Discover a world of spice and color in this celebration of Indian cuisine made for the American kitchen. Indian cooks are masters of flavor. Enjoyed and revered worldwide, the best Indian food offers comfort, wonder, and beauty. In Mumbai Modern, Amisha Dodhia Gurbani delivers a marriage of traditional Gujarati cuisine, Mumbai street food, and modern innovation inspired by the bountiful fresh ingredients on offer in her adopted home of California. Mumbai Modern offers more than 100 vegetarian recipes, complete with Gurbani’s stunning photographs, including breakfasts (Pear and Chai Masala Cinnamon Rolls); appetizers and salads (Dahi Papdi Chaat); mains (Ultimate Mumbai-California Veggie Burger); bread (Wild Mushroom and Green Garlic Kulcha), rice, and snacks (Cornflakes Chevdo); sauces, dips, and jams (Blood Orange and Rosemary Marmalade); desserts (Masala Chai Tiramisu with Rose Mascarpone, Whipped Cream, and Pistachio Sprinkle); and drinks (Nectarine, Star Anise, and Ginger Shrub). Alongside family stories, history, culture and more, this vibrant cookbook is a triumph of Indian-American culinary brilliance.

The first book published in the United States on Parsi food written by a Parsi, this beautiful volume includes 165 recipes and makes one of India's most remarkable regional cuisines accessible to Westerners. In an intimate narrative rich with personal experience, the author leads readers into a world of new ideas, tastes, ingredients, and techniques.

Anjali Nerlekar's Bombay Modern is a close reading of Arun Kolatkar's canonical poetic works that relocates the genre of poetry to the center of both Indian literary modernist studies and postcolonial Indian studies. Nerlekar shows how a bilingual, materialist reading of Kolatkar's texts uncovers a uniquely resistant sense of the "local" that defies the monolinguistic cultural pressures of the post-1960 years and straddles the boundaries of English and Marathi writing. Bombay Modern uncovers an alternative and provincial modernism through poetry, a genre that is marginal to postcolonial studies, and through bilingual scholarship across English and Marathi texts, a methodology that is currently peripheral at best to both modernist studies and postcolonial literary criticism in India. Eschewing any attempt to define an overarching or universal modernism, Bombay Modern delimits its sphere of study to "Bombay" and to the "post-1960" (the sathottari period) in an attempt to examine at close range the specific way in which this poetry redeployed the regional, the national, and the international to create a very tangible yet transient local.

A fascinating history of a great cosmopolitan port and industrial city

Soak: Mumbai in an Estuary is a unique way of looking at Mumbai's terrain and the history of its making. It presents an alternative visualisation of MumbaI's landscape with extraordinary' artistic and design expertise. Innovative technique in architectural drawing, rare photo-works, maps and models add to the thought-provoking and exciting insights. Proposes twelve design initiations that work to resolve the problem of flood. Uses approximately 72 historical maps and illustrations and 90 new drawings and photographic works done by the authors themselves. Comes across as a major initiative that will bring awareness of contemporary concerns of cities, using design to create public awareness and involvement. Holds global relevance in the context of sea level rise and climate change. This is a distinctive book in response to the Mumbai flood of 2005. It aspires to address and transform the increasingly shrill language of fear, anxiety and dread that marks our reception of the rains in Mumbai today. The book imagines the sea and the monsoon not as enemies and agents of flood, but as inevitable partners in the shaping of the land and thereby offers a new vocabulary for living with the monsoon and the sea.

An extraordinarily moving memoir from an iconoclastic new talent—an artist, cook, and illustrator whose adventures at home and abroad reveal the importance of living life with your eyes wide open. Best known for her witty illustrations, and as a cook beside her mischievous father in her family’s legendary Manhattan restaurant, in Mumbai New York Scranton, Tamara Shopsin offers a brilliantly inventive, spare, and elegant chronicle of a year in her life characterized by impermanence. In a refreshingly original voice alternating between tender and brazen, Shopsin recounts a trip to the Far East with her sidekick husband and the harrowing adventure that unfolds when she comes home. Entire worlds, deep relationships, and indelible experiences are portrayed in Shopsin’s deceptively simple and sparse language and drawings. Blending humor, love, suspense—and featuring photographs by Jason Fulford—Mumbai New York Scranton inspires a kaleidoscope of emotions. Shopsin’s surprising and affecting tale will keep you on the edge of your seat.

