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Ayurveda: medicine without side-effects

This book is not a defence of Ayurveda. A sound, scientific framework of healthcare that has saved countless lives over 5000 years does not need defenders. It needs champions, and to be given wings. In a world that needs Ayurveda more than ever, Dr G.G. Gangadharan, who has been researching both the theory and the practice for the past thirty-five years, shows in his book the logic behind the science.

Let us take a look into some essential tips from this book, so that you can find the secret to greater happiness through balance and long-lasting health.

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Ayurveda Front cover
Ayurveda||Dr G.G. Gangadharan

The plant that the West calls Rauwolfia serpentina is known in Ayurveda as ‘sarpagandha’. Ayurveda has been using it for centuries for the treatment of high blood pressure without any side-effects. Modern scientists have researched this plant and identified a master molecule named reserpine. They extracted it

from the plant, synthesized it in a laboratory and used it to make medicines that would reduce blood pressure. The medicine achieved this objective, but also caused side-effects that included depression and suicidal tendencies.* After many fatal incidents, the medicine had to be retracted from the market.

There’s a larger story behind this phenomenon—what I call the ‘Sarpagandha Syndrome’. To understand this story, we need to know how nature works and how Ayurveda has moulded itself to fit into nature’s contours.

Nature, Wholeness and the Dynamic Equilibrium

We know that nature abhors a vacuum. Let’s also acknowledge that nature abhors the lack of wholeness. At every point in time since the formation of our planet, every life form and substance found in nature has remained in a state of dynamic equilibrium— within itself and also with respect to its environment. If there is a momentary imbalance in that—for instance, if an unstable isotope is created—nature quickly restores the substance to its whole and natural state.

Meanwhile, nature uses chemistry to change biology over vast periods of time, so that every life form continuously evolves to a higher level of resilience.

Since nature sets such exacting standards for itself, is there any wonder that Ayurveda trusts it implicitly? By extension, Ayurveda trusts every plant and human body to be whole and complete. In the human body, this dynamic equilibrium is maintained by, among other phenomena, homeostasis; Claude Bernard, the father of experimental physiology, called this self-regulating ability the milieu interior. Since the human body and other natural life forms are designed this way, any imbalance in the human body—that manifests as a disease—can be addressed by using the restorative power of nature.

When we take a step back and look at the entire universe, we realize that nature is awe-inspiring. We realize that every life form is a microcosm of the entire universe. Since humans tend to be self-obsessed, let us rewrite that sentence as follows: The human body is a microcosm of the entire universe. The matter of the universe is in the human body and what is in the human body is in the universe. After all, astronomy tells us that the atoms that make up our body were produced inside a star. We share chemistry with the universe and, therefore, everything we find in it is potentially therapeutic for us.

So for the vaidya—the practitioner of Ayurveda—our planet is a boundless pharmacy. This makes the vaidya a bridge connecting the whole nature with the whole human being.

We will now look at how Ayurveda embraces the wholeness of the plant while also treating the human being in its entirety. In simpler terms, Ayurveda does not reduce a plant to its constituent bio-molecules. Nor does it reduce the human being to a set of ailing organs. Life is undoubtedly enabled by molecules and organs, but life is experienced in its entirety. Therefore, the processes that nurture and preserve life must be wholesome.

The first sign that Ayurveda is wholesome is the fact that its medicines do not cause side-effects if used appropriately.

No Side-Effects

Yes, Ayurvedic medicines cause no side-effects. The brazenness of this claim is made apparent by the fact that many allopathic medicines have a list of side-effects that’s longer than the list of chemicals used to make them. Despite painstaking research that can last years—including clinical trials on various life forms and multiple iterations of development—allopathic medicines have been unable to shrug off the bane of unwanted externalities. Take antibiotics, for example—every generation of antibiotics is made stronger so as to vanquish newer generations of more resilient superbugs. This also means that every new generation of antibiotics takes a stronger toll on the human body, with the side effects becoming starker. In such a dynamic domain, Ayurveda continues to use medicines free of side-effects, conceptualized and created many centuries ago. How has Ayurveda achieved this?

Well, Ayurveda studies plants in their entirety. Roots, stems, bark, flowers, fruits and leaves are understood—as constituent yet interconnected parts of the plant—and the therapeutic value of each part is understood. That done, Ayurveda identifies the best way to extract the plant’s essence for human use.

Any part of any plant has hundreds of types of bio-molecules, such as alkaloids and saponins. In many cases, only one bio-molecule among these is capable of acting as the master molecule that combats the ailment. While allopathy will isolate, extract and synthesize this bio-molecule, Ayurveda will extract the

entire part because it believes that the other bio-molecules in the plant negate the side-effects caused by just one of them.

This throws new light on the Sarpagandha Syndrome mentioned earlier. The plant sarpagandha behaves like a team, whereas reserpine behaves like the star player of that team, who is completely lost without his teammates.

The long and short of it is that Ayurveda trusts nature’s design to be more holistic than its counterpart, the human design, and by embracing nature’s holism, it manages to do away with potential side-effects.

Having said that, let’s make another statement that, which at first glance, may appear contradictory: We don’t take all parts of the plant or even everything within a single part of the plant.

All we are saying is that molecular-level selection of matter leads to problems. So, in Ayurveda, the vaidya removes those parts of the plant that are neither necessary for treatment, nor easily ingested by the human body. Through well-considered extraction methodologies, the physician makes the therapeutic qualities of the plant accessible to humans.

