Arundhati Roy

FROM THE BEST-SELLING AUTHOR OF MY SEDITIOUS HEART AND THE MINISTRY OF UTMOST HAPPINESS, A NEW AND PRESSING DISPATCH FROM THE HEART OF THE CROWD AND THE SOLITUDE OF A WRITER'S DESK Azadi-Urdu for Freedom-is the refrain in the iconic chant of the Kashmiri freedom struggle. And now, while Kashmir's streets have been silenced, the irony is that its people's anthem, with similar lyrics, rhythm and cadence, echoes on the streets of the country that most Kashmiris view as their coloniser. What lies between the silence of one street and the sound of the other? Is it a chasm, or could it become a bridge? In this series of penetrating essays on politics and literature, Arundhati Roy examines this question and challenges us to reflect on the meaning of freedom in a world of growing authoritarianism. Roy writes of the existential threat posed to Indian democracy by an emboldened Hindu nationalism, of the internet shutdown and information siege in Kashmir-the most densely militarized zone in the world-and India's new citizenship laws that discriminate against Muslims and marginalized communities and could create a crisis of statelessness on a scale previously unknown. The essays include mediations on language, public as well as private, and the role of fiction and alternative imaginations in these disturbing times. Azadi, she warns, hangs in the balance for us all.

From the best-selling author of My Seditious Heart and the Ministry of Utmost Happiness, a new and pressing dispatch from the heart of the crowd and the solitude of the writer's desk. The chant of "Azadi!"—Urdu for "Freedom!"—is the slogan of the freedom struggle in Kashmir against what Kashmiris see as the Indian Occupation. Ironically, it also became the chant of millions on the streets of India against the project of Hindu Nationalism. Even as Arundhati Roy began to ask what lay between these two calls for Freedom—a chasm or a bridge?—the streets fell silent. Not only in India, but all over the world. The coronavirus brought with it another, more terrible understanding of Azadi, making a nonsense of international borders, incarcerating whole populations, and bringing the modern world to a halt like nothing else ever could. In this series of electrifying essays, Arundhati Roy challenges us to reflect on the meaning of freedom in a world of growing authoritarianism. The essays include meditations on language, public as well as private, and on the role of fiction and alternative imaginations in these disturbing times. The pandemic, she says, is a portal between one world and another. For all the illness and devastation it has left in its wake, it is an invitation to the human race, an opportunity, to imagine another world.

FROM THE BEST-SELLING AUTHOR OF MY SEDITIOUS HEART AND THE MINISTRY OF UTMOST HAPPINESS, A NEW AND PRESSING DISPATCH FROM THE HEART OF THE CROWD AND THE SOLITUDE OF A WRITER'S DESK Azadi-Urdu for Freedom-is the refrain in the iconic chant of the Kashmiri freedom struggle. And now, while Kashmir's streets have been silenced, the irony is that its people's anthem, with similar lyrics, rhythm and cadence, echoes on the streets of the country that most Kashmiris view as their coloniser. What lies between the silence of one street and the sound of the other? Is it a chasm, or could it become a bridge? In this series of penetrating essays on politics and literature, Arundhati Roy examines this question and challenges us to reflect on the meaning of freedom in a world of growing authoritarianism. Roy writes of the existential threat posed to Indian democracy by an emboldened Hindu nationalism, of the internet shutdown and information siege in Kashmir-the most densely militarized zone in the world-and India's new citizenship laws that discriminate against Muslims and marginalized communities and could create a crisis of statelessness on a scale previously unknown. The essays include mediations on language, public as well as private, and the role of fiction and alternative imaginations in these disturbing times. Azadi, she warns, hangs in the balance for us all.

Three new essays by India's fiercest most outspoken and fearless political activist War has spread from the borders of India to the forests in the very heart of the country. Combining brilliant analysis and reportage by one of India's iconic writers, Broken Republic examines the nature of progress and development in the emerging global superpower and asks fundamental questions about modern civilization itself. In three incisive essays Roy lays bare the corruption at the centre of government and industry, explores life with the Maoist guerrilla movement and reveals the thwarted search for justice and democracy in India.

