The Tiger's Share by Keshava Guha | Published by Hachette India

 

Title – The Tiger’s Share
Author – Keshava Guha
Genre – Contemporary Literature
Publisher – Hachette India (2025)
ISBN – 978-1399813389
Hardback – 246 pages
Buy – Amazon  

“Well, let me tell you. We - we humans - have decided that we are apart from life. Above life. Nature, after all, has rules that we don't set. It has limits. It has its own law of Karma. Everything you do has its consequence, has its response. We used to know all this. We have forgotten.”

The Tiger’s Share is a quiet storm of a novel. The multilayered story is set in present-day Delhi. A family's private conflicts become a lens through which we observe social and political shifts in India. 

The book opens with a jarring scene: a father resigns. Brahm Saxena, a retired accountant, calls a family meeting. He tells his children—Tara, a brilliant lawyer, and Rohit, a drifting son—that he is done. Done being a father. He wants to serve something larger now. The planet. The country. Maybe even the truth.

His personal choice ripples outward. It begins to mirror the novel’s core themes—ecological, political, and generational. One strange declaration turns into a story about the cost of ideals. 

This is the central storyline of The Tiger’s Share. We witness it all through Tara’s perspective. She sees the city clearly. Smog in the sky. Garbage on the streets. Thick air and how sweetness of a city gone bad. Tara narrates it all with a sharp eye. She is ambitious and restless. She wants to believe in something. But doubt creeps in. Maybe she isn’t who her father hoped she’d be.

There is another pair of siblings: Kunal and Lila. Rich, well-known, always at war. Kunal, the adopted son, believes he is “the chosen one.” He wants control, especially of the family business. Lila, born into the family, resists. She calls him entitled. Their fight exposes something raw: how power hides in gender and class.

Guha writes with sly observation. His sentences don’t shout. They smoulder. “You can lose a house in an earthquake, you can lose any investment in a recession, but education, you can’t lose. I believe,” there are layers of insight. 

His narration is elegant and witty. Every character feels made of bone and flesh—especially Brahm, a man shaped by loss and old ideals. He keeps a photograph of Bhagat Singh on his desk. Even in silence, he demands more of the world. His son Rohit, in contrast, turns angry, rants on YouTube.  

In Guha’s novel, Delhi is not just a city—it’s a character, a breathing place. And it is falling apart. The trees, the air, the light—everything is fading. The city decays, and we watch. Guha renders this decline. And what it feels like to live in its slow collapse.

'Delhi,' my father continued, 'well, there is no better place to see this than Delhi. What was Delhi? A perfect oasis. In the middle of a near-desert, a slice of green heaven, fed by a strong river. What have we made of Delhi? A place unfit for life. The river is a dry garbage dump. The water in our pipes is liquid refuse. The air- I won't tell you about the air. Every park is a monument to what we have done. What is a park? A temple of life. Our parks are temples of sickness. Every tree, every bird suffering, as if it has been told it must live but is stuck in a place no longer fit for living. Come to the mandi and you won't be able to show me one tomato that isn't sick and decaying.'

A strange coincidence: Ranthambhore, the national park, is the crown of my hometown. And it appears in the book. I won’t spoil the plot, but remember: the park matters and it holds weight in the story. The Tiger’s Share is a book about what we owe to each other, to our country, to the future. 

 About the Author

KESHAVA GUHA was born in Delhi and raised in Bangalore. He studied history and politics at Harvard, and writing at Goldsmiths, University of London. He writes regularly on politics, literature and sport for a host of publications. 

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Gulzar’s Caged: Memories Have Names | Translated by Sathya Saran

 

Title – Caged: Memories Have Names
Translated by – Sathya Saran 
Publisher – Penguin Hamish Hamilton
ISBN – 978-0670098231
Hardcover – 256 Pages
Buy – Amazon | Padhega India 

“I was trying to catch a butterfly. She escaped, but left her colours on my fingers.”

Gulzar opens his autobiography with a delicate image: a butterfly escapes from the poet’s grasp, but leaves its colours behind on his fingertips. Like a memory or trace of a loved one, the poet gathers its fleeting hues, whatever he can, and weaves them into verse.

Doesn’t the title Caged mislead at first? When I first heard it, the image of a prison came to my mind, a sense of forced confinement. But Gulzar, as always, reshapes the metaphor. The cage becomes an archive, a vessel for memory, and fragile memory needs to be preserved. These poems carry the names, the voices, the colours he refuses to let go.

Published as a bilingual edition, this book is a quiet gift to readers who know that to read Gulzar in the original is to hear the music whole. Sathya Saran has translated the book with grace. In her words, the process was “a journey through changing light,” a phrase that captures both the nature of memory and the pulse of his poetry.

Those who have read Actually, I Met Them... will recognise the theme: portraits, tributes, vignettes. But where that book offered prose, Caged is composed of more distilled and intimate poems. It’s less an autobiography than a play of light and shadow—part elegy, part celebration. The book is divided into four sections, the first anchored mainly in literary figures.

The first piece on Rabindranath Tagore — "a poet who stands like a crop, growing across all of Bengal." Gulzar recalls learning Bangla simply to read him. His lifelong reverence is no secret.

 

Then, Ghalib.