 

Why does man get wrinkles and a stoop?

L. Somi Roy is here with a collection of endearing and vibrant retellings of Manipuri myths told for the first time ever to the outside world! Do we know why man gets wrinkles and a stoop?

Here’s why! Scroll down for a short extract from one of the 12 fascinating tales from Manipur passed on by balladeers and grandmothers over hundreds and hundreds of years!

‘O Paobirai, my ancestor! Your grandchild humbly offers you a basket of rice and a human every day. Please accept my offering.’

 

*

Finally, it was Man’s turn. Now, Man was very lazy and tardy and so he came very late to the gathering. He did not know what lifespans each of the animals, birds, fishes and insects had requested. As he came into the presence of his creator, Soraren looked at the latecomer with annoyance. Man said nervously, ‘Lord of the Sky, my Creator, I humbly request that my kind and I may live for fifty years. Please grant us a lifespan of fifty years.’

Front cover of And That Is Why
And That is Why || L. Somi Roy (Author), Sapha Yumnam (Illustrator)

Very well,’ said Soraren in an irritable voice.  ‘Your wish is granted. You, Man, shall have a lifespan of fifty years. And it is just as well since you are late and the last to come and I have only fifty years left to give out.’

And  Man  gratefully  took  the  last  remaining  fifty  years  and  hurriedly went along his way. And that is why, Dear Punctual One, you must never be lazy and always be on time.

After all the living beings had received their lifespans, they set out on their journey back to their holes and burrows and nests and houses on Earth.  On the way, Man met Monkey and Elephant.  Man asked them, ‘Monkey and Elephant, how many years did each of you ask for and how many were you granted?’

They replied, ‘We both asked for a lifespan of a hundred years each and it was granted. How many years did you ask for?’

Soraren, who was also known as the Eternal Creator, lived in great happiness with the other mighty beings and together they knew no pain or sorrow or even illness or death

Hearing  their  reply,  Man  did  not  answer  but  started  to  cry  instead.  He  wept  loudly  and  large  drops  of  tears  rolled  down  his  cheeks and snot ran from his nose. It was all really quite awkward, Dear Embarrassed One.

Seeing  the  very  wet  and  messy  and  unhappy  state  Man  was  in,  Monkey  and  Elephant  did  not  know  whether  to  be  sorry  or  embarrassed for him. Finally, they asked, ‘Man, why are you crying?’

Man  burbled  through  his  tears,  ‘I  thought  the  Creator  was  angry with me since I was late. I was afraid. So, I did not ask for many years. I asked only for fifty years. And I got the last fifty years the Eternal Creator had left. And now I will have to die before you both.’ Saying this, Man sobbed all the more. He bawled even more loudly than before, if that was possible.

Monkey  and  Elephant  rolled  their  eyes  and  looked  at  each  other  and  said,  ‘Do  not  cry  any  more,  Man.  We will each give you twenty-five years from our lifespans.  This  way,  you  will  have  one  hundred  years  altogether  to  live.’  For,  as  everybody  knows,  Dear  Arithmetical  One,  fifty  and  twenty-five  and  twenty-five  make one hundred.

Man happily agreed.  He  wiped  away  his  tears  and  Elephant  helped  him  blow  his  nose  with  his  long  trunk.  ‘Oh, thank you, Monkey and Elephant!’ said Man through his tears. ‘Let us go to the Eternal Creator. Let us tell him what we have spoken about and request him to give his approval to our arrangement.’

So according to the elders, Soraren decided that he would give all the living beings a lifespan each

Monkey and Elephant agreed. Together with Man, they went back to  Soraren  and  told  him  everything.  Upon hearing their words, Soraren thought in silence. ‘Very well,’ he spoke at last. ‘If this is what you have all agreed upon, I will allow it. And I have no more years to hand out.  Man will now live for one hundred years. For, as everybody knows, fifty and twenty-five and twenty-five make one hundred.  But  this  lazy  and  tardy  creature  called  Man  must  never  forget  the  generosity  and  kindness  of  Monkey  and  Elephant.  He  must  be  reminded  in  the  future,  for  all  his  tomorrows, and for all generations to come till the end of time, that  the  lifespan  I  had  granted  him  was  fifty  years  but  that  he  received  twenty-five  years  from  Monkey  and  twenty-five  years  from Elephant.’

Soraren  then  looked  at  Man  and  declared,  ‘Man,  here’s  the  thing. You shall keep your looks and stand upright as I have made you for the fifty years that I first granted you. But once you cross the age of fifty and start to live the twenty-five years you have received from  Monkey,  your  skin  will  wrinkle  and  fold  like  Monkey’s  so  that  you  may  never  forget  you  are  living  his  years.  And  once  you  cross the age of seventy-five and start to live the twenty-five years you have received from Elephant, your back will bend and you will stoop like Elephant so that you may never forget you are living his years. Let this be so.’

And  that  is  why,  Dear  Curious  One,  once  Man  has  lived  his  fifty years, he gets wrinkles like the Monkey, and once he has lived seventy-five years, he gets a stoop like the Elephant.

*

 

Dhoni and Raina’s special bond

In his book Believe, Suresh Raina takes us through the challenges he faced as a young cricketer. He was bullied in school and at cricket camps, but he always punched above his weight, overcoming every adversity life threw at him and never giving up. This is the story of the lessons he learnt and the friendships he built.

