Asia Books

ITMB maps are excellent. We have purchased ITMB maps on several previous occasions for various countries... and have never been disappointed in their accuracy and ease of reading. I look forward to getting to use my India map this summer!

I brought this map mainly to put it up on the wall - but its not designed for that. The map is on both sides of the paper - divided by regions. Its water-proof and does not tear easily - so its great if you want to use it as a driving guide.

i WAS IN iNDIA WITH A GROUP IN APRIL OF THIS YEAR AND I WANTED TO MAP OUT JUST WHARE WE WERE DURING THE TRIP.
THE MAP WAS VERY USEFUL IN HELPING ME SEE JUST HOW FAR AND HOW MANY MILES WE TRAVELED IN 15 DAYS.
THE MAP IS CLEAR AND VERY WELL LAID OUT
KEN

This map is great because it can be stuffed into a backpack and sweat and rain will not damage it. The detail is good, and the information helpful.

When I was a very little girl, we lived in Indonesia and were in Japanese concentration camps during WWII.
I was interested in reading this book, because my brother was taken away at 11 and sent to a men's camp all by himself. I wanted to know what he had gone through.
This book will tell you a little of what we all went through in those years. It is written from a young boys view point and that was helpful to keep it less of a heavy read.
I think very few people know how many of us suffered hunger and illness in POW camps under the Japanese. It is history and hopefully we won't have to re-live this.

A decided to read this book after I heard the news that a movie based on it staring Jane Seymour will be filming next year. I read it only to better understand the movie, and was extremely surprised at what an excellent story I found it to be. It is told from the perspective of a little boy, about his struggles and triumphs, and the little things that help him cope with life in a concentration camp run by Japanese. If you think this is your typical "WW II survivor story", guess again. As I was reading I forgot the book was about a concentration camp. It became the story of a ordinary boy and his mother, and their day-to-day life amidst a horrific background. The harsh reality is it is a true story. I hope the movie does it justice. This book is extremely under-rated. It is up to par with Oprah's book club books. Please read it, and I think you will be surprised. If anyone knows how I can contact the author, please let me know.

The story is beyond an ugliness of human nature.How any one dare to challenge "How about Hiroshima ?" The boy is above all these and almost religius. The Japanese Emperor and the Governmentaologized for the undue cruelities inflickted on the internees, but the most interesting thing is that they did no do so to their own people who were victims themselves under the Japanese Military systems.

i am 16 years old and read this book for the first time last year. i truly enjoyed reading the book. i am not into books which have a difficult plot or a lot of long words but anyone can undersatnd this book. i cant imagine what the boy would have went through and had to keep on reminding myself that this actually happened. i definitely do not think that this book is given the credit in which it is worth. reading the book makes you realise what a good life you have compared to what the boy went through. so go out and read the book now. p.s. have a box of tissues ready!!!

This is the second copy of this book that I bought. I purchased second as a gift for artist friend after buying one for myself. We are both painters; but, this is the type of book anyone can enjoy reading for its philosophy and appreciation of Asian art. A visual artist can learn much from the techniques of brush painting used in China and Japan. It is both poetic and visual.

This is the best generally available book on Chinese and Japanese ink-painting in English of which I am aware. Why? Because it is not, primarily, a "how to" book. Yes, there are extensive examples of specific brushstrokes and characteristic forms and techniques, however they are by way of explanation and illustration, rather than instruction. There is much talk of history and aesthetics, but from a practical perspective; this is not, primarily, a book of art history or criticism. Rather, it looks at those things from the point of view of a painter, rather than an academic. While it's not an easy read, I would recommend this every bit as much for beginners as those with more experience.

So, why would this be useful for the beginning painter? While some authors would have you believe that Asian ink work is rooted in a spontaneous expression of feeling, and/or that a meaningful piece of art can be created with just a few, easily mastered, brushstrokes, these are extreme oversimplifications of the actuality of Asian art. Tossing a bit of ink on some rice paper may be spontaneous, but it isn't the same as the Spontaneous school of Chinese painting. In reading this book, which is admittedly dense and occasionally dry, the reader can gain a strong background in the traditions and aesthetics of ink painting. While learning basic brush control from a teacher or how-to book, "The Way of the Brush" will give you not just context and history, but an understanding of how to compose and construct a work -- how to put those brushstrokes together.

