NAZIR AKBARABADI & SEEMAB AKBARABADIThe Two Greatest Sufi Poets of AgraSELECTED POEMSTranslation and Introduction Paul Smith Nazir Akbarabadi (1735-1830) is an Indian poet from Agra (old name 'Akbarabadi') known as the 'Father of Nazm', who wrote mainly Urdu ghazals and nazms. It is said that Nazir's poetic treasure consisted of about 200,000 but only about 6000 couplets remain. The canvas of Nazir's nazms is so vast that it encompasses all aspects of human behavior and every person can find nazms that can suit his taste. Many of his poems are about daily life and observations of things such as training a young bear or the pleasures of the rainy season, how beauty can fade, the lives of old prostitutes, etc. His poems are loved by folk today. Many of his poems are spiritual and he is seen as a true Sufi. Bankey Behari: 'He saw the Lord everywhere. His meditations led him to the realization of the Forms of the Lord as well as the Formless Divinity. He sings of Shri Krishna with the greatest fervour as of Hazrat Ali and the Prophet Mohammed, and turns his face if he comes across the pseudo-saints and religious preceptors who are wanting in realization and yet profess it. By far he is best in portraying the heat of his yearning for his vision.' Seemab Akbarabadi began ghazal writing in the 19th century and became a disciple of the poet Dagh Dehlvi. He composed a remarkable Urdu translation in rhyming poetry of the Quran. He also translated into Urdu the Masnavi of Rumi, a massive task. His ghazals are suffused with true Sufism. The Perfect Spiritual Master, Meher Baba while listening to the singing of a ghazal of Seemab was so impressed by a particular couplet that he stopped the singer and declared that because of it he had bestowed on Seemab the ultimate gift of liberation or God-realization. The first poem in this collection is that ghazal. This is the largest translation of their poetry into English, with the correct form & meaning. Introduction on their Life, Times & Poetry and on the poetic forms they used. Selected Bibliography. Large Format 7" x 10" 470 pages.Paul Smith (b. 1945) is a poet, author and translator of many books of Sufi poets from the Persian, Arabic, Urdu, Turkish, Pashtu, Hindi and other languages including Hafiz, Sadi, Nizami, Rumi, 'Attar, Sana'i, Jahan Khatun, Obeyd Zakani, Mu'in, Amir Khusrau, Nesimi, Kabir, Anvari, Ansari, Jami, Khayyam, Rudaki, Lalla Ded, Mahsati, Baba Farid, Iqbal, Vrind, Rahim and others, and his own poetry, fiction, biographies, plays, children's books and a dozen screenplays. www.newhumanitybooks.com

NAZIR AKBARABADI 'FATHER OF THE NAZM' Selected Poems Translation & Introduction Paul Smith Nazir Akbarabadi (1735-1830) is an Indian poet known as the 'Father of the Nazm', who wrote mainly Urdu nazms. The canvas of Nazir's nazms is so vast that it encompasses all aspects of human behavior and every person can find nazms that can suit his taste. Many of his poems are about daily life and observations of things and are humourous. His poems are loved by ordinary folk today. Titles: On Being Patient, On Your Beauty, On Death, On Money, Story of Man, The Quest for Love, The Sick World's Party, Old Age, Story of the Pedlar, Chapatis, Joys of the Rainy Season, Pickle of Rats, Wealth, Moonlight, Bear Cub Tamer, The Sad State of Akbarabad (Agra), My Different Roles, Krishna's Childhood; Cruel, Beautiful Beloved, Only Bread, Poverty, The Orange, In the End, The Path of the Beloved. Many of his poems are spiritual and he is seen as a true Sufi. Bankey Behari: 'He saw the Lord everywhere. His meditations led him to the realization of the Forms of the Lord as well as the Formless Divinity. He sings of Shri Krishna with the greatest fervour as of Hazrat Ali and the Prophet Mohammed, and turns his face if he comes across the pseudo-saints and religious preceptors who are wanting in realization and yet profess it.' This is the largest translation of his nazms with the correct form & meaning. Introduction on his Life, Times & Poetry and on the Nazm. Selected Bibliography. Large Format paperback 7" x 10" 282 pages. COMMENTS ON PAUL SMITH'S TRANSLATION OF HAFIZ'S 'DIVAN'. "It is not a joke... the English version of ALL the ghazals of Hafiz is a great feat and of paramount importance. I am astonished. " Dr. Mir Mohammad Taghavi (Dr. of Literature) Tehran. "Superb translations. 99% Hafiz 1% Paul Smith." Ali Akbar Shapurzman, translator from English into Persian, knower of Hafiz's Divan off by heart. Paul Smith is a poet, author and translator of many books of Sufi poets of the Persian, Arabic, Urdu, Turkish, Pashtu and other languages... including Hafiz, Sadi, Nizami, Rumi, 'Attar, Sana'i, Jahan Khatun, Obeyd Zakani, Mu'in, Amir Khusrau, Nesimi, Kabir, Anvari, Ansari, Jami, Omar Khayyam, Rudaki, Yunus Emre, Mahsati, Lalla Ded, Bulleh Shah, Shah Latif, Makhfi and many others, as well as his own poetry, fiction, plays, biographies, children's books and a dozen screenplays. www.newhumanitybooks.com

