Books and Authors

"All materials come with an environmental impact but plastics are worth singling out as they have turbocharged our desire to consume and our reliance on disposability. Consumer goods companies are the ones we should be looking at. They make decisions about what we see on supermarket shelves, what we see in our homes. I hope this book makes people feel that we do have the power to change things because these companies want us to like them. They are very sensitive to how their reputations play out among consumers. Scientists have been sharing concerns that endocrine disrupting chemicals found in plastics could be impacting everything from our ability to procreate to mental health. Ultimately, it also comes down to policy, to pressing companies to pay to manage the waste created by their packaging. If a big consumer goods company is choosing to use a sachet, they should be paying a commensurate amount to find a way for those sachets to all be picked up even if it costs billions of rupees, and if they are selling a product that is difficult to recycle, they should be paying an environmental tax that reflects the cost of what they are putting out there." Saabira Chaudhuri, author, 'Consumed; How Big Brands Got Us Hooked on Plastic' talks to Manjula Narayan about everything from overconsumption, the harmful chemicals that leach out of packaging, and microplastics that are hazardous to all life to being a more mindful consumer and why there is still hope Learn more about your ad choices. Visit megaphone.fm/adchoices

"I'd never attempted a memoir. For me, writing something so personal and putting it out there for the world to see was difficult because I was reliving those days. But that's when I realised, I don't want to forget those days. A lot of people want to move past grief. You want things to be normal. But there is no normal after this. This is the new normal and I have to learn to live with it. My husband and my mother in law became statistics of the COVID wave but they were so much more. Like love, grief is universal and everyone experiences it in some form or the other. I wanted to make the book a medium for me to put down my grief for myself and my children but also for those who want to be able to look at their own grief too. I felt that I could articulate my grief so I should. Those who cannot articulate their grief feel like they have found a voice through this book" - Andaleeb Wajid, author, 'Learning to Make Tea for One' talks to Manjula Narayan about survivor's guilt, family ties, the exhaustion that comes with writing a memoir about loss, and how different it is from writing fiction for young adults Learn more about your ad choices. Visit megaphone.fm/adchoices

"Every part of India has shamans; you could say its part of folk culture. They call Himachal Dev Bhoomi because every village is home to several deities. Every village also has its main deity and a shaman, who is the medium of that deity. He can communicate with that deity when he goes into a divine possession trance that is ritually invoked. The villagers communicate with their devis and devtas for everything and in pooch sessions, the shaman or goor will answer questions as the deity. To a westernised mindset, this sounds like superstition. But you cannot ignore the lived experience of millions of people across centuries and say 'Yeh bakwas hai; this is nonsense!' Scholars like Sudhir Kakkar and Oliver Sacks accepted that the sacred healing rituals of shamans are far more effective than modern psychotherapy because they take the whole field of the person - family community mythology - into consideration" - Documentary film maker and author of 'Shamans of the Himalayas', Anu Malhotra talks to Manjula Narayan about the strong connection that villagers in Himachal have with their local deities, divination, altered states of consciousness of shamans, and how the belief system persists despite the onslaught of modernity and migration.    Learn more about your ad choices. Visit megaphone.fm/adchoices

"Any place where a guru goes and spends time becomes a dera; it gets a sacred connotation. Deras are reflective of our larger tradition of argumentation, philosophy and contestation. In India, there is nothing singular about our world; everything is very plural. So, any sort of broad brushing or monolithic thinking about deras is unhelpful. All deras are not Dalit. But I was surprised to see Gail Omvedt's Seeking Begumpura at one. Some are doing very much for Ambedkarite thought. They have a lot of Ambedkar in their libraries and their sanctum sanctorums too have big portraits of Ambedkar alongside their religious iconography.  Ravidassias constantly tell me that Sant Ravidas is their spiritual guru but Ambedkar is their political one. All this made me take deras very seriously. " - Santosh K Singh, author, The Deras; Culture, Diversity and Politics talks to Manjula Narayan about the varied character and caste and class affiliations of the deras of Punjab, Haryana and Himachal, the Ad-Dharmis, the Ravidassia deras of Punjab and the grand Ravidas temple in Banaras, the connections between the local and the global, and also the great need for sociologists to get their ideas out into the wider world beyond the Academy.  Learn more about your ad choices. Visit megaphone.fm/adchoices

"To earlier academics, it seemed like Company Painting was not really to be taken seriously. The Modernists didn't look at it because it's too early and the Court Painting specialists didn't look at it because it was too late. It just sort of fell in the gap. Perhaps people were less inclined to rescue it from that gap because they had difficulty in coming to terms with its hybrid colonial status. You cannot get away from it being a product of Empire. But rather than telling the story of the patrons' perspective, you have to look at how Indian artists respond. This is a historical moment where artists trained in the Indian court ateliers realised that there is this alternative source of patronage with a completely different set of demands. And when they made the transition from Court to Company, they transformed themselves and they transformed Indian art. With artists like Sewak Ram, we've got a wholly new approach. It is exciting to see the artist as much an agent as the patron in creating the hybrid form. The book and the show at DAG attempts to cover the whole spectrum of Company Painting and its trajectory in the very brief period from the 1770s to its fizzling out by 1850" - Giles Tillotson, editor, 'A Treasury of Life; Indian Company Paintings c 1790-1835' talks to Manjula Narayan about  the works of outstanding artists like Mihr Chand, Sita Ram and Ram Das, the depiction of different communities in work by Tanjore artists, Louisa Appleby's album commissioned in the vanished settlement of Maidapur, and his hope that more albums with named artists will soon come to light  Learn more about your ad choices. Visit megaphone.fm/adchoices