"ज़माना हर ज़बाँ में पढ़ रहा है अब,  तुम्हारे सब सुख़न ग़ालिब
समझते कितने हैं, ये तो वही समझें, या तुम समझो।"

 

Gulzar adds that he has read poets in every Indian language, but has never found another like Ghalib.

Across these pages, Shakespeare, Rumi, Jibanananda Das, and Nazim Hikmet emerge not merely as literary giants but as living presences, folded into the fabric of Gulzar’s memory. Neruda, Faiz, and Sunil Gangopadhyay each evoked not just for their words, but for the echo of their voices in his life. Take Namdeo Dhasal’s funeral, for instance: “even the flames from his pyre could not reduce the intensity of his poetry to ashes.” He was the people’s poet. A flag holder for the Dalit cause.

Gulzar is not just what he remembers, but how he remembers. There’s an anecdote with Kedarnath Singh: upon seeing the printed lyrics of Hamko Mann ki Shakti Dena, Singh was surprised. “Is this also written by you?” he asked. “This is sung in schools.” I bowed my head in acceptance. Then he said, “What a lucky man you are—tumhara kaam tumhare naam se aage nikal gaya.”

There is a poem dedicated to a girl with terminal cancer who once requested: “मुझको एक छोटे से शेर में सी दो / ‘अंजल’ लिखना / शायद मेरी आख़िरी शब है” And Gulzar, as promised, stitched her name into a verse. The gesture is tender, his writing shaped not by experience, but by empathy.

The book is rich with friendships—Javed Akhtar, Bimal Roy, Naseeruddin Shah. Of Shah, he writes: “Main adaakar hoon lekin / sirf adaakar nahin / waqt ki tasveer bhi hoon.” Gulzar also remembers Jagjit Singh: the very spirit of the ghazal, settled in him like musk in the navel of the deer. His voice, yes—but more than that, his thehrav, his ache.

Who can forget what he gave to Ghalib — Gulzar directing, Naseeruddin Shah inhabiting the poet, Jagjit giving voice to his wounds. Gulzar still calls it his most complete work. Perhaps because, for once, everything aligned. The finest artists, unguarded. And then—something like magic unfolds.

“उतरो आओ आँखों से काग़ज़ पर

तुम्हारी धुन पर कुछ अल्फ़ाज़ रख दूँ!”  

Pancham, Salil Chowdhury, Kanu Roy, all remembered not just as co-workers but as co-dreamers. Friends: in creation, in mischief, in melancholy. He remembers Asha Boudi—Asha Bhonsle—not with formality but with fondness, a sapling of musical notes, he calls her.

There are other memories, quieter, more aching. Of Meena: shutting her eyes, she fell asleep/ and died/ did not even take a breath afterwards/ after a long eventful life / filled with torturous trials/ how simple and easy her death!

‘Caged’ is a gallery of elegies, love letters to the departed. Some of the most piercing are reserved for Amjad Khan and Sanjeev Kumar. Gulzar writes not merely of their absence, but of what lingers. In his verses, death is not an end but a bond beyond flesh.

A sketch of a friend—Amjad Khan—whom he is about to bury: “Main neem-andheri qabr mein / sula raha tha jab use / woh neem-v-nigaah se / dekhta raha mujhe... / hatheliyon se aankh ke chirag bhi bhuja diye / ke do jahaan ke silsile / zameen par hi chuka diye.”

Gulzar does not mourn—because even in the silence of the grave, he listens for his breath.

The metaphysics of death, of what remains, and what must be buried, flicker through these verses. Sanjeev Kumar, too, appears as a confidant, someone Gulzar could tell what he couldn’t tell anyone else. Later, the lens widens, and more artists come into the light: Birju Maharaj and Hariprasad Chaurasia. And then a portrait of Van Gogh, whom he first encountered through Irving Stone’s Lust for Life, and he becomes a mirror to his own artistic struggles. In moments of despair, that biography was his guiding light.

The final chapter, the most personal one. Gulzar turns inward to his family. Rakhee, Meghna, and his grandson Samay. Pali, his dog, whom he never once called ‘Dog’. And, finally this brief poem, like a breath caught in the chest: "गिरह ऐसी लगी है जैसे कि नाभि का रिश्ता हो / जो कट जाने पर भी उम्र भर कटता नहीं है."

How does one write about Caged? It is not a memoir.  It is not poetry. It is a book of farewells and of bonds that refuse to loosen. A butterfly’s trace on the fingertips—never caught, never forgotten.  

About the Author

Gulzar, one of India's leading poets, is a greatly respected scriptwriter and film director. He has been one of the most popular lyricists in mainstream Hindi cinema, gaining international fame when he won an Oscar and a Grammy for the song 'Jai ho'. Gulzar received the Sahitya Akademi Award in 2002, the Padma Bhushan in 2004, the Dadasaheb Phalke Award in 2014 and the Jnanpith Award in 2024. He lived and works in Mumbai.

Translator
After 12 years as Editor of Femina which was declared a Superbrand, Sathya Saran chose to be a full-time author, part time teacher and a columnist. Her books include the acclaimed biographies, Ten Years with Guru Dutt Abrar Alvi’s Journey, Baat Niklegi toh Phir: The Life and Music of Jagjit Singh, Sun Mere Bandhu Re: The Musical World of SD Burman and Hariprasad Chaurasia: Breath of Gold. She also has a book of short stories The Dark Side. Caged is her first book as a translator. 