For readers of Jhumpa Lahiri and Rohinton Mistry, as well as Lorrie Moore and George Saunders, here are stories on the pathos and comedy of small–town migrants struggling to build a life in the big city, with the dream world of Bollywood never far away. Jayant Kaikini’s gaze takes in the people in the corners of Mumbai—a bus driver who, denied vacation time, steals the bus to travel home; a slum dweller who catches cats and sells them for pharmaceutical testing; a father at his wit’s end who takes his mischievous son to a reform institution. In this metropolis, those who seek find epiphanies in dark movie theaters, the jostle of local trains, and even in roadside keychains and lost thermos flasks. Here, in the shade of an unfinished overpass, a factory–worker and her boyfriend browse wedding invitations bearing wealthy couples’ affectations—”no presents please”—and look once more at what they own. Translated from the Kannada by Tejaswini Niranjana, these resonant stories, recently awarded the DSC Prize for South Asian Literature, take us to photo framers, flower markets, and Irani cafes, revealing a city trading in fantasies while its strivers, eating once a day and sleeping ten to a room, hold secret ambitions close.

The Rough Guide Snapshot to Mumbai is the ultimate travel guide to India's most dynamic city. It guides you through the city with reliable information and comprehensive coverage of all the sights and attractions, from priceless Indian art in the Chhatrapati Shivaji Museum to the imposing Gateway to India and Taj hotel, plus places to escape the crowds including Chowpatty Beach and Marine Drive. Detailed maps and up-to-date listings pinpoint the best cafés, restaurants, hotels, shops, bars and nightlife, ensuring you have the best trip possible, whether passing through, staying for the weekend or longer. Also included is the Basics section from The Rough Guide to India, with all the practical information you need for travelling in and around Mumbai, including transport, food, drink, costs, health, activities and tips for travelling with children. Also published as part of The Rough Guide to India. Full coverage: Taj Mahal Palace & Tower, Colaba Causeway, Gateway to India, Kala Ghoda art galleries, Chhatrapati Shivaji Museum, Oval Maidan, Fort district, Crawford Market and the bazaars, Marine Drive, Chowpatty Beach, Malabar Hill, Mahalakshmi Temple, Haji Ali's Tomb, Elephanta (Equivalent printed page extent 102 pages).

The first ever book on Mumbai written in the Marathi language, this is a historically fascinating and revealing urban biography of nineteenth-century India.

Between the well-documented development of colonial Bombay and sprawling contemporary Mumbai, a profound shift in the city's fabric occurred: the emergence of the first suburbs and their distinctive pattern of apartment living. In House, but No Garden Nikhil Rao considers this phenomenon and its significance for South Asian urban life. It is the first book to explore an organization of the middle-class neighborhood that became ubiquitous in the mid-twentieth-century city and that has spread throughout the subcontinent. Rao examines how the challenge of converting lands from agrarian to urban use created new relations between the state, landholders, and other residents of the city. At the level of dwellings, apartment living in self-contained flats represented a novel form of urban life, one that expressed a compromise between the caste and class identities of suburban residents who are upper caste but belong to the lower-middle or middle class. Living in such a built environment, under the often conflicting imperatives of maintaining the exclusivity of caste and subcaste while assembling residential groupings large enough to be economically viable, led suburban residents to combine caste with class, type of work, and residence to forge new metacaste practices of community identity. As it links the colonial and postcolonial city--both visually and analytically--Rao's work traces the appearance of new spatial and cultural configurations in the middle decades of the twentieth century in Bombay. In doing so, it expands our understanding of how built environments and urban identities are constitutive of one another.