Sunandini Banerjee – illustratör

That is full. This is full. From the full comes the full. Remove the full from the full and what remains? The full. This first line of the Isha Upanishad, one of the most powerful ancient books of faith, is so profound that Mahatma Gandhi famously said, "If all the Upanishads and all the other scriptures happened all of a sudden to be reduced to ashes, and if only the first verse in the Isha Upanishad were left in the memory of the Hindus, Hinduism would live forever." One of the shortest collections of texts, consisting of seventeen or eighteen verses, the Isha Upanishad is significant because of its explanation of man's relationship with nature and God. However, it also goes beyond all faiths and religions to help people look within and without themselves to answer questions that have existed and persisted from the dawn of civilization. This beautifully crafted edition of the Isha Upanishad has been translated in clear and vivid language by Pritish Nandy, renowned poet, painter, and filmmaker. And for the first time the powerful scripture is accompanied by brilliant illustrations by accomplished artist and designer Sunandini Banerjee.Together the crisp passages and glowing illustrations manifest the thread that connects all that exists and chronicle mankind's search for the true meaning of life.

Cees Nooteboom wrote the poems that make up Monk's Eye on two islands: he began them on the Dutch island of Schiermonnikoog and finished them on the Spanish island of Minorca, where he has spent summers for decades. The poems--which can be read individually or, all together, as the record of a poet's life--are about the two islands. But they're also about islands as an archetype, about the serenity that we can find on beaches and amid dunes, the sea sweeping imperturbably around us. Accompanied by Sunandini Banerjee's collages, the poems in this volume are rich in allusion; they address the past, memories, illusions, dreams, and the heart of all poetry--which Nooteboom locates in the opening line of Plato's Phaedrus, when Socrates, walking with his admirer, asks, "My dear Phaedrus, whence came you, and whither are you going?"

Written for young children, Delhi Thaatha is a biography of Dr. Sarvepalli Radhakrishnan, a much-loved teacher and world-renowned philosopher who served as the first vice president of the Republic of India, then, beginning in 1962, president of the country. Written by his great-granddaughter, who tells the story, with insight and charm, from the perspective of her seven-year-old self, and illustrated in full color by graphic artist Sunandini Banerjee, Delhi Thaatha offers a rare glimpse into the life, personality, heart, mind, and philosophy of an illustrious statesman, as Chitra Viraraghavan tracks his journey from poor small-town boy to the moment when he takes the oath to serve the country's highest office.

“Not writing is always a relief and sometimes a pleasure. Writing about what cannot be written, by contrast, is the devil’s own job.”In this unusual text, a blend of essay, fiction, and literary genealogy, South African novelist Ivan Vladislavic explores the problems and potentials of the fictions he could not bring himself to write. Drawing from his notebooks of the past twenty years, Vladislavic records here a range of ideas for stories—unsettled accounts, he calls them, or case studies of failure—and examines where they came from and why they eluded him. In the process, he reveals some of the principles that matter to him as a writer, and pays tribute to the writers— such as Walser, Perec, Sterne, and DeLillo—who have been important to him as both a reader and an author. At the heart of the text, like a brightly lit room in a field of debris, stands Vladislavic’s Loss Library itself, the shelves laden with books that have never been written. On the page, Vladislavic tells us, every loss may yet be recovered. An extraordinary book about both the nature of novels and the process of writing, The Loss Library will appeal to anyone seeking to understand the almost magical and mythical experience of breathing life into a new work of fiction. Praise for Vladislavic “In the tradition of Elias Canetti, a tour de force of the imagination.”—André Brink “The prose is stunning. It gives the impression of the words and the phrases having been caught from the inside—as though the author lives on the other side of language, where every word is strange and dancing, and the way they are put together produces complicated patterned exchanges like minuets.”—Tony Morphet

Four classical Greek myths retold with unexpected twists by an East German dissident. Franz Fühmann’s subversive retellings of four Greek legends were first published in East Germany in 1980. In them, Fühmann plumbs the ancient tales’ depths and makes them his own. Attuned to conflict and paradox, he sheds light on the complexities of sex and love, art and beauty, politics and power. In the title story, the love of the goddess Eos for the mortal Tithonos reveals the blessing and curse of transience, while “Hera and Zeus” probes the divine couple’s tumultuous relationship and its devastating consequences for a world embroiled in war. Fühmann’s unflinching account of Marsyas’ flaying by Apollo has been widely read as a dissident political statement that has lost none of its incisive force. At times charged with sensuality, and at others honed to a keen analytical edge, Fühmann’s shimmering prose is matched by Sunandini Banerjee’s exquisite collages.