beauty and intellect, there was something else about her that made me want her. I was smitten by her personality, and every day waited to catch a glimpse of her in school.”

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“Her lips, made prominent with a luscious shade of pink lipstick, stretched into a smile. I couldn’t take my eyes off her.”

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“No matter what she did, I loved her. None of her shortcomings could make me un-love her.”

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“I was seeing her after a week and it felt soothing. I had missed her.”

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“I looked at her while she ate her ice cream. I wished she knew how much I cared for her and loved her…”

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“I embraced her back, forgetting everything around us. I took in her fragrance and buried my face in her hair.”


What will Rehaan do? Risk ruining their friendship and tell her he loves her or let her marry the man she has chosen? Read All of My Heart to find out!

Guinness World Records 2019 : A Sneak-Peek at Record-Shattering Indians

The world’s most popular record book is back with thousands of new categories and newly broken records, covering everything from outer space to sporting greats via Instagram, fidget spinners and all manner of human marvels. Inside you’ll find hundreds of never-before-seen photographs and countless facts, figures, stats and trivia waiting for you on every action-packed page. Guinness World Records 2019 is the ultimate snapshot of our world today.


Here is a brief glance at some of the unbelievable records made by Indians this year!

Most runs scored in ODIs (female)

As of 4 Mar 2018, India captain Mithali Raj had scored 6,259 ODI runs in 189 matches (170 innings) since her debut in the format in 1999. Between 7 Feb and 24 Jun 2017, Raj hit the most consecutive fifties in One-Day Internationals (female) – seven. Together with England’s Charlotte Edwards she has the most fifties scored in an ODI career(female) -55
 

Fastest Twenty20 International Hundred(Male)

On 22 Dec 2017, Rohit Sharma(IND) made a century off just 35 balls-including eight sixes and 11 fours – against Sri Lanka in Indore,India. Sharma matched the feat of David Miller (ZAF), who made his own 35-ball century two months earlier on 29 Oct ,against Bangladesh in Potchefstroom, South Africa.
 

Largest bust sculpture

Isha Foundation(IND) erected a 34.24-m-tall(112-ft-4-in), 24.99-m-wide( 81-ft-11.8-in), 24.99-m-wide(81-ft-11.8-in),44.9-m-long(147-ft 3.7-in) sculpture in Tamil Nadu, India, as verified on 11 Mar 2017. The bust depicts Adiyogi Shiva-the name refers to the fact that,in yoga practice, the Hindu god Shiva is known as the first yogi.
 

Largest flute

On 25 Dec 2014, Bharat Sinh Parmar, Charunsudan Atri Jay Bhayani and Shri 5 Navtanpuri Dham temple(all IND) presented a 3.63-m-long( 11-ft 11-in), fully playable flute in Jamnagar, India. The instrument was then played in a public performance of the Indian national anthem.
 

Highest flight by hot-air balloon

Dr.  Vijaypat Singhania(IND) reached an altitude of 21,037 m( 68,986 ft) in a Cameron Z-1600 hot-air balloon over Mumbai, India, on 26 Nov 2005.
 

Largest pair of scissors

Memory expert Neerja Roy Chowdhury (IND) created a pair of scissors  measuring 2.31 m( 7 ft 7 in) from tip to handle. They were used to cut the ribbon wrapping on her memory-training comic book, launched at the Air Force Auditorium in New Delhi, India on 16 Aug 2009.
 

Longest time to spin a plate on the finger

On 18 Dec 2016, Himanshu Gupta (IND) kept a plate spinning on his finger for 1 hr 10 min 39 sec in Bangalore, India. Himanshu also used his revolutionary skills to achieve a new GWR title for the longest time to spin a Swiss ballon on one finger (using one hand) : 5 min 38 sec, in Bangalore , on 12 Sep 2016.
 

Longest duration playing the sitar

Renuka Punwani played sitar for an unbroken stretch of exactly 25 hr at the  Pancham Academy of Indian Music in Ahmedabad, Gujarat, India, from 26 to 27 Nov 2011. Renuka was a sprightly 76 years old at the time. She has also accompanied other members of the academy in marathon music-making attempts.
 

Drink a bottle of ketchup

On 7 Sep 2017, Dinesh Shivnath Upadhyaya(IND) downed a 500-g (17.6-oz) bottle of ketchup in 25.37 sec in Mumbai, India. The gastronomic guzzler beat the previous best by more than 4 sec
 

Longest moustache ever

India’s Ram Singh Chauhan had a moustache measuring 14 ft (4.26 m)- about the length of a London black cab- as verified on the set of Lo Show dei record in Rome, Italy, on 4 Mar 2010.