From the poisoned rivers, barren wells, and clear-cut forests, to the hundreds of thousands of farmers who have committed suicide to escape punishing debt, to the hundreds of millions of people who live on less than two dollars a day, there are ghosts nearly everywhere you look in India. India is a nation of 1.2 billion, but the country’s 100 richest people own assets equivalent to one-fourth of India’s gross domestic product. Capitalism: A Ghost Story examines the dark side of democracy in contemporary India, and shows how the demands of globalized capitalism has subjugated billions of people to the highest and most intense forms of racism and exploitation.

In this acclaimed Lannan foundation lecture from September 2002, Roy speaks poetically to power on the US’ War on Terror, globalization, the misuses of nationalism, and the growing chasm between the rich and poor. With lyricism and passion, Roy combines her literary talents and encyclopedic knowledge to expose injustice and provide hope for a future world. "Flags are bits of colored cloth that governments use first to shrink-wrap people’s brains and then as ceremonial shrouds to bury the dead."—From the CD Arundhati Roy is an outspoken critic of globalization and American influence. She has authored four books, -including The God of Small Things, which won the Booker Prize. This summer, she will accept the Lannan Award for Cultural Freedom.

Alternative Cover Edition of ISBN 9783442724680 Ein himmelblauer Straßenkreuzer fährt an einem klaren Dezembermorgen des Jahres 1969 durch die Reisfelder des südindischen Kerala. Doch was als sonnendurchflutete Autofahrt beginnt, endet in einer Tragödie... Voller Sprachmagie erzählt Arundhati Roy die atemberaubende und schillernde Geschichte einer Familie, die an verbotener Liebe zerbricht.

Sudul Indiei, 1969. Înarmate doar cu inocența invincibilă a copiilor, Rahel și Estha își trăiesc copilăria la adăpostul unei familii pestrițe: frumoasa, dar singuratica lor mamă, care îl iubește noaptea pe bărbatul pe care copiii ei îl adoră ziua; bunica lor oarbă, care cântă Handel la vioară; unchiul lor iubit, chefliu, marxist radical, afemeiat; o mătușă antipatică, fostă călugăriță... Dar când verișoara lor din Anglia împreună cu mama ei vin în vizită de Crăciun, gemenele află că lucrurile se pot schimba într-o clipă, că viața poate lua forme noi, urâte, sau chiar poate dispărea pentru totdeauna. Povestea superb țesută dă continuu senzația stranie de presimțiri, de inevitabil. Cu toate acestea, nimic nu ne pregătește pentru ceea ce se va dezvălui în final.

Ésta es la historia de tres generaciones de una familia de la región de Kerala, en el sur de la India, que se desperdiga por el mundo y se reencuentra en su tierra natal. Una historia que es muchas historias. La de la niña inglesa Sophie Moll que se ahogó en un río y cuya muerte accidental marcó para siempre las vidas de quienes se vieron implicados. La de dos gemelos Estha y Rahel que vivieron veintitrés años separados. La de Ammu, la madre de los gemelos, y sus furtivos amores adúlteros. La del hermano de Ammu, marxista educado en Oxford y divorciado de una mujer inglesa. La de los abuelos, que en su juventud cultivaron la entomología y las pasiones prohibidas. Ésta es la historia de una familia que vive en unos tiempos convulsos en los que todo puede cambiar en un día y en un país cuyas esencias parecen eternas. Esta apasionante saga familiar es un gozoso festín literario en el que se entremezclan el amor y la muerte, las pasiones que rompen tabúes y los deseos inalcanzables, la lucha por la justicia y el dolor causado por la pérdida de la inocencia, el peso del pasado y las aristas del presente. Arundhati Roy ha sido comparada por esta novela prodigiosa con Gabriel García Márquez y con Salman Rushdie por sus destellos de realismo mágico y su exquisito pulso narrativo.