Peppered with invaluable insights – about the game and about life – that Raina acquired from senior colleagues like M.S. Dhoni, Rahul Dravid, Anil Kumble, Sachin Tendulkar and Sourav Ganguly, among others, this book will make you believe in the power of hard work, love, luck, hope and camaraderie. It is a journey through the highs and lows in the cricketing career of a man who saw his world fall apart and yet became one of the most influential white-ball cricketers India has ever seen.

Enjoy this little excerpt that explores his relationship with the legend M.S. Dhoni.

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Believe
Believe||Suresh Raina, Bharat Sundaresan

Mahi Bhai always makes fun of me for being clumsy. I’ve seen him talk about how if I am around in his room, I would end up dropping something or walking into something. ‘Tu rahega toh kuch na kuch hoga,’ he likes to say. Maybe there’s some truth there. I am just a very energetic person, and I am always up and about as you might have seen me on the field.

There’s another thing that he is amused by. He’ll talk about how I would saunter into his room, order a lot of food over room service and not even wait for it to arrive. I’ll tell you why I am always keen on ordering my own food. What happens with a lot of them is that they would order nothing but chicken and roti. I, on the other hand, am a vegetarian. Moreover, I never have maida, because back home, I was used to having rotis made of ragi atta. My eating habits are pretty desi, so I need a good number of vegetable dishes and can’t do without a dal.

So, Mahi would ask me to order my own food. But often, after ordering, I would remember that I had a gym session and end up not eating that food. But I made it a point to not waste it and would go back later for it, even if by then the food had gone cold.

Talking of room service always reminds me of the times Robin Uthappa and I would order food on Mahi Bhai’s tab. And of that time in Pakistan when Rahul Bhai was captain and said, ‘Boys, order whatever you want. It’s on me.’ We made him pay for that reckless statement.

It involved, me, Irfan, Robin and Mahi Bhai. It was Dhoni’s idea. He just called up room service and asked for a double of everything we had ordered. Two milkshakes, an extra biryani, two extra rotis, two more dals, two more sabzis. Rahul Bhai couldn’t stop laughing at us. He eventually admitted that he’d learnt his lesson and that he would never give us a free hand again with room service. We did end up finishing everything we’d ordered, though.

That’s the kind of fun Mahi Bhai and I would have at other people’s expense all the time. We are like partners in crime when it comes to pulling someone else’s leg. I’ve been at the receiving end too at times, when he decides to turn on me. We’ve had an interesting relationship over the years.

I have also gone through so much because of our friendship. Like the whole bias angle. People would say, ‘Oh, Raina gets picked because he is Dhoni’s friend.’ But people forget the contributions I have made for teams captained by him—India as well as CSK. That’s how you build trust in a player as captain.

For us, it was like how when you have a neighbour over at your place all the time. You can take liberties with that person, saying yeh toh ghar ki baat hai. I played so much of my career down the order, and he would say let some of the others play at the top. At times I would say, ‘Humein bhi upar khelna hai.’ But he would respond, ‘Nahi, tu at will chhakke marta hai . . .’ and say that the others, be it Rohit or Virat or Ajju (Ajinkya Rahane), were better off at the top of the order. I was more reliable in those situations. He knew my mindset. He knew what brought the best out of me. And I trusted him. It would hurt when people kept linking our friendship to my being part of the team. I don’t think the numbers lie. I’ve always earned my spot in the team, just like I earned Mahi Bhai’s trust and respect. I was there for him. He always made me feel special. Nobody can take away from that. And it doesn’t matter what people say . . .

We grew closer and closer, and even got to know a lot about each other’s personal lives and families. I went to his house and met his family. After meeting them, I realized why he is so sorted. Sakshi and he came to meet my parents soon after their wedding. A UP–Bihar cultural connection there as well.

There’s always a lot of talk about Mahi Bhai being Captain Cool. But I can tell you that is not his greatest strength as captain. He will never compromise on the game. That’s what I like about him the most. That’s what I think makes him such a legendary captain and a fantastic leader.

 

 

 

Watch out for a book flood this July

One thing that’s really difficult to do in the humid heat of July even as an adult, is to not run outside the moment so much as a drizzle becomes imminent. How then are we to keep our little ones dry, safe and away from the virus that prowls outside the doors? The answer is rather simple. Give them one of our exciting July releases and a comfy spot near a window, on a porch or anywhere they can enjoy the weather as well as a thrilling literary adventure.

There are so many to choose from!

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My Little Book Series

My Little Book of Krishna FC
My Little Book of Krishna||

Let’s dive into the vast and wonderful world of Hindu mythology! 

Naughty little Krishna’s search for butter leads to an unexpected adventure.
With charming illustrations and simple language, this short tale about Krishna will entertain and delight.

This series of charmingly illustrated board books introduces kids to some of the best known and best loved gods from popular Hindu mythology, including Krishna, Ganesha, Lakshmi, Hanuman, Shiva and Durga. Dotted with interesting facts about each god as well as an interactive seek-and-find activity, this book offers a fun and enjoyable introduction to timeless myths and festivals for modern kids.

A must have to impart important life lessons from various gods and goddesses.