Get your copy of  Guinness World Records 2019 today and find out more about quirkiest talents across the world!
 

Long Distance Author Relationships: An Interview with the Authors of Changemakers

In their book, Changemakers, Gayatri Rangachari Shah and Mallika Kapur tell us the story of twenty incredible women, many with no prior connections in the Bollywood industry, who have carved successful careers despite significant challenges.
We talk to them about some of the challenges they encountered while writing this book, as well as how the entire process was, on the whole.


How did the idea for this book come to you? 
We were both working journalists in India, based in Mumbai and found we were constantly drawn to stories that revolved around the place of women in Indian society. What really bothered us was one set of data – that less than a third of India’s women work. But we found one industry bucking that trend. And that was Bollywood, which has always been known as an all boys club.
More women than ever worked in Hindi cinema, and certainly many more of them behind the scenes. We were intrigued – who were these women? What drew them to Bollywood? How did they break into such a male dominated space? We started researching their stories and were fascinated by them. We wanted to share them with a broader audience.

Why did you choose each other as the co-author?
Working with each other was a natural choice. Firstly, because we are old friends – twenty years ago we were classmates at Columbia University’s Graduate School of Journalism! Since we were trained in the same way, our ethics and sensibilities match very closely. We were moved by the same stories and driven by the same passion to tell them.

What is the timeline of the book? 
It took us almost two years. Penguin green lit the book in April 2017 and it hit the shelves in October 2018.
Of course, we had begun our research a few months prior to our proposal being picked up. We started thinking of the idea in January 2017.

How did you divide the research process/work load between the two of you?
We worked on the research together – we read anything and everything we could get our hands on regarding Bollywood and women in film. When we found something interesting we shared it with each other immediately.
We spent many hours brainstorming ideas on the phone since we are now based in two different countries – thank goodness for free WhatsApp calls!
When we began interviewing our subjects, each of us did the primary interviews with ten women. We split the supplementary interviews between us. Editing was a real collaboration and a cross-country effort! We worked off Google documents and we would be on the phone and also in the same document at the same time, moving paragraphs around and rewriting sentences to make them sharper. Technology was a real enabler and a boon.

Did the difference in time make it a problem to coordinate to discuss or review ideas?
We didn’t let that come in the way! Given we are both working parents, we snatched any and every free minute we could to discuss or review ideas. Sometimes that meant very late night calls or very early Skype sessions. We were pretty much glued to our phones and computers for a year and a half!
How would you describe your long-distance author relationship? Was it easy or hard?
Looking back, it wasn’t hard at all. We spent way too much time with gadgets – be it our phone, iPads or laptops – we were in constant touch and it’s amazing how easy communication has become despite time zone differences!

What were some of the challenges you faced while co-authoring a book? Do you think you would have faced the same challenges had you been in the same city?
Actually being in two different time zones and carrying on with our other jobs and assignments made it easier. When one of us was crashing against a deadline at work, the other picked up a heavier load. When one of us was away on a family vacation, the other held fort. We maintained this rhythm through the process of researching, writing and editing. Yes, we couldn’t sit in the same room and brainstorm like we could have if we were both in Mumbai but that probably made us use our time more efficiently. And given Mumbai traffic, we probably saved ourselves a lot of commuting time by using FaceTime and WhatsApp instead!


Changemakers tells the story of twenty incredible women, many with no prior connections in the industry, who have carved successful careers despite significant challenges.

Know More About The Maestro Neil MacGregor

Looking at the plethora of religions, faith, ideologies – which go beyond the life of an individual, Neil MacGregor in his book Living with the Gods offers central facts of human existence. The book is an exploration of the beliefs which makes up for the shared identities of people which defines them and also impacts the politics of the day. Talking about the stories which shape our lives, the position of different societies in the world and how these shared beliefs examine objects, places and human activities, public life of a community and also shaping the relationship between the individual and the state.
In studying these patterns, MacGregor says that in understanding how we live with our gods it decides how we live with each other too.
Here we give you a few interesting facts about the author of this riveting read:


Neil MacGregor’s new book, Living with the Gods traces how different societies have understood and articulated their place in the cosmic scheme.