¿Cómo contar una historia hecha añicos? Convirtiéndote poco a poco en toda la gente. No. Convirtiéndote poco a poco en todo. El ministerio de la felicidad suprema es la deslumbrante nueva novela de la mundialmente famosa autora de El dios de las pequeñas cosas. Nos embarca en un viaje íntimo de muchos años por el subcontinente indio, de los barrios masificados de la Vieja Delhi y las carreteras de la ciudad nueva a los montes y valles de Cachemira y más allá, donde la guerra es la paz y la paz es la guerra. Es una dolorosa historia de amor y una contundente protesta, una historia contada entre susurros, a gritos, con lágrimas carentes de sentimentalismo y a veces con una risa amarga. Cada uno de sus personajes está imborrable, tiernamente retratado. Sus protagonistas son gente rota por el mundo en el que vive y luego rescatada, recompuesta por actos de amor, y por la esperanza. La historia empieza con Anyum que antes se llamaba Aftab desenrollando una raída alfombra persa en un cementerio al que llama hogar. Nos encontramos con la extraña e inolvidable Tilo y los hombres que la amaron, incluido Musa, novio y exnovio, amante y examante: sus destinos están tan entrelazados lo estaban y estarán para siempre sus brazos. Conocemos al casero de Tilo, un antiguo pretendiente, en la actualidad oficial de inteligencia destinado en Kabul. Y conocemos a las dos Miss Yebin: la primera es una niña que nace en Srinagar y es enterrada en el atestado Cementerio de los Mártires; a la segunda la encuentran a medianoche, abandonada en la acera en el corazón de Nueva Delhi. A medida que esta novela cautivadora y profundamente humana trenza estas vidas complejas, reinventa lo que una novela puede hacer y ser. El ministerio de la felicidad suprema demuestra en cada página las milagrosas dotes de Arundhati Roy como contadora de historias.

India, fine anni Sessanta: Ammu, figlia di un alto funzionario, lascia il marito, alcolizzato e violento, per tornarsene a casa con i suoi due bambini. Ma, secondo la tradizione indiana, una donna divorziata è priva di qualsiasi posizione riconosciuta. Se poi questa donna commette l'inaccettabile errore di innamorarsi di un paria, un intoccabile, per lei non vi sarà più comprensione, né perdono. Attraverso gli occhi dei due bambini, Estha e Rahel, il libro ci racconta una grande storia d'amore che entra in conflitto con le convenzioni.

"Kaikki he rikkovat sääntöjä. Kaikki he kävivät kielletyillä alueilla. Kaikki he muuttelivat sääntöjä, jotka määräsivät ketä sai rakastaa ja miten. Ja miten paljon." On vuosi 1969. Taivaansininen Plymouth kiitää maantietä kromatut perälevyt välkkyen, kunnes se juuttuu maantiellä työläisten mielenosoitukseen. Sisällä istuvat kaksoset Rahel ja Estha. Kaksoset ovat varttuneet sokean isoäitinsä säilyketehtaassa banaanihillopurkkien ja pippurikasojen keskellä. Riitainen, ahne suku ei kyllä perhesiteistä perusta. Poikkeuksena on kaksosten kaunis äiti, miehensä jättänyt Ammu, joka haluaisi antaa lapsilleen hyvän elämän. Mutta hän on suvun mielestä varsinainen häpeäpilkku. Öisin hän rakastaa puuseppä Veluthaa, saastaista paariaa ja kaksosten ystävää, jota kaikki halveksivat. Chacko-eno taas on saanut hienon koulutuksen Englannissa, mutta sielultaan tämä pikkelsiparoni ja parantumaton naistennipistelijä on pesunkestävä marxisti. Pelottava isoäiti Baby Kochamma, entinen nunna, tuo hiljaisuuden ja kuoleman kaksosten elämään. Rahel ja Estha oppivat että yksi joutava lause voi tappaa rakkauden ja vääristää kaiken peruuttamattomasti. Arundhati Royn Joutavuuksien jumala on maaginen, lumoavan kaunis yhdistelmä kauhua ja elämänrikkautta. Intialaisen perheen tarina avautuu kuin pähkinä - sen syiden ja seurausten verkosta kasvaa vangitseva unenomainen tragedia.