 

Age: 3+ years

 

 

My Little Book of Lakshmi FC
My Little Book of Lakshmi||

Lovely Lakshmi comes to Earth once a year. Will she have a good time here?
With charming illustrations and simple language, this short tale about Lakshmi will entertain and delight.

The perfect way to familiarise babies with India’s rich cultural fabric, this book is a must have to impart important life lessons from various gods and goddesses. My Little Book of Lakshmi makes for a great gift for every preschooler for a holistic learning experience

 

Age: 3+ years

 

 

My Little Book of Ganesha
My Little Book of Ganesha||

Clever Ganesha’s got something on his mind, but what that is you’ll have to read on to find.

With charming illustrations and simple language, this short tale about Ganesha will entertain and delight.

 

Collect all books in the series!

 

Age: 3+ years

 

The Book of Cultures FC
The Book of Cultures||Evi Triantafyllides and Nefeli Malekou

The Book of Cultures

Explore the cultures of the world!

Meet buddies from different parts of our planet and go on adventures near and far with 30 stories bursting with intrigue, curiosity and wonder! Travel from Japan to Peru and South Africa to Denmark, and learn about diverse cultures, customs, traditions and more in one handy, charmingly illustrated volume.

A magical, educational experience for young readers to discover the differences that make our planet so special, but also to uncover the similarities we often overlook. Fictional plots of kids from different countries capture the imagination of little readers and allow them to experience the world beyond themselves, developing compassion and empathy. Every story is accompanied by a 2-page snapshot of that country’s culture, filled with fun facts and engaging activities, such as puzzles, songs and recipes

 

Age: 4+ years

 

Spaceship to the Universe FC
Spaceship to the Universe||Shruthi Rao, Anuradha Jagalur

Spaceship to the Universe

‘A great library is freedom. And that freedom must not be compromised. It must be available to all who need it, and that’s everyone, when they need it, and that’s always.’–Ursula le Guin

Libraries. We love them. Tyrants tremble before them. There are children in the world desperate for them, and people who are willing to put their own lives at risk to save them.

In this book, you’ll discover the oldest libraries, and the largest ones. You’ll find libraries in battlefields, in Antarctica and even in space. You’ll come across libraries in boats, on the backs of donkeys and elephants, and in telephone booths. And you will meet amazing people who will do almost anything to take libraries to people who need them

In this celebration of libraries, Shruthi Rao and Anuradha Jagalur bring together inspiring and fascinating stories to delight all those who love books and libraries.

 

Age: 10+ years

 

How the Earth Got Its Beauty FC
How the Earth Got Its Beauty||Sudha Murty

How the Earth Got Its Beauty|

After the huge success of How the Sea Became Salty and How the Onion Got Its Layers, Sudha Murty brings to you a brand new tale as part of her gorgeous chapter book series for young readers.

Excellent artwork that helps expand a child’s imagination, easy to read and understand.

A remarkable story narrated simply and endearingly for young readers.

Have you ever stopped to marvel at the earth’s beauty: at snow-capped mountains and oceans so deep; at colourful flowers and extraordinary animals? The tale of how such beauty came into existence is a curious one indeed.
India’s favourite storyteller brings alive this timeless tale with her inimitable wit and simplicity. Tricked out with enchanting illustrations, this gorgeous chapter book is the ideal introduction for beginners to the world of Sudha Murty.

 

Age: 5-8 years

 

The Great Big Lion FC
The Great Big Lion||Chryseis Knight

The Great Big Lion

Drawn and written by a 3-year-old Mensa prodigy

Long, long ago, there was a Great Big Lion. Tom and Lily were fascinated by him. They loved to hear him ROAR! But one day, the lion vanished without a trace. And so, off went Tom and Lily to find and bring back their friend, the Great Big Lion.

Written by one of the youngest writers in the world, this board book will connect to your child and make them think about empathy, friendship, nature and conservation. Dive into this fun read that combines storytelling and learning through patterns and numbers.

 

Age: 1-4  years

 

Topi Rockets from Thumba FC
Topi Rockets from Thumba||Menaka Raman

Topi Rockets from Thumba

A charmingly illustrated and colourful book to inculcate interest in STEM subjects for young readers.

Join Vikram Sarabhai and his scientists as they try to launch a sounding rocket in Kerala, with a little help from young Mary!

The year is 1963 and India is about to embark on an audacious adventure – launching its first ever rocket into space. After much searching, a team of scientists led by the visionary Dr Vikram Sarabhai zero in on Thumba, a tiny fishing village off the coast of Kerala as the place to launch the rocket and India’s dreams of space exploration.
Mary is all of 10 years old and bored of life in sleepy Thumba. Nothing ever happens here but fishing. That is, of course, until Dr Sarabhai and team arrive

Topi Rockets from Thumba is an imagined account of the weeks and months leading up to the launch of India’s first ever rocket, told through the eyes of the inquisitive Mary.

 

Age: 6+ years

 

Smash It, Butterfingers! FC
Smash It, Butterfingers!||Khyrunnisa A.

Smash It, Butterfingers!

Look out! It’s Butterfingers again, and in smashing form!

There’s a lot going on in Green Park School. Ozymandias, a black cat, walks into classrooms and there’s a buzz about a badminton tournament that is to be played on Friday the thirteenth.

Sponsored by Brijesh K. Singh, an eccentric multimillionaire who loves badminton and hates superstitions, this tournament is good news for sports-crazy Amar Kishen, aka Butterfingers, and his friends.