"South Korea is strategizing its soft power through K-Drama, K-Beauty, K-Pop and now K-Cuisine. There was a conscious strategy from the government of the country and the private sector. So the craze for Korea that we see today is no accident." Vasudev Tumbe and Sudha Huzurbazar Tumbe, authors, 'Seoulmates; Korea Through Indian Eyes', talk to Manjula Narayan about their six-year stay in South Korea, its punishing work culture, beautiful public places, numerous fantastic public toilets, contradictions in terms of being safe for women but having very few women in senior positions in the work place, and how Koreans save very little money and as a result, often can't afford to retire.  Learn more about your ad choices. Visit megaphone.fm/adchoices

"How to keep kids engaged through the book is the most important job of the illustrator. Every page was approached through that angle. That's why I've included as many dynamic poses of dogs as possible — running, jumping out of the page almost!" says Chandrima Chatterjee, illustrator, 'The Little Book of Indian Dogs'.  "I've always been aware of Indian dog breeds but I wanted to introduce my daughter to them and there was absolutely nothing out there that one could read out to a toddler. So I thought let's do it. I wrote it and then I found Chandrima," says Anusha Ramanathan, writer of the book that weaves wonderful factoids — did you know Indian dogs don't drool? - about a range of breeds like the Chippiparai, Rajapalayam, the Kombai and the ever popular Indian pariah around a simple story that both children and adults who read out this book to them will enjoy.   Learn more about your ad choices. Visit megaphone.fm/adchoices

"I thought it would be interesting to write about early Americans in India because, at that time, there were no border controls, no surveillance, no way of monitoring people who crossed borders. The Americans were not conscious state actors unlike the British, French, Dutch or even the Danes, who were all supported by their respective governments. I was interested in these brave individuals from a faraway land who just marched into a new life. My curiosity about them got me going. And because these people were outsiders and did not come with institutional backing, apart from the missionaries, they were able to see the problems in Indian society, the divisions and the hierarchy, far more quickly" - Anuradha Kumar, author, 'Wanderers, Adventurers, Missionaries; Early Americans In India' talks to Manjula Narayan on the Books & Authors podcast about Ira Scudder who set up the Christian Medical College, Vellore, the Alters of Landour who have contributed in many ways to India, Satyanand Stokes who introduced apple cultivation to Himachal Pradesh, and Black soldier Herman Perry, who worked on the Stillwell Road, among many others. Learn more about your ad choices. Visit megaphone.fm/adchoices

"The system of policing in India has so many constraints that unless the person has a special kind of inner motivation to pursue something, it's going to be very hard to get results. Inspector Prashant Kumar has that. He is an amalgamation of a real person and some fictional tropes. I've had the desire to write crime fiction for a very long time and as a journalist, I got to hang out with a lot of Delhi cops over a period of about two years. The police have miserable lives, most of them. Their work involves constantly seeing the worst side of humanity; they see the worst tragedies, death. There's also work pressure and the work load. It is extremely stressful and it leaves most officers with absolutely no time for family. All of this has its personal cost and I wanted to bring it all in. Now, I think twice before judging the police. A lot of them try very hard to make things work, to be fair, to complete investigations, to respond to emergencies, and some are very heroic too"  — Rudraneil Sengupta, author, 'The Beast Within', talks to Manjula Narayan about his police procedural set in Delhi that zooms into the mansions of the rich and the abject slums of the poor, looks at the workings of child traffickers, and examines the edge of violence amid the rapid change in the capital's ever-receding rural fringe   Learn more about your ad choices. Visit megaphone.fm/adchoices

"I've shot almost 10,000 pictures of dogs across the world over the last four years. But the pictures in this book were all shot on the beaches of Goa in the monsoon. I began shooting them during the pandemic. A deep grey sky is like a photographer's ideal studio. The atmosphere and the subdued palette came because of the season. The whole intent of this book was to create awareness about dogs in an oblique way. Somebody like me who's spent his life bullying people to do his bidding, whether it's the PM or Jeff Bezos, was now suddenly confronted by these stray dogs who don't listen to you for anything in the world! So these images are the result of serendipity; they are a happy accident. About the poems and short pieces in the book, I chose them because I wanted unpretentious voices"  - Rohit Chawla, author, 'Rain Dogs', talks to Manjula Narayan about the magnificent Indian street dog, how the world has almost forgotten the pandemic, the need to alleviate the suffering of dogs, cattle, donkeys, camels and elephants on the streets of India, Ratan Tata's legacy, the return of the physical magazine, and AI in photography, among other things on the Books & Authors podcast  Learn more about your ad choices. Visit megaphone.fm/adchoices

There are stories in every nook and cranny of Delhi and rightly so because this is the 11th or 12th city built one on top of the other; sometimes cannibalizing one city to make the other. So, there are stories of the city's multiple pasts and of the people who have lived here. Heterogenous in every sense of the word, it is a melting pot. So many places in the city have witnessed history in the making. The title brings together multiple strands about the city': Basti' means 'habitation' and this has been a continuously inhabited city for centuries; 'Darbar' because Delhi remains a politically important city" - Rakhshanda Jalil, editor, 'Basti & Darbar, Delhi-New Delhi; A City in Stories' talks to Manjula Narayan about an anthology of short fiction about the capital that includes pieces about the old city, the early days of building New Delhi, its caste and class snobberies, student life, gay scene, political elite, the vast armies from the hinterland who built it and continue to expand it, its scavengers, and its sarkari workers too. Learn more about your ad choices. Visit megaphone.fm/adchoices