It could be said that this is not a book about how to paint in the Chinese and Japanese style, but how to look at a painting in the Chinese and Japanese style. In doing so, it also points the way towards seeing like a brush-painter. Unless you can see, not merely with your eyes, but with your mind, it is impossible to make the jump from brushwork to painting, from technique to art.

This is the book from which I learned sumi-e. It is well written, with wonderful examples. If one is seriously interested in the subject and in learning how to paint high quality works, it is the definitive work. The artist, P'u Ch'uan, who illustrates particular styles and strokes, is a master, providing some of the best examples one could hope for. The works of other artists in their instructional books pale by comparison; they fall into the "You too can paint a masterpiece in 60 minutes" sort of thing one sees on TV. Those are acceptable if you accept the limitations and set your sights accordingly. The standards set by this book are extremely high.

The historical perspectives help a great deal in understanding not only the background of the art, but also in understanding the background of the strokes. These backgrounds are essential to more fully appreciating the work of others and in informing your own work. The great variety of styles and artists presented--contemparary and historical--help one to form one's own style.

This book teaches both an appreciation of the art form and a sound basis for attempting it. I can't say I have mastered the form by any means, but working based on this book has been a rewarding experience.

Highly recommended.

This is one of the best books about Chinese painting for those who want to understand not just Chinese painting techniques, but also something of the history and variety of traditional Chinese brush painting. The one drawback is the usage of the outdated Wade-Giles romanization (the book was first published in 1962), but that is merely a trivial annoyance compared to the wealth of information the author provides. Most instructional painting books are written by painters who focus on their own style, and give no credit to all the masters who have gone before them. This book shows many examples of paintings by master painters (ancient and modern), along with examples from the author's own teacher, master painter P'u Ch'uan. He thoroughly describes the different painting styles, with excellent examples, and many bibliographical references. I especially liked the fact that he gave 7 different versions of translations of "the Six Principles" of Hsieh Ho; by combining the common threads in all of them, their real meaning becomes clearer.

Another subject he talks about, although briefly, is the importance of understanding brush strokes in order to be better prepared to deal with forgeries and copies. This subject is almost universally ignored in books on Chinese painting, and yet it is very important. I have seen a painting in a catalog from one of the big auction houses that on first glance looked like another one of Li Ke-ran's many water buffalo paintings, and was attributed to him by the (anonymous) seller. Upon closer scrutiny of the brush strokes used, it was obviously a fake. And I am by no means a true expert.

If you are a beginner with no teacher to help you, then you will probably need other books, too. But for anyone who wants to learn about the history and traditions of Chinese painting, this is the ideal book.

This book is the epitome of excellence, the characters are intriguing, especially the fox. The use of 3 voices is just phenomenal. Read this book.

I was almost put off by the three different voices narrating this book, but it was easy to read from the first page. The characters are so interesting, you will want to read it all at once. It is very woman-focused and addresses issues of sexuality and ethic identity in a low-key way that does not take away from the story.

This must one of the most remarkable and readable magical-realism books ever written in English. In her part-mystery, part-historical novel, part- fantasy, Ms Lai manages to lead us in and out of different dimensions without the slightest degree of confusion. I was never a fan of this genre but have become entranced with this skilfully and delightfully-written work, which uses fantasy to teach us to look at ethno-cultural identity and belonging in a new way. Chapeaux off to Press Gang for a fine production job, with a delightful icon-in-the-margin trick to save the innocent reader from confusion.

Written in three narrative voices, moving between China and Vancouver and between centuries, this is a wonderful tale. While the fox moves towards a thousand, and immortality, we also journey with a ninth-century female Taoist poet, and Artemis, a young Asian-American woman living in contemporary Vancouver.

This novel combines aspects of Chinese mythology, medieval China, and life in modern-day Vancouver to revise the myth of the Fox (a figure who can inhibit women's bodies in order to cause mischief) and to explore some of the identity and dislocation issues experienced by migrants. Ms Lai's imagination results in a tale that continues to haunt long after the story is told.

