India Books

Pravina Shukla's The Grace of Four Moons: Dress, Adornment and the Art of the Body in Modern India is an elegantly written, yet accessible text that documents everyday art of and on the body of her collaborators in Banaras, India. This book not only documents and elaborates about individual case studies, but envelopes them all together in a larger meta-study of the way in which scholars have (and have not) approached the study of body art as a simultaneous reflection of self and community.

This ethnographic text rooted in Folkloristics, illuminates how choices of individual "adornment" in Banaras become integrated into the different layers of individual life processes and culturally rooted aesthetic-frames from which generalizable principles for the study of body art across disciplines and the globe become abundantly clear. Readers will see that the individuals involved are not those who choose to adorn themselves. The research frames comes to include, the families of the women being featured, the makers of jewelry, the salesmen, as well other social and consumer networks that all relate back to the object and radiate outward to include national and global markets, which implicitly integrate notions of the interconnected "local and global" into the study of individual creativity. The integrated focus of this book brings together the dynamics of individuals-as-artists (of varying sorts whether physical craftsmanship or the art of assemblage) with the objects that they "speak" through, as well as the lenses through which beholders "see" through and read out culturally, regionally, gendered, aged, and class based messages.

This text highlights the hallmarks of folkloristic scholarship that is the focus on individuals as artists, and ability to document tradition and variations within parallel systems of production. This study does not focus on a single women, but multiple women, enacting their realities through material culture in different creative ways--India is by no means demographically homogenous, and we can implicitly read this discourse of regional and cultural diversity out of this text. One of the key elements in this text is the notion of choice. While privilege and caste might bring certain option to the table, the participants here shape their lives of their own volition, choosing each day how to represent themselves, on their own terms to the worlds in which they live. However, choice is also modified by implications of the larger social and cultural systems in which these women live, such as the influence of Hindu religious beliefs and the popularity of contemporary Bollywood films. Reader are able to see the ways in which these larger social phenomena become part of the discourses of the self in India, as they would in any modern, media saturated society.


More explicitly, Dr. Shukla creates explicit dialectics between contexts of production and display through use, which are brought together in a unique social and cultural contexts. Readers can see the way in which personal aesthetics are both individual and cultural, as part of intertwined discourses of the self as produced by a series of participants--jewelry and sari makers, knowledgeable vendors, experienced customers as well as the ultimate factor, personal preference. Where women appear to be the focus, we see the interchange between men who make saris, jewelry and assemble bangle sets, and women who create personal assemblages to adorn their bodies are active, mutually constitutive participants in this larger process of self-adornment in India. This perspective is clearly articulated by the way in which the chapters flow, as displaying and wearing body art in this context is prefaced first by the processes of making and buying it.

This is the perspective that has ultimately been missing from previous studies of dress and adornment. It is at the intersection between contexts where function and meaning gain powered as they are obscured, contested, and ultimately realized. It is the art-object's movement through these places and spaces that facilitates its meaning, which culminates on the wearers body in an intimate microanalysis arising from the interactions that negotiate social and personal aesthetics and expectations--display is however, but one stage in the life of these objects. Through the explication of similar objects in multiple contexts ranging from stages of production, consumption, and display, one sees the convergence of forms in the special context of the wedding. Readers get the range of everyday choices, and the specialized context of wedding attire, which includes the rearticulating of everyday types of art-objects (saris, bangles, and other jewelry) in a ritual context, heightening their relative meanings.

In these spaces between contexts, which are linked through art-objects, interactions between the images of real people become qualified by a person's interactions with the ideal images of gods that pervade Hindu culture, adding yet another qualifying layer from which to modify the meanings of what outsiders might consider simple artifacts.

The author makes nuanced distinctions between what people bring to and take away from their "home" locations, who they are, and what sorts of resources (for instance, financial and cultural capital) they have at their disposal to adorn their bodies to illustrate the utter complexity of often disregarded everyday adornment. She chooses to focus on individual case studies of women in Banaras with comparable resources in order to highlight diversity among rather than between social groups. A focus across between casts would only reaffirm social disunity without illuminating the nuances of personal expression, which allow the reader to experiences these women as agents of their own identity making, rather than solely products of their castes. This is not a study of India, this is the story of multiple Indian women as individual artists living within differentially connected or disconnected social networks that in-turn influence their personal aesthetic choices.

Implicitly readers are able to understand, that while adornment is part of the creative repertory of each of the women that are part of this larger story, it is not their only or preferred creative outlet. The text by no means claims that these women's worlds area defined by dress or confined by their bodies, rather Dr. Shukla points to accompanying examples such as outside professions and domestic food preparation as parts of a larger body of creative opportunities in which these women assert their own tastes and make beautiful things in their own lives.


