This book offers new translations of the Tiruppavai and Nacciyar Tirumoli, composed by the ninth-century Tamil mystic and poetess Kotai. Two of the most significant compositions by a female mystic, the Tiruppavai and Nacciyar Tirumoli give expression to her powerful experiences through the use of a vibrant and bold sensuality, in which Visnu is her awesome, mesmerizing, and sometimes cruel lover. Kotai's poetry is characterized by a richness of language in which words are imbued with polyvalence and even the most mundane experiences are infused with the spirit of the divine. Her Tiruppavai and Nacciyar Tirumoli are garlands of words, redolent with meanings waiting to be discovered. Today Kotai is revered as a goddess, and as a testament to the enduring relevance of her poetry, her Tiruppavai and Nacciyar Tirumoli continue to be celebrated in South Indian ritual, music, dance, and the visual arts. This book aims to capture the lyricism, beauty, and power of Kotai's original works. In addition, detailed notes based on traditional commentaries, and discussions of the ritual and performative lives of the Tiruppavai and Nacciyar Tirumoli highlight the importance of this ninth-century poet and her two poems over the past one thousand years.

Legend tells us of a young girl in the ninth century who swears to marry none but Vishnu. She appropriates a garland meant for him - a transgressive act, yet one of singular devotion.,. Born of her boundless, consuming love for Vishnu are the two exquisite Tamil poems, Tiruppavai and Nacciyar Tirumoli. These compositions, in which Vishnu is her awesome, mesmerizing and sometimes cruel lover, give expression to Kotai's powerful experiences and her vibrant, bold sensuality. Eventually, the story goes, Kotai wins Vishnu for herself, becoming his bride at the great temple of Srirangam, for which extraordinary feat she earns the title Andal: She Who Rules. The Secret Garland aims to capture the lyricism, beauty and power of the original poems. Archana Venkatesan's detailed notes, based on traditional commentaries, and discussions of the ritual and performative lives of the two poems contextualize the significance and influence of Andal's continuing legacy. An essential addition to the classical library.

Kotai-Andal: the only woman among the twelve Alvar saints. Legend tells us of a young girl in the ninth century who swears to marry none but Vishnu. She appropriates a garland meant for him - a transgressive act, yet one of singular devotion.,. Born of her boundless, consuming love for Vishnu are the two exquisite Tamil poems, Tiruppavai and Nacciyar Tirumoli. These compositions, in which Vishnu is her awesome, mesmerizing and sometimes cruel lover, give expression to Kotai's powerful experiences and her vibrant, bold sensuality. Eventually, the story goes, Kotai wins Vishnu for herself, becoming his bride at the great temple of Srirangam, for which extraordinary feat she earns the title Andal: She Who Rules. The Secret Garland aims to capture the lyricism, beauty and power of the original poems. Archana Venkatesan's detailed notes, based on traditional commentaries, and discussions of the ritual and performative lives of the two poems contextualize the significance and influence of Andal's continuing legacy. An essential addition to the classical library.

Ninth century Tamil poet and founding saint Andal is believed to have been found as a baby underneath a holy basil plant in the temple garden of Srivilliputhur. As a young woman she fell deeply in love with Lord Vishnu, composing fervent poems and songs in his honour and, according to custom, eventually marrying the god himself. The Autobiography of a Goddess is Andal's entire corpus, composed before her marriage to Vishnu, and it cements her status as the South Indian corollary to Mirabai, the saint and devotee of Sri Krishna. The collection includes Tiruppavai, a song still popular in congregational worship, thirty pasuram (stanzas) sung before Lord Vishnu, and the less-translated, rapturously erotic Nacchiyar Tirumoli. Priya Sarrukai Chabria and Ravi Shankar employ a radical method in this translation, breathing new life into this rich classical and spiritual verse by rendering Andal in a contemporary poetic idiom in English. Many of Andal's pieces are translated collaboratively; others individually and separately. The two approaches are brought together, presenting a richly layered reading of these much-loved classic Tamil poems and songs.

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.

In eighth century India, Andal is born into a world where girls are married and with child by fourteen. Defying the mores of her time, she refuses marriage to a mortal man. Only a god will do. Andal’s imagination is boundless and her antics set the town’s tongues wagging. As Andal becomes more and more absorbed by her visions, she composes songs to her divine lover. Saisha discovers Andal’s songs in a book on a trip to India with her partner Marcus. The verses are confronting and unearth memories Saisha thought were long ago buried. Not only is she unable to conceive, for the past two decades Marcus has chosen celibacy. What defines her as a woman when these two primal desires remain unfulfilled? Andal’s words are deceptively simple, yet shine a lamp on the labyrinths of Saisha’s sexuality and her quest to find peace with the choices she has made.

This fabulous volume, containing compositions of mystic poets across India, from Kabir, Annamacharya and Chandidas to Tukaram, Meera, Akkamahadevi and many more, reminds us of the rich palette of Bhakti. Featuring classic translations as well as new, unpublished ones by acclaimed poets, it will delight seekers and poetry lovers alike.

The names of Mirabai, Akka Mahadevi and Andal, are known to many, but innumerable women poets remain relatively unknown. When we hear of them, it is invariably as plaster saints or meek followers. It is time to smell the danger in their words again, to listen to their feral sensuality, their searing questions about custodians of gender and faith. It is time to tune into their brazenness, their heartbreaking longing. Not just for their sake but for ours too. In this anthology of sacred poetry that arrives after the much-loved book, Eating God, Arundhathi Subramaniam weaves together haunting voices of, by and for women across the Indian subcontinent. Here is a lineage of audacious woman-centred spirituality that traverses the poetry of ancient Buddhist nuns, Bhakti and Sufi mystics, tantrikas and Vedantins. There are women here, and men singing as women, and both raising their voices in praise of the sacred feminine. Brought to us through translation, these poems surprise with how intimately familiar their ravenous yearnings and ecstatic freedoms are. Wild Women invites us to reclaim an explosive inheritance of female power, rapture and wisdom.

This book examines the phenomenon of colorism in India and the Global South and critically analyses the obsession with fair skin and its association with social capital or mobility. Exploring the prevalence of colorism in India, China, Japan, Vietnam, South Africa, Brazil, Argentina, Kenya and Australia, it traces its roots in history, scriptures, travel narratives, contemporary media and popular culture. How much did colonialism and European imperialism contribute to the desire to be white? How have globalization and the spread of consumer culture and Western ideals of beauty helped exacerbate these issues? The author discusses these questions while looking at the aspirations for beauty and modernity among these societies and the growing popularity of the use of creams, lotions and other methods to whiten the skin as a means to assimilate, emulate the West and gain better prospects and life. Lucid and topical, this book will be an essential read for scholars and researchers of race and colorism, sociology, social history, social anthropology, cultural studies, consumer economics, Asian studies and South Asian studies.

‘Look, my feet measure beyond earth and sky!’ he said and touched the sky. I have surrendered to my lord who glanced at me with his large radiant eyes. The Tiruviruttam is an iconic poem by Nammāḻvār (c. ninth century CE), the greatest of the āḻvār poet-saints of the Tamil Śrīvaiṣṇava tradition. Its hundred interlinked verses celebrate the love between an anonymous heroine and hero, who come to be identified with Nammāḻvār and his beloved deity, Viṣṇu. The poet masterfully weaves the erotic and esoteric to reveal both the contours of love and the never-ending cycles of separation and union, of birth and death, from which only Viṣṇu can offer release. In A Hundred Measures of Time, Archana Venkatesan has crafted a sonorous free-verse rendering and an accompanying far-ranging essay to delight poetry lovers and scholars alike.