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Bala dreams of making Tamil films and directing his favourite actor Rajnikanth – a dream that leads him naturally to study engineering in college. This earns him his father's approval and the opportunity to export himself to America. As Director of Design at Flexit Inc., thinking up new ways to help Americans shed the excess weight around their middles and in their wallets, he is at least some kind of director. Bala loves America, and America it seems loves him even more. He has everything he needs to be happy: a green card, a satellite dish to watch cricket and a companion to share his home – albeit one with a very limited vocabulary. But he is now less than a year away from the big 30, and if he doesn't act fast he might have to settle for whichever bride his Amma chooses. So begins Bala's quest for romance as he meets both American and Indian women some who are too old, others too young, and yet others just too stuck up. Will he ever find someone just right for him – and good enough to inherit his mother's Corelle dishes?
In this autobiography, also titled The Story of My Experiments with Truth, Mohandas K. Gandhi recounts his life from childhood up until 1921, noting that "my life from this point onward has been so public that there is hardly anything about it that people do not know." HarperCollins chose this work as one of the "100 Most Important Spiritual Books of the 20th Century." The pursuit of truth was a guiding principle for Gandhi. He states that it "is not my purpose to attempt a real autobiography. I simply want to tell the story of my numerous experiments with truth, and as my life consists of nothing but those experiments, it is true that the story will take the shape of an autobiography." He also notes that this "will of course include experiments with non-violence, celibacy and other principles of conduct believed to be distinct from truth."
This book is a significant contribution to existing research on the themes of race and slavery in the founding literature of the United States. It extends the boundaries of existing research by locating race and slavery within a transnational and 'oceanic' framework. The author applies critical concepts developed within postcolonial theory to American texts written between the national emergence of the United States and the Civil War, in order to uncover metaphors of the colonial and imperial 'unconscious' in America's foundational writing. The book analyses the writings of canonized authors such as Charles Brockden Brown, James Fenimore Cooper, Edgar Allan Poe, and Herman Melville alongside those of lesser known writers like Olaudah Equiano, Royall Tyler, Frederick Douglass, Martin Delany, and Maxwell Philip, and situates them within the colonial, and 'postcolonial', context of the slave-based economic system of the Black Atlantic. While placing the transatlantic slave trade on the map of American Studies and viewing it in conjunction with American imperial ambitions in the Pacific, Fictions of the Black Atlantic in American Foundational Literature also adds a historical dimension to present discussions about the 'ambivalence' of postcoloniality.
Africa’s youngest democracy and the oldest inhabitants. Best of the sights. Take a hike in the bush and sandboard down the world’s largest dunes. Camps, B&Bs and braai pits. Desert-dwelling elephants and free-roaming black rhinos. Get off the beaten track. Rock art from Damaraland and heavy metal from outer space. A ghost town, a white lady and a skeleton coast…..
In this book, acclaimed South Asian American poet and novelist Meena Alexander unleashes a fury of prose and poetry to confront the stereotypes and explore the challenges facing postcolonial immigrants in America. Commenting on the history of memory, language, shame, and exile, Alexander poignantly describes the wealth of experiences and imaginings that have shaped her life and writing. Her project: "to make space for what was crossed out in the decorum of femininity, in the high places of classical hierarchy, in the racism of a canonical knowledge, in the obliterations of a national memory ... all this is part of our task, part of the violent, fractured worlds that we must etch into beauty".

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