Novel on the story of Umrao Jan Ada, courtesan of Lucknow.

Translated from the Urdu by Khushwant Singh. Umrao Jan Ada is perhaps one of the most enigmatic and forgotten female figures in South Asian Literature. The question of her existence, her beauty, her scholarly abilities and her poetic gift remain a mystery. The book is an account of Umrao's life as a Lucknawi courtesan, a nautch girl, delivered in first person by Umrao herself, and documented by a close friend. Written more than a hundred years ago, the novel recreates the gracious ambience of old Lucknow and takes the reader on a fascinating journey through the palaces of wealthy nawabs, the hideouts of the colorful vagabonds and the luxurious abodes of the city's courtesans.

Published in March of 1899, Muhammad Hadi Ruswa’s famous novel, Umrao Jaan Ada created a sensation when it came out, with its candid account of the life of Umrao Jaan, a semi-fictional, possibly real, Lucknow courtesan. Subsequent translations and films based on the book have further extended its fame. What is less known, however, is that a month after he wrote Umrao Jaan Ada, Ruswa penned a short text, a novella entitled Junun-e-Intezar (‘The Madness of Waiting,’ April 1899) in which Umrao avenges herself on her creator, Ruswa, by narrating the story of his life. Blurring the lines between truth and fiction, narrator and character, this clever narrative strategy gives the courtesan a speaking voice. Although there has been much interest in the original novel, this paratext has been completely forgotten; something this volume attempts to redress through a critical introduction which rethinks Umrao Jaan Ada and the Urdu literary milieu of late-nineteenth century Lucknow. This book contains both the Urdu text and its translation for the bilingual reader. Published by Zubaan.

How different is Pakistan's culture from that of India? Exploring various aspects of the arts, literature and heritage of Pakistan, Raza Rumi argues that culture in Pakistan is not particularly unique to the nation, but rather a part of the cultural identities shared by South Asians. From the songs of Kabir and the ballads of Bulleh Shah to the cult of the feminine in the Sindh region, Rumi takes a kaleidoscopic view of the deep-set cultural mores that tie India and Pakistan together. Going further, he examines aspects of the visual arts, poetry, music and literature of Pakistan that impact global cultural narratives. Finally, he introduces readers to contemporary Pakistani writers and artists and the milieu in which they express their creativity, giving us a fascinating glimpse into cultural productions in Pakistan today. Being Pakistani is a riveting account of artistic traditions and their significance in present-day Pakistan, presenting an alternative view of the country, beyond the usual headlines that focus on political instability and terrorism.

An English Translation Of 1790 Novel `Nashtar` , The Title Changed To Nautch Girl. Portrays Realistically The Contemporary Scene In The Author`S Time Which Makes It India`S First Modern Novel.

A quiet, unassuming novel of lyrical charm and infectious humour! The story could not be simpler. A girl marries and in course of time produces a child. The girl is city bred — her husband, a Sanskrit scholar, who has his heart in a remote village and where he takes her after marriage. That is all. Young, playful and mischievous Mohini dreams of a husband but her education and upbringing and the ideas of liberal professor father are unacceptable to her Brahmin traditioned grandmother. Marriage for love is discarded, matrimonial advertisements in the newspapers bring only embarrassment, and it is through a fortune teller that a match is made. Finally charming Mohini is wed and brought to grip with a different reality, a responsibility and a way of life to which she would gladly succumb if only her husband was closer. The unusual cast of characters include a passionate and romantic snake charmer, and a matriarch whose worship of tradition leads her to amorality. ‘Here is a quiet, unassuming novel that has moments of true lyric charm and infections humour. The writer has such a real feeling for people that his characters transcend national barriers and a western reader soon feels comfortable with the unusual cart — including the passionate and romantic snake charmer, the lovely girl whom none will marry because her horoscope is accursed, and the matriarch whose worship of tradition leads her to a amorality. We see the best of India – the best of any civilisation for that matter – in Mohini.' — The New York Times 'The customs of old and the ideas of a modern age clash in this fictional account of the marriage of a young girl and a country scholar.' —Saturday Review, New York 'A splendid novel that may take rank with Pearl Buck's The Good Earth.' — Chicago Tribune 'The story of evolution of seventeen year old, day dreaming girl filled with romantic notions into an emotionally and intellectually mature woman. Bhabani Bhattacharya, as ever, gives a perfectly round female character and paints Mohini’s every emotion with ease and dexterity of the seasoned artiste.' — Nagpur Times