The span of the book is so wide that we had to leave out some great people. The book gives you a sampling of some of the best writing. My favourite is the first story, Rebati by Fakir Mohan Senapati, translated by KK Mohapatra. In the stories written in English, Ruskin Bond's The Prospect of Flowers is so poignant. It has been difficult to get good translations from languages like Nepali, Dogri, Bodo and Santhali. Also, in certain languages there are no real translators into English. When it comes to translations, any translator who is capable and confident is half the author of the story. We are fortunate to be able to use the English language. Even now, after 230 years, there are people who say it is a foreign language. Now, it's part of your life, country, ethos!" AJ Thomas, editor, 100 Indian Stories, talks to Manjula Narayan on the Books & Authors podcast about short fiction in Indian languages, the key role of translation, Indian after-modernism, and the future literatures of emerging languages Learn more about your ad choices. Visit megaphone.fm/adchoices

"When you look at history across the world and across centuries, there are some things that are well remembered and there are many things that are forgotten. In some way, it's interesting to ask, 'What is remembered and why?' and then maybe take that further and ask, 'by whom?' It's really interesting for me as a historian to ask why is it that this particular event, this particular escape and the camp itself and the thousands of Indians who were there... Why has it been pretty much forgotten until now? It's fascinating that these guys were so resourceful. They were looking after each other and some were helping the French too in that critical time. 100s of them got to Switzerland and that was a triumph of resilience, really!" - Ghee Bowman, author, 'The Great Epinal Escape; Indian Prisoners of War in German Hands' talks to Manjula Narayan about the most successful escape of the Second World War, and the forgotten story of the hundreds of soldiers of the British Indian Army from all across the subcontinent, who broke out of the prison camp in the French town of Epinal and hid from the German army as they trudged across 100 km to freedom in Switzerland, with some like Jai Lall from Rohtak even joining and fighting alongside the French Resistance.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In terms of photography, this is not a book about Banaras or the Himalayas or very specific things; a name-place-animal-thing kind of book. In terms of narrative, of visuals that follow the structure of a novel or something in that space, we are yet to broaden our reach and scope, especially in India" - Ritesh Uttamchandani, author, 'Where Are You', talks to Manjula Narayan about his photobook of pictures clicked in Manchester, UK, that touches on everything from ways of being in public to Partition, memory, othering, family and love. Learn more about your ad choices. Visit megaphone.fm/adchoices

"You find fasting in every culture, across the millennia. We carry within us the ability to hold back. Christianity, Islam, Hinduism, Buddhism, Jainism and Judeaism vary in specifics about fasting but the idea is the same. You step back from something that you normally enjoy - it doesn't have to be a luxury - and then you hold off partaking of it. That holding back is, for me, at the heart of fasting. It is such a powerful realization that this power of absence is real, that we can shape our world by stepping back, by refraining from doing things. Then, in the 20th century and earlier too this manifested itself politically in the form of boycotts and hunger strikes. In many ways fasting is close to meditation. You pull yourself out of the daily stream of things, you step aside, you contemplate how you have been living, and then you go back into it"  - John Oakes, author, 'The Fast; The History, Science , Philosophy, and Promise of Doing Without talks to Manjula Narayan about the spiritual aspects of fasting, its use as an effective form of protest by the disenfranchised, the great role it played in the independence struggles of Ireland and India, political prisoners fasting in imperial Russia, its darker side seen in anorexia nervosa, and how fasting can perhaps contribute to well-being and longevity in intensely consumerist societies.   Learn more about your ad choices. Visit megaphone.fm/adchoices

"On the one hand we are proud of the fact that India has one of the lowest rates of divorce, globally. It's about 1.1 percent annually. However, UN reports indicate that the number of divorces has multiplied twofold since the advent of the millennium. Why is this happening? The answers are many and this was the premise for writing this book.  This book has taught me that education, class, financial independence and status are not necessarily protection against domination and toxic equations. I have tried not to demonise either of the sexes because men and women are not each other's enemies. As the saying goes, a generation was spent empowering women to lead their lives with as much independence and dignity as they could muster. Sadly, we forgot to teach men how to live with these empowered women. It's not as if these men did not wish to do better or did not wish to do right by the women. They did not know how; they did not have the role models. I do have some sympathy for that. Indian women's expectations and aspirations have changed and it's genuinely puzzling to quite a few men.  Some women do misuse the law but in percentage terms, they are very few. Atrocities against women, cases of violence and dowry continue to be far higher.  We need to have more conversations on marriage. It's a very private business which affects society at large. Abroad, the top reasons for divorce are finances and infidelity. Here, the top reasons are finances and parental expectations and interference. This book is meant to be a relationship guide with the law as the cornerstone" - Kalyani Sardesai, author, 'When Love is Lost' talks to Manjula Narayan about divorce in contemporary India. 