Leading international voices condemn the brutalities of the Kashmir occupation. At home, the Kashmiri people’s ongoing quest for justice and self-determination is as much ignored by their venal politicians as it is rejected by Pakistan. Internationally, their struggle is forgotten, as the West refuses to bring pressure to bear on its regional ally India. The Case for Freedom is an impassioned attempt to redress this imbalance and to fill the gap in our moral imagination. Covering Kashmir’s past and present and the occupation’s causes and consequences, the authors issue a clarion call for the withdrawal of Indian troops and for Kashmir’s right to self-determination.

Rahel et Estha Kochamma, deux jumeaux de huit ans, vivent en Inde, entourés de leur grand-mère, Mammachi, qui fabrique des confitures trop sucrées, de l'oncle Chacko, un coureur de jupons invétéré, esprit romantique converti au marxisme pour les besoins de son portefeuille, de la grand-tante Baby Kochamma, qui nourrit un amour mystique pour un prêtre irlandais, et de leur mère Ammu, désertée par son mari, qui aime secrètement Velutha, un Intouchable. Un drame va ébranler leur existence et les séparer. Comment réagir quand, à huit ans, on vous somme de savoir " qui aimer, comment et jusqu'où ? " Comment survivre quand, après un événement affreux dont on a été témoin, on vous demande de trahir la vérité pour l'amour d'une mère ?Un récit envoûtant, plein d'humour et d'émotion, servi par une écriture neuve et poétique, qui recrée le monde de l'enfance - celui de l'imaginaire et de la liberté.

A raw and deeply moving memoir from the legendary author of The God of Small Things and The Ministry of Utmost Happiness that traces the complex relationship with her mother, Mary Roy, a fierce and formidable force who shaped Arundhati’s life both as a woman and a writer. Mother Mary Comes to Me, Arundhati Roy’s first work of memoir, is a soaring account, both intimate and inspirational, of how the author became the person and the writer she is, shaped by circumstance, but above all by her complex relationship to the extraordinary, singular mother she describes as “my shelter and my storm.” “Heart-smashed” by her mother Mary’s death in September 2022 yet puzzled and “more than a little ashamed” by the intensity of her response, Roy began to write, to make sense of her feelings about the mother she ran from at age eighteen, “not because I didn’t love her, but in order to be able to continue to love her.” And so begins this astonishing, sometimes disturbing, and surprisingly funny memoir of the author’s journey from her childhood in Kerala, India, where her single mother founded a school, to the writing of her prizewinning novels and essays, through today. With the scale, sweep, and depth of her novels, The God of Small Things and The Ministry of Utmost Happiness, and the passion, political clarity, and warmth of her essays, Mother Mary Comes to Me is an ode to freedom, a tribute to thorny love and savage grace—a memoir like no other.

Elogiado livro de estréia da indiana Arundhati Roy, O deus das pequenas coisas narra a história dos gêmeos Rahel e Estha, que, na Índia de 1969, crescem entre os caldeirões de geléia de banana e as pilhas de grãos de pimenta da fábrica da avó cega. Armados da inocência invencível das crianças, os dois tentam inventar uma infância à sombra da ruína que é sua família - a mãe, a solitária e adorável Ammu; o delicioso tio Chacko; a inimiga Baby Kochamma e o fantasma de uma mariposa que um dia pertenceu a um entomologista imperial. Rahel e Estha descobrem que as coisas podem mudar num só dia, que as vidas podem ter seu rumo alterado e assumir novas - e feias - formas. Descobrem que elas podem até cessar para sempre. Ancorada na angústia mas alimentada pela magia e por um profundo conhecimento, esta pequena obra-prima ganhou o prêmio britânico Booker Prize de 1997, foi editada em 36 países e encabeçou por semanas a lista de mais vendidos na Grã-Bretanha, Austrália, Índia e Noruega, na época de seu lançamento.

