By Aditya Nigam. In Venezuela, with mass resistance of tens of thousands on the streets, Trump's gangster methods might fail.

By Beena Vijayalakshmy in Ontario. The connection ran deep. The girl’s gaze is unflinching yet tender, both a warning and an invitation to witness her world.   The child tracing artworks, the woman carrying quiet pressures and ambitions, the observer craving stillness—all found space here.

By Raju Mansukhani. It takes a philosopher-poet to lead us onto a poet-historian.

By Narendra Pachkhédé. Suzannah Mirghani films the burning without spectacle. Flames rise against the night. Wind replaces crackle. Villagers remain silent. The camera holds Nafisa’s face, steady in the firelight, neither triumphant nor penitent but lucid. This is judgment, not impulse. It insists that girlhood is not prologue, but history’s frontline. In Nafisa’s own words, “I will determine my future.”

By Narendra Pachkhede. James Vanderbilt’s Nuremberg arrives in full Hollywood regalia—swelling score, courtroom spectacle, America once more cast as custodian of justice. Evil becomes magnetic, irresistible to the camera.

By Satya Sagar. The recent surrender of top leadership figures within the Communist Party of India (Maoist) marks the most decisive failure yet in their decades-long armed struggle against the Indian State.

By Narendra Pachkhede. And who speaks for Gaza?

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.

By Amit Sengupta. So what is that she is forever holding back and why?

By Ganpy Nataraj. Their Grammy-submitted third album bridges time, tradition, and transcendence — reaffirming why Agam remains India's most progressive rock band.

By Uttara Shidore. To me, drawing these patterns feels like a silent prayer—healing, meditative, and cathartic.

By Suresh Nautiyal Greenananda. Each beat of the dhol, swirl of the ghagra, and chant of ritual song conveys not merely performance, but a declaration of life, resilience, and aesthetic celebration.

By Kumudini Pati. 'Gabriel Garcia Marquez’s most remarkable novels were written against the backdrop of the most turbulent times in Latin America. American literature flourished during the great depression. In Russia, the best literature came out during oppressive regimes.

By Aayushi Rana. In the silence, the cries of the past echo loudly, urging us to never forgive and forget, and ensure that the horrors of genocide are never to be repeated.

By Rakhshanda Jalil. Read this book, maybe not from cover from cover, but dip into it in no particular order, perusing the stories included here one at a time at your leisure allowing their full import to sink in. Read it for its affirmation of the ‘idea’ of India that is under threat, yes, but is not fully effaced. Read it also for its robust assertion that the Urdu language is alive and well, and yes, Urdu is not the language of the Indian Muslims, alone.

By Aditya Nigam. Well, the upshot was that I had to tell them that I would not be able to do what I was expected to do by the ‘German public sphere’ -- that is, dance to the tune of the German and the Israeli states.

Raju Mansukhani. 60 rich years of the Museum Society of Mumbai: Knowledge, culture, aesthetics. An intense labour of love. A report.

By Hussain Naqvi. Muharram and the Legacy of Channu Lal Dilgeer's Marsiyas. A forgotten poet of the Ganga-Jamuni culture — this Hindu poet transcended religion to immortalize the tragedy of Imam Hussain.

By Raju Mansukhani. Vignettes from the just-released catalogue of 'Picturing Place: Painted and Printed Maps at the Udaipur Court'.

By Narendra Pachkede. Ngũgĩ wa Thiong’o leaves behind no fixed doctrine but a practice. A practice of listening to ancestral echoes. A practice of writing against forgetting.