On the one hand we are proud of the fact that India has one of the lowest rates of divorce, globally. It's about 1.1 percent annually. However, UN reports indicate that the number of divorces has multiplied twofold since the advent of the millennium. Why is this happening? The answers are many and this was the premise for writing this book.  This book has taught me that education, class, financial independence and status are not necessarily protection against domination and toxic equations. I have tried not to demonise either of the sexes because men and women are not each other's enemies. As the saying goes, a generation was spent empowering women to lead their lives with as much independence and dignity as they could muster. Sadly, we forgot to teach men how to live with these empowered women. It's not as if these men did not wish to do better or did not wish to do right by the women. They did not know how; they did not have the role models. I do have some sympathy for that. Indian women's expectations and aspirations have changed and it's genuinely puzzling to quite a few men.  Some women do misuse the law but in percentage terms, they are very few. Atrocities against women, cases of violence and dowry continue to be far higher.  We need to have more conversations on marriage. It's a very private business which affects society at large. Abroad, the top reasons for divorce are finances and infidelity. Here, the top reasons are finances and parental expectations and interference. This book is meant to be a relationship guide with the law as the cornerstone" - Kalyani Sardesai, author, 'When Love is Lost' talks to Manjula Narayan about divorce in contemporary India. 

"Because of the wealth of inscriptions that they have left behind, it is really possible to understand the Cholas as political figures. Not only are they masters of media strategy, they are brilliantly charismatic. They are innovators capable of mobilising vaster armies than ever before . They are capable of thinking out of the box about bureaucracy, administration, diplomacy, and logistics in ways that had not been seen in medieval India. But the reason the Cholas were able to strike with such speed at such distance [as they did in their campaign to Bengal and in South East Asia] is because of the partnership they had with Tamil merchant corporations. The merchants of medieval Tamil Nadu were some of the most remarkable commercial minds of South Asia. There is mention of these merchants in Thailand around the 9th century. When the Chola state was emerging, these merchants were already trading at the other side of the Indian ocean." - Anirudh Kanisetti, author, 'Lords of Earth and Sea' talks to Manjula Narayan about the vast Chola empire based in coastal south India that was the dominant power in the subcontinent in the early medieval period, about it's great monarchs like Rajaraja Chola, the dowager queen Sembian Mahadevi and the part she played in fashioning the dynasty as the foremost devotees of Shiva, the most popular of Tamil gods, and the many little people who played a part in the Chola story.

"Savarkar was a great rationalist. The surprising thing is how such a rationalist went completely off the rails in regard to other matters. His writing is full of villains and among the villains are the Buddha, all Buddhists, whom he considered hereditary traitors, Ashoka, Akbar, Tipu Sultan, and then Gandhiji. On the question of Godse and Apte there was no doubt that they were his acolytes, they were his worshippers. Sardar Patel said the problem was that once you create an atmosphere then you don't have to tell anybody to go and assassinate; he reads your lips. You just have to see the publications Savarkar was patronizing... They were only penning hatred and it was all centered on one man -- Gandhiji. Savarkar felt that the Marathas were the real legatees of the Mughal empire and then the damn outsiders, the British, slyly took over. The same thing happens in his own life . He thinks he is the heir to Lokmanya Tilak and then this outsider Gujrati comes and takes the whole prize away. This great disappointment in his life gets centered on one man and becomes hatred. Today, Gandhiji is a great inconvenience because he embodies Hinduism, the collective memory of our people. If Savarkar's line is pursued, then India will become a dismembered nation like Pakistan; society will be riven by hate. This eternal search for purity always ends in that. The difference between Indic religions like Hinduism, Buddhism and Jainism from Semitic religions is that ours is an inner-directed search. Everything - pilgrimages, idol worship, mantras etc. is to aid this inner search. When you marry it to the State, religion becomes an instrument of the State. You only have to look at the Jewish religion when Gaza is to be bombed - it just becomes an instrument. Secularism is a way of keeping the purity of religion. It's not anti-religion. Keep religion and the State separate. That is why my book ends with this appeal - Save Hinduism from Hindutva" - Arun Shourie, author, 'The New Icon; Savarkar and the Facts' talks to Manjula Narayan on the Books & Authors podcast.

"I do believe that literature is a very important source of knowledge complementary to history, epigraphy and archaeology. It is not easy to read drama at the best of times. It is even more difficult to read Sanskrit drama because it is quite out of the ordinary! But there is a lot of timelessness in these plays, however strange they may seem with their tigers, elephants and tantriks! The human elements are the ones we still completely recognize - love, jealousy and ambition. We haven't changed; we are laughing at the same things that people 2000 years ago were laughing at! One of the criteria for choosing the plays was that all the great playwrights had to be represented. And I didn't want to use plays based on the Ramayana and the Mahabharata because we already know those stories. This is a book about introducing different narratives to a lay public. Also, I wanted people to be aware that the millennium of classical Sanskrit drama does not come out of a Hindu universe alone. It comes out of a universe of political diversity, cultural diversity, religious diversity. But it's true that it is also a common universe however much people might have different ideologies and different religions; there are social mores that hold them all together" - Arshia Sattar, author, Vasanta; Stories from Sanskrit Plays talks to Manjula Narayan on the Books & Authors podcast about ancient plays like Shudraka's Mricchakatika ( The Little Clay Cart), Mahendravarman's The Holy Man and the Courtesan, and Harsha's Nagananda, among others, that continue to appeal to us  

"Somehow, miraculously, Tibetans have managed to preserve their identity. They have actually transplanted the Tibet they left behind and have created a whole new little Tibet in India. This is a huge success story, which should be celebrated. Now we are in the third generation and Tibetan culture is very much alive" - Tsering Namgyal Khortsa, author, 'Little Lhasa; Reflections in Exiled Tibet' talks to Manjula Narayan about the vibrant arts and cultural scene of Dharamsala, which is the seat of the Tibetan government in exile, the pull of Tibetan Buddhism and the Dalai Lama to a range of seekers from across the world, and the exiled people's shift to becoming a diasporic community.