Within this text readers begin to experience a vocabulary-of-dress as part of a communicative system, that much like verbal communication, both gives and receives messages, and in each interaction modifying the subsequent exchange. This discourse of body art is therefore active rather than stagnant, constantly being rethought and reevaluated through agents. This is not a book about how all Indian women dress and have always dressed (as essentializing discourse of static adherence to "traditional norms") but it is about current, living women expressing themselves through their body art now.


The author complicated the notions of display by highlighting culturally defined norm of both seeing and being seen in this area in India. Being seen and seeing become complimentary, reciprocal activities. The role of beholder is a culturally embedded phenomenon as well as an experience between individuals who share a sign system. Readers are also allowed to enter that relationship, although mediated by time and space, through beautiful photography we are allowed to make out own assessments--to create our own discourse about the art under discussion.

Throughout the text there is a wonderful sense of empowerment, where women are controlling their personal aesthetics and in essence expressing to the participants in their world. "This is how you may view me today." This implied through references the way in which gaze may be turned inward, as women's choices affect how they want to be seen and how they see themselves. At the same time, the reader may understand that not all choices are made to attract gaze, a women may want to distance herself from her husband or family and this chooses an aesthetic to detract gaze from her body (337).

Here we are looking at dress and the body as composite parts of a culturally and socially embedded semiotic system of understanding mobilized through tangible realities of color, texture, length, fabric, and pattern etc. We are shown the relationship of the individual simultaneously engaging with their own trade, aesthetics, and social role, with other individuals in roles of, producer, seller, and audience as a series of cultural mediators.

In The Grace of Four Moons, the author allows us to see that in terms of notions of beauty and art, objects are not where notions of aesthetics begin, but rather where they end. They reflect deeply held personal and cultural beliefs of life, beauty and the production of identity. Terms like "vanity" "modesty" "hygiene" "style" "creativity" "public" and "private" merge onto a continuum of the relative values of personal aesthetics. These elements, positioned relative to the body, then move with the body through geographic contexts, and in their movement, we may see how art becomes laminated on the body to express how an individual becomes situated in and between spaces potentially indicating both physical and social transitions. This perspective illuminates how one may study clothing and body art in diasporic contexts where concepts of home become by force or choice, relocated.

What is most important about this book is the way any reader or researcher working on body art can seamlessly integrate their work in the this multi-part model synthesized here. This is not a work about India, or how Indian women adorn their body, it is a comprehensive model for the study of body art across the world that emphasizes the complexity of self-adornments and how in temporary, transitory and permanent ways becomes simultaneously intertwined in multiple social, personal and economic contexts. By connecting discussions of micro contexts on the body and in the closet, and macro contexts of regional and national trade and commerce, this text shows readers how body art not only allows individuals to enact identities based on social expectations, but to simultaneously recalibrate those enactments in the face of personal desires and social change.
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Rachel Gonzalez
Doctoral Student
Department of Folklore & Ethnomusicology
Department of Anthropology
Indiana University-Bloomington

The Grace of Four Moons' subtitle promises (and delivers!) an exploration of dress and adornment in modern India. The author's discussion is engaging and well-written putting her into dialogue with dress scholars such as Valerie Steele and Joanne Eicher. The book is beautifully illustrated, scholarly, and written in accessible language making it a `must read' for anyone interested in how people everywhere communicate through their appearance. In writing this ethnography of dress, Shukla provides a model for those concerned with material culture in general and dress in particular. Designers, curators, folklorists, and anyone who enjoys learning about the rich possibilities of dress and adornment will find this book a fascinating read.

Great Book, a classic, if you are a student of Dzogchen this book is a must read.

Among those accomplishments illustrating the heights to which we can rise as a species may be found the literature of Ati Yoga (rDzogs chen, The Great Perfection). Ati Yoga is not a belief system; faith is an impediment. Rather, it is an epistemology; its literature a gnostic effulgence illuminating that part of our experience we deem the spiritual. "The Great Image: The Life Story of Vairochana The Translator" is a fluid, brilliant articulation of that innermost knowledge and belongs on the book shelf of any who revel in the history of human achievement.

The novel, written for kids 9 and over, is primarily about the upheavals that occur in the life of an Indian-Canadian family when the grandmother (Naniji) visits from India. The protagonist is Tara a lively and sensitive 15-year-old. She is initially resentful of her visiting grandmother because the grandmother seems to disapprove of Tara's mother's somewhat Western ways and indeed of the Canadian ways of the whole family: the kids don't know Hindi, nor about Diwali; they don't play the sitar and, worst of all, know nothing of the family's role and sacrifice during the Indian Independence movement.

This is too much for Tara: "This is the world I live in. But how do I fit? I'm not one of the true natives, the First Nations, and not one of the whites who marauded the globe colonizing, who tell the history of Canada from when they arrived. I'm too dark for the Samanthas and the rednecks, but not dark enough for Tolly, or Indian enough for Naniji, too Canadian, too Western. Always too something. Never just right."

