Family isn’t always what you think it is. Twins learn what they are to each other, siblings learn what they are not and a mother is replaced by another. Connecting them all are the flames that wove through Burasal so long ago. Now, new flames are burning across the kingdom revealing secrets and magic long thought lost.

Madhu Natisar Nath is a Rajasthani farmer with no formal schooling. He is also a singer, a musician, and a storyteller. At the center of A Carnival of Parting are Madhu Nath's oral performances of two linked tales about the legendary Indian kings, Bharthari of Ujjain and Gopi Chand of Bengal. Both characters, while still in their prime, leave thrones and families to be initiated as yogis—a process rich in adventure and melodrama, one that offers unique insights into popular Hinduism's view of world renunciation. Ann Grodzins Gold presents these living oral epic traditions as flowing narratives, transmitting to Western readers the pleasures, moods, and interactive dimensions of a village bard's performance. Three introductory chapters and an interpretive afterword, together with an appendix on the bard's language by linguist David Magier, supply A Carnival of Parting with a full range of ethnographic, historical, and cultural backgrounds. Gold gives a frank and engaging portrayal of the bard Madhu Nath and her work with him. The tales are most profoundly concerned, Gold argues, with human rather than divine realities. In a compelling afterword, she highlights their thematic emphases on politics, love, and death. Madhu Nath's vital colloquial telling of Gopi Chand and Bharthari's stories depicts renunciation as inevitable and interpersonal attachments as doomed, yet celebrates human existence as a "carnival of parting."

The forms by which a deceased person may be brought to rest are as many as there are causes of death. In most societies the disposal of the corpse is accompanied by some form of celebration or ritual which may range from a simple act of deportment in solitude to the engagement of large masses of people in laborious and creative festivities. In a funerary context the term ritual may be taken to represent a process that incorporates all the actions performed and thoughts expressed in connection with a dying and dead person, from the preparatory pre-death stages to the final deposition of the corpse and the post-mortem stages of grief and commemoration. The contributions presented here are focused not on the examination of different funerary practices, their function and meaning, but on the changes of such rituals – how and when they occurred and how they may be explained. Based on case studies from a range of geographical regions and from different prehistoric and historical periods, a range of key themes are examined concerning belief and ritual, body and deposition, place, performance and commemoration, exploring a complex web of practices.

“Original and vivid. I was captivated.”—Nancy Kress, author of Beggars in Spain Born into hardship, Dar learns to rely on herself alone. When her family betrays her, Dar is conscripted into King Kregant’s army and its brutal campaign to conquer a neighboring country. Now she is bound as a slave to a dreaded regiment of orcs, creatures legendary for their savagery and battle prowess. Rather than cower, Dar rises to the challenge. She learns the unique culture and language of the orcs, survives treachery from both allies and enemies, and struggles to understand a mystical gift that brings her dark, prophetic visions. As the war escalates—amid nightmarish combat and shattering loss—Dar must seize a single chance at freedom.