Bhang has been mentioned in the Vedas; the use of cannabis as a medicinal boon has been mentioned in a lot of Indian scriptures for thousands of years, and it has been used in Ayurveda. During the British era, the colonisers looked down upon cannabis usage among Indians. They were familiar with alcohol but not with ganja and they considered it beneath them. So, it is the recent history of cannabis in India that has made it taboo. But it is still the most used "illicit" narcotic in the country. In India, with even something that's illegal, if it's culturally appropriate, a lot of people will tun a blind eye. This is so especially in the north of the country. India is very complex and its perspectives towards this plant are also very complex and divisive. In places like Uttarakhand and Himachal, the attitude to cannabis is different; in the south, in Andhra Pradesh, Tamil Nadu and Kerala, even openly talking about using it is a big no-no" Karan Madhok, author, 'Ananda; An Exploration of Cannabis in India' talks to Manjula Narayan about everything from Lord Shiva and the availability of bhang in Banaras, Manipur's Satjal and Kawariyas to the immense economic potential of the plant, its medicinal uses, the movement for its decriminalization, and the road ahead for this ancient Indian weed

"I'm a big fan of a very specific genre of crime novels, which is the Golden Age novels, the Agatha Christies and the GK Chestertons, the novels of the 1940s and '50s. I don't get to read those types of books any more, where at the heart of the book is a very classic murder mystery, a whodunnit. You're not really that concerned about realism; it's not very gritty; there's not a lot of murders that are very unpleasant. Someone just drops dead and everyone's concerned about who's done it. I wanted to write a book like that. These days, the kind of crime that's being written — there's a lot of police procedurals; there's a lot of realistic crime. I wanted to veer away from all of that. There's so much going on that's unpleasant that people really like to have a break from all of that. You know, it's nice to worry about something as frothy as a murder mystery that you can curl up with over a cup of coffee!" - Samyukta Bhowmick, author, A Fatal Distraction, talks to Manjula Narayan about her cosy crime novel set in Delhi.

After the fall of the Soviet Union, Cuba was seen as the last outpost of communism. China went a different way and is now essentially a capitalist society where the communist party is in power. In Kerala, Cuba was seen by those people who were ideologically committed to communism as something sacred. That kind of ideological affinity might have come down but there is still an attraction to Cuba as a country that has miraculously withstood 64 years of extreme American sanctions" - Ullekh NP, author, 'Mad About Cuba; A Malayali Revisits the Revolution' talks to Manjula Narayan about everything from the flight of bright young Cubans from the country, the little known visionary side of Che Guevara, and Fidel Castro's introduction of Indian moringa to the Caribbean nation, to the dynamic women who head Cuba's exceptional health initiatives, why a taxi driver now earns more than a doctor there, and how the book might help readers understand both Cubans and Malayalis better!

A lot of our ancestors had tattoos and that's quite surprising. People don't really know what the tattoos on their grandparents mean. A number of archivists have come up in India in the last 10 years who have felt the need to document this, question their grandparents, and also to look into their communities' histories through the tattoos that they no longer have. Here is a tradition that we have lost but it's something that we now consider so trendy." Naman P Ahuja, editor, 'Indian Tattoos; Only Skin Deep?' talks to Manjula Narayan about traditional Indian tattoos from communities as varied as the Baigas, Pashtuns, Todas and the Nagas, the vanished south Indian tattoos recorded by LK Ananthakrishna Iyer in the 1930s, why people yearn to mark their lover's name on their body, tattoos as talisman, caste markers and adornments in this world and the next, the colonial encounter and the disappearance of traditional tattoos among many groups, and why it's harder to reconstruct a history of Indian men's tattoos

The Indian middle class comprises many groups and they are not able to come together. For any group to become powerful, they have to be united. But the interests of each of these groups within the Indian middle class - upper caste Hindus, Dalits, Muslims, OBCs - clash with each other. Today, caste and religious identity is more important to the individual than national identity. Perhaps this is because everything we do today revolves around money. Money is power and even if a person feels that certain things are wrong, he will not raise his voice because his interests might be compromised. In a consumerist, neo capitalist society, everything comes down to economics" - Manisha Pande, author, 'Middle Class India; Driving Change in the 21st Century' talks to Manjula Narayan about the middle class in ancient and medieval India, the vast changes that have occurred since Liberalization in the early 1990s, the status of middle and upper class Indian women as being more shackled and conformist than their working class peers, the shift in the attitude towards the country's population growth and the demographic dividend that heralds good things for the future of the nation

"I've done three books and a documentary on Guru Dutt and he is always viewed as someone rather morose and internal and a sad man. And yet, there were moments of great joy. You see it in his films. Why did he always include Johnny Walker? Because he had a sense of humour and a sense of fun and his films like Mr and Mrs 55 and Aar Paar are really wonderfully funny. This diary was to emphasize the lighter side of Guru Dutt. So there are various anecdotes from people who remembered that side of him" - Nasreen Munni Kabir, author, 'The Legacy of Guru Dutt; 2025 Diary' talks to Manjula Narayan about bringing out this diary to mark the film maker's centenary next year, the fantastic Hindi-Urdu writing of the 1950s, Guru Dutt's many extraordinarily productive working relationships with Abrar Alvi, Raj Khosla, Johnny Walker, VK Murthy and others, the self indulgence of Kagaz ke Phool, how his training in dance and choreography at the Uday Shankar Academy showed up in the kinetic movement of the camera in films like Pyaasa, the reproduction of some early letters to Geeta Dutt, and the aptness of Kaifi Azmi's statement that Guru Dutt thought with his eyes.

