Little Appu wants to play on the seesaw. But who will sit on theother side? A grasshopper? Or a mouse? Or . . .? A wonderfully simpleapproach to the concepts of light and heavy, up and down, aided by dynamic,lovable illustrations.

Ooper Neeche (Up Down) [Paperback] [Jan 01, 2006] Vinayak Varma

Vinayak Varma

Children's Books

Tulika Books

Baby Beboo Bear

Deepa Balsavar

Aana the elephant doesn't like his looks. But Chena the yam says he's beautiful. How? asks Aana.

Aana and Chena (English and Hindi Edition)

Sowmya Rajendran

The essays in this book cohere around several themes: the connections between local, metropolitan and colonial geographies as they bear on debates about epistemological uncertainty; the transitional and regional production of ideologies under the aegis of colonialism; ways of theorizing women's literacy, labour and agency, and consent to patriarchal arrangements and ideologies. They can be read as mapping a politics of 'the possible'. This presents itself in several registers: as a more sensitive feminist historiography; as a reinflection of culture that keeps alternatives open for integrative political praxis; as social possibilities for the secular in a situation that seems to deny it; as historical possibilities created by contradictions that did not have inevitable outcomes; as resistant elements produced through contradictions between multiple structures of oppression. This is a reprint of the 1999 edition.

Politics of the Possible: Essays on Gender, History, Narratives, Colonial English

History

Sangari, Kumkum

Asia

The Enemy of Nature: The End of Capitalism or the End of the World?

Business & Money

Joel Kovel

Economics

Fire and Other Images comprises a selection of prose pieces by Paritosh Sen, originally written and published in Bengali and rendered into English here, in an attempt to make them available to a wider audience. The pencil sketches that illustrate the narratives were done by the artist for this book. In these vignettes of his past Paritosh Sen evokes a world that we have lost, a memory of what has been and gone; yet the very act of evocation creates a powerful presence. His family was large enough for him, as a child, to lose himself in his own vision of the world: a vision that has remained with him and is recalled in moments of reflection. This vision comes through in the pieces that bring to life memories of his boyhood in Dhaka; of his relationship with his father which, though distant, is deeply imprinted in him; of the fire at his father's cremation; of the death of his mother which he poignantly juxtaposes with the anguish of a mother mongoose separated from her captured babies. Sen responds to the landscape, trees, plants, birds and people that surround him. For him the magnificent Arjuna tree, the 'tree in his village', for instance is like a high-rise building - with a hierarchy among the birds that nestle separately in the various branches of the tree, and between them on the snakes and iguanas in its roots. Paritosh Sen the artist comes through forcefully in the pieces where he recalls his meetings with Brancusi and Picasso. In his narration of his encounter with Picasso we are made aware of the initial awe that is gradually replaced by a recognition of the immense human qualities that go into the best creativity. The artist in Sen also surfaces in his stunning description of travelling across the waters at Abu Simbel at dawn. The creativity inspired by a recollection of a past world and of the attempt to comprehend the present, is preserved in both his paintings and writings. Both his painting and his writing are statements that endorse freedom as necessary to creativity and as central to the human experience.

Fire and Other Images

Arts & Photography

Sen, Paritosh

Individual Artists

When Was Modernism: Essays on Contemporary Cultural Practice in India

A commitment to modernity is the underlying theme of this volume. Through essays that are interpretive and theoretical, the author seeks to situate the modern in contemporary cultural practice. The essays divide into three sections. The first two sections, Artists and Artworks and Film/Narratives, raise questions of authorship, genre and contemporary features of national culture that materialize into an aesthetic in the Indian context. The last section―Frames of Reference―formalizes the polemical options developed across the book. The essays here propose resistance to the depoliticization of narratives, and affirm an open-ended engagement with the avant-garde. They explore the possibility of art practice finding its own signifying space that is still a space for radical transformation.

