ORANGE CITY LITERATURE FESTIVAL

“'Jennifer' recounts the genuine story of a young girl who was trafficked to America under the misrepresentation of adoption. The story begins with an Indian American named Jennifer in prison. Later in fast judicial hearing, she is extradited back to India for having no papers affirming her to be an American. Stunned and alone in a peculiar land, she battles to make a life for herself. Whenever you're snared as an individual, you hear her frightening history, of how she was shipped off America for adoption and how she was eliminated from the two families for sexual abuse and afterward how she get stuck in the American child care framework. With few possibilities, she begins hustling to procure and when she's gotten, she's shipped off India without wanting to, abandoning two kids. The book is both holding and instructive. Utilizing basic words, I tried to catch the chaotic ride of feelings Jennifer felt as she carried on with her life, with delicate experiences on how a few occurrences would shape her. Scattered in the first half are some instructive sections on global adoption laws and the historical backdrop of youngster dealing. They're not excessively long and assist with giving context to the story, rather than removing the concentration from it. The book is really interesting and offers a decent investigative view of how some more hopeless parts of the world work.”

Mr Sharna is a well-read and well-travelled author who worked in different countries as a bureaucrat representing India. We weren’t lovers like that is the first novel he wrote in his early 20s. After 18 years of publishing, discussing his first novel took him down memory lane. The novel, according to Mr Sharma, portrays an introspective train journey from Delhi to Dehradun by the protagonist. The protagonist, who starts in a somewhat negative frame of mind, finds hope during this train journey. The cities Delhi, Mumbai, Dehradun are discussed in detail, and the author takes a leaf from his own experience in these cities. Mr Sharma is happy that his novel is still in print even after almost two decades. When questioned about the title, he says that the protagonist is shown to taste the city life in Delhi compared to the quiet beauty of Dehradun. Of course, the cities described by the author are portrayed as they were 18 years ago, but the storyline is such that the reader will find it to be current. The protagonist is revisiting his love, and yet he says, ‘We weren’t lovers like that’ because he has other issues on his mind now compared to the time when his relationship was alive the first time. For him, the Orange City Literature Festival has been a great platform to share his experiences about the novel.

Ms Anupama Chopra is an acknowledged film journalist and author who has won awards for her writing. As a film critic and journalist, her current role has made her words important for audiences on any new Indian film. Based on her reviews, people create personal opinions regarding the movie and the casting. She is very candid in her views as she presents them in the light of the Orange City Literature Festival to the equally open question put forth by Radhika Dhawad. When she is asked to throw some light on the role of films and entertainment in society, she says that both are interlinked. Movies have their roots in the 'Social and Cultural' arena. She often refused to pass any negative comment for any film because she understands the high degree of hard work, perseverance, and perspiration put into the direction and casting. Apart from being a celebrated writer and journalist, she is the wife of a successful and renowned film director, Vidhu Vinod Chopra. This keeps her close to the world of Bollywood. That's her small world of the written word!

Anupama Chopra talks on “The Role of Movies and Entertainment for Society” in conversation with Radhika Dhawad at Orangecity Literature Festival - 2021  Anupama Chopra is a film critic, National Award-winning book author and journalist. She is the chairperson of the Film Critics Guild and Director of the Jio MAMI Mumbai Film Festival. She has covered cinema since 1993 in multiple mediums – print, television and digital. She has worked with India Today, NDTV 2/7, Star World and is currently the founder and editor of the digital platform Film Companion, which offers a curated look at cinema and entertainment. The Orange City Literature Festival 2021 is being organized by SGR Knowledge Foundation and Powered by Raisoni Group of Institutions.

Sudeep Nagarkar on "Complicated Relationships of Youth" In Conversation with Naveen Choudhary

I and my family’s four generations have passed in this city, and I identify Calcutta as an exclusive complex and structured city. You can constructively observe the difference in the short distance from Chidiya Ghar to Victoria Memorial Road. Bengali proverb is the ethical and cultural bedrock here where there are plenty of others, including the Marwaris, the Jews, the British, the Armenians, and people from UP and Bihar, among many others. They have contributed to making it an enthusiastically cultural tapestry for an observer.

