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Tuesday, Jul 3, 2007 10:49 AM UTC2007-07-03T10:49:00Zl, M j, Y g:i A T

A Bengali bounty

In Bengali mythology -- and in my mother's kitchen -- fish has always been a delicious symbol of prosperity, fertility and pleasure.

A Bengali bounty
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During my years as a food writer, I have championed the cause of regional cuisine as the only authentic culinary identity. I have scoffed at the mere mention of “Indian” food or curry powder, which I came across often enough in America. Yet it is becoming more and more apparent, even from faraway America, that an inevitable fusion of influences from disparate areas is changing the nature of regional foods and eating habits in India today. And in fact, there is nothing new about this trend. The same Bengali cuisine that I wanted the world to know and appreciate, instead of focusing on the ersatz curries and tikka masalas available in Indian restaurants everywhere, has also evolved and changed over the centuries. Even a casual look at the pages of Bengali narratives going back to medieval times shows significant differences from the way we cook and eat in Bengal today. With the passage of the centuries, Bengali cuisine has eagerly taken and absorbed exotic ingredients, and repeatedly been modified by external influences. The same is true of other regional cuisines in the subcontinent.

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Chitrita Banerji grew up in Calcutta and came to the United States as a graduate student. She has since become an internationally recognized writer on Bengali food, and is the author of "Life and Food in Bengal," "Bengali Cooking: Seasons and Festivals," and "Feeding the Gods: Memories of Women, Food, and Ritual in Bengal." A two-time winner of Sophie Coe awards in Food and History, she has written about food for Gourmet, Gastronomica, Granta, the Boston Globe, and the American Prospect. She lives in Cambridge, Mass.   More Chitrita Banerji

Monday, Feb 6, 2012 3:00 AM UTC2012-02-06T03:00:00Zl, M j, Y g:i A T

“Behind the Beautiful Forevers”: Real-life Indian epic

A legendary journalist's first book tells of lives, loves and quarrels in a Mumbai shantytown

Katherine Boo

Katherine Boo

There are cult filmmakers and cult novelists, but Katherine Boo may be the world’s only cult journalist. Although a recipient of the Pulitzer Prize and a MacArthur Fellowship, she’s not a marquee name in her profession. Yet those discerning readers who have latched onto her work — particularly her articles for the New Yorker — are obsessed with it. (The TV and movie producer J.J. Abrams, of all people, once interrupted an interview to rhapsodize for 10 minutes about Boo. “Do you know her?” he asked reverently.) And now, at last, Boo has published her first book.

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Laura Miller

Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.comMore Laura Miller

Thursday, Jan 26, 2012 4:10 PM UTC2012-01-26T16:10:00Zl, M j, Y g:i A T

Salman Rushdie, back on trial

Threats and protests keep Rushdie from the Jaipur Literary Festival -- just the latest assault on Indian freedoms

Officials announce the news of calling off Indian born British author Salman Rushdie's video conference at the Jaipur Literature Festival, in Jaipur, in the western Indian state of Rajasthan, Tuesday, Jan. 24, 2012.

Officials announce the news of calling off Indian born British author Salman Rushdie's video conference at the Jaipur Literature Festival, in Jaipur, in the western Indian state of Rajasthan, Tuesday, Jan. 24, 2012.  (Credit: AP/Manish Swarup)

The Jaipur Literature Festival is a remarkable thing. It calls itself “the greatest literary show on earth.” In many ways, it is. Over 70,000 people show up. It’s organized by writers, not event managers. It’s free. Great crocodiles of school children in winter blazers crowd its sessions. Turbaned men with splendidly curled mustaches ladle out steaming hot chai into clay cups for the attendees. Parrots squawk in the trees. Chipmunks chase each other up and down the branches while Nobel laureates and Booker winners hold forth on the lawns. Indian grandmothers and blonde European expats trample over each other, fiercely fighting for seats. (The grandmothers tend to win.) It is a literature festival. But it’s more of a boisterous Indian mela – a fairground where anyone can come.

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Sandip Roy is an editor with New America Media and host of its radio show "UpFront" on KALW (91.7 FM) in San Francisco.   More Sandip Roy

Tuesday, Dec 20, 2011 3:00 AM UTC2011-12-20T03:00:00Zl, M j, Y g:i A T

My first snowfall

I grew up in India dreaming of winter. What I finally saw was a little bit of America, a little bit of a miracle

snowfall

 (Credit: Lipsky via Shutterstock)

If countries have colors, then mine was yellow. I grew up in India in the late ’80s and ’90s. The roads were dusty, the air humid, the trees dry and wilting. And everywhere, there was the sun, blazing, relentless, spanning our whole world. It cast a bright yellow sheen on everything. The sky over us was the color of daffodils and canaries. I knew this well, even though I had never seen a daffodil or a canary, but had only read about them in my British storybooks.

Our prolonged summers made us long for rain. In our largely agrarian land, farmers prayed for rain to come nurture their crops. Lovers in Hindi movies broke into song when the heavens opened, schools shut early, trees turned green and the sky a gray that would not be considered charming in most places on earth. But for us, rain was a respite. And it was the only form of precipitation most of us would ever see.

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Oindrila Mukherjee is an Assistant Professor of creative writing at Grand Valley State University. She has worked as a journalist in India, and has a Ph.D. in literature and creative writing. She writes fiction and nonfiction, and translates Bengali literature to English. She tweets about Michigan weather and other things at @oinkness.  More Oindrila Mukherjee

Friday, Oct 28, 2011 12:30 AM UTC2011-10-28T00:30:00Zl, M j, Y g:i A T

Pick of the week: Bollywood’s blissful, idiotic “RA. One”

Pick of the week: From dazzling dance numbers to post-"Matrix" action, "RA. One" showcases Bollywood's confidence

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RA.ONE Pick of the Week

Shahrukh Khan in "RA. One"

I won’t remotely pretend that I’m qualified to judge “RA. One,” the Indian science-fiction action-adventure movie that opens all over the world this week, against the larger context of Bollywood cinema. What I can tell you is that “RA. One” is reportedly the most expensive movie the Indian film industry has ever produced, that it represents the continuing fusion of Eastern and Western sensibilities and technologies, and that it’s prodigiously silly and miscellaneous and a whole bunch of fun. This is hardly an original statement, but Hollywood had better not take its global supremacy for granted. While “RA. One” is as calculating as all get out, is loaded with blatant product placement and — in classic Indian style — combines any number of different and perhaps contradictory genres in an effort to reach babies and grandmas and everyone in between, it never feels cynically niche-marketed or fundamentally bored with itself, the way so many big-budget American movies do.

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Andrew O

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Wednesday, Sep 7, 2011 6:01 PM UTC2011-09-07T18:01:00Zl, M j, Y g:i A T

Inside India’s softcore porn industry

Bollywood reflects on what these racy and ubiquitous films from the pre-Internet era say about the nation's culture

Inside India's softcore porn industry

NEW DELHI, India — On a hand-painted poster for a 1990s’ grade-B Indian film “Qatil Jawani” (“Murderous Nymphette”), a plump and naked actress sits astride a shirtless man, her head thrown back in apparent ecstasy as the man’s hands paw at her chest.

Once ubiquitous in so-called “morning shows” at theaters across the country, softcore films like “Biwi Anadi Sali Khiladi” (“Innocent Wife, Cheating Sister-in-Law”) and “Kaam Tantra” (“Principles of Sex”) have slowly disappeared from the big screen in India with the increasing availability of hardcore pornography on the internet.

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