'When a fox is fifty, it can take the form of a woman. When it is one hundred, it can take the form of a beautiful girl. When it is a thousand, it can speak to Heaven and will never die. '

Recommended to both lovers of fantasy as well as to those who enjoy well-crafted fiction more generally.

Jennifer Cameron-Smith

I thought I'd read everything & experienced all Viet Nam had to offer. Bill Merritts book has refreshed my memories of Cu Chi and Phu Cuong. I was on the bridge with Bill Merritt before it blew. We played chess, and he remembered the names of our Chinese/Vietnamese soldier friend-"Ha"-and our housegirl "Loi". I have pictures of both. His memory of dialogue and events is astounding, and I believe I am one of the characters in his book. I loved it, even though the memories are not good.

Bill Merritt's account of his service with the 65th Engineer Battalion, 25th Division, in 1968, never got the attention it deserved, but it is one of the best memoir-style books to have emerged from the Vietnam War. The writing is rich and layered, the dialogue utterly real, the stories frank and fascinating. Highly recommended for anyone interested in what Vietnam was like for a junior enlisted man, and a must for any serious reader of Vietnam War literature.

A fine memoir of a Vietnam veteran. My brother met the author and secured a signed copy for me which I immediately devoured. It is highly readable and engrossing. I especially enjoyed the attention to language; specifically the terms and names. Merritt uses them effectively to put us into his time and environment.

Bill Merritt's account of his service with the 65th Engineer Battalion, 25th Division, in 1968, never got the attention it deserved, but it is one of the best memoir-style books to have emerged from the Vietnam War. The writing is rich and layered, the dialogue utterly real, the stories frank and fascinating. Highly recommended for anyone interested in what Vietnam was like for a junior enlisted man, and a must for any serious reader of Vietnam War literature.

I really enjoy this book. Of course the subject matter is tragic, and the pictures and text reflect the terrible political actions that have created this situation. Mr. Harrison's photographs with the Ultra-Large Format camera are beautiful. Printing is very high quality. Glad I own this book.

I had the pleasure of seeing a preview copy of this book. It isa must read as we move toward understanding what it might mean for thefuture in making China richer and more powerful through trade.

This book puts a gentle face on a very brave people who have suffered not only the largest land grab of the 20th century through the bloody invasion by China (Tibet is the size of Europe) but have suffered a genocide by the Chinese that is the most widely ignored in history.

This is a beautiful book and worth the price. Add to your reading list "Tears Of Blood" by Mary Craig and "In Exile From the Land Of Snows" by John Avedon.

China will be one of the 3 big stories of the next century if we make it richer and more powerful. This book is as important as it is a beautiful undertaking. Congratulations to Mr. Harrison END

In Whispered Prayers: Portraits And Prose Of Tibetans In Exile, Stephen Harrison showcases the inner experiences of being a Tibetan refugee through a moving narration combined with exquisite photography. This wonderful exhibition is a worthy and valued contribution is further enhanced with a foreword by His Holiness, the Fourteenth Dalai Lama. Whispered Prayers will be read with deep engagement by students of Buddhism, of Tibetan history, and all who seek an enlightenment path through perilous and stressful times.

This book is a must see and read. Stephen Harrison truly captures the personal side of Tibetans in Exile. As you read the stories behind the Tibetans portrayed in the photographs, it's as if you are in the background while Stephen Harrison interviews these most courageous Tibetan people. The portrait photography is wonderfully presented in a landscape format providing for a personal backdrop behind the emotion and suffering of each Tibetan portrayed. This is a one of a kind presentation providing a first-time moving experience each and everytime you open the book.

The U.S. intelligence system is driven as much by personality as by so called `requirements' as this book so well demonstrates. Sam Adams was a self taught order of battle specialist with the CIA who became involved in a major confrontation with the Military Advisory Command of Vietnam (MACV) over the number and organization of the South Vietnamese Communist (Viet Cong) combat forces. Adams believed, and marshaled the evidence to prove it, that the Viet Cong number of combatants were over 400,000, twice the number that MACV had estimated. The MACV estimate was politically driven rather than being based on objective evidence, but in the end prevailed. Adams throughout the confrontation and afterward was a strong and effective voice for maintaining the integrity of the intelligence process and providing the most accurate intelligence possible. For his efforts he was widely ignored by both his superiors at the CIA and especially by the military. In the end he was forced to resign from the CIA.

