While Shakespeare today is considered literature and is taught as a pure, high form of art, in his own day it was the quintessential masala entertainment he provided that attracted both the common people and the nobility. In Masala Shakespeare, Jonathan Gil Harris explores the profound resonances between Shakespeares craft and Indian cultural forms as well as their pervasive and enduring relationship in theatre and fi lm. Indeed, the book is a love letter to popular cinema and other Indian storytelling forms. It is also a love letter to an idea of India.
"The Indian subcontinent has been a land of immigrants for thousands of years: waves of migration from Persia, Central Asia, Mongolia, the Middle East and Greece have helped create India's exceptionally diverse cultural mix. In the centuries before the British Raj, when the Mughals were the preeminent power in the subcontinent, a wide array of migrants known as "firangis" made India their home. In this book, Jonathan Gil Harris, a twenty-first-century firangi, tells their stories." --Publisher description.
As readers head into the second fifty years of the modern critical study of blackness and black characters in Renaissance drama, it has become a critical commonplace to note black female characters’ almost complete absence from Shakespeare’s plays. Despite this physical absence, however, they still play central symbolic roles in articulating definitions of love, beauty, chastity, femininity, and civic and social standing, invoked as the opposite and foil of women who are “fair”. Beginning from this recognition of black women’s simultaneous physical absence and imaginative presence, this book argues that modern Shakespearean adaptation is a primary means for materializing black women’s often elusive presence in the plays, serving as a vital staging place for historical and political inquiry into racial formation in Shakespeare’s world, and our own. Ranging geographically across North America and the Caribbean, and including film and fiction as well as drama as it discusses remade versions of Othello, Romeo and Juliet, Antony and Cleopatra, and The Taming of the Shrew, Shakespearean Adaptation, Race, and Memory in the New World will attract scholars of early modern race studies, gender and performance, and women in Renaissance drama.
"Much Ado About Baseball is the best children's book I've read in the past 10 years!" -Brad Thor, New York Times bestselling author of the Scot Harvath series "A moving tale of baseball, magic, and former rivals who come together to solve a problem." -Kirkus Reviews, STARRED REVIEW In this companion novel to Midsummer's Mayhem, math and baseball combine with savory snacks to cause confusion and calamity in the town of Comity. Twelve-year-old Trish can solve tough math problems and throw a mean fastball. But because of her mom's new job, she's now facing a summer trying to make friends all over again in a new town. That isn't an easy thing to do, and her mom is too busy to notice how miserable she is. But at her first baseball practice, Trish realizes one of her teammates is Ben, the sixth-grade math prodigy she beat in the spring Math Puzzler Championships. Everyone around them seems to think that with their math talent and love of baseball, it's only logical that Trish and Ben become friends, but Ben makes it clear he still hasn't gotten over that loss and can't stand her. To make matters worse, their team can't win a single game. But then they meet Rob, an older kid who smacks home runs without breaking a sweat. Rob tells them about his family's store, which sells unusual snacks that will make them better ballplayers. Trish is dubious, but she's willing to try almost anything to help the team. When a mysterious booklet of math puzzles claiming to reveal the "ultimate answer" arrives in her mailbox, Trish and Ben start to get closer and solve the puzzles together. Ben starts getting hits, and their team becomes unstoppable. Trish is happy to keep riding the wave of good luck . . . until they get to a puzzle they can't solve, with tragic consequences. Can they find the answer to this ultimate puzzle, or will they strike out when it counts the most?
Beloved bestselling author Chitra Banerjee Divakaruni has been hailed by Abraham Verghese as a “gifted storyteller” and by People magazine as a “skilled cartographer of the heart.” Now, Divakaruni returns with her most gripping novel yet, a sweeping, suspenseful coming-of-age tale about a young woman who leaves India for America on a search that will transform her life. THOUGH SHE WAS ORPHANED AT BIRTH, the wild and headstrong Korobi Roy has enjoyed a privileged childhood with her adoring grandparents, spending her first seventeen years sheltered in a beautiful, crumbling old mansion in Kolkata. But despite all that her grandparents have done for her, she is troubled by the silence that surrounds the circumstances of her parents’ death and clings fiercely to her only inheritance from them: the love note she found, years ago, hidden in a book of poetry that had belonged to her mother. As she grows, Korobi dreams of one day finding a love as powerful as her parents’, and it seems her wish has finally come true when she meets the charming Rajat, the only son of a high-profile business family. Shortly after their engagement, however, a sudden heart attack kills Korobi’s grandfather, revealing serious financial problems and a devastating secret about Korobi’s past. Shattered by this discovery and by her grandparents’ betrayal, Korobi decides to undertake a courageous search across post-9/11 America to find her true identity. Her dramatic, often startling journey will ultimately thrust her into the most difficult decision of her life. With flawless narrative instinct and a boundless sympathy for her irrepressible characters, in Oleander Girl Divakaruni brings us a perfect treat of a novel— moving, wise, and unforgettable. As The Wall Street Journal raves, “Divakaruni emphasizes the cathartic force of storytelling with sumptuous prose. . . . She defies categorization.”