Badminton practice begins, but can it be smooth sailing with talk of scams, superstitions and suspicions? Butterfingers sure has a lot on his hands!

Join Amar on his hilarious adventures as he defies luck with his madcap schemes. Let the game begin!

 

Age: 9 years

 

The Boy Who Played with Light: Satyajit Ray (Dreamers Series) FC
The Boy Who Played with Light||Lavanya Karthik

The Boy Who Played with Light

Before Satyajit Ray became a world-famous film maker, he was a little boy who saw many things in the shadows.

A delightfully illustrated short biography that will inspire young readers.

 

Age: 7+ years

 

 

 

 

 

The Girl Who Loved to Sing: Teejan Bai (Dreamers Series) FC
The Girl Who Loved to Sing||Lavanya Karthik

The Girl Who Loved to Sing

Before Teejan Bai became a world-renowned singer, she was a little girl who had to fight for her freedom to sing.

A delightfully illustrated short biography that will inspire young readers.

 

Age: 7+ years

 

Getting to know A.A. Jafri

A.A. Jafri was born and raised in Karachi, Pakistan. He is an economist by day and a writer by night. Of Smokeless Fire is his first novel.

We caught up with him and asked him a few questions that really intrigued us. Keep reading to find out his answers.

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Of Smokeless Fire FC
Of Smokeless Fire||A.A. Jafri

Of Smokeless Fire was your first published book, was it also your first attempt at writing one?

I started writing from a very early age, first with poetry and then short stories in Urdu. Initially, I think it was an exercise in self-discovery, a stream of consciousness experience without much structure or order. This novel was the first time I wrote in a serious, sustained way. So, yes, this is my first attempt at writing with the hope of getting my work published.

 

How was writing this book as an experience for you? Do you plan on writing and publishing more works in the future?

For me, writing Of Smokeless Fire has been a joyous journey. It has given me a sense of perspective, a place to give voice to my thoughts, memories, and reflections. Writing this novel has also been an incredibly cathartic experience, providing me with the means to revisit Pakistan’s complicated history and delve into the aftermath of the partition of India that my parents’ generation experienced. By creating and recreating characters and situations, it has helped me frame some uncomfortable questions.

As for the future, I’m writing a prequel to Of Smokeless Fire, imagining the life Noor ul Haq, one of the novel’s protagonists in the story, led in pre-partition India. What made him who he was? And why was the sense of belonging and displacement so pronounced in his life? While my present novel, among other things, explores the relationship between Noor and his son Mansoor, the prequel examines Noor’s relationship with his father.

 

You’re an economist who deals with facts and figures all day, what compelled you to write fiction?

Behind facts and figures, there are always stories of human beings—how people live, how they scrape a living, and how they die. I have always questioned the way professional economists have dealt with human problems. My interest in economics has always been related to issues of poverty and economic development. John Steinbeck wrote The Grapes of Wrath about how families got uprooted by the Great Depression. Charles Dickens’s Hard Times is about the social and economic conditions of the early industrial age and how it dehumanized workers. Fiction sometimes explains economics better than professional economists. I often imagine the “what-ifs” of policies. Although my novel raises questions about alienation and belonging, I hope it also reveals deep-seated economic issues and issues of class and gender in our society. I’m compelled to write the human interest behind these issues.

 

Is the story in fact, purely fiction, or are there bits and pieces drawn from life and experience? 

I can’t envision any story as solely fiction; it has to emulate lived experiences and invent replications. My novel is, of course, a fabrication, but it also draws from people I met or knew or heard about, the conversations I eavesdropped on, the fleeting encounters with strangers, the myths I grew up with, the rumors that circulated. I have tried to retrieve all those memories—real or fantastic—and applied them to a concocted reality, imagining the what-ifs and trying the why-not. The change of fortunes in Joseph’s and Mehrun’s lives—the servants’ children—in Of Smokeless Fire is fictitious but inspired by stories of real people who broke out of the cycle of grinding poverty.

 

The lines from the Qur’an that serve as an epigraph to Part I of the book are rather significant. What made the ‘djinn’ so central to your plot while you conceptualised your story?

I grew up listening to stories about djinns and reading about their existence in the Qur’an. I knew many who believed in a literal interpretation of djinns, while others explained them metaphorically. Opinions about the sacred often become such a steadfast belief that no amount of fact or logic can shake that certainty. Even followers from the same faith have conflicting views about such beliefs. It is like you are speaking a different language in the chaos of contrasting opinions. I felt that such disjunctions needed to be told in a story. So often, disparate explanations create an interesting plot, bringing in contradictions, contempt, and cruelty. I wanted to capture all that in my novel.

In my story, Noor explains what the word djinn means. It is something hidden, the part of everyone’s self that’s concealed, even from our own selves. According to him, one needs to discover that reality. He tells his son that if he finds his inner djinn, he will find his true self. My book explores the internal struggle that one has with oneself.

Childhood, the country to which we once belonged

A storyteller of the highest order, illuminating truths about our society and culture through his gorgeous, often searing prose. In his latest collection of nonfiction, Salman Rushdie brings together insightful and inspiring essays, criticism, and speeches, written between 2003 and 2020, that focus on his relationship with the written word and solidify his place as one of the most original thinkers of our time.