Yet this book is considerably more than the account of one man's struggle to provide the best truth possible. It is a fascinating look at some specific aspects of the intelligence process and how that process can be subverted for political ends. This reviewer suspects that the current Iraqi WMD uproar if looked at in detail would be found to be analogous to the need by MACV to demonstrate military success in Vietnam by fabricating artificially low numbers of Viet Cong fighters and ignoring evidence to the contrary.

Sam Adams worked as an analyst in the CIA, Directorate of Intelligence and from the time he begin work in 1963 (on the former Belgian Congo) he was clearly an engaged and hard working analyst. As it turned out he also had a passion for accuracy which in the end ill-served him in his career. This reviewer was a contemporary of Adams, but at time was serving in Military Intelligence. Among those of us who were fairly far down the intelligence food chain, when Sam Adams engaged in his fight for accuracy with MACV, we all considered him a real hero.

This is the first book by C. Michael Hiam and it is a brilliant debut. He is an excellent researcher and a good writer. In this book he presents a fair and accurate picture of what is now a mostly forgotten controversy that is both relevant and vitally important to any discussion of reforming the U.S. intelligence system.

There are other books on this issue of "cooking the books" and the strategic consequences of falsifying or prostituting intelligence, but this book by a first-time author, C. Michael Hiam, jumps to the head of the line. This is one of the most exciting and absorbing books on intelligence it has ever been my privilege to read. It is not a substitute for Sam Adams' own book, War of Numbers: An Intelligence Memoir nor for George Allen's None So Blind: A Personal Account of the Intelligence Failure in Vietnam or Bruce Jones' War Without Windows or Jim Wirtz The Tet Offensive: Intelligence Failure in War (Stemme) or even Orin de Forest's book Slow Burn: The Rise and Bitter Fall of American Intelligence in Vietnam.

I am especially moved by this book because it treats Sam Adams, who was reviled as often as he was a hero, in a gentle fashion, and makes it clear that the bottom line was that Adams was right and Adams had integrity. The book is superb at explaining why General Westmoreland had to back down when he threatened CBS with libel because too many witnesses were prepared to say that it was Westmoreland who ordered that the number of "enemy combatants" never go above 300,000. The military officers who loyally but stupidly followed that order, and the CIA bureaucrats who unethically "folded" on this important issue of "who are we fighting and how many" are tarred and feathered by this book, and right so, as it applies to the run up to war in Iraq and the planned bombing of Iran.

There are other CIA heroes in this book, notably Ed Hauch who got it right on the first day--he and others who actually knew Ho Chi Minh knew him to be a nationalist and knew we could not win, but it would take us 10 years to figure that out. Same same Iraq only we did not have any CIA people with both the knowledge and the integrity to speak out, just George "slam dunk" Tenet, the world's greatest intelligence prostitute.

As we consider tactical nuclear weapons for Iran, it is instructive to read in this book that the military planned for nuclear missile batteries to be inserted into Da Nang and Nha Trang.

As we reflect on how the Army Chief of Staff was ignored when he spoke of the need for major land forces to stabilize Iraq, only to be ignored, it is instructive to read in this book that Walt Rostow and others knew full well the standard rule of thumb for insurgencies, the need for a 27:1 ratio.

McNamara was deceived by Westmoreland--fast forward to Iraq and we have on the one hand a prostitution of intelligence, and on the other a series of truthful wise Army generals whose advice was ignored by civilians.

The author has done a really first rate job of capturing the nuances of the CIA and the military. His discussion of the hours spent on chit-chat unrelated to work reminds me of the AIM system today, where CIA has discussion groups on everything from teen-age drivers to menopause--in my experience, most CIA headquarters people are actually working only half the time.

The author will be long admired for this book, and on page 122 he delivers the coup de grace in citing Sherman Kent, speaking to Sam Adams, and asking "Have we gone beyond the bounds of reasonable dishonesty?" What an incredibly good job the author has done with this book.

