This second volume of “Sathyam Sivam Sundaram” narrates the life history of Bhagawan Sri Sathya Sai Baba, covering the period 1962 to 1968, when He was at the age of 36 to 42 years, in Prof. N. Kasturi’s inimitable, poetic style. Prof. N. Kasturi is the chosen biographer of Bhagawan, who lived with Swami and experienced the Divine Leelas, during these years and it is most appropriate to get this first-hand information from his writings for our benefit. Bhagawan’s historic letter dated 25.05.1947, in His own handwriting declaring His task, vow, and mission is included in this volume. Many incidents and miracles that happened during this period with Bhagawan’s grace are brought out in this volume most interestingly, along with many, appropriate photographs, which will form a garland for the living and loving Divinity, Bhagawan Sri Sathya Sai Baba. Prof. Kasturi gives a clarion call to all: “Come! Give me your hand. We shall go along, page after page, sharing the wonder and the wisdom, the awe and the mystery, the truth and the testimony, the glory and the grandeur, and the abundance of the peace.”

Satyam, shivam, sundaram- truth Auspiciousness, beauty- this is our true nature. knowing this and abiding in it alone makes us happy always. In this book, swami tejomayanada, head of chinmaya mission worldwide unravle for us the true meaning and nuance of these three words and lead us to the highest through them. the unique of this book is that pujya swamiji elucidates these three terms in a most reader-friendly manner, with illustration from everyday life, building up the subtley of their import to exalted levels. this makes the book a fascinating journey from oneself to oneself.

This is the biography of Professor N. Kasturi, the chosen biographer of Bhagawan Sri Sathya Sai Baba. This book is his autobiography, his story, his journey to the feet of the Lord, Bhagawan Sri Sathya Sai Baba. In his own words, "Each of us has to live the volume of biography, which we bring with us, as often as we are born, page after page, chapter after chapter, howsoever punctuated with dots and dashes, interrogations and exclamations, commas and colons, until the sentence ends ultimately with a Full Stop. But, luckily, I have as my inseparable companion and counsel, Bhagawan Himself; He dots the i’s and crosses the t’s as I live the lines on every page. He has made the Book of Life, my biography – momentous and meaningful for me. I must, however, confess that I do not deserve this book on me, by me. There are, I know, millions, who are absorbing the Love of the Living Loving God much deeper, who can, therefore, stand forth as messengers of His Love. They can lead the unloved and the unloving with surer and firmer steps, to the Presence of the Redeemer, the Comforter, the Saviour, the Avatar, the Sai. Nevertheless, when Bhagawan manifested a faint, favourable interest, when someone ventured to whisper to me in His Presence, that a bunch of my reminiscences may be welcomed by many, I was promoted by that smile to embark on this audacious adventure. My memory assumed the role of Chief Editor and hence, the chronicle suffers from imperfect chronology. Since the four parts of “Sathyam Sivam Sundram” relate most of that I have yearned to communicate, this book has become a personal testament, often perhaps too personal to be tolerated, for which act of indiscretion, I ask for pardon. Flattery is the food of fools, say those, who are denied that pabulum. I dare not deny my taste, for I have been fooled by flatterers, who threw appellations like poet, scholar, linguist, humourist, philosopher, and even ant-hill sage! Please dear reader, remember that I am struggling my best to eliminate the poison of the ego and sympathise with me, whenever you find the reptile raising its hood between the lines of this book. A few ‘old students’ of my classes at the University, my grandson, his wife, and a few brothers at Prasanthi Nilayam demanded that I should not give up the work and insisted on the completion of the book. As a result, this book, ‘Loving God’ is now placed at the Feet of the Lord and on the palms of those, who live in the Love of the Lord. Jai Sai Ram."

Raj Kapoor Is Many Things To Many People: Producer, Director, Actor, Editor, Musician, Story-Teller, A Man Of Many Moods, An Acknowledged Patriarch Of India S Film-Making Industry. He Is Also Known To The World As An Extraordinary Showman, Lover, Idealist, Sage And Reformer. Raj Kapoor Has Always Been A Controversial Figure. Although His Films Always Evoked Extreme Reactions, He Knew That Mass Audiences Had Made Him, And He Never Deserted Them. There Will Be Endless Debates About His Exact Contribution To The Art Of Cinema, But Few Can Deny That He Was The Greatest Entertainer Known To Indian Films, The Last True Movie Mogul Of Indian Cinema. Raj Kapoor Worked With The Cinematic Tradition He Inherited, Made Modifications And Added New Elements To It, And Thus Created A Popular Art Form That Was Consonant With His Temperament And View Of Life. He Infused A Distinctive Mode Of Popular Romantic Sensibility Into Indian Cinema. Raj Kapoor Has Been Portrayed In Various Ways. He Was Imperious And Majestic, A Dreamer Of Big Dreams; His Creations Were Clearly Several Times Larger That The R.K. Studios, Which Remains A Living Monument To One Man S Vision, Energy And Enterprise. In This Book His Daughter Records The Lesser-Known Facets Of His Magnificent Personality, Without Interpreting His Thoughts, So That When Readers Thumb Through The Pages, They May Feel His Presence.

In this biographical study, Antonio Rigopoulos explores the fundamental role of a hagiographer within a charismatic religious movement: in this case, the postsectarian, cosmopolitan community of the Indian guru Sathya Sai Baba. The guru's hagiographer, Narayan Kasturi, was already a distinguished litterateur by the time he first met Sathya Sai Baba in 1948. The two lived together at the guru's hermitage more or less continuously from 1954 up until Kasturi's death, in 1987. Despite Kasturi's influential hagiography, Sathyam Sivam Sundaram, little scholarly attention has been paid to the hagiographer himself and his importance to the movement. In detailing Kasturi's relationship to Sathya Sai Baba, Rigopoulos emphasizes that the hagiographer's work was not subordinate to the guru's definition of himself. Rather, his discourses with the holy man had a reciprocal and reinforcing influence, resulting in the construction of a unified canon. Furthermore, Kasturi's ability to perform a variety of functions as a hagiographer successfully mediated the relationship between the guru and his followers. Drawing on years of research on the movement as well as interviews with Kasturi himself, this book deepens our understanding of this important pan-Indian figure and his charismatic religious movement.

In this pathbreaking work, Shrayana Bhattacharya maps the economic and personal trajectories--the jobs, desires, prayers, love affairs and rivalries--of a diverse group of women. Divided by class but united in fandom, they remain steadfast in their search for intimacy, independence and fun. Embracing Hindi film idol Shah Rukh Khan allows them a small respite from an oppressive culture, a fillip to their fantasies of a friendlier masculinity in Indian men. Most struggle to find the freedom-or income-to follow their favourite actor. Bobbing along in this stream of multiple lives for more than a decade-from Manju's boredom in 'rurban' Rampur and Gold's anger at having to compete with Western women for male attention in Delhi's nightclubs, to Zahira's break from domestic abuse in Ahmedabad-Bhattacharya gleans the details on what Indian women think about men, money, movies, beauty, helplessness, agency and love. A most unusual and compelling book on the female gaze, this is the story of how women have experienced post-liberalization India.