Maan Singh was a young boy who was abducted as an infant and raised by wolves for about 5 years. This book tells the story of this child as he was "rescued" from the wolves by my father, Harris Fulton David, and brought back to civilization. He walked on his four, like the wolves. He howled at the moon. He ate like an animal. He wore no clothes. He was a Wolf-Child.

Undercover and on the trail of the most wily and dangerous target of their careers, U.S. Special Agents Hipólito “Poli” Acosta and A. J. Irwin chronicle the gripping true story of the U.S. government's covert operation to capture the man behind the largest human smuggling operation in history. And contrary to news reports, the immigrants pouring in are not Mexicans or Central Americans—they’re South Asians. The agents risk their lives in pursuit of Maan Singh, confronting thugs, corrupt officials and hitmen during this perilous chase that plays out across the globe from Quito, Ecuador—Singh’s headquarters—to Guatemala, Panama, England, the Bahamas and the United States. As Acosta and Irwin find out, the tentacles of Singh’s smuggling enterprise extend to places fiercely protected by paid-off police, politicians and diplomats, and Singh always seems to be one warm cup of coffee ahead of his pursuers. The Hunt for Maan Singh pulls back the curtain on Singh's organized worldwide smuggling syndicate while candidly revealing the double exposure of undercover government agents, where inter-departmental rivalries and corrupt officials put Acosta and Irwin in just as much danger as pursuing the criminal mastermind they are sworn to bring to justice. “Informative and entertaining. The complex web of international politics and intrigue may be of interest to those with a penchant for stories about the shadowy underworld of human trafficking.”—Kirkus Reviews

An exciting, non-fictional account of two INS agents' efforts to track down and stop the leader of the largest human smuggling ring in the world.

Prologue The two pairs of soldiers, walking on the pavement, came face to face about fifty yards away from each other. The Indian soldiers were from a local Infantry Battalion of the Sikh Regiment. The British Soldiers were from the CMP (short for Corps of Military Police), commonly called the MPs. The Indians looked at each other and realized that the situation was of one pair being on the right-side or the wrong-side of the road. They made up their minds individually. Said the first one to his friend,"The bloody Goras (the Whiteman is called a Gora) are on the wrong-side! Why should we get down to the road from the pavement?" His friend replied with emphasis,"That's right. Why should we?" After a pause,he added with more conviction, "We shall see today! The Firangies (foreigners) don't enforce the same rule with British troops." "Let's see them today. We can bear the consequences later," said the first one with emphasis. Both the Indians braced up. Raising their heads they walked as though fully prepared for the confrontation which was by then just thirty yards away and approaching fast. The MPs also raised their chins. Without looking at each other,they exchanged words. Said the taller one to his slim friend," Those damn Indians are right in our way. I think we ought to give them a good dressing-down if they don't get down from the pavement." "Bloody right, mate. They should not have been here in the first place," said the slim one while transferring his right-hand to the grip of his cane and removing it from under his left armpit. Instinctively, his left-hand went to his right pocket and unbuttoned the flap so that he could pull out the whistle quickly. That was like a routine drill movement for any MP when he realized the need to blow the whistle-mainly as a warning to a defaulter and also to alert others of his profession. By then both the pairs were about ten yards apart. The Indians showed no sign of relenting and the MPs thought they had a duty to perform. Seeing the cane being transferred to the right-hand, the second Indian muttered to his friend,"He may hit one of us. That is my gut feeling." "If he dares! This puny fellow had it, today. I'll cut him to pieces,"said the first one in the same low tone muttered through his clenched teeth.Punjabi language can be very forceful when it comes to emphasising a point, as was the Pushtu language of the local Pathans tribals, since they were neighbors. As the distance between the pairs became less, their speed of paces slowed down. The Indians had made up their mind to confront the MPs. Since a Sikh never starts a fight, they were waiting for action from the Goras.The two MPs were slightly taken aback at the audacity of the Sikh soldiers. By then they were just a yard apart. The pavement at that point was slightly wide. Both the Sikhs tried to stay on the pavement and made way for the Policemen by edging closer to the hedge. The first one was on the right of second one and thus closer to the British. The MPs reluctantly edged towards the road while definitely staying on the pavement. The aim was to stay on the pavement. The slim one was on the right of the tall one and thus closer to the first Indian. As he came next to them, his face turned red with disdain seeing the damn Indians conveniently edging towards the hedge thus taking up a slightly higher and superior position, rather than give way to the British masters by stepping down on to the low road. That was a challenge to the self respect of

Shamsher Singh Rathore has it all. A job he loves and a life in which he lives every moment. Until an untimely call from home embroils him with a woman called Saaya, who proceeds to turn his orderly world upside down! The only interest Sayana Singh Rajput had in him was the prized Sheesh Haveli. She had never believed in love until destiny threw her this impossible challenge. What do you do when all that you believed in turns out to be a lie? Will Shamsher be able to save his world? Will Sayana believe in love, or will she ruin it all? What about Saaya? What happens when desire meets destiny? Set in idyllic Rajasthan, Call me Saaya is the story of two souls in pursuit for true love while destiny has other plans for them.

In most accounts of the revolt, the greased cartridge has been referred to as the spark and tinder that lit the flames of rebellion. The greased cartridge - what was it all about? The army so far had been quipped with the smooth-barrelled musket, which had a protracted loading procedure and was not accurate over long ranges. The new Enfield rifles, which were now being issued, had grooved or rifled barrels. This made them more accurate and gave them a longer range. The powder and bullet for the new rifle were put together in a paper cartridge. To load the rifle, the end of the cartridge containing the powder had to be bitten off so that the charge would ignite. The cartridge was then rammed down the muzzle of the rifle.. The grease used was tallow, probably containing both cow and pig fat. To "the cow reverencing Hindu and the pig paranoid Muslims" having to bite this was repellent, defiling and deadly to their religious prospects. The Revolt of 1857-58 was the biggest and bloodiest conflict against any European colonial power during the nineteenth century. This book is essentially about the heroes - Tatya Tope, Nana Saheb, Rani Lakshmi Bai, Kunwar Singh of Jagdishpur - and not to forget, a few villains. Though the revolt failed in its objective, even in failure it served a grand purpose. It was a source of inspiration for the national liberation movement, which later achieved what the revolt could not.

BollySwar is a decade-wise compendium of information about the music of Hindi films. Volume 7 chronicles the Hindi film music of the decade between 1991 and 2000. This volume catalogues more than 1000 films and 7000 songs, involving more than 1000 music directors, lyricists and singers. An overview of the decade highlights the key artists of the decade - music directors, lyricists and singers - and discusses the emerging trends in Hindi film music. A yearly review provides listings of the year's top artists and songs and describes the key milestones of the year in Hindi film music. The bulk of the book provides the song listing of every Hindi film album released in the decade. Basic information about each film's cast and crew is provided and detailed music credits are provided. Where available, music credits go beyond information regarding music directors, lyricists and singers, and include the names of session musicians, assistants, programmers, arrangers, mixers, recordists, etc. Where applicable, music related awards are listed. Interesting trivia is listed for most films. This includes information about artist debuts, plagiarised or sampled songs, controversies and stories behind the making of the film and its music. This book is primarily meant as a quick reference for people looking for information related to a Hindi film or a song, but readers can also browse through the book to get an overview of the events that shaped Bollywood music in the decade. Given that Hindi films are a reflection of the Indian society, the reader can also glean insights about the country's socio-political and cultural environment from the book.