I have been energized by this book, which validates my long-standing fight to induce intelligence reform. I was called a lunatic in 1992 when General Al Gray and I gave up on four years of internal appeals and publicly brought up the need for emphasis on open source intelligence. 18 years later we finally have a few well-meaning but impotent individuals without a program, without money, without staff, and without a clue. We will march on, and the intelligence reform will be imposed now rather than induced. I anticipate legislation on an independent Open Source Agency soon--unlike secret intelligence, public intelligence cannot be manipulated nor ignored.

The book gave me new insights on Sam Adams and on the entire order of battle methodology. Those trying to understand the Global War on Terror and the issues of foreign fighters versus home guard insurgents would do well to read this superb volume.

The author points out that Tet was a huge military failure, one that could have been exploited by the US military had they not been so deficient in intelligence about small units and the guerrillas (immortal paraphrase: "here we are in a guerrilla war and no one is counting the guerrillas"). The author educated me on the work that Sam Adams did on the Khemer Rouge in Cambodia, and saddened me when he discussed how Sam Adams' next project was going to be Chinese strategy--now wouldn't that have been something?

For the Information Operations folks, the book briefly but ably covers the Viet Cong "Military Prothlesizing" corps that was responsible for POW conversions into agents, for running psychological operations against the Saigon regime, and for penetrating the South Vietnamese Army and government, with a success rate of 30,000 or 5%. When combined with what Jim Bamford tells us on Body of Secrets: Anatomy of the Ultra-Secret National Security Agency about North Vietnamese Signals Intelligence, we can only marvel as the manner in which they beat our ass in the intelligence war, in part because of our lack of ethics in both the military and at the highest levels of the CIA.

Viet-Nam unraveled the Johnson presidency; I fully expect Iraq and Iran to unravel the Bush presidency. This book could not have emerged at a better time, and I recommend it very strongly to all intelligence, military, and policy professionals.

This wonderfully written book is a must-read for anyone wishing to learn about the Vietnam War and how it was mishandled, but is also must reading for those seeking to understand what is now happening to us in Iraq and Afghanistan. Sam was a one-of-a-kind analyst -- exacting, dedicated (almost obsessive), talented, and most of all, RIGHT -- and he was ignored and pushed aside. Michael Hiam's book deserves much wider media coverage, and I hope it will eventually receive it. Although this book shows Sam, warts and all, it is still a marvelous tribute to Sam and his work. (I should add that my husband Dana and I knew Sam well)

I read Sam Adams first book War of Numbers and this is a great follow up too bad this great American has passed on. The author has taken a work started by Adams before his death and finished it superbly. In this work you get a glimpse of Adams and his blind commitment to truth. Who among us would spend our whole lives trying to get the American people to see the truth of what went on behind the scenes in Vietnam. As a former Marine with two consecutive tours in Nam I always knew Westmoreland was a loser and the one who officially brought politics into the Joint Chiefs but Sam Adams makes it official. And McNamara, he is as arrogant in this book as he was in real life. This book takes you through the treachery that is at the high levels of the government and military during times of war - think today! I wish every American would read this and vote accordingly and get America the leadership it deserves. Read it and tell others.

This book is by no means for the beginner. It's a tough, somewhat dry read which goes into detailed aspects of metaphysics; however and thankfully, it isn't a technical manual which would've overshot the purpose of this book. Personally, I found Unworldly Wise a more efficient book for a beginner as this one seems more useful for the occasional dive into more detailed perspectives.

Cut to the quick! Read this and you won't need to read further. Doesn't matter whether or not you think of yourself as a student of Zen. Wei Wu Wei goes to the heart and throws it in your face so clearly that the only way you won't "get it" is if you resist. If that is the case then stop reading all together. Save your money and buy insurance. A brilliant classic!

"Man is a river...never the same for two consecutive seconds" says Wei Wu Wei in this collection of enlightening essays. Packed with insights and encouragement, every page of this book has something to offer. Why Lazarus Laughed focuses on what Zen, Advaita, and Tantra have in common; what essential doctrines they share. This focus provides a refreshing look at the common questions that we all share as human beings and gives us the inspiration we need to continue on our own personal journey of understanding. Wei Wu Wei helps us come to terms with and accept the inherent uncertainty in our uncertain world. Anyone needing inspiration on their search towards self-discovery should be sure to read this book at least twice!