This collection of Smith`s introduced writings, deftly organized and introduced by Shailaja Kathuria, provide a fresh perspective on the familar and also help us experience and Agra that we did not know existed. A map of present-day Agra. Agra locates some of the more important landmarks mentioned in the book. The book also contains a preface by Thomas Smith`s equally talentd son R. V. Smith author of the Delhi that No-one Knows.

'A riveting resurrection of the city of poets, the city of history, Saif Mahmood's learned and evocative book takes us to the heart of Delhi's romance with Urdu verse and aesthetics.'--Namita Gokhale Urdu poetry rules the cultural and emotional landscape of India--especially northern India and much of the Deccan--and of Pakistan. And it was in the great, ancient city of Delhi that Urdu grew to become one of the world's most beautiful languages. Through the 18th and 19th centuries, while the Mughal Empire was in decline, Delhi became the capital of a parallel kingdom--the kingdom of Urdu poetry--producing some of the greatest, most popular poets of all time. They wrote about the pleasure and pain of love, about the splendour of God and the villainy of preachers, about the seductions of wine, and about Delhi, their beloved home. This treasure of a book documents the life and work of the finest classical Urdu poets: Sauda, Dard, Mir, Ghalib, Momin, Zafar, Zauq and Daagh. Through their biographies and poetry--including their best-known ghazals--it also paints a compelling portrait of Mughal Delhi. This is a book for anyone who has ever been touched by Urdu or Delhi, by poetry or romance.

A Selection of Verse, is a carefully sifted volume that contains the best of Daud Kamal's work. Through honesty, the sheer tactility of the imagery and the zen-like focus he brought to bear, Daud achieved the very order it was his life's work to uncover. The volume contains poems of great economy and precision bringing to us his world of wonder and terror.

Same-Sex Love in India presents a stunning array of writings on same-sex love from over 2000 years of Indian literature. Translated from more than a dozen languages and drawn from Hindu, Buddhist, Muslim, and modern fictional traditions, these writings testify to the presence of same-sex love in various forms since ancient times, without overt persecution. This collection defies both stereotypes of Indian culture and Foucault's definition of homosexuality as a nineteenth-century invention, uncovering instead complex discourses of Indian homosexuality, rich metaphorical traditions to represent it, and the use of names and terms as early as medieval times to distinguish same-sex from cross-sex love. An eminent group of scholars have translated these writings for the first time or have re-translated well-known texts to correctly make evident previously underplayed homoerotic content. Selections range from religious books, legal and erotic treatises, story cycles, medieval histories and biographies, modern novels, short stories, letters, memoirs, plays and poems. From the Rigveda to Vikram Seth, this anthology will become a staple in courses on gender and queer studies, Asian studies, and world literature.

Introduced and selected by Ralph Russell, an eminent Urdu scholar, this collection presents a representative selection of the works of Ghalib's , the most famous and popular of the Urdu poets that the Indian subcontinent has produced. This complete Ghalib anthrology comprises poetry and prose translated from both Persian and Urdu, as well as biographical details. The volume provides a context within which modern-day English-speaking readers can read and understand his work.

Indian Film Stars offers original insights and important reappraisals of film stardom in India from the early talkie era of the 1930s to the contemporary period of global blockbusters. The collection represents a substantial intervention to our understanding of the development of film star cultures in India during the 20th and 21st centuries. The contributors seek to inspire and inform further inquiries into the histories of film stardom-the industrial construction and promotion of star personalities, the actual labouring and imagined lifestyles of professional stars, the stars' relationship to specific aesthetic cinematic conventions (such as frontality and song-dance) and production technologies (such as the play-back system and post-synchronization), and audiences' investment in and devotion to specific star bodies-across the country's multiple centres of film production and across the overlapping (and increasingly international) zones of the films' distribution and reception. The star images, star bodies and star careers discussed are examined in relation to a wide range of issues, including the negotiation and contestation of tradition and modernity, the embodiment and articulation of both Indian and non-Indian values and vogues; the representation of gender and sexuality, of race and ethnicity, and of cosmopolitan mobility and transnational migration; innovations and conventions in performance style; the construction and transformation of public persona; the star's association with film studios and the mainstream media; the star's relationship with historical, political and cultural change and memory; and the star's meaning and value for specific (including marginalised) sectors of the audience.