The book under review focuses on the recent farmers movement that lasted for one and half years and ended only when the Union Government withdrew the three farm laws against which the farmers had put up a peaceful resistance, ensconced on the borders of the national capital territory of Delhi. The movement led the farmers’ unions to form their own party (Samyukt Kisan Morcha) in Punjab and enter into the electoral arena.
Arundhati Bhattacharya’s memoir has a literary flavour, mixing personal elements with the professional admirably. But it is distinctive in the way her experiences have been articulated from the perspective of a ‘working woman’. And this feat she accomplishes with elan, making her reflections a readable treat and compelling to empathize with.To begin with, it is a story of a girl growing up at Bhilai and Bokaro and then in Kolkata for higher studies before joining the wider world of professional banking.
This beautifully produced book brings together twenty diverse essays (including the excellent introduction) on the Ramayana tradition in visual, literary and performance cultures across a broad geographical swathe and across more than a millennium.In her careful examination of Ramayana-themed sculptures in the Chalukya and Hoysala period temples of Karnataka, Parul Pandya Dhar shows that the image of Rama as ideal ruler is seen from inscriptions of the sixth century onwards where kings are compared to the divine hero. Interestingly, the nobler aspects of Ravana are also occasionally represented.
Children nowadays are exposed to a wide variety of mythological stories from around the world, and so have become quite familiar with the creatures studding these stories. Whether it is the poisonous basilisk from the Harry Potter stories, the manticore and cyclops from the Percy Jackson books and movies, or dragons from any number of books and movies, children have abundant access to stories about western mythological beasts.
Madhavi Mahadevan presents to us the tale of Drishadvati, an illegitimate princess born of Yayati, the philandering Suryavanshi king of Hastinapur. She is blessed (or cursed?) with a book—that she would sire four kings. Drishadvati, it was prophesied, was also ‘blessed’ such that she would regain her virginity after every birth. This boon made her the coveted prize of her times.
In October of 2017 California’s raging wildfires burnt down Sophia Naz’s home, taking everything, heirlooms, paintings, signed books, inter alia treasures, carelessly strewn around homes that bear witness to living—family photographs, handwritten journals, ‘the material history of a lifetime’. Her 2021 collection of poems, Open Zero is less a math of that uncountable loss, or its archiving—for its calculus, as the obliquely eponymous poem ‘After, math’, muses, ‘must be left at memory’s table’. The poems here map the fire’s aftermaths—of all that follows the event of loss.