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Dan Brown is once again taking on the big questions.…
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An honest story of love, loss, and finally, acceptance. . . June 2013. The deadliest flood wipes out Uttarakhand. Along with innumerable pilgrims travelling to Kedarnath. Among the 100, 000 trapped and 5, 700 presumed dead were 2 people who meant everything to Pooja: her parents. But no news of or from them for weeks could only mean that they were gone. Forever. So, how do you say goodbye without closure? You sink. Deep into the abyss of grief. And as commonly said, ‘When it rains, it pours. Barely swimming through the storm of loss, Pooja tries every route to recovery—therapy, alcohol, drugs. The aftermath is a no?holds?barred account of a daughter who herself becomes a wreck after the natural disaster. The Last Pilgrims is a true story of love, loss, and finally, acceptance.
Jami is the Gigolo King of Kalkatta. Smuggled into India from Bangladesh and given refuge by his uncle, a leader of the ruling Communist Party, he grows up in Zakaria Street—a Little Baghdad of the old—dreaming of becoming a pukka Kalkatta-wallah. When friendship with a local gang disqualifies him from school, he ends up as assistant to a passport forger, and then a masseur. Soon enough, innocent massage leads to ‘plus plus treatments’, and Kalkatta opens its doors, drawing Jami into the world of the rich and famous, housewives, tourists and travelling executives, and occasionally to high-paying and dangerous ‘parties’.
Author weaves the story around a guy named Aman, who finds love the second time with Anjali, but his past with Shruti still lingers on in the depth of his heart. Aman and Shurti were inseparable once. Both saw future in each other. One unfortunate day Shruti breaks up with Aman. Shattered, he leaves the country.
Shruti marries Rishabh. Aman returns after a while and finds Anjali. With a heart filled with love for Shruti, Aman tries to make a new start. He feels affection for Anjali, but his wounded heart has not healed yet. Based on the beat of true love, a heart touching and moving story of knotty relationships and enclosed emotions – The One You Cannot Have.
The Golden Gate is a brilliantly achieved novel written in verse. Set in the 1980s in the affluence and sunshine of California’s Silicon Valley, it is an exuberant and witty story of twenty-somethings looking for love, pleasure and the meaning of life. It was awarded the 1986 British Airways Commonwealth Poetry Prize.
An ageing couple is stranded in a stultifying Delhi summer by the visit of a roguish old Oxford friend, who trades on his charm; an American woman turns to hippies living in the Indian hills, homesick for the farmlands of Vermont; a dog terrorizes the neighbourhood but is cherished by his stern master; a Delhi girl of slender means finds a new kind of freedom with her young friends, in her barsati home; a peaceful game of hide and seek turns into a nightmare; a businessman sees his own death.
Like so many other young Westerners in the 1960s and 1970s, Matteo leaves home to search for spiritual enlightenment in the ashrams of India. He believes he finds it at the feet of ‘the Mother’, but down-to-earth Sophie, who accompanies him, does not find her inspiring so much as mysterious, and decides to trace the Mother’s own story – from her travels with an Indian dance troupe in Paris, Venice and New York, to her search for divine love in India.
With their mother ill and their father permanently drunk, Hari and Lila have to earn the money to keep house and look after their two young sisters. In desperation, Hari runs away to Bombay and Lila is left to cope alone.
“Although it was shadowy and dark, Bim could see as well as by the clear light of day that she felt only love and yearning for them all, and if there were hurts, these gashes in her side that bled, then it was only because her love was imperfect and did not encompass them thoroughly enough, and because it had flaws and inadequacies and did not extend to all equally.”
In ‘The Museum of Final Journeys’ an unnamed government official is called upon to inspect a faded mansion of forgotten treasures, each sent home by the absent, itinerant master. As he is taken through the estate, wondering whether to save these precious relics, he reaches the final – greatest – gift of all, looming out of the shadows.
In ‘Translator, Translated’, middle-aged Prema meets her successful publisher friend Tara at a school reunion. Tara hires her as a translator, but Prema, buoyed by her work and the sense of purpose it brings, begins deliberately to blur the line between writer and translator, and in so doing risks unravelling her desires and achievements.
The final story is of Ravi, living hermit-like in the burnt-out shell of his family home high up in the Himalayan mountains. He cultivates not only silence and solitude but a secret hidden away in the woods, concealed from sight. When a film crew from Delhi intrude upon his seclusion, it compels him to withdraw even further until he magically and elusively disappears…
Plain, unmarriageable Uma has failed to outgrow her childhood home, with its bittersweet treats of puri-alu and barfi. Overprotected and starved for a life, she is smothered by her overbearing parents, successful sister Aruna and Arun, the family’s disappointment of a son.
Nanda Kaul is old. She has chosen to spend her last years high up in the mountains where she can arrange her thoughts into tranquility. But her solitude is broken when her fragile and secretive great-grand-daughter, Raka, comes to stay. It is an intrusion Nanda Kaul deeply resents, but this child has a capacity to change things. Through the long hot summer months hidden dependencies and old wounds are uncovered, until tragedy seems as inevitable as a forest fire on the hillsides surrounding the villa.