Arundhati Roy —"India’s most impassioned critic of globalization" ( New York Times )—has expanded the compelling first edition of Power Politics with two new essays on the U.S. war on terrorism. A Book Sense 76 choice for November/December 2001 and Los Angeles Times "Discoveries" selection, Power Politics challenges the idea that only experts can speak out on such urgent matters as nuclear war, the privatization of India’s power supply by U.S.-based energy companies, and the construction of monumental dams in India. Arundhati Roy , the internationally acclaimed author of The God of Small Things , brings her keen novelist’s eye to her analysis of the tragic events of September 11 and the military response, starting with the U.S. bombing of Afghanistan.

In her major address to the 99th annual meeting of the American Sociological Association on August 16, 2004, "Public Power in the Age of Empire," broadcast nationally on C-Span Book TV and on Democracy Now! and Alternative Radio, writer Arundhati Roy brilliantly examines the limits to democracy in the world today. Bringing the same care to her prose that she brought to her Booker Prize-winning novel The God of Small Things, Roy discusses the need for social movements to contest the occupation of Iraq and the reduction of "democracy" to elections with no meaningful alternatives allowed. She explores the dangers of the "NGO-ization of resistance," shows how governments that block nonviolent dissent in fact encourage terrorism, and examines the role of the corporate media in marginalizing oppositional voices.

A few weeks after India detonated a thermonuclear device in 1998, Arundhati Roy wrote the essay "The End of Imagination", in which she said: "My world has died. And I write to mourn its passing." The essay, as have all its successors, attracted worldwide attention, debate and acclaim. In the years since, the essays she has published in magazines and newspapers worldwide have reinforced an impression of a writer in the modern world prepared to use her fame and gifts in the cause of the voiceless and the overlooked. Those essays are gathered together here.

A revelatory and wide-ranging series of interviews with award-winning writer Arundhati Roy, touching on US empire, Indian nationalism, a writer’s work, and more. As a novelist, Arundhati Roy is known for her lush language and intricate structure. As a political essayist, her prose is searching and fierce. All of these qualities shine through in the interviews collected here by David Barsamian. This newly reissued and expanded edition, featuring interviews from 2001 to 2022 and a moving foreword by Naomi Klein, explores Roy’s evolving political thought and commitments across the tumultuous twenty-first entry.  The Architecture of Modern Empire   is a searing reckoning with the mechanics of power, in all its forms, and the role of imagination and creative expression in envisioning a radically different world.

From the bestselling author of The God of Small Things comes a scathing and passionate indictment of big government's disregard for the individual. In her Booker Prize-winning novel, The God of Small Things , Arundhati Roy turned a compassionate but unrelenting eye on one family in India. Now she lavishes the same acrobatic language and fierce humanity on the future of her beloved country. In this spirited polemic, Roy dares to take on two of the great illusions of India's the massive dam projects that were supposed to haul this sprawling subcontinent into the modern age--but which instead have displaced untold millions--and the detonation of India's first nuclear bomb, with all its attendant Faustian bargains.          Merging her inimitable voice with a great moral outrage and imaginative sweep, Roy peels away the mask of democracy and prosperity to show the true costs hidden beneath. For those who have been mesmerized by her vision of India, here is a sketch, traced in fire, of its topsy-turvy society, where the lives of the many are sacrificed for the comforts of the few.

To best understand and address the inequality in India today, Arundhati Roy insists we must examine both the political development and influence of M. K. Gandhi and why B. R. Ambedkar’s brilliant challenge to his near-divine status was suppressed by India’s elite. In Roy’s analysis, we see that Ambedkar’s fight for justice was systematically sidelined in favor of policies that reinforced caste, resulting in the current nation of India: independent of British rule, globally powerful, and marked to this day by the caste system. This book situates Ambedkar’s arguments in their vital historical context— namely, as an extended public political debate with Mohandas Gandhi. “For more than half a century—throughout his adult life—[Gandhi’s] pronouncements on the inherent qualities of black Africans, untouchables and the laboring classes remained consistently insulting,” writes Roy. “His refusal to allow working-class people and untouchables to create their own political organizations and elect their own representatives remained consistent too.” In The Doctor and the Saint, Roy exposes some uncomfortable, controversial, and even surprising truths about the political thought and career of India’s most famous and most revered figure. In doing so she makes the case for why Ambedkar’s revolutionary intellectual achievements must be resurrected, not only in India but throughout the world. “Arundhati Roy is incandescent in her brilliance and her fearlessness.” —Junot Díaz “The fierceness with which Arundhati Roy loves humanity moves my heart.” —Alice Walker

