The Tamarind Tree Photos

In the Shadow of the Tamarind Tree

Monastery, Monument, Museum

Ranging across the longue durée of Thailand’s history, Monastery, Monument, Museum is an eminently readable and original contribution to the study of the kingdom’s art and culture. Eschewing issues of dating, style, and iconography, historian Maurizio Peleggi addresses distinct types of artifacts and artworks as both the products and vehicles of cultural memory. From the temples of Chiangmai to the Emerald Buddha, from the National Museum of Bangkok to the prehistoric culture of Northeast Thailand, and from the civic monuments of the 1930s to the political artworks of the late twentieth century, even well-known artworks and monuments reveal new meanings when approached from this perspective. Part I, “Sacred Geographies,” focuses on the premodern era, when religious credence informed the cultural alteration of landscape, and devotional sites and artifacts, including visual representation of the Buddhist cosmology, were created. Part II, “Antiquities, Museums, and National History,” covers the 1830s through the 1970s, when antiquarianism, and eventually archaeology, emerged and developed in the kingdom, partly the result of a shift in the elites’ worldview and partly a response to colonial and neocolonial projects of knowledge. Part III, “Discordant Mnemoscapes,” deals with civic monuments and artworks that anchor memory of twentieth-century political events and provide stages for both their commemoration and counter-commemoration by evoking the country’s embattled political present. Monastery, Monument, Museum shows us how cultural memory represents a kind of palimpsest, the result of multiple inscriptions, reworkings, and manipulations over time. The book will be a rewarding read for historians, art historians, anthropologists, and Buddhism scholars working on Thailand and Southeast Asia generally, as well as for academic and general readers with an interest in memory and material culture.

Rohzin

Mumbai was almost submerged on the fatal noon of 26 July 2005, when the merciless downpour and cloudburst had spread utter darkness and horror in the heart of the city. River Mithi was inundated, and the sea was furious. At this hour of torturous gloom, Rohzin begins declaring in the first line that it was the last day in the life of two lovers, Asrar and Hina. The novel's protagonist, Asrar, comes to Mumbai, and through his eyes the author describes the hitherto-unknown aspects of Mumbai, unseen colours and unseen secrets of the city's underbelly. The love story of Asar and Hina begins abruptly and ends tragically. It is love at first sight which takes place in the premises of Haji Ali Dargah. The arc of the novel studies various aspects of human emotions, especially love, longing and sexuality as sublime expressions. The emotions are examined, so is love as well as the absence of it, through a gamut of characters and their interrelated lives: Asrar's relationship with his teacher, Ms Jamila, a prostitute named Shanti and, later, with Hina; Hina's classmate Vidhi's relations with her lover and others; Hina's father Yusuf's love for Aymal; Vanu's indulgence in prostitutes. Rohzin dwells on the plane of an imagination that takes readers on a unique journey across the city of Mumbai, a highly intriguing character in its own right.