"The taste and quality of the ingredients that some street vendors use can rival that of Michelin star restaurants. And that they make it all available at this price point is just shocking. Street vendors also have no qualms about feeding the food that they make to their own families. They don't store their food or refrigerate and reuse, all ingredients are fresh every day, there are no secrets, its made out in the open in front of the customer. Those are the big differences with the large chains. After doing this book, we've realised that we are much better off eating from the street than eating packaged food or even from fancy places" - Priya Bala and Jayanth Narayanan, authors, 'Bazaar Bites; Tales and Tastes of India's Street Foods' talks to Manjula Narayan about the fantastic sweets and savouries on offer on our streets including in tier 2 cities like Indore, Nagpur, Bhopal, Puri, Srinagar and Allahabad, among others, specialities like the hing kachori of Varanasi, the karela chaat of Gwalior, the ghirmit of Hubli Dharwad, the samosas of Bata Mangala in Odisha, the litti chokhas of Patna and the dosa diversity of Karnataka, and how street food needs to be properly recognised as an integral part of India's culinary heritage.

"While I was translating this manuscript from Persian I realised that the food mentioned is very different from what's sold now as Mughal food. They had four masalas only. We have now laced the mutton, chicken and fish with spices so that the real taste has disappeared. In those days, you could taste the meat. The food eaten by Jahangir and Nur Jahan was very different and I wanted people to know that what we are eating in the name of Mughal food is not really Mughal food" - Salma Yusuf Husain, translator, 'Alwan-e-Nemat; A Journey Through Jahangir's Kitchen' talks to Manjula Narayan about featured recipes that combine unlikely ingredients like the fish and banana curry, Mughal emperor Jahangir's love for Gujarati khichdi and rohu, his queen Nur Jahan's many culinary innovations including the creation of fruit yogurts and vibrantly coloured dishes, how Indian cooks in the imperial kitchen took Iranian and Central Asian recipes and completely transformed them, how they turned pulao into biryani by layering and roasting it, her own surprise on encountering the utterly rice-less biryani Isfahani during a visit to Iran, and why the vegetable biryani cannot be called a biryani at all.

"Those who don't have a university or a high school for their languages are the ones who don't have economic resources. The poorest among the poor are linguistically deprived and also economically deprived. People say, 'What is the harm if many languages go and only some remain?' These are questions raised out of ignorance. Every language is a unique world view. The way every language defines space and time is unique. When languages die, we are denying ourselves the benefit of the diversity of unique world views. Diversity is necessary for the evolutionary process. By denying diversity, we are reducing our ability to go forward and meet new challenges" - GN Devy, author, 'India; A Linguistic Civilization' talks to Manjula Narayan about the emergence of a rich literature in many Adivasi languages in the 21st century, his work with the Linguistic Survey of India, language aphasia, the rise of Sanskrit, why the Harappan script still hasn't been deciphered, the tragedy of gadgets replacing parental interactions with children, and dyslexia and dysgraphia as conditions that indicate a step in the evolutionary process, among other things.

"In the 1970s, Muslim characters in films were very different. In the 1990s, Roja opened the floodgates for films representing Muslims as terrorists. It was the first film which looked at the identity of the enemy. Then, especially after the attacks of 9/11, there was a big change in the representation of Muslims in Hindi films. As for women, in many films, Muslim women are reduced to being victims of oppression always. Now, whatever is happening in the current sociopolitical scene is directly reflected on screen. I have tried to connect the politics of representation in Hindi films with contemporary politics. So my book isn't just film studies, it is also a political text" — Nadira Khatun, author, 'Postcolonial Bollywood and Muslim Identity' talks to Manjula Narayan about everything from Pran in Zanjeer to the saviour syndrome in Gully Boy, the Brahmanical stance of films like Secret Superstar and Lipstick Under my Burqa, the absence of films made by subaltern Muslims, the vanished Muslim Social of the 1970s and 80s, and much more.

"The parapsychological element is very strong in Theyyam, which is an example of Indian shamanism. When you worship a Theyyam, you don't need an intermediary, a priest, like you do in a temple; here you can go into a direct dialogue with the Theyyam. 90 percent of the Theyyams are mother goddesses performed by men. And though a Theyyam performance is highly caste oriented, it can only be a success if every community of a particular area gives their support. So everybody joins together for it and if they have disputes, it is all settled before the Theyyam, during the performance" - KK Gopalakrishnan, author, 'Theyyam; Indian Folk Ritual Theatre' talks to Manjula Narayan about this living tradition of Kerala, the touching stories that are narrated, elements of ancestor and nature worship that are central to the pre-Brahmanical folk form, the paradox of it flourishing in northern Kerala where communism first sprouted in the state, the Muslim Theyyams of Malabar, the spectacle of the performances, and how it is, in a sense, a repository of the race memory of the people of the region.

