With her stepsister trying to exact revenge on her, Tara turns to Lord Yama and his deadly conch for help, but she has only twenty-four hours to defeat her enemies or she may have to return to the World of the Dead forever.
Taras triumphant return to Morni is short-lived. Taras deceased former stepmother, Kali, seeks revenge through her daughter, Layla. And so begins a series of carefully orchestrated events to cast suspicion on Tara.
What if no one trusted you, not even your own family? Tara's triumphant return to Morni is short-lived. Her stepmother's daughter, Layla is angry and wants to avenge her mother's death. Her actions cast suspicion on Tara: a dead dog in the village temple, contaminated well water, and whispers that Tara is possessed by the demonic spirit of Zarku's mother. Layla fuels the villagers' blind superstitions and fears. Soon all of Morni is against Tara, even her own family. Death seems to be the only way to stop her evil stepsister. Tara turns to Lord Yama and his deadly conch for help. After a visit to the Underworld, Tara has only twenty-four hours to prove her innocence and save the village before she must go back to the world of the dead. And live there forever. Can Tara believe in herself one last time to defeat Layla, or will Lord Yama and his deadly conch claim her living soul? The Tara Trilogy is a middle-grade fantasy adventure set in India. It is infused with Indian mythology, culture, and folklore. A young girl must fight an evil healer, Zarku, who is intent on destroying all that is precious to her. Armed only with courage, perseverance, and an indomitable spirit, she must try and save herself, and the ones she loves. Mahtab Narsimhan is an award-winning author with numerous critically acclaimed books in the fantasy, horror, mystery, and contemporary genres. Many of her books have landed on prestigious lists and The Third Eye won the Silver Birch Fiction Award. She is deeply committed to representing diversity in her books. Please visit www.mahtabnarsimhan.com for more information.
When hyenas snatch Taras brother, Suraj, and two other children from the local fair in Morni, Tara and her newfound companions decide to rescue them on their own. A deadly game of hide-and-seek ensues, and Tara and her companions must work together to survive.
A charming, heartbreaking and beautifully evocative novel about fate, friendship and family Every day in the vast and vibrant city of Bombay, thousands of dabbawalla delivery-men transport hundreds of thousands of freshly prepared lunches in tiffin boxes, straight from workers' homes and into their offices. Even though the city is a maze of streets, and the tiffins carry a delivery code only dabbawallas can understand, no lunch ever gets lost. Well, almost never... When a secret note placed in a tiffin box goes astray, the consequences for a young boy are devastating. Separated from his mother and forced to work as a slave in a cafe, Kunal is sure that if he could just find his family, his life and his fortunes would change forever. Recruiting the help of a dabbawalla friend, Kunal vows to find his mother - and it seems the answer may lie with the tiffins once more. If a lost note was the beginning of his destiny, can he use another to change it?
Detailed descriptions of edible mushrooms; tips on finding, preparing, and using mushrooms; a glossary of botanical terms; color photos. Use Foraging Mushrooms as a field guide or as a delightful armchair read. No matter what you’re looking for, be it the curative Heal-All or a snack, this guide will enhance your next backpacking trip or easy stroll around the garden, and may just provide some new favorites for your dinner table.
A successful screenplay starts with an understanding of the fundamentals of dramatic story structure. In this practical introduction, Edward J. Fink condenses centuries of writing about dramatic theory into ten concise and readable chapters, providing the tools for building an engaging narrative and turning it into an agent-ready script. Fink devotes chapters to expanding on the six basic elements of drama from Aristotle’s Poetics (plot, character, theme, dialogue, sound, and spectacle), the theory and structure of comedy, as well as the concepts of unity, metaphor, style, universality, and catharsis. Key terms and discussion questions encourage readers to think through the components of compelling stories and put them into practice, and script formatting guidelines ensure your finished product looks polished and professional. Dramatic Story Structure is an essential resource not only for aspiring screenwriters, but also for experienced practitioners in need of a refresher on the building blocks of storytelling.
Elizabeth DeLoughrey invokes the cyclical model of the continual movement and rhythm of the ocean (‘tidalectics’) to destabilize the national, ethnic, and even regional frameworks that have been the mainstays of literary study. The result is a privileging of alter/native epistemologies whereby island cultures are positioned where they should have been all along—at the forefront of the world historical process of transoceanic migration and landfall. The research, determination, and intellectual dexterity that infuse this nuanced and meticulous reading of Pacific and Caribbean literature invigorate and deepen our interest in and appreciation of island literature. —Vilsoni Hereniko, University of Hawai‘i "Elizabeth DeLoughrey brings contemporary hybridity, diaspora, and globalization theory to bear on ideas of indigeneity to show the complexities of ‘native’ identities and rights and their grounded opposition as ‘indigenous regionalism’ to free-floating globalized cosmopolitanism. Her models are instructive for all postcolonial readers in an age of transnational migrations." —Paul Sharrad, University of Wollongong, Australia Routes and Roots is the first comparative study of Caribbean and Pacific Island literatures and the first work to bring indigenous and diaspora literary studies together in a sustained dialogue. Taking the "tidalectic" between land and sea as a dynamic starting point, Elizabeth DeLoughrey foregrounds geography and history in her exploration of how island writers inscribe the complex relation between routes and roots. The first section looks at the sea as history in literatures of the Atlantic middle passage and Pacific Island voyaging, theorizing the transoceanic imaginary. The second section turns to the land to examine indigenous epistemologies in nation-building literatures. Both sections are particularly attentive to the ways in which the metaphors of routes and roots are gendered, exploring how masculine travelers are naturalized through their voyages across feminized lands and seas. This methodology of charting transoceanic migration and landfall helps elucidate how theories and people travel, positioning island cultures in the world historical process. In fact, DeLoughrey demonstrates how these tropical island cultures helped constitute the very metropoles that deemed them peripheral to modernity. Fresh in its ideas, original in its approach, Routes and Roots engages broadly with history, anthropology, and feminist, postcolonial, Caribbean, and Pacific literary and cultural studies. It productively traverses diaspora and indigenous studies in a way that will facilitate broader discussion between these often segregated disciplines.
About 16 centuries ago, an unknown Indian author or authors gathered together the diverse threads of already ancient traditions and wove them into a verbal tapestry that today is still the central text for worshippers of the Hindu Devi, the Divine Mother. This spiritual classic, the Devimahatmya, addresses the perennial questions of the nature of the universe, humankind, and divinity. How are they related, how do we live in a world torn between good and evil, and how do we find lasting satisfaction and inner peace? These questions and their answers form the substance of the Devimahatmya. Its narrative of a dispossessed king, a merchant betrayed by the family he loves, and a seer whose teaching leads beyond existential suffering sets the stage for a trilogy of myths concerning the all-powerful Divine Mother, Durga, and the fierce battles she wages against throngs of demonic foes. In these allegories, her adversaries represent our all-too-human impulses toward power, possessions, and pleasure. The battlefields symbolize the field of human consciousness on which our lives' dramas play out in joy and sorrow, in wisdom and folly. The Devimahatmya speaks to us across the ages of the experiences and beliefs of our ancient ancestors. We sense their enchantment at nature's bounty and their terror before its destructive fury, their recognition of the good and evil in the human heart, and their understanding that everything in our experience is the expression of a greater reality, personified as the Divine Mother.