Kapur, Geeta

History & Criticism

The essays gathered in this book address two broad questions. What are the legacies of the imperial age and the colonial epoch, in the capitalist economy of the present day? And what challenges do global financial dynamics pose for developing countries, and for lower- and middle-income households?Increasing cross-border economic flows have attracted ever more attention. Ironically, cross-border financial relations are centuries old: they date to the birth of the modern nation-state, and, indeed, emerged under the dual shadows caste by imperialism and colonialism. Under colonialism, the financial flows were asymmetric, almost always flowing from the periphery to the core. This historical fact has a continuity in the world economy's financial core - the US, Western Europe, Japan, and newly emerging urban East Asia, and a few selected regions elsewhere. There, globalization has, in the past quarter-century, provided ever more investment and credit options for firms and consumers with access to what Marx would have called 'world money'. But any balance-sheet of the contemporary impacts of cross-border financial flows for nations outside this global core - that is, formerly colonialized and imperially dominated areas - would look quite different. Certainly, there are global 'financial citizens' in these countries, who have benefited from freer global financial flows. But, overall, these nations' macroeconomies have been compromised by contractionary policies forced on them due to recurrent cross-border financial crises; further, many micro-economic tragedies have unfolded in the wake of these macroshocks.The chapters in this book investigate three interlocking domains: the terrain of ideology about how global financial markets are supposed to work, across nations and across agents; the terrain of institutions and market structures; and the terrain of macro-economic and regulatory policy. Special attention is paid to the situation of India. This book demonstrates that, because asymmetric power rooted in imperialism and exploitation underlies the current era, exclusion and fragility are persistent features of the world in which we live.

Capture and Exclude: Developing Economies and the Poor in Global Finance

Ramkinkar Vaij (1906-1980), a significant artist of twentieth century India, is regarded as the first major figure in modern Indian sculpture. Born into a poor family in Bankura district, Bengal, he enrolled himself as a student in Santiniketan, at the university founded by Rabindranath Tagore, at the age of 19. Having made his home and found his creative métier there - as a student first and a teacher later - he was one of the pioneering trio of artists, along with Nandalal Bose and Benodebehari Mukherjee, who made Santiniketan the most important center for art in India between 1920 and 1947. Ramkinkar, as he was popularly known, was a man who had enormous gifts but never aired them; an artist who was single-minded in his pursuit of work but treated the results with philosophic unconcern. Indifferent to success, fame and money, he lived an unworldly and capricious life. His works reflect a great zest for the gifts of nature and deep concern for the conditions of poor and laboring people. The subject of this book is Ramkinkar's sculptures as seen through the photographic lens of Devi Prasad, supplemented by discussions on the artist's life and work in his own words and through the eyes of his students, friends and associates. Devi Prasad, who was a student at Kala Bhavan during 1938-44, went back to Santiniketan as a Visiting Professor in the year 1978. During his stay there, he undertook a photographic study of 60-odd sculptures of Ramkinkar. Towards the end of that year, during the seventh Pous celebrations, he exhibited nearly 150 of these photographs in three halls of Kala Bhavan. Ramkinkar himself, though in poor health by then, inaugurated the exhibition; he was deeply moved to see such a large photographic representation of his works.This book on Ramkinkar's sculptures by Devi Prasad is published as a tribute, to mark the artist's birth centenary year.

Ramkinkar Vaij: Sculptures

Prasad, Devi

This is a study of technology as self-help endeavor in the home and the provisioning of the household; as work in the rural workshop that supplies pots or iron tools for the village; and as techniques mastered in the urban workshop feasible not in simple tribal villages but when new production institutions emerge with the development of a political hierarchy. It travels from the agricultural field to the building of the home (with its food-processing and storage facilities), to urban water supply techniques and transport mechanisms, to the use of stone, bronze and iron for tools and weapons. A glimpse is afforded of the difference between the making of pottery by hand and the use of the potter's wheel. The social circumstances required of pottery production are in turn contrasted with those required of metallurgy. The whole is based on the archaeological evidence of the Neolithic to Iron Age cultures of South Asia, and concurrently, on observations of some technological processes followed by villagers today. The book asks if it is the nature of tools available that could have made possible the use of materials such as certain semi-precious stones or ivory. Which were the craft technologies that depended on bronze tools in the Indus cities? Else, it may have been horse-riding that prompted chiefs of southern India to sponsor the production of new kinds of iron weapons. It is, besides, possible that the charcoal requirements of early iron-smelting and forging are connected with localized deforestation, and that this had a role to play in the organization and dispersal of the industry. Why were masonry wells so rare after the Indus Valley civilization? Why is glass production known in the Bronze Age of Western Asia but in the Iron Age of South Asia? In what economic circumstances did people begin to use wheeled transport? Technology is not viewed here as a self-generating phenomenon. Instead, puzzles are explained by social and economic factors such as the nature of the work group and the resultant production process, and by political structures as well.

Makers and Shapers: Early Indian Technology in the Home, Village and Urban Workshop

Ratnagar, Shereen

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