This book is another gem from Wei Wu Wei. It is a fine collection of Zen Advaita and Tantra. It is a must have for anyone interested in the nature of THAT beyond the words or concepts.

This is a fantastic anthology of women's writings across a broad spectrum of Indian history - well chosen and edited, with an engaging and thoughtful introductory essay. I assign this book to provide some of the primary documents for my undergraduate Gender in South Asia course. Students, in particular, will find the text clear and easy to use. The only drawbacks of the work are the near absence of writings representing the Mughal period, the 18th century, and the early 19th century, but this is partly because women's writings from this period are difficult to locate or (and this is perhaps the greatest problem) pinned down in obscure books and journal articles by copyright restrictions. Nevertheless, this anthology will not disappoint, and is well worth the cost, providing excellent breadth of material and value for money.

This book was a major find for me, since I'm Indian-American and most fiction I read in college was by white male American and European authors. It's great to have a book like this one and its companion volume. Many of the pieces have never before been translated into English. For example, there is a version of the Ramayana, one of the major Indian epics, written by a Telugu woman, parts of which are translated here.

Women Writing in India is great for curling up with in the evenings, and is a wonderful resource (the ONLY resource, as far as I can tell) for Indian women writers through the ages. Buy it now!

I have ordered these books because I found them at a house I was visiting in Austin. An Indian couple generously invited me into their home to see these books after they found out I was interested in women's history. I was particularly impressed with the writings of the woman, Tarabai. She wrote a feminist treatise in 1873, excerpted in this anthology, which reminds me of a poem, Hombres Necios, written by Sor Juana Ines de la Cruz in the seventeenth century. It also called to mind the work by Matilda Joslyn Gage in the U.S. a few years later, 1893--Woman, Church and State. Tarabai's words are so brilliant and inspiring. Fantastic! Our women's movement has a much longer history and a more global representation than I ever learned about in any of my schooling.