Languages of Truth chronicles Rushdie’s intellectual engagement with a period of momentous cultural shifts. Immersing the reader in a wide variety of subjects, he delves into the nature of storytelling as a human need. He explores what the work of authors from Shakespeare and Cervantes to Samuel Beckett, Eudora Welty, and Toni Morrison mean to him.

Here us a taste of Rushdie’s signature wit and dazzling voice in Languages of Truth:

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Languages of Truth FC
Languages of Truth||Salman Rushdie

Before there were books, there were stories. At first the stories weren’t written down. Sometimes they were even sung. Children were born, and before they could speak, their parents sang them songs, a song about an egg that fell off a wall, perhaps, or about a boy and a girl who went up a hill and fell down it. As the children grew older, they asked for stories almost as often as they asked for food. Now there was a goose that laid golden eggs, or a boy who sold the family cow for a handful of magic beans, or a naughty rabbit trespassing on a dangerous farmer’s land. The children fell in love with these stories and wanted to hear them over and over again. Then they grew older and found those stories in books. And other stories that they had never heard before, about a girl who fell down a rabbit hole, or a silly old bear and an easily scared piglet and a gloomy donkey, or a phantom tollbooth, or a place where wild things were. They heard and read stories and they fell in love with them, Mickey in the night kitchen with magic bakers who all looked like Oliver Hardy, and Peter Pan, who thought death would be an awfully big adventure, and Bilbo Baggins under a mountain winning a riddle contest against a strange creature who had lost his precious, and the act of falling in love with stories awakened something in the children that would nourish them all their lives: their imagination.

The children fell in love with stories easily and lived in stories too; they made up play stories every day, they stormed castles and conquered nations and sailed the ocean blue, and at night their dreams were full of dragons. They were all storytellers now, makers of stories as well as receivers of stories. But they went on growing up and slowly the stories fell away from them, the stories were packed away in boxes in the attic, and it became harder for the former children to tell and receive stories, harder for them, sadly, to fall in love. For some of them, stories began to seem irrelevant, unnecessary: kids’ stuff. These were sad people, and we must pity them and try not to think of them as stupid boring philistine losers.

I believe that the books and stories we fall in love with make us who we are, or, not to claim too much, that the act of falling in love with a book or story changes us in some way, and the beloved tale becomes a part of our picture of the world, a part of the way in which we understand things and make judgements and choices in our daily lives. As adults, falling in love less easily, we may end up with only a handful of books that we can truly say we love. Maybe this is why we make so many bad judgements.

Nor is this love unconditional or eternal. A book may cease to speak to us as we grow older, and our feeling for it will fade. Or we may suddenly, as our lives shape and hopefully increase our understanding, be able to appreciate a book we dismissed earlier; we may suddenly be able to hear its music, to be enraptured by its song. When, as a college student, I first read Günter Grass’s great novel The Tin Drum, I was unable to finish it. It languished on a shelf for fully ten years before I gave it a second chance, whereupon it became one of my favourite novels of all time: one of the books I would say that I love. It is an interesting question to ask oneself: Which are the books that you truly love? Try it. The answer will tell you a lot about who you presently are.

I grew up in Bombay, India, a city that is no longer, today, at all like the city it once was and has even changed its name to the much less euphonious Mumbai, in a time so unlike the present that it feels impossibly remote, even fantastic: a real- life version of the mythic golden age. Childhood, as A. E. Housman reminds us in ‘The Land of Lost Content’, often also called ‘Blue Remembered Hills’, is the country to which we all once belonged and will all eventually lose: Into my heart an air that kills

From yon far country blows:

What are those blue remembered hills,

What spires, what farms are those?

That is the land of lost content,

I see it shining plain,

The happy highways where I went

And cannot come again.

All about history: An interview with the queen of children’s historical fiction, Devika Rangachari

Devika Rangachari is an award-winning author of several historical fiction books for children. Her book Queen of Fire came out in April this year. It brings to vivid life the interior life of Lakshmibai, the nineteenth-century queen of Jhansi, thrust into a position she does not desire but must assume, and of her son, who is cowed by the challenges he has to face but determined to live up to his mother’s courage.

We recently got the chance to ask her some questions about her enthusiasm for writing for children and the challenges involved, how she decides on her protagonists and her favourite historians. Read on to find out her answers!

 

  1. Queen of Ice, Queen of Earth, and now, Queen of Fire, we are sensing a pattern here. Is there a specific reason why we see you writing about queens in Indian history? How do you decide who’s going to be the protagonist of your next book? 

 

A word about these three books, to begin with. Queen of Ice is the story of Didda who ruled Kashmir in the tenth century for around fifty years despite being physically lame. Her rule formed part of my doctoral research on gender in early medieval north India. Didda’s powerful and competent rule notwithstanding, she has been virtually removed from historical narratives of Kashmir due to the gender bias that exists in the writing of history. Alternatively, she has been vilified for daring to challenge patriarchal stereotypes and follow her ambition. Queen of Earth, on the other hand, deals with Prithvimahadevi who ruled the Bhaumakara dynasty of Odisha in the ninth century. Her reign formed part of my post-doctoral research on gender in early medieval Odisha. Prithvimahadevi

managed to hold her own over a rival populace and, additionally, employed clever tactics to justify her rule, indicating her political shrewdness and sagacity. In a similar vein to Didda, however, she has either been made invisible in historical accounts of Odisha or criticised for her rule. I wanted to enable my young readers to know about these important women from the past whom they are unlikely to get to know about through their textbooks or any other source.

