Books and Authors

"The idea of a suitable religion for democracy strengthened Ambedkar's view of Buddhism. His conversion was not just intellectual but also emotional and spiritual" - Ashok Gopal, author, 'A Part Apart; The Life and Thought of BR Ambedkar', talks to Manjula Narayan about his mammoth work. Tune in to now!

Listen to Manjula Narayan discuss with Anirudha Bhattacharjee, author, 'Basu Chatterji and Middle of the Road Cinema' about how this book tells us many inside stories about the ace director’s films. The anecdotes are not restricted to trivia and behind-the-scene occurrences, as films like Saara Aakash, Piya Ka Ghar, Rajnigandha, Chhoti Si Baat, Chitchor, Manzil, Khatta Meetha, Swami, Priyatama, Baton Baton Mein, Shaukeen and Chameli Ki Shaadi are analysed in detail, even with a mention of their flaws. His shift to television with Rajani, starring Priya Tendulkar, and his work in other Doordarshan serials such as like Ek Ruka Hua Faisla and Byomkesh Bakshi are deal with too. Tune in to know more!

Listen to Manjula Narayan discuss with Avijit Ghosh, author, 'When Ardh Satya Met Himmatwala' about the 1980s in Hindi cinema, it was the decade of the dark and powerful police drama Ardh Satya. It was the decade of the kitschy excess of the action comedy Himmatwala. It was a decade of opposites. It was a time of furious change beyond the silver screen, video cassettes brought cinema to drawing rooms and bedrooms; television and one-day cricket emerged as fierce competition to films; piracy put movie theatres in crisis; film stars were elected to the Indian Parliament in surprising numbers.

Listen to Manjula Narayan discuss with the Aashima Dogra, co-author of Lab Hopping, how from Bhopal to Bhubaneswar, from Bangalore to Jammu, she and her co author Nandita Jayaraj engage in thought-provoking conversations with renowned scientists like Gagandeep Kang, Rohini Godbole, Kiran Mazumdar-Shaw and Prajval Shastri, as well as researchers at earlier stages of their scientific careers.

“We can write on Ancient Indian History but that doesn't mean you are finished knowing all there was to know.“ The history of India through 75 objects is a curation of objects from the prehistoric ages through twenty-first century India, author Sudeshna Guha provides a panoramic view of the rich histories of the subcontinent to the host Manjula Narayan. The incisive essays in this collection detail not just the objects but the histories of their reception: examining how changing times and attitudes cast their shadow on the ways in which the past is interpreted and narrated. In doing so, A History of India through 75 Objects inspires us to interrogate our own notions of a knowable past and fixed national history. Teeming with thought-provoking insights and surprising anecdotes, the essays instill a sense of wonder about the continuous processes by which histories are constructed.

"I've always been a crime beat reporter and I've met a lot of funny characters," says Srinath Rao, author, 'Meow Meow', which looks at the story of alleged drug dealer Baby Patankar, who dominated the news cycle in March 2015. He talks to Manjula Narayan about the blackly comic true crime story set in Mumbai that features drug dealers, crooked policemen, double crossed lovers and large hauls of Mephedrone that incredibly turn out to be Ajinomoto!

"Stories about migration, some of which date back several thousands of years and some of which are much more current, still play a toxic role in the politics of South Asia. But every country has its really odd set of migration narratives. The modern narrative on migration is so messed up that it's impossible to attack it head-on. I've tried to do that by pulling back into history in which some of the absurdity shines through" - Sam Miller, author, Migrants; The Story of Us All talks to Manjula Narayan about his new book, that presents the historical movements of everyone from the Vikings, African Americans, and the Jews to the Yahgans, Pocahontas and the Chinese

"The whole history of photography from an archival point of view is not just the history of the nation or the world; it's also the history of the changing means of representation and the changing ways of producing images. We should not flatten visual history to a linear narrative. We have to think of it as multi-nodal and cross-pollinatory to a great extent," says Rahaab Allana, editor, 'Unframed; Discovering Image Practices in South Asia' that includes interviews with lens-based artists from Bangladesh, Bhutan, India, Myanmar, Sri Lanka and Pakistan and varied pieces on the visual culture of South Asia by critics, curators and

The period leading up to 1857 in Delhi is written about in very contradictory terms. Sometimes it is called the last flicker before the candle goes out. But this is the high point of Urdu literature and poetry; it is the lifetime of Ghalib, Momin, Zauq, Bahadur Shah, and of Delhi college. It is also the time of the total decline of the Mughal dynasty. There were so many interesting things happening yet it is talked about in cliches. Earlier colonial historians pushed the idea that the period was decadent because it served to then justify British rule and the belief that it was needed for India to progress.

"India has taken off as a country in the last 30 years and as India continues to become a more significant force in world politics, the art follows through. We, as collectors, are enjoying the benefits of that. A lot of museums are now very interested in Indian art, which wasn't the case 20 years ago. I think the standing of the nation in the world is projected onto its art and culture." - Umesh Gaur, whose art collection is the subject of Paper Trails; Modern Indian Works on Paper