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Smoke and Ashes: A Writer’s Journey Through Opium’s Hidden Histories by Amitav Ghosh

Title: Smoke and Ashes: A Writer’s Journey Through Opium’s Hidden Histories
Author: Amitav Ghosh
Publisher: HarperCollins India, 2023
Genre: Non-Fiction, History, Culture
ISBN: 978-9356992757
Hardback: 408 Pages
Buy the Book: AMAZON

‘The stamp of the past sometimes sinks so deep into the fabric of everyday life that its traces are difficult, if not impossible, to erase.’  

Amitav Ghosh’s Smoke and Ashes is a blend of travel diary, life memories, and history. Ghosh explores opium's impact on Britain, India, China, and the world. This book sheds light on our intertwined history with the tea and opium trade during the 18th and 19th centuries. The British Empire pushed the opium trade, vital for survival.The impact in India was tragic. 

Seven years ago, reading "Sea of Poppies," I missed its extensive research. "Smoke and Ashes" now discloses that around twenty years ago, when Ghosh started working on the Ibis Trilogy, he was surprised to discover that the lives of the sailors were influenced by a valuable thing they carried - opium. Along with, its surprising connection to his family's history. 

The blurb says Moving deftly between horticultural histories, the mythologies of capitalism, and the social and cultural repercussions of colonialism, Smoke and Ashes reveals the pivotal role one small plant has played in the making of the world as we know it - a world that is now teetering on the edge of catastrophe.  

Ghosh's memoir links his ancestry to opium's influence. His father's tales from Bihar, show opium's dual force: – both destructive and life-giving. Ghosh writes, that in the East, the British ran a heavy-handed Opium Department, all under its thumb, dictating planting, auctions, and farmers' pay.

Smoke and Ashes, highlights the collective memory and recognizes our role in shaping of cultural history. The account travels globally – from Mumbai's Parsis, then to China's artisans, weavers, and potters in bustling Guangzhou.  

‘Had eastern travellers entered the home of a poppy farmer, they would have noticed, to their further surprise, that in this harvested poppy region, the latex was stored not in pots of water, as was the practice in the east, but in containers filled with linseed oil. Had curiosity compelled them to visit a production facility, they would have been astonished to find themselves not in a huge fortress of a factory, like those of Patna or Ghazipur, but in a small shed, filled with flat cakes laid out to dry in the shade.’

In Ghosh's non-fiction style, research combines with storytelling. While tracing opium’s history, the author exposes the truth behind capitalism. Each chapter offers captivating narratives. To sum up, Ghosh's book delves into the depths of opium history, its detailed research and compelling prose lingering. A recommended read!

About the Author 

Amitav Ghosh was born in Calcutta in 1956. He studied in Dehra Dun, New Delhi, Alexandria and Oxford and his first job was at the Indian Express newspaper in New Delhi. He earned a doctorate at Oxford before he wrote his first novel, which was published in 1986.

The Circle of Reason won the Prix Medicis Etranger, one of France's top literary awards, and The Shadow Lines won the Sahitya Akademi Award and the Ananda Puraskar. The Calcutta Chromosome won the Arthur C. Clarke Award for 1997 and The Glass Palace won the Grand Prize for Fiction at the Frankfurt International e-Book Awards in 2001. The Hungry Tide won the Hutch Crossword Book Prize in 2006. In 2007 Amitav Ghosh was awarded the Grinzane Cavour Prize in Turin, Italy. Amitav Ghosh has written for many publications, including the Hindu, The New Yorker and Granta, and he has served on the juries of several international film festivals, including Locarno and Venice. He has taught at many universities in India and the USA, including Delhi University, Columbia, the City University of New York and Harvard. He no longer teaches and is currently writing the next volume of the Ibis Trilogy.

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Anukrti Upadhyay's The Blue Women: Stories | HarperCollins India

Title: The Blue Women
Author: Anukrti Upadhyay
Publisher: HarperCollins India
Genre: Contemporary Literature, Short Stories
ISBN: 978-9356291164
Paperback: 276 Pages
Buy the Book: Amazon Link   

‘Autumn is a good time to forget, to let everything flare in brilliant colours one final time and then extinguish after the turbulence of spring and summer.’ – The Satsuma Plant

"The Blue Women" is a captivating collection of 12 short stories that delve into the complexities of human relationships and the human psyche. The collection primarily focuses on the theme of love, determination, and resilience, providing richly textured observations of contemporary life and the ways in which individuals navigate routine challenges.

From the first story to the last, Upadhyay weaves together diverse themes and characters, creating thought-provoking tales that challenge the reader's perspective and engaging narratives that transport them to another world.

Upadhyay's prose is clear and concise, displaying skillful use of language that ranges from lyrical to poignant, reflecting the diversity of the characters and settings portrayed in the stories.

The stories vary in tone, from moral struggles to uplifting, from melancholic to insecure, yet they all share a common thread of humanity that makes them relatable and resonant.

