Now his mother's messages ramble on his answering machine when he wants no one but his one obsession, Richard, to call. Passionate and unflinchingly honest in its narrative, Ode to Lata scavenges the depths of one man's misguided search for love in a world of emotionally-void encounters and tangled memories. All the while, Ali's story is intertwined with the unraveling of his parents' own doomed relationship and the film music of Bollywood's eminent singer Lata Mangeshkar (Diva of Indian film music and the namesake of the book's title).

"Pooja Kapoor, a betrayed wife and mother, is forced to question her beliefs and marriage when she discovers that her husband, Rahul, has fallen in love with Atif, a young Muslim man. Bereft and desperate for divine intervention, she is compelled to confront painful truths about the past, the duality in God and husband, and the secrets that threaten to destroy everything in their wake."--P. [2] of cover.

INTRODUCTION BY LATA MANGESHKAR Lata Mangeshkar's life and career are widely known, and yet there is an aspect that remains largely unrecorded: her life on the international stage. Beyond the confines of a recording booth, or as the voice of generations of actresses, she was an accomplished and magnetic performer on stage. She attracted vast audiences of Indian origin who have made their home in many countries, including the US and Canada. Mangeshkar transformed how the Indian film music concert was perceived in the West by refusing to be part of the low-key song-and-dance performances that were held earlier in community halls, schools and colleges. She insisted that she and her colleagues would sing only in mainstream auditoriums - this was an unheard-of demand because Indian film artistes had never performed on those stages at that time. In ON STAGE WITH LATA, Mohan Deora - co-promoter and co-organizer of Lata Mangeshkar's international tours from 1975 to 1998 - allows us to journey with her and the top male playback singers, including Mukesh (who tragically died during a Detroit tour), Manna Dey and Kishore Kumar. Deora and Shah write about the participation of big-name stars including Amitabh Bachchan and Dilip Kumar, Waheeda Rehman and Farida Jalal. Mangeshkar is described here in her interactions with musicians, colleagues and friends as she meticulously prepared to sing on stage. The tours led to planning and glitches, camaraderie and tension, and anecdotes galore. They also provided the authors with a unique opportunity to observe the clarity of thought with which Lata Mangeshkar approached her work, and to see a great artiste at the height of her powers. A fine eye for detail makes the book a delight to read as Mohan Deora and Rachana Shah record an important slice of India's cinematic and cultural history.

An exquisite novel of North Africans in Paris by "one of the most original and necessary voices in world literature" WINNER OF THE 2021 PEN TRANSLATION PRIZE Paris, Summer 2010. Zahira is 40 years old, Moroccan, a prostitute, traumatized by her father's suicide decades prior, and in love with a man who no longer loves her. Zannouba, Zahira's friend and protege, formerly known as Aziz, prepares for gender confirmation surgery and reflects on the reoccuring trauma of loss, including the loss of her pre-transition male persona. Mojtaba is a gay Iranian revolutionary who, having fled to Paris, seeks refuge with Zahira for the month of Ramadan. Meanwhile, Allal, Zahira's first love back in Morocco, travels to Paris to find Zahira. Through swirling, perpendicular narratives, A Country for Dying follows the inner lives of emigrants as they contend with the space between their dreams and their realities, a schism of a postcolonial world where, as Taïa writes, "So many people find themselves in the same situation. It is our destiny: To pay with our bodies for other people's future."

