Sexy, surprising, and subversively wise, Babyji is the story of Anamika Sharma, a spirited student growing up in Delhi. At school she is an ace at quantum physics. At home she sneaks off to her parents’ scooter garage to read the Kamasutra. Before long she has seduced an elegant older divorcée and the family servant, and has caught the eye of a classmate coveted by all the boys. With the world of adulthood dancing before her, Anamika confronts questions that would test someone twice her age. Ebullient, unfettered, and introducing one of the most charming heroines in contemporary fiction, Babyji is irresistible.
Siva Seth has committed suicide. It is then, after death that she decides to Tell-it-all.' A school girl at 17, she had been playing torture-torture to ants, unable to cope up with a traumatic secret from her past that explains her guiltless brashness. A victim of parental incest since the age of eight, she tries to do everything that has the propensity to give her some peace and anything to divert her attention. She dates a hunk, Randeep Sissodia (cabin crew at Kingfisher) much to the irritation of her best friend Reva Dayal. She bribes a policeman at Marine lines after bunking school. She bluffs her always-on-guard mummy. She visits Hasina Syed, a past life therapist, who claims to heal her soul for only Rs.999. But, all in all does it helps? Are her nervous giggle' dreams simply a manifestation of unhinged mentality, something that spurs off with the buzz of a 6p.m. alarm? Or are some things to sleazy to be discussed, when alive?
A beautiful young girl. A cynical short-tempered man. Both wary of love, him more than her. Both wary of each other, again, him more than her. When fate throws them together, unexpectedly, they fall into place with each other like two missing pieces of a puzzle. The gift of love arrives at their doorstep without a rulebook, and unwitting, they have no idea how to handle it. But fortunately for him, she is not someone who gets intimidated easily.
Powerful. Sensual. Seductive. These are words that describe the Highlander heroes of Moning's most popular historical romances. Now two classic Highlander romances are available in these specially priced editions. Reissue.
Over the last two decades, the unstable notion of hybridity has been the focus of a number of debates in cultural and literary studies, and has been discussed in connection with such notions as métissage, creolization, syncretism, diaspora, transculturation and in-betweeness. The aim of this volume is to form a critical assessment of the scope, significance and role of the notion in literature and the visual arts from the eighteenth century to the present day. The contributors propose to examine the development and various manifestations of the concept as a principle held in contempt by the partisans of racial purity, a process enthusiastically promoted by adepts of mixing and syncretism, but also a notion viewed with suspicion by those who decry its multifarious and triumphalist dimensions and its lack of political roots. The notion of hybridity is analysed in relation to the concepts of identity, nationhood, language and culture, drawing from the theories of Mikhail Bakhtin, Homi Bhabha, Robert Young, Paul Gilroy and Edouard Glissant, among others. Contributors examine forms of hybridity in the work of such canonical writers as Daniel Defoe, Robert Louis Stevenson, Thomas De Quincey and Victor Hugo, as well as in contemporary American and British fiction, Neo-Victorian and postcolonial literature.
The Promise of Happiness is a provocative cultural critique of the imperative to be happy. It asks what follows when we make our desires and even our own happiness conditional on the happiness of others: “I just want you to be happy”; “I’m happy if you’re happy.” Combining philosophy and feminist cultural studies, Sara Ahmed reveals the affective and moral work performed by the “happiness duty,” the expectation that we will be made happy by taking part in that which is deemed good, and that by being happy ourselves, we will make others happy. Ahmed maintains that happiness is a promise that directs us toward certain life choices and away from others. Happiness is promised to those willing to live their lives in the right way. Ahmed draws on the intellectual history of happiness, from classical accounts of ethics as the good life, through seventeenth-century writings on affect and the passions, eighteenth-century debates on virtue and education, and nineteenth-century utilitarianism. She engages with feminist, antiracist, and queer critics who have shown how happiness is used to justify social oppression, and how challenging oppression causes unhappiness. Reading novels and films including Mrs. Dalloway, The Well of Loneliness, Bend It Like Beckham, and Children of Men, Ahmed considers the plight of the figures who challenge and are challenged by the attribution of happiness to particular objects or social ideals: the feminist killjoy, the unhappy queer, the angry black woman, and the melancholic migrant. Through her readings she raises critical questions about the moral order imposed by the injunction to be happy.