The collection includes a story about a young girl who develops an intimate bond with a bat, a golden girl with a complex relationship with her stepfather, and a standout story titled "The Big Toe," which tells the devastating story of a man whose existence is ruined solely because of his big toe. ‘I was intrigued. I am always on the lookout for stories. You could say I am a sort of collector of curious tales. It irritates my wife. She considers it one of my small-town vices. ‘You and your plebian nosiness,’ she says.’

The title story, "The Blue Women," is another standout, with evocative descriptions and keen insights into fears, wounds, and toughness, making it a powerful read. ‘Decisions about what I should do about the blue women. You see, I couldn’t go on like that. I had to do something to stop the blue woman from haunting my taxi.’ Through her stories, Upadhyay portrays ordinary women who persevere and embrace their flawed existence.

"Dhani," This story is told from a unique perspective that gives readers a glimpse into the character's inner world and desires. Upadhyay's deft handling of the narrative makes this a story that lingers in the mind long after the final page. “I ate in silence. Some people are proud of their ability to converse, I am proud of my ability to be silent. I prefer silence to the chatter people fill it with. You would, too, if you spent entire days in an audiometry lab listening to sounds at different frequencies and pitches and shouting instructions into deaf ears. Still, it is true that sitting next to that silently smiling woman, I felt an urge to talk.’  

Upadhyay's intricate storytelling, vivid imagery, and philosophical insights have earned her much praise, and it seems that many of her stories are based on real-life characters that she imbues with a sense of mysticism and wonder. Readers can expect to encounter a unique and diverse range of narratives that offer insight into the human psyche.

This collection showcases the author's artful storytelling and emotional depth, leaving readers fully immersed in each story and rooting for the characters. It's definitely worth exploring!

About the Author 

Anukrti Upadhyay writes fiction and poetry in both English and Hindi. Her Hindi works include a collection of short stories titled Japani Sarai (2019) and the novel Neena Aunty (2021). Among her English works are the twin novellas, Daura and Bhaunri (2019), and her novel Kintsugi (2020); the latter won her the prestigious Sushila Devi Award 2021 for the best work of fiction written by a woman author. Her writings have also appeared in numerous literary journals such as The Bombay Review, The Bangalore Review and The Bilingual Window. Anukrti has post-graduate degrees in management and literature, and a graduate degree in law. She has previously worked for the global investment banks, Goldman Sachs and UBS, in Hong Kong and India, and currently works with Wildlife Conservation Trust, a conservation think tank. She divides her time between Mumbai and the rest of the world, and when not counting trees and birds, she can be found ingratiating herself with every cat and dog in the vicinity. 

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Salman Rushdie's Victory City | Penguin Random House

 

Title: Victory City
Author: Salman Rushdie
Genre: Historical Fiction 
Publisher: Penguin Random House
Hardcover: 350 Pages
ISBN: 978-0670098460
Buy Link: On Amazon
 

‘Fictions could be as powerful as histories, revealing the new people to themselves, allowing them to understand their own natures and the natures of those around them, and making them real.’

In ‘Victory City,’ Salman Rushdie weaves the epic tale of the mythical Bisnaga, where the main protagonist Pampa Kampana - a sorcerer and poet - plays a pivotal role in the birth of the empire. Eventually, the destiny of this realm is shaped by Pampa Kampana along with many characters.

Salman Rushdie has a wide range of narrative forms, while exploring the intricacies of society he wisely integrated references from folklore history to biblical tales. Rushdie’s prose is magical and elegant, at times almost poetic, as he discussed religious conflict, power, and race. 

‘Only when she saw the last slabs of roasted flesh fall away from Radha Kampana’s bones to reveal the naked skull did she understand that her childhood was over and from now on she must conduct herself as an adult and never commit her mother’s last mistake. She would laugh at death and turn her face toward life.’

The story begins with a traumatic atrocity witnessed by Pampa, which strengthens her existence, still, her divine calling doesn’t shield her from the harsh truth of life ¬ every blessing comes with a downside.

“… I am more than one person, and not all those persons are admirable. I am the mother of the city—even though few people believe I am she—but I am away from my own daughters and during this separation I do not feel like their mother at all.’

Rushdie’s way of interlacing vivid descriptions makes you visualize the ancient city, and it maintains momentum despite various subplots – he succeeded in making me believe that it is a translation of an epic poem, Jayaparayam. At heart, it is a meditation on story culture, recollections of community tales, and a sense of being.

‘You are not plants, to come from such vegetal origins! You all have memories, you know your life stories and the stories of those who came before you, your ancestors, who built the city before you were born. Those memories are genuine and were not implanted in your brain by any whispering sorceress.’

Rushdie’s writing was so compelling, I got mesmerized by how he muddled up the margins of reality, dimensions, and imagination. He delves into a saga of the ancient empire and intentionally relates it to partition. That’s the power of storytelling. 

One of the novel’s strengths is the strong and remarkable women characters, including the protagonist, who embraced contemporary beliefs throughout the entire narrative. Besides this, a generous portion of humour, philosophical notions, and an enthralling storyline captivate the reader.

‘Looks like even the magic seeds have one rule for the rulers and another for the ruled,’

‘Victory City’ is a gripping and significant work of art, the only thing that disengaged me a bit, was a few outmoded sentences.  Overall, I adored the book and would recommend it to readers. 

