A rebel in her own quiet way, Tracy Austin was never one to sit silently by and let others dictate her life. A passive yet strong-willed young woman, she did not let her upbringing in a traditional Brahmin household keep her from challenging customs and traditions. In many ways, she was a victim of circumstances, but she found the strength to hold her ground when events overtook her. As a child, she played in the foothills of the Himalayas, where she blissfully chased butterflies and rainbows Her two best friends, Chotu and Chandini, were two tame elephants—and her favorite partners in spirited games of hide-and-seek. Her relationships were complicated . Tracy wasn’t sure if she even understood what love meant, when much of what she had experienced was so painful. When she is reunited with Mark, a young man who further confuses her definitions and expectations, she dares to dream of a new beginning. But on what should have been one of the happiest days of her life, her world is ripped apart. As she is giving birth, an offhand comment made by a doctor reveals something she never knew about her own parentage. Tracy is devastated. Can she find the courage and strength to move forward with her dignity and hope intact?

The seven letters in Naushad’s name are like the seven notes of Hindustani classical music. After just a few years in films, Naushad (1919-2006) went to rule the Hindi cinema music world for around two decades, beginning with the landmark Rattan (1944). His oeuvre (from 1940 to 2005) consists of an unmatched list of jubilees, many of which are musical milestones such as Andaz (1949), Baiju Bawra (1952), Mother India (1957) and Mughal-e-Azam (1960). No individual stays supreme without putting in tremendous efforts to reach the pinnacle and to stay there as long as possible, as our maestro did. And no composer probably moved so cleverly, behind the scenes, than did Naushad to sustain his hold on the public imagination. Although we continue to marvel at the incredible variety of his mellifluous creations that have withstood the test of time, how little most of us know about Naushad the man. Renowned song historian Raju Bharatan fleshes out the real Naushad – his triumphs and tragedies – bringing into play more than 50 years of personal interaction with the tuneful titan. In the process, the author makes the book more sparking with a string of anecdotal gems. For instance: • How Naushad and his contemporaries despite their professed bonhomie, were fiercely competitive (both musically and monetarily) in their attempts to occupy the ‘top spot’. • How many days of rehearsal were needed for some of the Baiju Bawara masterpieces? • How the immortal compositions of Mughal-e-Azam were recorded in a studio no better than a tin shed. This volume also throws new light on the relations and interactions between Naushad and his singers (especially Suraiya, Mohammed Rafi, Lata Mangeshkar, Asha Bhosle and Shamshad Begum); his songwriters (mainly D.N Madhok, Shakeel Badayuni and Majrooh Sultanpuri); and his ‘unsung’ instrumentalists (some of whom were geniuses in their own right).

This book provides a unique insider’s look at the world’s largest film industry, now globally known as ‘Bollywood’ and challenges existing notions about Indian films. Indian films have been a worldwide phenomenon for decades. Chapters in this edited volume take a fresh view of various hidden gems by maestros such as Raj Kapoor, Bimal Roy, V Shantaram, Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Shakti Samant, Rishikesh Mukherjee, and others. Other chapters provide a pioneering review and analysis of the portrayal of Indian religious communities such as Hindus, Muslims, Christians, and Parsis. The themes covered include unique Indian feminism and male chauvinism, environment and climate issues, international locations and diaspora tourism, religious harmony and conflict, the India-Pakistan relationship, asceticism, and renunciation in Hinduism, Jainism, and Buddhism. Unlike many recent studies of Indian films, these chapters do not distinguish between popular and serious cinema. Many chapters focus on Hindi films, but others bring insights from films made in other parts of India and its neighbouring countries. One of the chapters in this volume was originally published in the book titled Film and Place in an Intercultural Perspective India-Europe Film Connections, edited by Krzysztof Stachowiak, Hania Janta, Jani Kozina, and Therese Sunngren-Granlund. Another chapter was originally published in Worldviews: Global Religions, Culture, and Ecology. All other chapters were originally published in Visual Anthropology.

'I was then about seven or eight. I had no useful role to play in this world; and that old palki, too, had been dismissed from all forms of useful employment...' Hidden inside an ancient palanquin on a hot, lonely afternoon, a young boy sets off on an imaginary adventure. He encounters gangs of bandits, arrives at palaces where kings bathe in sandalwood-scented water, and the hunter accompanying him gets rid of the tiger lurking in the forest with a bang of his gun. The boy, gifted with a vivid imagination and a sensitive mind, grew up to become one of India's greatest poets and thinkers. In Boyhood Days, Rabindranath Tagore recounts his growing up years with gentle wit and humour. He describes life in nineteenth-century Kolkata when the only light in the evening came from castor-oil lamps; when hackney carriages raced through the city's streets and women travelled in palanquins to the Ganga for their bath.

Jagjit Singh was more than just the king of ghazals. He was a singer, composer, arranger, lyricist, all rolled into one. Besides which he was a brother, friend, husband, and above all a father. This biography of Jagjit Singh traces the evolution of the artiste from his Namdari Singh roots through his diverse musical influences to his recreation of the ghazal as a lively, contemporary form of music that could hold both the young and old in thrall. From the days of singing ad jingles to his breakthrough album, Unforgettables, to his soul searching music for Gulzar's Mirza Ghalib, from his love of music to his fetish for horses, from his marriage to Chitra Singh to his tryst with spirituality, this book tells the story of the most loved ghazal singer of our time with great sensitivity. Delving into Singh's personal triumphs and tragedies, Sathya Saran presents a man loved by many, revered by some and unsurpassed as yet in his chosen field.