Tara reads a paper at school about Naniji's role in the Indian Independence movement. The most evocative part of the book occurs when Tara alternates between wanting to read the paper to her class, and not wanting to because of how her friends will react to it and to her (how it will affect her acceptance within the group). She reads the paper anyway. As she had feared, some of her classmates do "shutter down" - close up by seeming to brand her as "other". But, unexpectedly, some of them actually congratulate her and thank her for introducing her to an aspect of history and of herself of which they had been unaware.

Her mother and Naniji are proud of her - that is, until Naniji hears Tara proclaim how she, Tara, is a "regular" Canadian. At this point Naniji "shutters down" because she cannot countenance the fact that her granddaughter is a proud Canadian - what of the family's heritage, sacrifice and history back in India? What of their allegiance to India?

"Naniji catches me staring and tries to smile. She's stiff, but it's not like before, with the criticism and disapproval and the hostility. Her eyes - they are hurt."

The resolution of the conflict within the family and within Tara's own mind is handled by Ms. Gilmore with great maturity and eloquence. She articulates opposing points of view with clarity and grace. Without talking down to the reader, she addresses sensitive issues such as race and color, assimilation and alienation, head-on. This is important especially because these issues are hardly ever addressed in a safe, non-ideological way, without putting one or the other side down as the victim or the aggressor, the turncoat or the conservative.

I highly recommend this book - not just for kids in this age group, but even for their parents and grandparents. In fact, I would go so far as to say this book should be made required reading for all kids (on any rung of the assimilation ladder) because it will create a better understanding and awareness of the inner script that guides our public lives.

To read more of this review, go to desijournal.com

The novel, written for kids 9 and over, is primarily about the upheavals that occur in the life of an Indian-Canadian family when the grandmother (Naniji) visits from India. The protagonist is Tara a lively and sensitive 15-year-old. She is initially resentful of her visiting grandmother because the grandmother seems to disapprove of Tara's mother's somewhat Western ways and indeed of the Canadian ways of the whole family: the kids don't know Hindi, nor about Diwali; they don't play the sitar and, worst of all, know nothing of the family's role and sacrifice during the Indian Independence movement.

This is too much for Tara: "This is the world I live in. But how do I fit? I'm not one of the true natives, the First Nations, and not one of the whites who marauded the globe colonizing, who tell the history of Canada from when they arrived. I'm too dark for the Samanthas and the rednecks, but not dark enough for Tolly, or Indian enough for Naniji, too Canadian, too Western. Always too something. Never just right."

Tara reads a paper at school about Naniji's role in the Indian Independence movement. The most evocative part of the book occurs when Tara alternates between wanting to read the paper to her class, and not wanting to because of how her friends will react to it and to her (how it will affect her acceptance within the group). She reads the paper anyway. As she had feared, some of her classmates do "shutter down" - close up by seeming to brand her as "other". But, unexpectedly, some of them actually congratulate her and thank her for introducing her to an aspect of history and of herself of which they had been unaware.

Her mother and Naniji are proud of her - that is, until Naniji hears Tara proclaim how she, Tara, is a "regular" Canadian. At this point Naniji "shutters down" because she cannot countenance the fact that her granddaughter is a proud Canadian - what of the family's heritage, sacrifice and history back in India? What of their allegiance to India?

"Naniji catches me staring and tries to smile. She's stiff, but it's not like before, with the criticism and disapproval and the hostility. Her eyes - they are hurt."

The resolution of the conflict within the family and within Tara's own mind is handled by Ms. Gilmore with great maturity and eloquence. She articulates opposing points of view with clarity and grace. Without talking down to the reader, she addresses sensitive issues such as race and color, assimilation and alienation, head-on. This is important especially because these issues are hardly ever addressed in a safe, non-ideological way, without putting one or the other side down as the victim or the aggressor, the turncoat or the conservative.

I highly recommend this book - not just for kids in this age group, but even for their parents and grandparents. In fact, I would go so far as to say this book should be made required reading for all kids (on any rung of the assimilation ladder) because it will create a better understanding and awareness of the inner script that guides our public lives.

To read more of this review, go to desijournal.com

A very well written book. The recipes indicated in this book are quite authentic, judging by the ingredients and method of cooking. Devaki Bubbar has some good pointers too, that can be aplied to other styles of Indian cooking.

Wow, this book is a find! Considering the popularity of Gujarati food in India, it's surprising how few culinary books exclusively devoted to it are available in English. Going by general books on Indian cooking, it seems as though Gujaratis eat nothing less elaborate and rich than undhiyu, and aamras-puri. Thankfully this book proves otherwise, with truly authentic recipes for everyday fare, snacks, festival food, and even home remedies like ukaalo (for when you have the sniffles). Illustrations are sparse, but the recipes are precise and clear. Whether you're looking for new vegetarian flavors, or whether you're an expat Gujarati missing home cooking, you'd enjoy the recipes for osaaman, valore-muthiya nu shaak, ghau na faada ni khichdi, and magaj. These are not things you can order in an Indian restaurant. If you have access to good Gujarati home cooking, or to a Gujarati specialty restaurant, you can skip this book. Otherwise, it's absolutely essential!