This is a novel about a small-town man, Deven, who gets the opportunity to go interview his hero, the great poet Nur, the greatest living Urdu poet. Having always loved Urdu poetry and missed the chance to be an Urdu language professor, he is charmed into going to Delhi the big city. Even though he shrinks at the idea of possibly being exploited by his sharp and selfish friend Murad, the dream of meeting Nur draws him on. So he sets off on a number of adventures on Sundays, the one free day that he should have spent with his wife and son.
Chemmeen tells the story of the relationship between Karutthamma, a Hindu woman from the fisherfolk community, and Pareekkutty, the son of a Muslim fish wholesaler. Unable to live with the man she loves, Karutthamma marries Palani, who, despite the scandal about his wife\’s past, never stops trusting her, a trust that is reaffirmed each time he goes to sea and comes back safe since the \’sea-mother\’ myth among the fishermen community goes that the safe return of a fisherman depends on the fidelity of his wife. Then, one night, Karutthamma and Pareekkutty meet and their love is rekindled while Palani is at sea, baiting a shark …
“Young and impressionable, Prema is deeply infatuated with Yudas, the enigmatic man who dredges corpses from the bottom of the nearby lake. Longing to be rescued from the tyranny of her father, a former policeman who zealously tortured Naxalite rebels during the Emergency, Prema dreams of escape and finds herself drawn to the Naxal political ideology. Convinced that Yudas was one of the inmates at her father’s prison camp, Prema believes that only he can save her. But Yudas is haunted by secrets of his own, and like his biblical namesake Judas Iscariot, he bears the burden of crushing guilt. In her passionate pursuit of the mercurial Yudas, Prema is plunged into a world of terrifying truths and insidious lies. Ferociously powerful and utterly absorbing, The Gospel of Yudas raises alarmingly relevant questions about the politics of allegiance and the price of idealism. It is also a deeply human story about remorse, redemption and love.”
My Story is a chronologically ordered, linear narrative written in a realist style. In the book, Das recounts the trials of her marriage and her painful self-awakening as a woman and writer. The entire account written in the format of a novel. Though My Story was supposed to be an autobiography, Das later admitted that there was plenty of fiction in it.
In a café by the seaside, two friends, Christy Andrapper and Jesintha, witness the murder of a young man. When Christy discovers that it was Senthil, his classmate from school, who had been shot, he tries to follow up on the investigation. But the police deny such a crime ever took place. The hospital to which Senthil’s body was delivered insists he died of a heart attack.
Christy begins to suspect a conspiracy. Was he caught in the middle of a giant cover-up? How was his powerful family connected with it? As the mystery deepens, the story moves back and forth between the archipelago of Diego Garcia and peninsular India, delving into the very heart of early Christianity in India.
After the success and acclaim of Goat Days, Benyamin crafts a clever and absorbing crime-novel-within-a-novel that is dazzlingly inventive and hugely enjoyable.
The novel tells the story of Govindankutty, a young unemployed Nair boy. When his wealthy brother-in-law takes him on as the manager of his property, and a marriage is arranged for him, Govindankutty dares to dream for the first time in his life. He brings his bride home, eager to start life afresh, but discovers to his horror that she is already pregnant by another man-his urbane lawyer-cousin Krishnettan. Shattered by the knowledge that his family had connived to betray him, Govindankutty goes berserk. Finally, estranged from home and village, he converts to Islam in the ultimate gesture of defiance. Tautly written and brilliantly characterized, The Demon Seed is a powerful novel about a society in transition. The collection also brings together six of MT’s best stories, including ‘Vanaprastham’, The Jackal’s Wedding’ and ‘Sherlock’. Also included are ‘The Era of Ramanan’, an essay on the impact of the first modem verse romance in Malayalam, and a beautifully crafted piece on contemporary cinema.
Ann Marie reads fragments of her dead husband’s unfinished book, and the many love letters he sent her, and in them the social and political events of the time. As she ponders the writing and the years that the brilliant Jithendran squandered working for a toy company that makes drum-playing monkeys, the narrative gives way to the sweeping saga of a village by the river Periyar. Grappling with issues of equality, love, caste, religion and politics, Thachanakkara is a microcosm of twentieth-century Kerala. Told through the history of three generations of a feudal Nair family, this sprawling story is reminiscent of the craft of Gabriel Garcia Marquez’s A Hundred Years of Solitude and has the scale of Sunil Gangopadhyay’s Those Days. A Preface to Man is an artistic meditation on human existence and is a contemporary classic.
An alluringly graphic narration of a little-discussed chapter of Kerala’s and the world’s history: the migration of the black Jews to the promised land of Israel. It is a moving tale of the reluctant migrants torn between two loyalties: to their native soil and to their Jewish identity. Fiction here turns into a site for raising some of the vital ontological questions of the post-globalized world: about identity, being, becoming and belonging. A gripping novel that moves from the past to the future and from strange dreams to stranger reality.
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