A Delightful Read The Hindu The First Woman Chief Justice Of A High Court In India, The First Woman Judge Of The Delhi High Court, The First Woman To Top The Bar Examinations In London: Leila Seth Has Led A Full Life. In This Autobiography, Leila Talks About Its Joyous As Well As Its Difficult Moments. Figuring Prominently Are Her Early Years Of Homelessness And Struggle, Her Straying Into Law While In England With Her Husband Premo, And Later Practising In Patna, Calcutta And Delhi; And Her Happy Marriage Of Over Fifty Years, Including The Experience Of Bringing Up Three Remarkable Children: Writer Vikram, Zen Buddhist Dharmacharya Shantum And Film-Maker Aradhana. Intertwining Family Life With Professional, Leila Movingly Describes The Years After Her Father S Premature Death When As Children They Were Obliged To Live With Friends. There Are Also Delightful Vignettes: Premo And Her Turning An Old Mansion Into A Splendid Home In Patna, Vikram S Writing Of The Novel A Suitable Boy, Shantum S Ordination As A Buddhist Teacher By Thich Nhat Hanh And Aradhana S Marriage To Peter, An Austrian Diplomat, And Work As Art Director On Films Like Earth And Water. Intimate, Intricate, Charming And Often Amusing, On Balance Presents A Rich And Heart-Warming Portrait Of An Exceptional Woman, Her Family And Her Times.

In this novel "full of music, magnetism, and familial obligation" (Emma Straub, author of All Adults Here) a dying billionaire matriarch leaks news of her death early so she can examine her legacy—a decision that horrifies her children and inadvertently exposes secrets she has spent a lifetime keeping. Dava Shastri, one of the world's wealthiest women, has always lived with her sterling reputation in mind. A brain cancer diagnosis at the age of seventy, however, changes everything, and Dava decides to take her death—like all matters of her life—into her own hands. Summoning her four adult children to her private island, she discloses shocking news: in addition to having a terminal illness, she has arranged for the news of her death to break early, so she can read her obituaries. As someone who dedicated her life to the arts and the empowerment of women, Dava expects to read articles lauding her philanthropic work. Instead, her "death" reveals two devastating secrets, truths she thought she had buried forever. And now the whole world knows, including her children. In the time she has left, Dava must come to terms with the decisions that have led to this moment—and make peace with those closest to her before it's too late. Compassionately written and chock-full of humor and heart, this powerful novel examines public versus private legacy, the complexities of love, and the never-ending joys—and frustrations—of family. Includes a Reading Group Guide. A Good Morning America and Lilly Singh's Lilly Library Book Club pick Most anticipated in fall 2021 by TIME, The Washington Post, Bustle, Goodreads, and Debutiful • An Indie Next Pick • A Publishers Marketplace Buzz Book for Fall/Winter 2021 • Longlisted for the 2021 Center for Fiction First Novel Prize

NEW YORK TIMES BESTSELLER • Pierce Brown’s relentlessly entertaining debut channels the excitement of The Hunger Games by Suzanne Collins and Ender’s Game by Orson Scott Card. “Red Rising ascends above a crowded dys­topian field.”—USA Today ONE OF THE BEST BOOKS OF THE YEAR—Entertainment Weekly, BuzzFeed, Shelf Awareness “I live for the dream that my children will be born free,” she says. “That they will be what they like. That they will own the land their father gave them.” “I live for you,” I say sadly. Eo kisses my cheek. “Then you must live for more.” Darrow is a Red, a member of the lowest caste in the color-coded society of the future. Like his fellow Reds, he works all day, believing that he and his people are making the surface of Mars livable for future generations. Yet he toils willingly, trusting that his blood and sweat will one day result in a better world for his children. But Darrow and his kind have been betrayed. Soon he discovers that humanity reached the surface generations ago. Vast cities and lush wilds spread across the planet. Darrow—and Reds like him—are nothing more than slaves to a decadent ruling class. Inspired by a longing for justice, and driven by the memory of lost love, Darrow sacrifices everything to infiltrate the legendary Institute, a proving ground for the dominant Gold caste, where the next generation of humanity’s overlords struggle for power. He will be forced to compete for his life and the very future of civilization against the best and most brutal of Society’s ruling class. There, he will stop at nothing to bring down his enemies . . . even if it means he has to become one of them to do so. Praise for Red Rising “[A] spectacular adventure . . . one heart-pounding ride . . . Pierce Brown’s dizzyingly good debut novel evokes The Hunger Games, Lord of the Flies, and Ender’s Game. . . . [Red Rising] has everything it needs to become meteoric.”—Entertainment Weekly “Ender, Katniss, and now Darrow.”—Scott Sigler “Red Rising is a sophisticated vision. . . . Brown will find a devoted audience.”—Richmond Times-Dispatch Don’t miss any of Pierce Brown’s Red Rising Saga: RED RISING • GOLDEN SON • MORNING STAR • IRON GOLD • DARK AGE • LIGHT BRINGER