Virginia Woolf created the persona of Shakespeare's sister - an equally talented writer whose creativity was stifled under the rigid Elizabethan society. Her Indian counterpart could be called Tagore's sister. Actually, Rabindranath Tagore did have an older sister, Swarnakumari Devi, who became an accomplished writer and journalist in her lifetime. However, rather than being patronized so often, had she received the same encouragement and support as her younger brother, she may have reached an equivalent level of international acclaim today. Editors Tharu and Lalita's anthology is an excellent collection of works by women who throughout Indian history have rarely been encouraged express themselves. Male critics have often ignored women's writing or have been condescending. Until the 20th century, female literacy in India has seldom been advocated. This book captures the development of women as writers in India, from early 6th century Buddhist nuns to the social reformers of the 20th century. Devotional writing provided a safe outlet for the Indian woman, and the bhakti (devotion) movement began in south India in the 8th century, and moved north through Maharastra, Gujarat and Rajasthan by the 16th century. A bhakti poet could express her feelings under the guise of religion, surpassing caste and gender barriers. For example, romanticism and eroticism is acceptable through the lovers Lord Krishna and Radha. Another acceptable method was to invoke the inspiration of Krishna, as Tarigonda Venkamamba (19th century Telugu) did before she imagined Lord Vishnu as her husband. A woman of a low caste, normally forbidden to read the scriptures, could create her own religious songs by attributing it to divine inspiration. Atukuri Molla, from a Telugu artisan caste in the early 16th century, actually revised the Hindu epic, Ramayana. She produced 138 slokas (verses) in six sections within five days, and Molla Ramayanam depicts the story from Sita's point of view. Like most women writers, she was apologetic about herself, "I am no scholar . . . " and said divine powers had given her this voice. A particular mark of the bhakti writer is the ankita - the author's name embedded in the text. An example is Mirabai, a 16th century Gujarati and Hindi writer, whose songs and poems are legendary today. *"Mira is the servant of her beloved Giridhar (Krishna) And she cares nothing that people mock her." (p. 93) Although there are no reliable manuscripts, Mirabai's songs have survived thanks to their lyrics and strong rhythm. Tharu and Lalita have definitely broadened the scope of women's writing in India by embracing the folk song. India has a rich oral tradition of singing at weddings, lullabies, and during house and field work. There is also a stronger collection of songs about with intense statements about childbirth and mistreatment by in-laws and husbands. In this collection, the readers can witness the centuries of oppression, as told by the women in their own words. Rassundari Devi (19th century Bengal) wrote of her own life -- weeping as child bride, bearing and raising eleven children, running a household on an empty stomach at times, and secretly learning to read behind her kitchen stove. She writes: *"I kept the sheet in my left hand while I did the cooking and glanced at it through the sari, which was drawn over my face . . . Wasn't it a matter to be regretted, that I had to go through all this humiliation just because I was a woman? Shut up like a thief, even trying to learn was considered an offense . . . the little that I have learned is only because God did me the favor" (p. 202) These women struggled for a voice within their own households - confronting forced marriages, abuse and neglect by husbands and in laws, the denial of education and the ostracization of widows. There is an especially moving personal and anonymous account of the dehumanizing treatment of widows in the 19th century. If she only knew that a hundred years later, her words had survived. One of the most insightful stories was written by Rokeya Sakhawat Hossain (19th/20th century Bengali) whose essays on the rights of women have been compared to English feminist Mary Wollstonecraft. In "Sultana's Dream," she envisions a society in which men are restricted to the murdana (men's quarters), while women are free to rule the country, and excel in science and politics. She sharply and logically details the women's acquisition of power and how they utilized it to create a utopic society. This dialogue is indicative of Rokeya's wit: *"[Men's] brains are bigger and heavier than women's. Are they not?" "Yes, but what of that? An elephant also has got a bigger and heavier brain than a man has. Yet men can enchain elephants and employ them according their own wishes."(p. 347) There are 140 women writers from 13 languages in this collection and every one has a singular story deserving to be told. Many pieces have been unearthed for the first time, while others are now translated into English. This collection is most likely available at university bookstores.

This is the "standard introductory textbook" that is also a true joy to read for any layman who wants some accurate information on early India. At the time the book was first published (1954), Professor Basham was teaching at the School of Oriental and African Studies of the University of London.Later he moved to the chair of Asian Civilisation, at the Australian National University, Canberra. His book remains a perennial despite his passing.

This is a classic work on pre-Muslim Indian history. The author's scholarship is evident on every page. While the preface specifically states that the book is intended mainly for a Western audience, South Asians especially should find this book salutary reading--it is an account of their history that is both objective and respectful, a healthy contrast to the unscientific views of history that are often put forth by right-wing politicians in India and Pakistan. The book is a little dated when it talks about the Indus valley civilization.

This Book is Great. Every page of it makes very insightful and intresting reading. It can hardly be bettered in the Subject its dealing with. But, I guess he may not be wholly impartial in his assessments and retains i guess some "Mlechha" attitude. I know the authors reputation and this might appear silly but at a few places he makes some sweeping statements which appear to be made without much proof.

Following are some such sweeping statements.

1. Comparing vedic culture to a culture that bears a generic likeness to that of 'Beowulf' who were semi-barbarians.

2.'and was somehow less advanced than that depicted in the Iliad.

3."BUT IN GENERAL THE MUSLIMS WERE REASONABLY TOLERANT "
Its tough to find any scholar agreeing with this view point. This is almost exclusively of AL BASHAM.

Lot more like this but believe me!.

Bashams scholarship is without peer, he is as comfortable translating tamil as he is in sanskrit, talks about vedic, jain and buddhist ideas with equal flair, passion and clarity.

The book presents ancient India; an idllyic society in an intellectual pursuit unparalled in any society made possible by a liberal and benign social and political environment.

His understanding of philosophy, religion, language and culture (art and prose) is just a pleasure. I am amazed to see the breadth in one person.

His timeline of history and how (only)Indian society has absorbed wave after wave or outsider and make them one in a melting pot is illuminating.

If you are intersted in understading Hindu's(or India); it's a must read, there is nothing as clearly written for an english reader as this.