Queen of Fire, which deals with Rani Lakshmibai of Jhansi, is slightly different because it aims to resurrect the real woman behind the name. In most accounts of this valorous queen, she is treated almost like a goddess and no weight is given to her emotions, thoughts or fears. Nor is her relationship with her adopted son, Damodar, given any importance. I have, however, examined both these aspects in my book.

While the stories of all these women are extremely inspiring, there is no specific reason for my current focus on queens. It is just something that happened organically. If I decide that the story of a particular woman from history, culled from my academic research, is interesting and engrossing, then she becomes the protagonist of my next book. At least, that is how it has been so far!

 

  1. Writing historical fiction involves a lot of research, and the task gets more complex when the subject needs to be adapted for a younger audience. What has been your experience like writing historical narratives for children? Could you also shed some light on your research process? 

 

The challenge in writing historical fiction for children is that history is a subject that most of them dread, in any case, and, therefore, I have to make my writing enjoyable and gripping while, at the same time, maintaining a balance between historical fact and fiction. The aim is to draw my readers into the world of history and enable them to discover for themselves how exciting it really is. In addition, I have to ensure that I do not drown the narrative in facts and what could be construed as dry details. Historical accuracy is essential but the writing should convey the elements of the past in a painless and palatable manner. I have, however, immensely enjoyed the process of writing historical narratives for young readers.

My research process involves studying the original sources pertaining to the historical period or personality I am writing on. These could range from texts and inscriptions to coins, buildings and other archaeological material. For instance, the Rajatarangini, a Sanskrit text written by a poet, Kalhana, in the twelfth century is pivotal as a source for Didda’s reign, along with some coins and inscriptions that she issued. In Prithvimahadevi’s case, the sources are even more meagre, principally featuring two inscriptions that she issued and some references to her in contemporary sources. In Rani Lakshmibai’s case, though, there is plentiful information, ranging from memoirs to letters to archival documents. Historical sources become more difficult to come by the further back in time one goes. There are significant gaps in our knowledge of the early medieval queens, for instance, and a lot of guesswork is involved in order to fill these.

 

  1. Are there some women in Indian history whom you feel particularly moved by, but have not written about yet?

 

There are several—royal and non-royal—who played important roles in the polity and society of the early medieval period but have not received the acknowledgement that they deserve in the historical narrative. Apart from some powerful women in Kashmir, there are others in the south who have not really been the subject of much research or writing so far. I would like to write about many of these.

 

  1. When you are not writing and researching, what would we find you occupied with?

 I love reading, so I would be curled up with a book.

 

  1. Who are your favourite historians on Indian history?

 There are several but I will mention only two of them. Prof. Nayanjot Lahiri, my doctoral supervisor, is a well-known archaeologist who has, in addition, managed to encapsulate her research—such as on the Indus valley civilisation and on the discipline of history, as a whole—into extremely readable books for the general reader. Another historian that I greatly admire is Prof. Upinder Singh who has also successfully managed to write about the Indian past in a very accessible, engrossing manner for the layman reader, particularly on the ancient and early medieval time spans.

 

  1. What are some of your favourite historical retellings?

I grew up reading Jean Plaidy who has written an enormous range of historical fiction. Her works made me develop a real love for history. I also enjoyed Hilary Mantel’s works of historical fiction, especially her trilogy on Thomas Cromwell and the Tudor court under Henry VIII of England, and Philippa Gregory’s writing.

 

Ready for June Readathon?

While we are still getting past the uncertain times and the young ones are spending the summer break indoors, we have come to their rescue with our interesting June book collection. With a tinge of laughter, a touch of magic, a series of adventures, and a sea full of learning, our books promise to offer entertainment, comfort, and knowledge.

Here’s a curated list for June readathon!

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My First Library of Learning: Box set
My First Library Learning || .
Ages: 0 to 3 years

Foster a habit of reading in your little ones with this box set of 10 gorgeously designed and thoughtfully created board books. These books equip toddlers and preschoolers with essential reading, language, visual, motor and imagination skills. This bright, handy, easy-to-read and fun library contains books on English alphabet, numbers, colours, shapes, things at home, fruits and vegetables, seasons and opposites, transport, animals and insects.

 

Dealing with Feelings Box Set 2

Sonia Mehta

Dealing with Feelings || Sonia Mehta
Ages: 5+ years

Foggy Forest is inhabited by many fun little animals. These quirky creatures are always there for one another—helping each other overcome jealousy, boredom, sadness and confusion. Together, they deal with all the different feelings one might have every day. This special box set edition brings together six exciting titles to start a conversation with kids about their feelings and emotions.

 

Big Mistake
Big Mistake
Ages: 16+ years

Insecurities and assurances, conflict and solidarity, fearfulness and courage—the personal histories, stories and #ownvoices in this anthology cover a lot of ground in just a few pages. Let them spark conversations on love, identity, disability, family, body positivity, ambition and other tough stuff. After all, no matter how old we get, growing up can feel like one big mistake.

 

Nida Finds a Way

Samina Mishra

Nida Finds A Way || Samina Mishra
Ages: 7 to 9 years

Whenever Nida wants to do something new, Abba is scared for her and says NONONO. But Nida needs to learn and do new things—so the only way is for her to persuade Abba. Can Nida find a way?

