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Publication Year | 2019 |
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Pages | 250 |
Greece, a modern Odyssey: selected essays
$24
About the Book
This outstanding collection of personal essays, sharp analysis, unusual photographs, and poetic reflections focuses on Greece and its people as they found themselves in the eye of a storm that continues to shake Europe and the world. Ranging widely from economics and politics to social and environmental issues, and from cultural and diasporic interactions to literature and the arts, the essays and other materials have been put together in ways that attract, inform, and challenge the reader no matter where she or he may reside. Presenting a roster of distinguished contributors, the editors offer a variety of perspectives, points of information, and allusions, which substantially add to ongoing debates on how individuals and groups may proceed in challenging circumstances. Greece: A Modern Odyssey is being published by Mumbai-based Paperwall Media & Publishing, in memory of the late Hatto Fischer, the German poet and philosopher who lived in Greece and brought this volume together with his wife Anna Arvanitaki.
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рдЕрднрд┐рдзрд╛ рд╕реБрд░реВ рдЕрд╕рддрд╛рдирд╛ рдЧреНрд▓реЛрдмрд▓рд╛рдпрдЭреЗрд╢рдЭреЗрдирдЪреА рдкреНрд░рдХреНрд░рд┐рдпрд╛ рд╕реБрд░реВ рдЭрд╛рд▓реА рд╣реЛрддреА. рдЖрдордЪреНрдпрд╛ рдХрд╛рд╣реА рдХрд╡рд┐рддрд╛ рдЖрдгрд┐ рдпрд╛рдЪ рджрд░рдореНрдпрд╛рди рд╕реНрд╡рддрдГрд▓рд╛ рдЖрд▓реЗрд▓рдВ рдЬрдЧрдгреНрдпрд╛рдЪрдВ рдирд╡рдВ рднрд╛рди, рдЧреНрд▓реЛрдмрд▓рд╛рдпрдЭреЗрд╢рдЭреЗрдирдореБрд│реЗрдореБрд│реЗ┬ардмрджрд▓рд▓реЗрд▓рд╛ рднреЛрд╡рддрд╛рд▓ рдЖрдгрд┐ рдпрд╛ рд╕рд░реНрд╡рд╛рдВрдореБрд│реЗ рдЙрдордЬрд▓реЗрд▓реЗ рд▓рд┐рд╣рд┐рдгреНрдпрд╛рдЪрдВрд╣реА рдирд╡реАрди рднрд╛рди рд╣реНрдпрд╛ тАШрдЕрднрд┐рдзрд╛тАЩрдордзреВрди рдЖрдореНрд╣реА рджрд┐рд▓реЗрд▓реНрдпрд╛ рдХрд┐рдВрд╡рд╛ рдЖрдореНрд╣реА рдорд┐рд│рд╡рд┐рд▓реЗрд▓реНрдпрд╛ рдХрд╛рд╣реА рдЧреЛрд╖реНрдЯреА.
резрепрепреп рдордзреНрдпреЗ рдЕрднрд┐рдзрд╛ рдирдВрддрд░ рд╕реБрд░реВ рдХреЗрд▓рдВ рддреЗрд╡реНрд╣рд╛ рдЧреНрд▓реЛрдмрд▓рд╛рдпрдЭреЗрд╢рдЭреЗрдирдЪрд╛ рдкрд░рд┐рдгрд╛рдо рдЕрд╕рд▓реЗрд▓реЗ рд╕рд╛рд╣рд┐рддреНрдп рдЖрдореНрд╣реА рдкреНрд░рд╕рд┐рджреНрдз рдХрд░реВ рдЕрд╕реЗ рдзреЛрд░рдг рд╣реЛрддреЗ рдЖрдгрд┐ реирежрезрек рд╕рд╛рд▓реА рдЕрднрд┐рдзрд╛рдирдВрддрд░ рдмрдВрдж рдХрд░реЗрдкрд░реНрдпрдВрдд рдЖрдореНрд╣реА рддреЗ рд▓рд╛рд╡реВрди рдзрд░рд▓реЗ. рдЧреНрд▓реЛрдмрд▓рд╛рдпрдЭреЗрд╢рдирдВрддрд░ рдЬреАрд╡рдирд╛рдкреНрд░рдорд╛рдгреЗ рд╕рд╛рд╣рд┐рддреНрдпрд╣реА рдмрджрд▓рдд рд╣реЛрддрдВ. рд╣рд╛ рдмрджрд▓ рдкрдХрдбрдгреНрдпрд╛рдЪрд╛, рдбреЙрдХреНрдпреБрдореЗрдгреНрдЯ рдХрд░рдгреНрдпрд╛рдЪрд╛, рдирд╡реАрди рд╕рд╛рд╣рд┐рддреНрдп рд▓реЛрдХрд╛рдВрдкрд░реНрдпрдВрдд рдкреЛрд╣реЛрдЪрд╡рд┐рдгреНрдпрд╛рдЪрд╛ рдЙрджреНрджреЗрд╢ рд╣реЛрддрд╛. рд╣рд╛ рдЕрд╡рдХрд╛рд╢ рдЧреНрд▓реЛрдмрд▓рд╛рдпрдЭреЗрд╢рди’рдирдВрддрд░’рдЪрд╛ рдЖрдгрд┐ рдПрдХрд╛ рдЕрд░реНрдерд╛рдиреЗ ‘рдЕрднрд┐рдзрд╛”рдирдВрддрд░рдЪрд╛’ рдЕрд╡рдХрд╛рд╢ рд╣реЛрддрд╛. рдпрд╛ рдкреБрд╕реНрддрдХрд╛рддреВрди рдЕрднрд┐рдзрд╛рдирдВрддрд░рдордзреНрдпреЗ рдкреНрд░рдХрд╛рд╢рд┐рдд рдЭрд╛рд▓реЗрд▓реНрдпрд╛ рдирд┐рд╡рдбрдХ рдХрд╡рд┐рддрд╛, рд▓реЗрдЦ, рдореБрд▓рд╛рдЦрддреА рдЖрдгрд┐ рд╕рдВрдкрд╛рджрдХреАрдп рджреЗрдд рдЖрд╣реЛрдд. рдпрд╛ рд╕рд░реНрд╡ рд▓рд┐рдЦрд╛рдгрд╛рдВ рдордзреВрди рдЧреНрд▓реЛрдмрд▓рд╛рдпрдЭреЗрд╢рди рдЖрдгрд┐ рдбрд┐рдЬрд┐рдЯрд╛рд▓рд╛рдпрдЭреЗрд╢рдирдВрддрд░ рдирд┐рд░рдВрддрд░ рдмрджрд▓рдд рдЕрд╕рд▓реЗрд▓реА