About the Author

Salman Rushdie is the author of fourteen previous novels, including Midnight's Children (for which he won the Booker Prize and the Best of the Booker), The Satanic Verses, and Quichotte (which was shortlisted for the Booker Prize). A former president of PEN American Center, Rushdie was knighted in 2007 for services to literature and was made a Companion of Honour in the Queen's last Birthday Honours list in 2022. 

P.s. Thank you, Vivek Tejuja and Penguin Random House for providing a review copy. 

 

Mahagatha: 100 Tales from the Puranas by Satyarth Nayak | HarperCollins India

 

Title: Mahagatha: 100 Tales from the Puranas
Author: Satyarth Nayak
Publisher: HarperCollins India (2022)
Genre: Mythology, Non-Fiction
Pages: 436
ISBN: 978-9356294493
Buy the Book: Amazon Link

In ‘Mahagatha: 100 Tales from the Puranas’ Nayak narrates the enthralling stories of devas and asuras with a fresh perspective and more personal touch. Basically, it is a compilation of 100 tales of our ancient lore. It begins with ‘Brahma begins creation’ and ends with ‘Janmejaya’s snake sacrifice. Author tried to chronicle these mythological stages of life in a very sequential order. The writing is simple yet captivating. The illustrated part is enticing and amplifies the storytelling.  

‘The Parabrahman now implanted its own seed in the water. Thus fertilised, the water nurtured the seed and, in due course, generated an egg. A golden egg that shone like an orb of light. Since this egg, or anda, had been spawned by the Parabrahman, it came to be known as Brahmanda. The cosmos.’

Author clearly stated that, creative liberties have been taken to enhance the bodies of some of these tales, but their souls remain untouched. He added, there is no simplified dichotomy of good and evil but a highly complex cosmos where even devas can act vile and ever asuras can act virtuous, where boons can often create chaos and curses can often lead to good.  

‘Something was emerging from Yamuna right behind him. Someone was looming so high that it was blocking the moon. Casting a shadow over father and son. Vasudeva turned and stared in awe. The mighty Vasuki had surfaced from the river. The serpent's ten hoods were spreading over them like a giant parasol. Gods and goddesses appeared now to see this divine spectacle. To see Vasudeva cradling the lord below and Vasuki shielding him from above. To see both man and animal celebrating the Preserver who had taken another avatar for their sake.’

This book provides an insightful ride of the lives of mortal and immortal gods. It touches the basis of various Vedic warfare. It is such an intriguing read. I’ll definitely go back to these pictorial alluring stories someday. Undoubtedly, an essential read for those, who feel inclined to Hindu mythology.

Some enlightening fragments:   

Shiva emerges
Vishnu gets the Sudarshana Chakra
Marisha takes ten husbands
Ganesha comes to life
The Vamana Avatar
Vishnu is beheaded
Sita lays four curses
Vishwamitra accepts meat.
Krishna Heals Kubja

"I have been working on it for five years and went through all the Puranas. 100 of the greatest mythological tales from these ancient texts have been handpicked and compiled into an epic illustrated edition," ¬ Satyarth Nayak on his book. 

Blurb

Do you know the story where Brahma and Vishnu race against each other or where Shiva battles Krishna? Where Indra attempts foeticide or where Rama punishes a Shudra? Do you know about Maya Sita or Narada's monkey face? Or why Surya falls from the sky or why Chandra commits adultery?

The Puranas of Hinduism are a universe of wisdom, embodying a fundamental quest for answers that makes them forever relevant. Now, for the first time, 100 of the greatest mythological tales from these ancient texts have been handpicked and compiled into an epic illustrated edition. Besides popular legends of devas, asuras, sages and kings, Satyarth Nayak has dug up lesser-known stories, like the one where Vishnu is beheaded or where Saraswati curses Lakshmi or where Harishchandra tricks Varuna. Nayak also recounts these 100 tales in a unique chronological format, beginning with Creation in Satya Yuga and ending with the advent of Kali Yuga. Using Puranic markers, he constructs a narrative that travels through the four yugas, offering continuous and organic action. In such a reading, it is revealed that these stories are not isolated events but linked to each other in the grand scheme of things. That every occurrence has a past and a future. A cause and effect. An interconnected cycle of karma and karma-phal.

Delving into the minds of gods, demons and humans alike, Mahagatha seeks a deeper understanding of their motivations. The timelessness of their impulses speaks across the aeons to readers of today. Written in lively prose with charming illustrations, these 100 tales will entertain and enlighten, and make you connect the dots of Hindu mythology like never before.

 

About The Author

 

Satyarth Nayak is an author and screenwriter based in Mumbai. A former SAARC Award winning Correspondent with CNN-IBN, Delhi, he holds a Masters in English Literature from St. Stephen's. Sridevi – The Eternal Screen Goddess (Penguin, 2019) is Satyarth's best-selling biography. His debut novel, The Emperor's Riddles, was released in 2014. He followed it up with his second thriller titled Venom in 2020. Satyarth has also scripted Sony's epic historical show, Porus, touted as India's most expensive television series that aired from 2017 to 2019. His short stories have won the British Council award and appeared in Sudha Murty's Penguin anthology, Something Happened On The Way To Heaven. 