 

A Pinch of Magic

Asha Nehemiah

A Pinch of Magic || Asha Nehemiah
Ages: 7 to 9 years

Veena’s aunt Malu is in trouble. Her pinching spoon is broken. She must get a new spoon or close down her herbal medicine business. But the only person who makes pinching spoons has disappeared. Can Veena help her aunt?

 

Unmasked

Paro Anand

Unmasked || Paro Anand
Ages: 11+ years

The year 2020 will forever be reported as the time when we all fell down. But it was also the year we all got back up and were forced to come together in a way we had never imagined before. In this timely masterpiece, Paro Anand writes of despair, courage and hope. Through eighteen short stories from the pandemic, Anand introduces us to characters who feel familiar and their stories intimate.

From a mother and son looking to make ends meet as the lockdown brutally affects their lives to a housewife who’s a victim of domestic abuse, from young keyboard wizards keen on making a difference to a home delivery executive who becomes an unlikely hero, this book unmasks the layers of the year that changed us all.

 

My Little Book of Krishna
My Little Book of Krishna || .
Ages: 3+ years

Naughty little Krishna’s search for butter leads to an unexpected adventure. With charming illustrations and simple language, this short tale about Krishna will entertain and delight. It is a perfect way to familiarize the little ones with India’s rich cultural fabric. It’s a must have to introduce a god from popular Hindu mythology and impart valuable life lessons.

 

My Little Book of Lakshmi
My Little Book of Lakshmi || .
Ages: 3+ years

Lovely Lakshmi comes to Earth once a year. Will she have a good time here?
With the beautifully illustrated pages, this short tale about Lakshmi offers a fun and enjoyable read about timeless myths and festivals for modern kids.

 

My Little Book of Ganesha
My Little Book of Ganesha || .
Ages: 3+ years

Clever Ganesha’s got something on his mind, but what that is you’ll have to read on to find.
This short tale about Ganesha has fascinating illustrations and lucid language, making it suitable for bedtime reading and parent-child association. It’s dotted with interesting facts as well as an interactive activities.

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Careful what you wish for

All Time Favourites for Children celebrates Ruskin Bond’s writing with stories that are perennially loved and can now be enjoyed in a single collectible volume. Curated and selected by India’s most loved writer, this collection brings some of the evocative episodes from Ruskin’s life. It brings together many known charming, endearing characters such as the iconic Rusty, the eccentric Uncle Ken and the ubiquitous grandmother, and a smattering of new ones that are sure to be firm favourites with young readers, especially middle schoolers. Heart-warming, funny and spirited, this is a must-have on every bookshelf!

All-Time Favourites FC
All-Time Favourites||Ruskin Bond

Here’s a taste of what’s in store in this exciting collection of stories. An extract from the story of a parrot who could, but ‘wouldn’t’ talk. ‘What goes around comes around’ is a complete mood in this one.

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‘Kiss, kiss!’ Aunt Ruby would coo, putting her face close to the barge of the cage. But the parrot would back away, its beady little eyes getting even smaller with anger at the prospect of being kissed by Aunt Ruby. On one occasion, it lunged forward without warning and knocked my aunt’s spectacles off her nose.

After that, Aunt Ruby gave up her endearments and became quite hostile towards the poor bird, making faces at it and calling out, ‘Can’t talk, can’t sing, can’t dance!’ and other nasty comments.

It fell upon me, then ten years old, to feed the parrot, and it seemed quite happy to receive green chillies and ripe tomatoes from my hands, these delicacies being supplemented by slices of mango, for it was then the mango season. It also gave me an opportunity to consume a couple of mangoes while feeding the parrot.

One afternoon, while everyone was indoors enjoying a siesta, I gave the parrot his lunch and then deliberately left the cage door open. Seconds later, the bird was winging its way to the freedom of the mango orchard.

At the same time, Grandfather came to the veranda and remarked, ‘I see your aunt’s parrot has escaped!’

‘The door was quite loose,’ I said with a shrug.

‘Well, I don’t suppose we’ll see it again.’

Aunt Ruby was upset at first and threatened to buy another bird. We put her off by promising to buy her a bowl of goldfish.

‘But goldfish don’t talk!’ she protested.

‘Well, neither did your bird,’ said Grandfather. ‘So we’ll get you a gramophone. You can listen to Clara Cluck all day. They say she sings like a nightingale.’

I thought we’d never see the parrot again, but it probably missed its green chillies, because a few days later I found the bird sitting on the veranda railing, looking expectantly at me with its head cocked to one side. Unselfishly, I gave the parrot

half of my mango.

While the bird was enjoying the mango, Aunt Ruby emerged from her room and, with a cry of surprise, called out, ‘Look, my parrot’s come back! He must have missed me!’

With a loud squawk, the parrot flew out of her reach and, perching on the nearest rose bush, glared at Aunt Ruby and shrieked at her in my aunt’s familiar tones: ‘You’re no beauty! Can’t talk, can’t sing, can’t dance!’

Aunt Ruby went ruby-red and dashed indoors.

But that wasn’t the end of the affair. The parrot became a frequent visitor to the garden and veranda and whenever it saw Aunt Ruby it would call out, ‘You’re no beauty, you’re no beauty! Can’t sing, can’t dance!’

The parrot had learnt to talk, after all.

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