рднрд╛рд╖рд╛, рд╕рдВрд╕реНрдХреГрддреА,рдЖрдгрд┐ рдЬрдЧрдгрдВ рдЕрдзреЛрд░реЗрдЦрд┐рдд рд╣реЛрддрдВ. рдорд░рд╛рдареАрдд рд╕рдзреНрдпрд╛ рд▓рд┐рд╣рд┐рдгрд╛рд▒реНрдпрд╛, рд╡рд╛рдЪрдгрд╛рд▒реНрдпрд╛, рд╡рд┐рдЪрд╛рд░ рдХрд░рдгрд╛рд▒реНрдпрд╛, рднрд╛рд╖реЗрдЪреА рдЖрдгрд┐ рд╕рдВрд╕реНрдХреГрддреАрдЪреА рдЪрд┐рдВрддрд╛ рдХрд░рдгрд╛рд▒реНрдпрд╛ рдЖрдгрд┐ рднрд╛рд╖реЗрд╕рд╛рдареА рдЭрдЧрдбрдгрд╛рд▒реНрдпрд╛ рд▓реЛрдХрд╛рдВрд╕рд╛рдареА рд╣реЗ рдкреБрд╕реНрддрдХ рдЦреВрдк рдорд╣рддреНрддреНрд╡рд╛рдЪрд╛ рджрд╕реНрддрдРрд╡рдЬ рдард░реВ рд╢рдХреЗрд▓ рдпрд╛рдЪреА рдЦрд╛рддреНрд░реА рдЖрд╣реЗ.
Feeling happy to see great documentation of our work in Marathi from the late nineteen nineties. Abhidhanantar was a major movement in Marathi that self-consciously highlighted the transformation of our society and culture due to the processes of the post-1989 phase of hyper globalisation that has created the world as we understand today. Our generation was at
the cusp of the dying old analogue world that the modernist and identitarian generation of the Cold War period we had inherited, and the emergent new world of digital natives we gave birth to. Our poetry, world view and thinking documents this shift and this was the periodical that provided the platform to express this discourse. It brought together and created not only new voices like Sanjeev Khandekar, Saleel Wagh, Shridhar Tilwe, Hemant Divate, Manya Joshi, Nitin Kulkarni, Mangesh Narayanrao Kale, Arun Kale, Varjesh Solanki and Nitin Rindhe among many
others but also created a new readership in Marathi.– Sachin Ketkar
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Broomrider’s book of the dead
About the Book
Mukta Sambrani’s The woman in this room isn’t lonely is a book of surprising intensity and imagination. Sambrani has a lyricism and fanciful imagination seldom seen in English-language poetry in recent decades. A poem about a man and woman in bed is anything but sentimental. Sambrani’s economy, independence of mind, hard-headedness and irony combine into a rapidly dramatic scene, which within twelve lines becomes grotesquely comic…By now there is a tradition in Indian poems of the coming of poetry as something mysterious. Sambrani’s version is totally unexpected. Bruce King, Modern Indian Poetry in English. Mukta Sambrani’s poems in Broomrider’s book of the dead are notable for their extreme strangeness. The book-length sequence is presented as the working manuscript of its fictional protagonist, Anna Albuquar, whose project is to ‘renegotiate the idea of authorship.’ There are asides, hesitations, false starts, instructions to the reader, and throughout, a steadfast regard for language. Jeet Thayil in Fulcrum and Bloodaxe book of contemporary Indian poets Broomrider’s Book of the Dead…is experimental in every sense… a crowded collage and an eloquent concoction that will make you look up all the references it states or implies…Sambrani said that her protagonist was obsessed with capturing memory “beyond constraints of time and place, beyond decay, illness and the failing of the body. She is obsessed with writing about writing. I am curious about the architecture of our experience. As we move toward a world that is hyper-digitised, our psyches become more and more of an orchestration of fragments of media, sights, sounds, words and visuals. Anna’s writing leans back to lean forward. It captures the history of writing through writing in a world that constructs itself out of fragments of media.Lora Tomas in The Sunday Guardian