Connect to author:  Twitter 

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Teja Lele's LIVE SMART:100 HACKS FOR A HEALTHIER AND HAPPIER LIFE

Title: LIVE SMART:100 HACKS FOR A HEALTHIER AND HAPPIER LIFE
Author: Teja Lele
Publisher: Harpercollins India
Cover: Sayan and Amit Malhotra
Genre: Non-fiction
Paperback: 245 Pages
Amazon: Buy the Book

Live Smart: 100 hacks for a healthier and happier life by Teja Lele, is a great resource of lot of techniques I already aware of it, still It assisted me to gain refreshing theories about self-sufficiency.  It stimulated the memory, the old practices of organizing things I have seen at my maternal home. This book lends you a hand to adapt a better philosophy about art of living.

Why did I select this book to read? Because I have curiosity about DIY-art, for instance: Reuse citrus piles, home composting, Grow an herb garden, and Homemade pesticide. The author managed to finish this task brilliantly. She put her wisdom in a concise and straightforward way.

After setting the basic objective of writing this book, author categorized these millions of ideas into five sections: Home - Food and Kitchen – Beauty - Health and Well-being - Reuse and Recycle. These methods rejuvenated the urge to get things back in order. You can simply integrate these hacks into your daily routine.

The best thing about this book is everything is in details and that too systematic. One can actually enjoy while applying the practical tips in their daily life. Adding to that, I really liked how the book is designed especially its cover, that is done by Amit Malhotra and Sayan. Live Smart by Teja Lele is a quick read and you can keep it as your go-to-book. Informative!  

Here, I compiled a list of ideas I liked the most.

Bird Feeder from a plastic bottle.
Reduce Nausea
Deal with Insomnia
Screen cleaner
Revamp leftovers
Pasta from scratch
Reuse spare rotis
Miracle hair oil
Redo old furniture
Unsponge

Blurb

Are you trying to fix a leaky faucet? Wondering how to treat a bee sting? Looking to purify water without a fancy purifier? Making a chemical-free lotion bar? Wondering what to do with the pile of cardboard boxes left after online retail therapy?

If yes, then Live Smart: 100 Hacks for a Healthier and Happier Life is your go-to guide! Here you will find user-friendly DIY solutions for everyday problems and interesting tips accompanied by illustrations that will help you navigate the how-to-do-its in a step-by-step manner.

Live Smart is an invaluable manual for those looking for practical ways to organize and improve their daily life—and having a little fun while they’re at it!

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Pratinidhi Kahaniyan - Muktibodh and Ismat Chughtai

 

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‘पता नहीं क्यूँ मैं बहुत ईमानदारी की ज़िंदगी जीता हूँ, झूठ नहीं बोला करता, पर-स्त्री को नहीं देखता, रिश्वत नहीं लेता, भृष्टाचरी नहीं हूँ, दगा या फरेब नहीं करता, अलबत्ता कर्ज़ मुझपर जरूर है जिसे मैं चुका नहीं पाता। फिर भी कमाई की रकम कर्ज़ में जाती है। इस पर भी मैं यह सोचता हूँ कि मैं बुनियादी तौर से बेईमान हूँ। इसलिए, मैंने अपने को पुलिस की ज़बान में उठाईगिरा कहा। मैं लेखक हूँ। अब बताइए, आप क्या हैं?’

-    मुक्तिबोध, अपनी एक कहानी में

 

उनके देहान्त के बाद न जाने क्यों, मरने वाले की चीज़ें प्यारी हो गयीं। उनका एक-एक लफ़्ज़ चुभने लगा। और मैंने उम्र में पहली बार उनकी किताबें दिल लगाकर पढ़ीं। दिल लगा कर पढ़ने की भी खूब रही। गोया दिल लगाने की भी ज़रूरत थी। दिल आप-से-आप खिंचने लगा। ओफ़्फ़ोह! तो यह कुछ लिखा है इन मारी-मारी फिरने वाली किताबों में! एक-एक शब्द पर उनकी तस्वीर आँखों में खिंच जाती और पल भर में वो ग़म और दुख में डूबी हुई, मुस्कराने की कोशिश करती हुई आँखें, दुखभरी काली घटाओं की तरह मुरझाये हुए चेहरे पर पड़े हुए वो घने बाल, वो पीला नीलाहट लिये हुए ऊँचा माथा, उदास ऊदे होंठ, जिनके अन्दर समय से पहले तोड़े हुए असमतल दाँत और दुर्बल, सूखे-सूखे, औरतों-जैसे नाज़ुक, और दवाओं में बसी हुई लम्बी उँगलियों वाले हाथ। और फिर उन हाथों पर सूजन आ गयी थी। पतली-पतली खपच्ची-जैसी टाँगे, जिनके सिरे पर वरम से सूजे हुए भद्दे पैर, जिन्हें देखने से बचने के लिए हम लोग उनके सिरहाने की तरफ़ ही जाया करते थे और सूखे हुए पिंजर-जैसे सीने पर धौंकनी का सन्देह होता था। कलेजे पर हज़ारों कपड़ों, बनियानों की तहें और इस सीने में ऐसा फड़कता हुआ चुलबुला दिल! या अल्लाह, यह आदमी क्योंकर हँसता था। लगता था, कोई भूत है या जिन्न, जो हर ख़ुदाई ताक़त से कुश्ती लड़ रहा है। नहीं मानता, मुस्कराये जाता है। ज़ालिम और जाबिर ख़ुदा चढ़-चढ़ कर खाँसी और दमे की यन्त्रणा दे रहा है और यह दिल ठहाके लगाना नहीं छोड़ता। कौन सा दुनिया और दीन का दुख था, जो कुदरत ने बचा रखा था, फिर भी रुला न सकी। इस दुख में, जलन में हँसते ही नहीं, हँसाते रहना किसी इन्सान का काम नहीं। मामू कहते थे, ‘ज़िन्दा लाश।’ ख़ुदाया! अगर लाशें भी इस क़दर जानदार, बेचैन और फड़कने वाली होती हैं तो फिर दुनिया एक लाश क्यों नहीं बन जाती!