Kirkus Reviews Best Books of the Year ● NPR Best Books of the Year ● Amazon Fall Reading Selection ● Goodreads Best Romances of the Month ● International Dublin Literary Award Longlist "A fresh new voice." —Susan Elizabeth Phillips, New York Times bestselling author Ria Parkar is Bollywood's favorite Ice Princess—beautiful, poised, and scandal-proof—until one impulsive act threatens to expose her destructive past. Traveling home to Chicago for her cousin's wedding offers a chance to diffuse the coming media storm and find solace in family, food, and outsized celebrations that are like one of her vibrant movies come to life. But it also means confronting Vikram Jathar. Ria and Vikram spent childhood summers together, a world away from Ria's exclusive boarding school in Mumbai. Their friendship grew seamlessly into love—until Ria made a shattering decision. As far as Vikram is concerned, Ria sold her soul for stardom and it's taken him years to rebuild his life. But beneath his pent-up anger, their bond remains unchanged. And now, among those who know her best, Ria may find the courage to face the secrets she's been guarding for everyone else's benefit—and a chance to stop acting and start living. Rich with details of modern Indian-American life, here is a warm, sexy, and witty story of love, family, and the difficult choices that arise in the name of both.
‘Mirza’s theorization of resistance is a substantive addition to feminist and postcolonial scholarship, and her rich readings of different literary texts make a valuable contribution to feminist literary studies.’ Nalini Iyer, Professor of English, Seattle University 'Resistance and its discontents in South Asian women’s fiction is a rigorous and impassioned exploration of the concept of resistance in postcolonial literature. It is an essential contribution to the field of postcolonial studies and a compelling excavation of resistance in South Asian women’s writing.' Claire Chambers, Professor of Global Literature, University of York 'Mirza’s comprehensive take on what counts as “resistance” in Anglophone fiction by women writers from South Asia and its diaspora—not just its heroic manifestations but also its limits, its contradictions, its marginality and even its absence in the reality of women’s lives—makes this a provocative theoretical inquiry into female agency. Resistance and its Discontents in South Asian Women’s Fiction makes a major contribution to postcolonial criticism as well as feminist theory.' Rajeswari Sunder Rajan, Formerly Global Distinguished Professor, New York University ‘Maryam Mirza’s new book is sure to become a major work of reference in the field of South Asian literary studies and of literature by (and on) women. Its breadth, depth, and level of detail are astonishing, and it offers a thoroughly new reboot of the genre of “resistance literature”, by enlarging and complexifying the semantic reach of the term “resistance” beyond its current remit within contemporary fictional narratives.’ Neelam Srivastava, Professor of Postcolonial and World Literature, Newcastle University This book is an examination of how English-language fiction by women writers from India, Pakistan, Bangladesh and Sri Lanka has grappled with the idea and practice of resistance. A valuable, original and timely contribution to the field of South Asian literary and cultural studies, this book extends and complicates existing debates about the meanings of resistance. It brings to the fore not only the emancipatory potential of resistance, but also the contradictions that it can encompass as well as the anxieties that it can generate, particularly for women. Focusing on novels and short fiction, the book explores fiction by Arundhati Roy, Kamila Shamsie, Tahmima Anam, Jhumpa Lahiri, Manju Kapur and Ru Freeman, amongst others.
A New York Times Editors Choice Selection A global sensation, Kim Jiyoung, Born 1982 “has become...a touchstone for a conversation around feminism and gender” (Sarah Shin, Guardian). One of the most notable novels of the year, hailed by both critics and K-pop stars alike, Kim Jiyoung, Born 1982 follows one woman’s psychic deterioration in the face of rampant misogyny. In a tidy apartment on the outskirts of Seoul, millennial “everywoman” Kim Jiyoung spends her days caring for her infant daughter. But strange symptoms appear: Jiyoung begins to impersonate the voices of other women, dead and alive. As she plunges deeper into this psychosis, her concerned husband sends her to a psychiatrist. Jiyoung narrates her story to this doctor—from her birth to parents who expected a son to elementary school teachers who policed girls’ outfits to male coworkers who installed hidden cameras in women’s restrooms. But can her psychiatrist cure her, or even discover what truly ails her? “A social treatise as well as a work of art” (Alexandra Alter, New York Times), Kim Jiyoung, Born 1982 heralds the arrival of international powerhouse Cho Nam-Joo.
"A dreamlike novel about a young historian and a persuasive and beguiling stranger coming together in modern-day Kolkata, India to transcribe an ancient journal. A collection of paper, parchment, and skins, the journal tells of bloodshed, kidnapping, magic and shapeshifting, set against the harsh landscapes of the 17th-Century Mughal Empire. It reveals the story of hunters and prey, lovers and the beloved, and, in the end, the choice to be transformed, or be quarry"--