History is often considered a dry, boring and unimportant subject at school. Masala History by Siva aims to change this perception and make it engaging and interesting for everyone. In addition, there is also a deliberate attempt to sing the tune of unsung heroes and bring to light the amazing lives and works of those who have been forgotten and not given their rightful place in history. With kid-friendly content, the project presents a collection of stories to capture the attention of schoolchildren and adults alike and hopes to help initiate curiosity and conversations around this subject. Each vignette in this book will take you back in time, delving deep into untold stories and firing up your imagination.. So pick your copy, grab a masala chai or your favourite coffee and delve into tales rich and spicy! Savour it, talk about it with friends & family. Spread the histories of where we come from. After all, if you don’t know where you come from, you don’t know where you are going.
Featuring case studies, essays, and conversation pieces by scholars and practitioners, this volume explores how Indian cinematic adaptations outside the geopolitical and cultural boundaries of India are revitalizing the broader landscape of Shakespeare research, performance, and pedagogy. Chapters in this volume address practical and thematic concerns and opportunities that are specific to studying Indian cinematic Shakespeares in the West. For instance, how have intercultural encounters between Indian Shakespeare films and American students inspired new pedagogic methodologies? How has the presence and popularity of Indian Shakespeare films affected policy change at British cultural institutions? How can disagreement between eastern and western perspectives on the politics of a Shakespeare film become the site for productive cross-cultural dialogue? This is the first book to explore such complex interactions between Indian Shakespeare films and Western audiences to contribute to the assessment of the new networks that have emerged as a result of Global Shakespeare studies and practices. The volume argues that by tracking critical currents from India towards the West new insights are afforded on the wider field of Shakespeare Studies - including feminist Shakespeares, translation in Shakespeare, or the study of music in Shakespeare - and are shaping debates on the ownership and meaning of Shakespeare itself. Contributing to the current studies in Global Shakespeare, this book marks a discursive shift in the way Shakespeare on Indian screen is predominantly theorised and offers an alternative methodology for examining non-Anglophone cinematic Shakespeares as a whole.
In this anthology twenty-six contemporary fiction writers and poets offer short essays on a single movie that inspired, seduced, horrified, or fascinated them, giving readers a rare glimpse of the writer's perspective on film.
Tasting Difference examines early modern discourses of racial, cultural, and religious difference that emerged in the wake of contact with foreign peoples and foreign foods from across the globe. Gitanjali Shahani reimagines the contact zone between Western Europe and the global South in culinary terms, emphasizing the gut rather than the gaze in colonial encounters. From household manuals that instructed English housewives how to use newly imported foodstuffs to "the spicèd Indian air" of A Midsummer Night's Dream, from the repurposing of Othello as an early modern pitchman for coffee in ballads to the performance of disgust in travel narratives, Shahani shows how early modern genres negotiated the allure and danger of foreign tastes. Turning maxims such as "We are what we eat" on their head, Shahani asks how did we (the colonized subjects) become what you (the colonizing subjects) eat? How did we become alternately the object of fear and appetite, loathing and craving? Shahani takes us back several centuries to the process by which food came to be inscribed with racial character and the racial other came to be marked as edible, showing how the racializing of food began in an era well before chicken tikka masala and Balti cuisine. Bringing into conversation critical paradigms in early modern studies, food studies, and postcolonial studies, she argues that it is in the writing on food and eating that we see among the earliest configurations of racial difference, and it is experienced both as a different taste and as a taste of difference.
Kris Dhillon's first book, The Curry Secret, revealed the secret of the basic curry sauce used by Indian restaurant chefs. Since that book's first publication, there has been an increase in the variety of new and vibrant Indian dishes served in restaurants. Now her second book, The New Curry Secret, shows how to create these wonderful new dishes easily and expertly. The mouthwatering recipes include Chicken Chettinad, Lamb Kalia, Balti Subzi, Beef Badami, Fish Ambotik, Malabar Prawn Biryani, to name just a few. The New Curry Secret also includes a new recipe for the curry sauce - which smells great even in the making! Plus labour-saving ideas and tips to make cooking your favourite Indian restaurant food at home even easier.