-    इस्मत चुगताई  

The Map and the Scissors by Amit Majmudar | Book Review

Title: The Map and the Scissors
Author: Amit Majmudar
Publisher: HarperCollins In
Genre: Historical Fiction
ISBN: ‎ 978-9354894640
Paperback: 344

‘Because nothing is purely Hindu or purely Muslim in India. Nothing is pure anywhere, least of all Gujarati, with its Sanskrit and Farsi and Arabic and English loan words – its own words – all tumbling into meaning. Gujarati is a merchant’s linguistic coin collection from around the world, a farmer’s language hardy with lexical weeds.’

The Maps and the Scissors by Amit Majmudar, is a historical fiction that portrays the life of two core pillars of Indian politics during the times of late British Raj. In his book, author captures the existence of Gandhi and Jinnah – two lawyers, dreams a same future for our country in discordant ways. The premise is not restricted to their political perceptions only, but leads to personal lives as well.  

Among many political movements, one can get a clear reflection of differences originated between Congress and Muslim League. A demand for separate country, and an enigmatic emotion on the thought of two-nation theory. I found some familiar characters as Jawahar Lal Nehru, Sardar Pater, Liaquat Ali Khan, Kasturba, Fatima and many more.  

‘It is not the first time or the last that he will go to jail. At first, Kasturba was scared for him, but his letters came back curiously untroubled. The prison was not pleasant, but the South Africans whites, no matter how much they hated him, feared their subjugated dark races too much to torture to kill him. They did not dare find out what tens of thousands of non-violent Indians would do if the one man who preached non-violence died by violence.’

These characters strengthen the storyline that is woven from the balanced knowledge of historical incidents. Adding to this, the novel depicts how they deal with odds in their private lives. It is the most fascinated part of the book, ‘The name Gandhiji is a drug. They are already beyond any sense of their own vulnerability. When the rifles pop a few times, the reports are barely audible against so many voices. No one falls. They really are invulnerable. The name really is a talisman, protecting them against all threats, justifying all actions, cleansing all guilt.’

Then, there is a moment, when Jawahar Lal Nehru looks troubled, and shares the conflicted thoughts running in his heart, — ‘I’m ashamed that it bears my last name. its terms ensure us more sluggishness from the British. They’ll never leave, at this rate. And even worse, it wants Dominion’s status for India. Do we realize “Dominion” comes from the word for “Lordship”? why should the British be our lords, for even a second after we gain independence? Is that our goal?

Despite well-researched facts, at some places, one might not agree with author’s perception towards particular leaders, but it is writer's imagination and perspective that keeps evolving. There is a word called ‘Creative Freedom’ and reader needs to respect that.  

Above everything else, I loved the prose style – such visual writing. I read a book around political figures in well-crafted passages, it is more like a dream for a reader who is interested in literature regarding to partition and late colonial period.

 

Here, I’m sharing an excerpt from the book to get an idea about the book:

‘His lips are moving now. ‘Sare Jahan se achcha Hindostan hamara..’ Better than all the world, this Hindustan of ours...

What a lovely tune, thinks Gandhi. Someday they will ask me what our national anthem should be, and I may well choose this song. When was it written? 1904? Just a year before the British tried to divide us all by diving Bengal, that failed colonial experiment: riots in the street, everyone at each other’s throats.

Many will expect Tagore to compose something, or Sarojini, but they would do it in Bangla. This song is in Hindustani, and almost everyone in India understands a little Hindustani.’

 

Synopsis:

Two intense, inflexible personalities duel over a question that will decide the fate of millions: one nation-or two?

Jinnah, the consummate, ruthlessly analytical gentleman in a tailored suit, starts out skeptical of those who come to his door proposing a 'Land of the Pure', but ends up founding exactly such a country. Gandhi, the religious visionary in homespun khadi, experiments with Truth in his quest for one India-only to witness, in anguish, the bloody birth of two nations.

The Map and the Scissors is a novel about the epic origin story of modern South Asia, brought to life by two London-educated lawyers, mirror-image rivals who dreamt the same.

 

 About the Author

Amit Majmudar is of five critically acclaimed novels, four collections of award-winning , a translation of the Bhagavad Gita with , as well as a forthcoming memoir and a three-volume retelling of the Mahabharata. The former Poet Laureate of Ohio as well as a diagnostic and nuclear radiologist, he lives in Westerville, Ohio, with his wife and three.