"She was my grandmother so I could have wanted to create a portrait of a person who was very fantastic and - she was fantastic and wonderful - but I didn't want to do anything that wasn't factual that tried to whitewash anything she did - there ware controversial things about her and her academic life and how she went about things. I knew this from my own mother 's view of her. One of the reasons Thiago and I did get along was because we were very clear that we weren't going to do a hagiography" -- Urmilla Deshpande and Thiago Pinto Barbosa, co-authors of 'Iru; the Remarkable Life of Irawati Karve' talk to Manjula Narayan about the pioneering Indian anthropologist, her time in 1920s Berlin where she did her PhD under racist anthropologist Eugin Fischer, her use of the Mahabharata and other ancient Indian texts to help her interpret contemporary questions about language, culture and religion in Indian society, Yugant, their own use of critical fabulation in the writing of this book, and the strange similarity between the sarcasm and dourness of the people of Berlin and of Karve's hometown, Pune!

"In the West and in privileged pockets of India that have access to technology, we think technology is linear — first film, then TV, then video... But actually in India and in most of the countries that form the global majority, obsolescence structures this. It is not like there is a linear progression of technology for everyone. A lot of people have access to tech which might not be current or new for a certain privileged class. One of my research sites was the Malegaon film industry. This was a DIY filmmaking culture where they made their own films, which had social messaging and were spoofs of Bollywood or Hollywood films. Analog video tech was the base infrastructure of this film industry. They used analog video to shoot and edit these films. It was really interesting that analog video, which was supposed to be very 1980s, 20 years later becomes the base for the industry in Malegaon. I saw this industry, as I was tracking it, changing from analog to digital and thought there seems to be a connection between the two. How can we understand digital culture through a historical perspective? I thought video might offer me clues to make sense of the present" - Ishita Tiwary, author, 'Video Culture in India; The Analog Era' talks to Manjula Narayan about her book that excavates an entirely forgotten cultural moment with its wedding videos, video libraries, godmen like Rajneesh who used the technology to gain an international following, video news magazines like Newstrack that documented everything from Mandal and Masjid to the militarization of Kashmir, and the video films featuring, among others, Aditya Pancholi and a pre-Rangeela Urmila Matondkar, that emerged from media magnate Nari Hira's company, Hiba.

"British India was what had been annexed before 1857. The rest of it was princely India, which formed 45 percent of the subcontinent, almost half. At school, we learn about what happened in British India but most of us don't know about what happened in the part ruled by rajas and nawabs even though it formed such a big part of the independence movement and transfer of power and so on. It's a key element of the story of independence but somehow, it doesn't figure in textbooks. The general idea we have is that the princely kingdoms were all backward and feudal. All of them were not like that. In fact, the first constitution in India was in a princely kingdom -- Baroda. Many princes were forward thinking — there was the Maharaja's temple entry proclamation in Travancore, some states like Mysore were industrialising... The idea that all of them were backward is not true. I have tried not to pass judgement. I have tried to humanise these people and see them from different perspectives...Nehru and Patel had nothing but disdain for the royal class but Patel was a practical person. He knew he had to get them on board to sigh their own death warrants. This book is a bit of history and geography. Had it not been for these events, the map of India would be very different. I have tried to not make it like reading a record but like watching a movie" - Mallika Ravikumar, author, '565; The Dramatic Story of Unifying India' talks to Manjula Narayan about how Sardar Patel, VP Menon and the hurriedly formed States Department managed to coax and, in some cases, force princely states like Tripura, Bikaner, Travancore, Bhopal, Jammu and Kashmir, Patiala and Hyderabad, among others, to join the Indian union in 1947.

As HT Smartcast completes 5 amazing years, we are re-releasing the most loved episode from this podcast. "People who are powerful and wealthy are always complex and layered characters," says Anirudh Kanisetti, author, Lords of the Deccan, in this Books & Authors' episode with Manjula Narayan, about the ambitious, adventurous, charismatic and bloodthirsty medieval dynasties of southern India from the Chalukyas to the Cholas.

"If you think about it deeply, everybody makes their own faith. No matter what faith they are from, everyone finds their own journey, their own truth, and they may mix and match things from different elements of different faiths and see what is true to them. Hinduism and Buddhism tend to be away from any springboard of certitude. They are more amorphous; you can make God whatever you want. A lot of people would say that the beauty of Hinduism is that it is not overly prescriptive. It is a different matter that some are trying to change that now. Still, its an organic religion. I wanted to contrast the various shades of it through the people that I interviewed and through the culture in which I had grown up. Even if you are non religious, religion and faith encumber everything in our country. It's not just politics but also in everyday things like going out for a meal and asking a vegetarian friend if it's ok that you eat meat, in how ritual ties into caste and how caste ties into identity. All of this we know but I wanted to go into it in a granular way and so this became a big book in the end! 'Tripping down the Ganga' is about the nature of everyday Hindu faith. It is a memoir; it is my journey and you can't separate the observer from what he or she observes. It is a subjective journey, in that sense" — Siddharth Kapila, author, Tripping Down the Ganga, talks to Manjula Narayan about going on yaatras with his mother to pilgrimage spots along the great river from Gaumukh to Ganga Sagar, the believers he met along the way, the experience as a liberal, city bred Hindu Indian of being both an insider and an outsider, the faultlines of caste and gender, and the sense of ecological doom that now hangs over many sacred spots in the Himalayas that are key to Hinduism.