The Last Labyrinth is a splendid novel — serious, disturbing, lyrical and irresistibly readable, a fascinating exploration into the turbulent inner world of a successful urban India. Som Bhaskar is a millionaire-industrialist, married to a woman of his choice who has borne him two children, yet relentlessly driven by undefined hunger which he unsuccessfully seeks to satisfy by possession — of an object, a business enterprise, a woman. Much like Saul Bellow's Henderson he is always crying, 'I want, I want, I want.' His search taken him from Bombay to Benares, at once holy and repellent — with its narrow, dirty lanes, dancing girls and a mystical aura. Amidst this contrasting juxtaposition of locales, the novel explores the meaning of life and death, illusion and reality, desire and resignation. Here is an eternally contemporary theme with all its complexities; the story's spiritual and sensuous dimensions are interwoven with great finesse making this novel a rare, unforgettable treat. 'The Last Labyrinth is considered an outstanding contribution to Indian English literature for its restless search for a meaning in human existence, its treatment of the multiple levels of reality, challenging narrative technique and an evocative use of language.' — Sahitya Akademi Award Citation 'The story is beautifully written... holds the reader's undivided attention to the finis.' — Khushwant Singh

It was hot at Padachina even for a summer day. In this village were many houses, but not a soul could be seen anywhere. The bazaar was full of shops and the lanes were lined with houses built either of brick or of mud. Every house was quiet. The shops were closed, and no one knew where the shopkeepers had gone. Even the street beggars were absent. The weavers wove no more. The merchants had no business. Philanthropic persons had nothing to give. Teachers closed their schools. Things had come to such a pass that children were even afraid to cry. The streets were empty. There were no bathers in the river. There were no human beings about the houses, no birds in the trees, no cattle in the pastures. Jackals and dogs morosely prowled in the graveyards and in the cremation grounds. One great house stood in this village. Its colossal pillars could be seen from a distance. But its doors were closed so tight that it was almost impossible for even a breath of air to enter. Within the house a man and his wife sat deeply absorbed in thought. Mahendra Singh and his wife were face to face with famine. The year before the harvests had been below normal. So rice was expensive this year and people began to suffer. Then during the rainy season it rained plentifully. The villagers at first looked upon this as a special mercy of God. Cowherds sang in joy, and the wives of the peasants began to pester their husbands for silver ornaments. All of a sudden, God frowned again. Not a drop of rain fell during the remaining months of the season. The rice fields dried into heaps of straw. Here and there a few fields yielded poor crops, but government agents bought these up for the army. So people began to starve again. At first they lived on one meal a day. Soon, even that became scarce, and they began to go without any food at all. The crop was too scanty, but the government revenue collector sought to advance his personal prestige by increasing the land revenue by ten per cent. And in dire misery Bengal shed bitter tears. Beggars increased in such numbers that charity soon became the most difficult thing to practise. Then disease began to spread. Farmers sold their cattle and their ploughs and ate up the seed grain. Then they sold their homes and farms. For lack of food they soon took to eating leaves of trees, then grass and when the grass was gone they ate weeds. People of certain castes began to eat cats, dogs and rats.

This book is an English translation of the Sanskrit classic Play Abhijnan Shakuntalam by the great poet and Playwright Mahakavi Kalidas, written around 220 CE. The play is about the strange fate of Shakuntala, a simple, beautiful ascetic lady. King Dushyant meets her and falls in love with her. They get married. After some time, king Dushyant returns to his capital, assuring her that he would soon send for her. However, due to the curse by a wrathful sage, Durvasa, the king completely forgets about her. Humiliated, Shakuntala goes off into the forest to live by herself. In due course, she gives birth to a boy, whom she names Bharat. Fortuitously, following certain turns of events, Durvasas curse is removed, and the king remembers all about Shakuntala. He tries to find her, but of no avail. One day, he accidentally meets the young boy, Bharat, in the forest. The family is thus united and happily returns to the capital. Bharat grows up to become a great emperor. The original name of India is Bhaarat after his name. Rama, worshipped by Hindus all over the world as an Incarnation of God, was a descendent (some 6000-7000 years ago) of emperor Bharat.