The End of Imagination brings together five of Arundhati Roy's acclaimed books of essays into one comprehensive volume for the first time and features a new introduction by the author.This new collection begins with her pathbreaking book The Cost of Living-published soon after she won the Booker Prize for her novel The God of Small Things-in which she forcefully condemned India’s nuclear tests and its construction of enormous dam projects that continue to displace countless people from their homes and communities. The End of Imagination also includes her nonfiction works Power Politics, War Talk, Public Power in the Age of Empire, and An Ordinary Person’s Guide to Empire, which include her widely circulated and inspiring writings on the U.S. invasions of Afghanistan and Iraq, the need to confront corporate power, and the hollowing out of democratic institutions globally.

The year is 1969. In the state of Kerala, on the southernmost tip of India, a skyblue Plymouth with chrome tailfins is stranded on the highway amid a Marxist workers' demonstration. Inside the car sit two-egg twins Rahel and Esthappen, and so begins their tale. . . . Armed only with the invincible innocence of children, they fashion a childhood for themselves in the shade of the wreck that is their family—their lonely, lovely mother, Ammu (who loves by night the man her children love by day), their blind grandmother, Mammachi (who plays Handel on her violin), their beloved uncle Chacko (Rhodes scholar, pickle baron, radical Marxist, bottom-pincher), their enemy, Baby Kochamma (ex-nun and incumbent grandaunt), and the ghost of an imperial entomologist's moth (with unusually dense dorsal tufts). When their English cousin, Sophie Mol, and her mother, Margaret Kochamma, arrive on a Christmas visit, Esthappen and Rahel learn that Things Can Change in a Day. That lives can twist into new, ugly shapes, even cease forever, beside their river "graygreen." With fish in it. With the sky and trees in it. And at night, the broken yellow moon in it. The brilliantly plotted story uncoils with an agonizing sense of foreboding and inevitability. Yet nothing prepares you for what lies at the heart of it. The God of Small Things takes on the Big Themes—Love. Madness. Hope. Infinite Joy. Here is a writer who dares to break the rules. To dislocate received rhythms and create the language she requires, a language that is at once classical and unprecedented. Arundhati Roy has given us a book that is anchored to anguish, but fueled by wit and magic.

A dazzling, moving new novel by the internationally celebrated author of The God of Small Things The Ministry of Utmost Happiness takes us on an intimate journey of many years across the Indian subcontinent--from the cramped neighborhoods of Old Delhi and the roads of the new city to the mountains and valleys of Kashmir and beyond, where war is peace and peace is war. It is an aching love story and a decisive remonstration, a story told in a whisper, in a shout, through unsentimental tears and sometimes with a bitter laugh. Each of its characters is indelibly, tenderly rendered. Its heroes are people who have been broken by the world they live in and then rescued, patched together by acts of love--and by hope. The tale begins with Anjum--who used to be Aftab--unrolling a threadbare Persian carpet in a city graveyard she calls home. We encounter the odd, unforgettable Tilo and the men who loved her--including Musa, sweetheart and ex-sweetheart, lover and ex-lover; their fates are as entwined as their arms used to be and always will be. We meet Tilo's landlord, a former suitor, now an intelligence officer posted to Kabul. And then we meet the two Miss Jebeens: the first a child born in Srinagar and buried in its overcrowded Martyrs' Graveyard; the second found at midnight, abandoned on a concrete sidewalk in the heart of New Delhi. As this ravishing, deeply humane novel braids these lives together, it reinvents what a novel can do and can be. The Ministry of Utmost Happiness demonstrates on every page the miracle of Arundhati Roy's storytelling gifts.

