By Ramsharan Joshi. the amazing world of the fossils welcomed us with its ancient treasure of giant creatures which have vanished forever from our planet.

Author Anne Lamott praised the work effusively: “I love this book so much—the wisdom, the welcome, the quality of Padma’s writing, the depth of her shared experiences, and, oh my God, the recipes. This book makes me feel as if she is gently and boldly cooking right beside me,”

By Ajith Pillai. As a film, Vivesini is remarkable for having no villain or dark embodiment of evil to lure unsuspecting victims. No diabolical hypnotist puts the characters through a psychotic, mind-numbing, illusory and chaotic trance.

By Copy Desk. This unchecked governance failure has directly led to record-breaking pollution in Delhi and elsewhere, with hazardous air choking the region and pushing public health to the brink.

By R Kalpana. Inspired from the travails of the real story of Manathi Ganesan, national kabaddi player, who won the gold medal for India at  the Japan Olympics, this film brings to life the horrifying events in a player’s hard and heady journey to success.

By Jesu Rethinam and Vijayan MJ. On November 5 this year, fisherwomen across India and the world celebrated the first International Fisher Women’s Day (IFWD) — a day not born in the corridors of institutions, but on the sands of Valiyathura, Kerala, amid the voices of working women who mend, dry, sell, and defend fish and life itself.

By Meher Pestonji. Two huge paintings – MF Husain’s ‘The Last  Supper in Red’ and ‘The Last Supper in Blue’ – face opposite walls of a softly lit gallery, a long, slim table overladen with fruit between them. Another sparse table with two chairs for gallerist Dadiba Pundole and art historian Ranjit Hoskote, face a select audience of art connoisseurs.

By Shamya Dasgupta. An idealist. A rebel. A genius filmmaker. The resurrection of Ritwik Ghatak.

By Amit Sengupta. Then something like a smile passed fleetingly over what had once been her face.  

By Benjamin Joseph. This is not cinema that seeks empathy—it demands confrontation, defies simplicity.

By Anuradha Bhasin. The post-2019 reality should have led to a consensus in the three regions – Jammu, Kashmir, and Ladakh – over similar grievances and challenges, but they stand even more estranged.

By Ratna Raman. ‘Mimosa pudica’ is identified as feminine and the traits of ‘lajja’ or ‘pudica’ become a pattern of behaviour associated with the female gender. Lajjawati is a woman endowed with shyness or ‘laaj’, who can be easily discomfited or embarrassed. In Tamil, it is known as ‘totta-shurungi’ which translates into English as that which would shrink upon touch.

By Ramsharan Joshi. Inside the Muir Redwoods, where the natives lived for centuries, until they were eliminated by the whites.

By Purnima Chakraborti. Feminist Street Theatre: The Rhythms of Resistance. The sense of an urgent need for change is skilfully conveyed to the reader through photographs, quotations from plays, and narratives about performances.

By Isabel Allende. Perhaps we are in this world to search for love, find it and lose it, again and again. With each love, we are born anew, and with each love that ends we collect a new wound. I am covered with proud scars.’

By Ramsharan Joshi in Las Vegas. This is romance at first sight.

Anuradha Kumar. A murder is only part of everything else that happens in a small town over certain years. It’s never properly resolved. A murder was a dramatic way for me to ask questions. And there are still so many questions.

By Ajith Pillai. Is the AI bubble bound to burst? A recent case tells a story.

By Ramsharan Joshi. Travel story: Flashy lights. Flashy wealth. The show goes on. The hunt for new victims, is in full swing. 

By Beena Vijayalakshmy. You do not have to name English books to sound well-read. Embrace what moves you. Speak what matters to you. You do not need to hide yourself.