An authentic, heartfelt and compelling narrative – straight from the horse’s mouth – that reveals for the first time numerous unknown aspects of the life and times of one of the greatest legends of all time who stands out as a symbol of secular India. Dilip Kumar (born as Yousuf Khan), who began as a diffident novice in Hindi cinema in the early 1940s, went on to attain the pinnacle of stardom within a short time. He came up with spellbinding performances in one hit film after another – in his almost six-decade-long career – on the basis of his innovative capability, determination, hard work and never-say-die attitude. In this unique volume, Dilip Kumar traces his journey right from his birth to the present. In the process, he candidly recounts his interactions and relationships with a wide variety of people not only from his family and the film fraternity but also from other walks of life, including politicians. While seeking to set the record straight, as he feels that a lot of what has been written about him so far is ‘full of distortions and misinformation’, he narrates, in graphic detail, how he got married to Saira Banu, which reads like a fairy tale! Dilip Kumar relates, matter-of-factly, the event that changed his life: his meeting with Devika Rani, the boss of Bombay Talkies, when she offered him an acting job. His first film was Jwar Bhata (1944). He details how he had to learn everything from scratch and how he had to develop his own distinct histrionics and style, which would set him apart from his contemporaries. After that, he soon soared to great heights with movies such as Jugnu, Shaheed, Mela, Andaz, Deedar, Daag and Devdas. In these movies he played the tragedian with such intensity that his psyche was adversely affected. He consulted a British psychiatrist, who advised him to switch over to comedy. The result was spectacular performances in laugh riots such as Azaad and Kohinoor, apart from a scintillating portrayal as a gritty tonga driver in Naya Daur. After a five-year break he started his ‘second innings’ with Kranti (1981), after which he appeared in a series of hits such as Vidhaata, Shakti, Mashaal, Karma, Saudagar and Qila.

If you look closely, you will find that the world is bursting, swelling, budding, and ripening with round things awaiting discovery—like eggs about to hatch, sunflowers stretching toward the sun, or planets slowly spinning together for billions of years. Whimsical and imaginative, this poetic ode to all that is round and full of wonder by the Newbery Honor–winning author and poet Joyce Sidman, with illustrations by the two-time New York Best Illustrated Book award recipient Taeeun Yoo, inspires curiosity and wonder for this (round) little earth we call home.

This book, by one of Italy's most important and original contemporary philosophers, represents a broad, general, and ambitious undertaking--nothing less than an attempt to rethink the nature of poetic language and to rearticulate relationships among theology, poetry, and philosophy in a tradition of literature initiated by Dante. The author presents "literature" as a set of formal or linguistic genres that discuss or develop theological issues at a certain distance from the discourse of theology. This distance begins to appear in Virgil and Ovid, but it becomes decisive in Dante and in his decision to write in the vernacular. His vernacular Italian reaches back through classical allusion to the Latin that was in his day the language of theology, but it does so with a difference. It is no accident that in the Commedia Virgil is Dante's guide. The book opens with a discussion of just how Dante's poem is a "comedy," and it concludes with a discussion of the "ends of poetry" in a variety of senses: enjambment at the ends of lines, the concluding lines of poems, and the end of poetry as a mode of writing this sort of literature. Of course, to have poetry "end" does not mean that people stop writing it, but that literature passes into a period in which it is concerned with its own ending, with its own bounds and limits, historical and otherwise. Though most of the essays make specific reference to various authors of the Italian literary tradition (including Dante, Polifilo, Pascoli, Delfini, and Caproni), they transcend the confines of Italian literature and engage several other literary and philosophical authors (Plato, Aristotle, the Stoics, Boethius, the Provençal poets, Mallarmé, and Hölderlin, among others).