"I don't think Dev Sahab and Goldie ever pretended they were making art but the artistry was inherent in what they were doing. 'Guide' (1965) is the daddy of all films. In it, Dev Anand's character just wanted to escape his past; he is not in search of the meaning of life. The meaning of life is thrust upon him. He's really the unwilling messiah. Goldie Sahab told me the story is a different beast from the screenplay. At that time, I shook my head as if I understood what he was saying. But it's only now that I am a practitioner that I realise, 'Oh, it was a mantra he was transmitting to me'. The screenplay and story are not the same. That's is why RK Narayan cribbed so much about 'Guide'. Watch the English 'Guide' [which was a flop] - that was the book. Watch the Hindi 'Guide'. It was different." - Tanuja Chaturvedi, author, 'Hum Dono; the Dev and Goldie Story' talks to Manjula Narayan about her book that touches on the professional collaboration of the Anand brothers, Dev and Goldie Anand, who, together, made some of the most memorable commercial Hindi films of the 1950s and 1960s, the power of vintage Hindi film music, and her experience of working at their production company, Navketan Films, as a young graduate fresh out of FTII.

"It struck me when I was doing the book that people preparing an Onam sadhya were putting together 25-30 dishes that were all gluten free and mostly vegan too. In fact, a sadhya can be fully vegan. The payasam can use almond or oats milk instead of regular cow's milk. Coconut yogurt will, of course, be the best substitute as it fits the flavour profile of the food. Ghee is perhaps the only thing that you will have to give up on. Unlike the old days, now people, even in Kerala, rarely cook the sadhya at home. They order it. I hope that my book will act as a trigger to get people to actually cook a sadhya. Because the process is engaging. There is a pattern to it. The way you cook it, the way you serve it... It's not like any other meal. It's almost like a ritual. There's also a lot of discipline that comes with serving a sadhya. You will find Ayurveda reflected quite elaborately in it. It is not about just shoving some food onto a banana leaf." - Arun Kumar TR, author, Feast on a Leaf; The Onam Sadhya Cookbook, talks to Manjula Narayan about the many delicious dishes that are part of an Onam celebration, the legend of Mahabali, his own childhood memories of the festival at his ancestral home that form the base of this book, and the imaginative use of yams, jackfruit and banana in Kerala sadhya cuisine.

"The earliest record of Northeast India is in the writing of Huen Tsang in the 7th century. So people have been going there for many centuries. The notion that people of only one ethnicity have lived in one place is really not true. Closer examination blows up this idea. It is an idea that has come with modernity. Modern identity and the modern idea of the nation state and the following nationalisms have been problematic in places that have deep and intertwined diversity like the Indian subcontinent. Maybe it made sense in a specific part of Europe in a specific time but the idea has been devastating for us. It led to the Partition but it did not end there. We have had insurgency after insurgency. Pakistan too has had the same challenge. Bangladesh is perhaps the only country that comes closest to that original idea. Northeast India has a history of separatist insurgencies that spring from the history of the place. The issue of identity, of belonging, is very complex. As a Bengali growing up in Shillong it was a very difficult topic of conversation. In fact, there was no conversation. The first book, 'Insider, Outsider; Tales of Belonging and Unbelonging in India's North East set it in motion. That concentrated more on Assam as the largest state in the region. This book focuses on the other states too. When putting this book together, we were not looking for atrocity propaganda. The intention was to encourage an internal dialogue within the different communities of the northeast. Hopefully, people read these pieces and understand others' histories and look at their own histories too" - Samrat Choudhury, co-editor, 'But I Am One of You; Northeast India and the Struggle to Belong' talks to Manjula Narayan about the many perspectives on a range of issues presented in this book including the decommissioning of the Gumti dam to aid ethnic reconciliation in Tripura, the Meitei Pangals or Meitei Muslims from Manipur, the Northeastern experience of being othered in New Delhi, Marwaris in Shillong during a dangerous time, and the Nepali speaking people of the different states of the Northeast, among others.

"Most people seem to think that if they cut 10 trees and then plant 100 trees they have atoned for their sins but ecologically that doesn't make sense. The best thing to do is to protect what we already have. There is a pushback from nature and we are all seeing the effects. When you cut old growth trees, it is going to be that much tougher to deal with climate change because these trees store enormous quantities of carbon. Even if you planted 100 other trees, by the time those grow, where will we be? The oldest tree in the world is more than 5000 years old and the oldest tree in India is about 2031 years old. Trees grow continuously until they die. They are a lesson to all of us -- that we need to keep ourselves intellectually and physically fit until we die or we will become obsolete and irrelevant. I want this book to make people relate to trees in a much bigger way than before. Western countries have their champion/heritage/iconic tree registers and there is a lot of public participation in updating them. We too must make our own tree registers at the village, district, state and finally, the national level. We must have a heritage tree register of India that's updated from time to time" – S Natesh, author, 'Iconic Trees of India' talks to Manjula Narayan about the country's many old and wonderful trees with their own fantastic history including the mother tree of the Dussehri mango in UP, the sacred rayan tree of Ranakpur, the coronation cypress of Norbugang in Sikkim, and the Mahabodhi tree in Bodhgaya under which Buddha attained enlightenment, among others.

"Millennials are unique in that every conflict or political situation that we see feels like it is at the same distance from us. So Manipur or the riots in Delhi feel at the same distance, which may or may not be great for political action. We were convinced that we could do things that were much more meaningful than any generation before us because of the tools that we had -- the Internet and the ability to share things with a billion people at once. That deluded us into thinking that we could actually change things! Millennials do have an inflated idea of their ability to change things and that drives a lot of anxiety because then we realise that we are powerless against most things. The millennial hero complex looked at from the outside can be cringe worthy" - AM Gautam, author, 'Indian Millennials; Who Are They Really' talks to Manjula Narayan about everything from The Kashmir Files and grief at ecological deterioration to political action, free floating anxiety and the reaction to the Sushant Singh Rajput case.