A River Sutra : an Excerpt

An elderly bureaucrat escapes the world to run a guest house on the banks of India’s holiest river, the Narmada, only to find he has made the wrong choice. Too many lives converge here. Among those who disturb his tranquility are a privileged young executive bewitched by a mysterious lover; a novice Jain monk who has abandoned opulence for poverty; a heartbroken woman with a golden voice; an ascetic and the child he has saved from prostitution. Through their stories A River Sutra explores the fragile longings of the human heart and the sacred power of the river.
Here is an interesting excerpt from the book:


A River Sutra is a folder or portfolio crammed with stories and anecdotes—folklore, legends, myths, narrated stories proliferate throughout this slim novel. The frame is, on first acquaintance, simple. An unnamed middle-aged senior (and powerful) bureaucrat, tired of work, retires to run a government rest house on the banks of the Narmada. He thinks of this stage of his life as the vanaprastha, the ancient Indian tradition of retiring to a forest to live like a hermit and contemplate spiritual matters following the end of the phase of fulfilling worldly obligations.
In his walks around the beautiful setting—lovingly and evocatively depicted by Mehta—and in his life as the manager of a guest house, he comes in contact with a number of people who tell him stories. Mehta is ingenious about how these encounters come about so as to keep the connection with the frame as seamless and credible as possible.
There is a diamond trader who has become a Jain monk, renouncing extraordinary wealth for a life of extreme poverty and hardship. There is a music teacher who is given charge of a poor blind boy with an
ethereal voice and a preternatural musical talent. A courtesan comes our narrator’s way while searching for her daughter, who has been abducted by the most infamous bandit in the Vindhyas.
Another chapter, which I can only call a story of erotic possession and subsequent exorcism, centres on a high-flying city executive who has a mysterious relationship with a tribal woman. There is the story of an ascetic, a Naga sanyasi, who saves a child from prostitution and brings her up in caves and jungles, teaching her how to become a traditional Narmada minstrel who sings of the great river.
This final story will be of particular relevance to the spiritual education of our narrator and will also contain a twist that will have a bearing on the novel’s structure, particularly on the relationship between the frame and the inset tales. With the exception of this final story, most of the inset narratives have tragic, and often shocking, ends.


Through their stories A River Sutra explores the fragile longings of the human heart and the sacred power of the river.

Meet the Different Avatars of Goddess Devi

Uma, Durga, Parvati, Lakshmi and Saraswati-they are all avatars of the Devi.  There are probably more forms of Devi than any other deity, for temples are dedicated to the goddess in every Indian village. She is energy and power, the ultimate destroyer of evil.
From The Book of Avatars and Divinities, we quote some of these avatars of Devi. Take a look!

Durga

“She is worshipped as an embodiment of female energy. She is the formidable Devi and Mahadevi and has many other powerful independent female forms.”

Sati

“As Sati, a manifestation of Durga, the goddess is the beloved wife of Shiva. She is a gentle wife Uma, who cannot bear the humiliation of her husband, whom she worships as a god, and gives up her life.”

Lakshmi

“Shri or Lakshmi, as depicted in the sacred texts, is the goddess of wealth and fortune, royal power and beauty. She is invoked to bring fame and prosperity. She is bountiful and bestows upon her worshippers gold, cattle, horses and abundant food.”

Saraswati

“Saraswati, according to the Devi Bhagavata Purana, is one of the five dynamic female forces which emerged from the supreme spirit: ‘Durga, Lakshmi, Saraswati, Savitri and Radha, these five goddesses are the spirit of Prakriti and the entire universal force emerges from these five. Saraswati is considered the muse of poets, artists and musicians and she is invoked by them whenever artistic excellence is desired.”

Sita

“Sita is revered as a self-sacrificing, loyal wife who is steadfast in her love for her husband despite many hardships. Sita was not an ordinary mortal and even her birth was ayonija, or not from a womb. Since she is the consort of Rama, an avatar of Vishnu, Sita is considered an avatar of Lakshmi in the Ramayana.”

Radha

“Radha is a married woman and in some Puranic texts older than Krishna. Her illicit love for Krishna and its power as a religious metaphor fascinated many poets in the thirteenth and fourteenth centuries. Radha, unlike most goddesses, does not possess a gentle, placid nature.”

Ganga

“Her divine origin endows her waters with the powers of cleansing all sins from the past, present and the future.”

Kali

“Her nakedness, unbound hair, association with blood and gore, and unbridled sexuality challenge conventional ideas of divinity. As a ‘Goddess’, Kali embodies both spiritual and material realities, the totality of nature, as she creates, sustains and destroys the world.”


This book introduces us to the divinities and avatars of Hinduism, a great variety spread out all over the country but uniting to become a single mystical power for the triumph of good over evil.

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