The Ministry of Utmost Happiness transports us across a subcontinent on a journey of many years. It takes us deep into the lives of its gloriously rendered characters, each of them in search of a place of safety—in search of meaning, and of love. ​In a graveyard outside the walls of Old Delhi, a resident unrolls a threadbare Persian carpet. On a concrete sidewalk, a baby suddenly appears, just after midnight. In a snowy valley, a bereaved father writes a letter to his five-year-old daughter about the people who came to her funeral. In a second-floor apartment, a lone woman chain-smokes as she reads through her old notebooks. At the Jannat Guest House, two people who have known each other all their lives sleep with their arms wrapped around each other, as though they have just met. A braided narrative of astonishing force and originality, The Ministry of Utmost Happiness is at once a love story and a provocation—a novel as inventive as it is emotionally engaging. It is told with a whisper, in a shout, through joyous tears and sometimes with a bitter laugh. Its heroes, both present and departed, have been broken by the world we live in—and then mended by love. For this reason, they will never surrender. How to tell a shattered story? By slowly becoming everybody. No. By slowly becoming everything. Humane and sensuous, beautifully told, this extraordinary novel demonstrates on every page the miracle of Arundhati Roy’s storytelling gifts.

The terse, typewritten note slipped under my door in a sealed envelope confirmed my appointment with India s single biggest internal security challenge . I d been waiting for months to hear from them... In early 2010, Arundhati Roy travelled into the forests of Central India, homeland to millions of indigenous people, dreamland to some of the world s biggest mining corporations. The result is this powerful and unprecedented report from the heart of an unfolding revolution.

เวลากายสิทธิ์ เมื่ออาทิตย์ลับฟ้า แต่แสงยังเจิดจ้า กองทัพค้างคาวแม่ไก่ผละจากไทรใหญ่ในสุสานเก่า ร่อนร่ายราวควันไฟไปทั่วเมือง... ขอต้อนรับสู่เวทีนาฏกรรมแห่งความโศกสุขที่คลุกเคล้าเคียงข้างอยู่ทุกเมื่อเชื่อวัน ณ เขตสุดขอบยิ่งกว่าชายขอบในโอลด์เดลี และพื้นที่ที่ชีวิตดำเนินต่อไป ความตายดำเนินต่อไป สงครามดำเนินต่อไปในหุบเขาแคชเมียร์... "อัญจุม" ฮิจราผู้โบยบินจากวิมานฝันไปเริ่มต้นชีวิตใหม่ในสุสานเก่าราวกับเป็นต้นไม้ "ตีโล" สถาปนิกที่มีแม่แท้ๆ บุญธรรม มีชายสามคนรุมรัก มีบาดแผลลึกเร้นกับโลกภายในแสนซับซ้อน สองชีวิตมาบรรจบกันเพราะผู้หญิงคนหนึ่ง เกิดเป็นเรื่องเล่าของแสงและเงาซึ่งมีความหวังในความทุกข์ และมีความทุกข์ในความหวัง ผ่านการดิ้นรนของคนเล็กๆ มากมายบนแผ่นดินแห่งความหลากหลายนามว่าอินเดีย "งานศิลปะที่ตราตรึงถึงแก่น...ลูกผสมระหว่างเรื่องเสียดสี รักหวาน ความระทึกขวัญ และประวัติศาสตร์ เล่าขานการต่อสู้อันเป็นสากลของคนกลุ่มเล็กๆ ผู้อยากเป็นอิสระ ข้อเขียนที่ร้อยรัดชวนให้เคลิบเคลิ้มตาม คล้ายมิใช่ถ้อยคำบนกระดาษ แต่เป็นหมึกบนผืนน้ำ ท่านจะครั่นคร้ามไปกับความคั่งแค้น และความเห็นใจอย่างล้ำ"ลึก" "WASHINGTON POST"