Reach him at: Twitter | Amazon

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Chronicles of The Lost Daughters by Debarati Mukhopadhyay | Book Review

 

Title: Chronicles of The Lost Daughters
Author: Debarati Mukhopadhyay
Translator: Arunava Sinha
Publisher: HarperCollins India
Genre: Historical Fiction
Pages: 336
Buy Online: Amazon

 

‘...do you know what it will mean if we don’t get boys for our daughters? Do you realize the kind of trouble there will be if Awpala isn’t married before she’s twelve?’

Debarati Mukhopadhyay’s Chronicles of the Lost Daughters is an enthralling historical fiction, translated by Arunava Sinha, Centered around the state of women of nineteenth-century Bengal. It is originally published in the Bengali, title is ‘Naraach’ that simply means – Weapon.

The story begins with Krishnoshundor Chattopadhyay, a penniless brahmin, is trapped into an offer of decent job. He grabs this as an only escape for his sister, Bhubonmani – who has been faced a hellish journey. She endured a child marriage, widowhood and sexual assault – that too, at the age of sixteen. The so-called learned man of society grabbed this opportunity to fulfil their malicious desires, and they declared shamelessly ‘A raped woman must of course perform strict penance. In this case the rapists are from another religion, which means that even if she herself is a brahmoni, the act has made a mleccha out of her. She will be restored to her own people if a high-born brahmon is willing to accept her services for two fortnights.’

Her brother, Krishnoshundor was too innocent to decipher these words at first, and when things got cleared to him, he put questions at the religious texts, ‘How very unfair! So Bhubonmoni would have to be raped for a month because some criminals had raped her once? This was utterly unjust, which shastras asked for this? Krishnoshundor could sign an oath it was impossible for such a thing to be written in any of the shastras. It was impossible.’

Besides the deep level of research, Debarati Mukhopadhyay took a creative freedom and presented many historical figures, Dr. Kamdambini Ganguly, Tagore and Nawab of Oudh – Wajid Ali Shah to us. Apart from this, there are many subplots running around the core theme, such as women education, widow remarriage, caste-disabled society, child marriage is one of them, basically that was times of Bengal renaissance.

‘That was the age of shruti. Women enjoyed high social standing, they used to study the Vedas, they used to teach. They were not yet considered anyone’s property. A wife was her husband’s partner in every sense, not just his companion in bed as she is now. But those days are gone. The diagnoses of the learned men, Muslim rule and patriarchy in society have gradually pushed women back into their homes and turned them into puppets. It is the age of the Manusamhita. The woman will be subservient to her father in childhood, to her husband after marriage, and to her son when she is a widow. She will never have an independent life. How can you speak of your own daughters remaining unmarried in such circumstances?’

What is the role of Brahma Samaaj movement? How did Bhubonmoni’s life turn out, once she joins the movement?
Why did Wajid Ali Shah created a mini-Lucknow in Calcutta?

The life story of Kadombini is so inspiring that adds the value to the story. I quite liked the determinate character of Bhubonmoni’s sister-in-law, who she seeks her as a mother. 

With crisp, and clear writing, this book feels like an exhilarating journey. And the translation of Arunava Sinha uplifts the reading experience. Chronicals of the Lost Daughters is a heart-wrenching historical saga. Regardless, interlinked stories, interlaced characters, this book is such a page-turner. Recommended!

 

Synopsis:

When unspeakable tragedy befalls Bhubonmoni, a young widow, she must leave her village along with her brother, Krishnoshundor, and his family. Ensnared by the wily entrepreneur Nobokishore Dutta, they end up in an overcrowded depot near a port, soon to be packed into a ship sailing to Surinam, where they will be sold as sugarcane plantation slaves. But Fate has other plans. Bhubonmoni finds herself being led away from the port and her family to be stowed away in a secret location in Calcutta. Not too far away, a young rebel Shourendro is swept up by the ideas of the Brahmo Samaj. Meanwhile in Metiabruz, a shy musician Chondronath impresses the exiled Nawab of Lucknow with his art. None of them know it yet, but the stars are aligning despite overwhelming odds for them to meet under curious circumstances…Set against the vibrant background of late nineteenth-century Bengal, Debarati Mukhopadhyay’s beautifully woven novel brings together the glory and the decadence of colonial times. Fast-paced and thrilling, with a lively cast of characters including historical figures such as Nawab Wajid Ali Shah, Rabindranath Tagore, and Dr Kadambini Ganguly, Chronicles of the Lost Daughters is an unforgettable saga

 

About The Author

Debarati Mukhopadhyay is one of the most popular authors of contemporary Bengali literature. A young Government officer by profession, she has written more than 20 bestselling novels including Narach, Dakat Raja, Glanirbhabati Bharat, Shikhandi, Ishwar Jakhan Bandi and Aghore Ghimiye Shiva. Her corporate world novel Dasgupta Travels was shortlisted for the Sahitya Akademi Yuva Puraskar in 2021. Many of her novels, such as Narak Sanket, Ranrkahini, and Shikhandi have been adapted for the silver screen. Debarati is a prolific writer and contributes regularly to Bengal’s prominent literary magazines and journals. As an officer, bestselling author, travel-enthusiast, an amateur violinist and mother to an infant, Debarati is considered a youth icon in Bengal who volunteers her time to guide government-job aspirants. A widely recognized public speaker, Debarati can be often found delivering motivational talks at educational seminars, conferences, and at the halls of Ramakrishna Mission.  

 

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