I always thought Calcutta is also a city that celebrates its weaknesses instead of hiding them. Despite being a Marwari for me and my precious observation and understanding of the Bengali culture, it concluded that there are no other words for Nyaka and Kyablamo. If everything is proper and refined, where will you find the angularities of the niches? It’s the cracks that make up a story, not perfection.

Chef Nitin Shende is an exceptional professor and Culinary Expert at GIHMCT, Nagpur. With massive industry experience, he is one of the most influential Culinary Experts in the industry. Catch him live for a session on "Career Opportunities in Hotel / Culinary industry" at the Orange City Literature Festival 2021. The third edition of the Orange City Literature Festival is happening live! Catch Chef Nitin Shende sharing his thoughts and experiences at OCLF!

He was an atheist who was always proud of his Hindu identity, which he regarded as political and cultural. On January 6, 1924, Savarkar was released from prison and played a key part in forming the 'Ratnagiri Hindu Sabha.' The goal of this organisation was to conserve Hindus' social and cultural history.

Veer Savarkar, the president of the 'Hindu Mahasabha,' urged Hindus to help the British during WWII. Veer Savarkar was elected president of the Hindu Mahasabha in 1937. On the other hand, Muhammad Ali Jinnah declared Congress rule "Hindu Raj," exacerbating the already simmering tensions between Hindus and Muslims.

On the other side, we cannot overlook that Veer Savarkar was a vocal opponent of the Indian National Congress (INC) and Mahatma Gandhi. He opposed the 'Quit India Movement and later protested to the Indian National Congress's division support. He proposed that two nationalities coexist in a single country.

During his time in prison, he published the pamphlet Hindutva: Who is a Hindu?' Supporters of Savarkar released this. The pamphlet impacted several Hindus by describing Hindus as patriotic and proud citizens of 'Bharatvarsha' (India). He also claimed that Jainism, Buddhism, Sikhism, and Hinduism are all religions. All of these religions, he claims, may promote the building of 'Akhand Bharat' (United India)

India's Power Elite explores the nature of power and elitism in postcolonial India. Its starting point is India's political transition in the twenty-first century, with the Congress Party's marginalisation and the staging of a cultural revolution epitomised by the growth of Hindu majoritarianism. Baru dissects the morphology of India's power elite, which includes feudal gentry relics, kulaks, a metropolitan business class, civil servants, and a cultural elite of opinion-makers. He also looks at how caste, class, and culture had a role in forming a "New India." This book will appeal to both students and people in positions of power, as it is written for the socially engaged reader.

When The Accidental Prime Minister was first released, it was greeted with enthusiasm by readers who saw it as a window into the power dynamics in Lutyens' Delhi.' Most members of the "Delhi Durbar," on the other hand, chastised me for doing exactly that—opening a window to the outside after entering its entrance. This book examines the nature of Indian elites and their power, attempting to comprehend how political change brought about by the demise of the Congress and the emergence of the BJP is transforming the power elite's morphology. In contemporary India, I investigate the dynamics of political, economic, and cultural power.

I was Never a person of political views. As I grew up watching Dilip Kumar movies in the halls of Baroda and Bombay, he was one of the thousands who mimicked his dress, hairstyle, mannerisms and dialogues. India was changing around him. It was Nehru's India, proud and independent in its destiny in the community of nations. Dilip Kumar embodied how the Nehruvian man perceived himself, sensitive yet strong, passionate yet mindful, a role model, an icon and always so exemplary. I did not want to write only about politics but about the growing up of my generation and how films affected us.

In Dilip Kumar and his movies between 1944 and 1964, I saw the epitome of young India. Fifty-seven movies, countless awards-the Sheriff of Bombay, the Padma Bhushan, the Dadasaheb Phalke, Rajya Sabha membership and controversially, the Nishan-e-Imtiaz from the Pakistani government. Sadly, an India also left Nehru-and Kumar, his great admirer, behind in its communal and religious divisions, which destroyed what the freedom movement had so carefully nurtured. Dilip Kumar was indeed Nehru's Hero.