This book provides a wealth of practical information, strategic planning, and decission making tools. Very easy to follow and practice. Author has in depth knowledge on the subject. I love this book.

The book is clear, concise and to the point. One of the few books I have ever read that has profound ideas but, at the same time, is an easy read. The management principles outlined in this book can be applied to almost any profession--including educational administration. I firmly believe that a leader can't operate at full potential until he or she grasps the concepts in this book.

People have been drinking tea for hundreds of years. Sylvia Schneider not only provides numerous tea recipes from China, Japan, India, Tibet, Arabia, the Americas, and Europe, she also includes the history and traditions of tea, as well as tea recipes for a wide range of ailments.

The popularity of tea combined with the popularity of herbs as medicine makes this title not only an interesting and informative book, but a practical one as well. The reader will enjoy learning about the history of these teas and the ingredients from which they are made. Preparing and drinking these teas, which can improve health and well-being, will also be an enjoyable experience.

This book is a jewel. A good friend gave it to me as a "hope you feel better gift" the last time I was down with a bad cold. You don't have to be sick, however, to learn about the ancient history and healing power of teas and infusions.

Sylvia Schneider is a freelance writer and medical and scientific editor who works as a medical journalist. In this book she explores the history, traditions, ingredients and recipes for tea from China, Japan, India, Tibet, Latin America, Aboriginal America, and Europe. There is also information about the use of exotic herbs and spices.

This beautiful volume is illustrated with more than 50 color photographs and includes many recipes to improve the overall state of health and well-being. Makes an excellent gift. I know firsthand!
JANA

This is a great cookbook. It has good recipes which are simple to make using a lot of healthy Indian spices.

The Healthy Cuisine of India is a GREAT cookbook. I LOVE the recipes in this book. This is my first and only Indian cookbook so I can't really compare it to other Indian cookbooks. But I do know that I enjoy the food from these recipes even more than eating out at Indian restaurants. The author gives lots of details explaining the different types of spices and how to prepare them. There is also some discussion of the lore associated with the various recipes. And the food tastes GREAT. Highly recommended.

I sent this book and "Quick Quack Quick" by the same author, to my niece and nephew. They really enjoyed it, and my sister enjoyed reading it to them. Many thanks for such a great story.

This book is just marvelous! Little Four(the little gray kitten on the cover) follows Bengal into the jungle to learn how to be like a tiger, so that he may earn his name on naming day. I was struck by how Four perseveres, and eventually triumphs, despite all those around him who doubt. This book has everything; exciting action, great moral (without being preachy)and the illustrations are as magical as the rest of the book.(Be sure to look for the hidden tigers!) Positive, empowering and beautiful, it's everything a picture book should be. I read it to my son's 2nd grade class; it was a hit, it really got them excited and talking.

A Heart Poured Out is the biography of Swami Ashokananda (1893-1969), who was a prominent monk of the Ramakrishna Order and a man who devoted most of his life to developing the Vedanta Society in San Francisco. Knowledgeably written by Sister Gargi, a disciple of Swami Ashokananda since 1948, A Heart Poured Out deftly covers the breadth of Ashokananda's life ranging from his childhood in India, to his enthusiastic dedication to personal spirituality, to his independence in daring to refute some of Mahatma Gandhi's political viewpoints. A Heart Poured Out is highly recommended as being a unique and rapturously written biography of an intrinsically fascinating man.

I was bowled over by this biography of a man of God who walked among us for a time. If you have never met a living saint, you have no idea how such a one combines power and love and humor in such a way as to make you KNOW your own divinity. Swami Ashokananda was one such man of God, and if you read "A heart poured out" you cannot fail to be blessed by his uncommon presence and enlightened by his remarkable teachings. Sister Gargi's book is a masterpiece of spiritual literature.

Simply, amazing! A lot of deep, insightful views about Indian classical music, together with a great sense of humour and liveliness. Not only for the Indian music lover, but also for anybody who really loves any kind of music.

As a teller of tales, Mrs. Dhar shines forth in the same light as possibly W. Somerset Maugham. As a racounteur, her skills are tremendous - the words are like a conversational monologue. The characters are drawn in excellent verbal chiarascuro, in immaculate English, and the humour although quite native, is delighting to all races, I am sure. Her encounters with people have been drawn with remarkable accuracy and the characters come to life with her verbal quill. Kudos on all counts to a great writer and singer, as I remember her myself.