Jahazpur is a small market town or qasba with a diverse population of more than 20,000 people located in Bhilwara District in the North Indian state of Rajasthan. With roots deep in history and legend, Shiptown (a literal translation of landlocked Jahazpur's name) today is a subdistrict headquarters and thus a regional hub for government services unavailable in villages. Rural and town lives have long intersected in Shiptown's market streets, which are crammed with shopping opportunities, many designed to allure village customers. Temples, mosques, and shrines attract Hindus and Muslims from nearby areas. In the town's densely settled center-still partially walled, with arched gateways intact-many neighborhoods remain segregated by hereditary birth group. By contrast, in some newer, more spacious residential areas outside the walls, persons of distinct communities and religions live as neighbors. Throughout Jahazpur municipality a peaceful pluralism normally prevails. Ann Grodzins Gold lived in Santosh Nagar, the oldest of Shiptown's new settlements, for ten months, recording interviews and participating in festival, ritual, and social events-public and private, religious and secular. While engaged with contemporary scholarship, Shiptown is moored in the everyday lives of the town's residents, and each chapter has at its center a specific node of Jahazpur experience. Gold seeks to portray how neighborly relations are forged and endure across lines of difference; how ancient hierarchical social structures shift in major ways while never exactly disappearing; how in spite of pervasive conservative family values, gender roles are transforming rapidly and radically; how environmental deterioration affects not only public health but individual hearts, inspiring activism; and how commerce and morality keep uneasy company. She sustains a conviction that, even in the globalized present, local experiences are significant, and that anthropology-that most intimate and poetic of the social sciences-continues to foster productive conversations among human beings.

Jahazpur is a small market town or qasba with a diverse population of more than 20,000 people located in Bhilwara District in the North Indian state of Rajasthan. With roots deep in history and legend, Shiptown (a literal translation of landlocked Jahazpur's name) today is a subdistrict headquarters and thus a regional hub for government services unavailable in villages. Rural and town lives have long intersected in Shiptown's market streets, which are crammed with shopping opportunities, many designed to allure village customers. Temples, mosques, and shrines attract Hindus and Muslims from nearby areas. In the town's densely settled center—still partially walled, with arched gateways intact—many neighborhoods remain segregated by hereditary birth group. By contrast, in some newer, more spacious residential areas outside the walls, persons of distinct communities and religions live as neighbors. Throughout Jahazpur municipality a peaceful pluralism normally prevails. Ann Grodzins Gold lived in Santosh Nagar, the oldest of Shiptown's new settlements, for ten months, recording interviews and participating in festival, ritual, and social events—public and private, religious and secular. While engaged with contemporary scholarship, Shiptown is moored in the everyday lives of the town's residents, and each chapter has at its center a specific node of Jahazpur experience. Gold seeks to portray how neighborly relations are forged and endure across lines of difference; how ancient hierarchical social structures shift in major ways while never exactly disappearing; how in spite of pervasive conservative family values, gender roles are transforming rapidly and radically; how environmental deterioration affects not only public health but individual hearts, inspiring activism; and how commerce and morality keep uneasy company. She sustains a conviction that, even in the globalized present, local experiences are significant, and that anthropology—that most intimate and poetic of the social sciences—continues to foster productive conversations among human beings.

Death, Beauty, Struggle represents a long labor of love and the summation of forty years of Margaret Trawick's groundbreaking research. Centering her gaze on the lowest castes of India, now called Dalits, she describes the experience of women at this precarious level who are still treated as sub-human, sometimes by family members, sometimes by higher-caste men. Their private worlds, however, are full of art; rural Dalit women sing beautiful songs of their own making and tell remarkable narratives of their own lives. Much that Tamil women shared with Trawick is rooted in the passionate attachments and acute wounds generated within families, but these women's voices resonate well beyond individually circumscribed lives. In their songs and life stories they critique social, political, economic, and domestic oppressions. They also incorporate visions of natural beauty and immanent divinity. Trawick presents Tamil women's words as relevant to universal human themes. Trawick's frames of analysis, developed throughout her long career of fieldwork in India, inform her ethnography of expressive culture. The songs and stories of Dalit women were recorded and transcribed, to be translated into lyrical passages in her own work. Death, Beauty, Struggle demonstrates a conviction that persons without privilege-from the rape victim to the landless laborer-possess both power and agency. Through verbal arts, Dalit women produce not only acute cultural critiques but also astonishing beauty.

In many South Asian oral traditions, herons are viewed as duplicitous and conniving. These traditions tend also to view women as fragmented identities, dangerously split between virtue and virtuosity, between loyalties to their own families and those of their husbands. In women's songs, however, symbolic herons speak, telling of alternative moral perspectives shaped by women. The heron's words--and women's expressive genres more generally--criticize pervasive North Indian ideologies of gender and kinship that place women in subordinate positions. By inviting readers to "listen to the heron's words," the authors convey this shift in moral perspective and suggest that these spoken truths are compelling and consequential for the women in North India.
The songs and narratives bear witness to a provocative cultural dissonance embedded in women's speech. This book reveals the power of these critical commentaries and the fluid and permeable boundaries between spoken words and the lives of ordinary village women.

Madhu Natisar Nath is a Rajasthani farmer with no formal schooling. He is also a singer, a musician, and a storyteller. At the center of "A Carnival of Parting" are Madhu Nath's oral performances of two linked tales about the legendary Indian kings, Bharthari of Ujjain and Gopi Chand of Bengal. Both characters, while still in their prime, leave thrones and families to be initiated as yogis--a process rich in adventure and melodrama, one that offers unique insights into popular Hinduism's view of world renunciation. Ann Grodzins Gold presents these living oral epic traditions as flowing narratives, transmitting to Western readers the pleasures, moods, and interactive dimensions of a village bard's performance.
Three introductory chapters and an interpretive afterword, together with an appendix on the bard's language by linguist David Magier, supply "A Carnival of Parting" with a full range of ethnographic, historical, and cultural backgrounds. Gold gives a frank and engaging portrayal of the bard Madhu Nath and her work with him.
The tales are most profoundly concerned, Gold argues, with human rather than divine realities. In a compelling afterword, she highlights their thematic emphases on politics, love, and death. Madhu Nath's vital colloquial telling of Gopi Chand and Bharthari's stories depicts renunciation as inevitable and interpersonal attachments as doomed, yet celebrates human existence as a "carnival of parting."

Madhu Natisar Nath is a Rajasthani farmer with no formal schooling. He is also a singer, a musician and a storyteller. At the centre of "A Carnival of Parting" are Madhu Nath's oral performances of two linked tales about the legendary Indian kings, Bharthari of Ujjain and Gopi Chand of Bengal. Both characters, while still in their prime, leave thrones and families to be initiated as yogis - a process rich in adventure and melodrama, one that offers unique insights into popular Hinduism's view of world renunciation. Ann Grodzins Gold presents these living oral epic traditions as flowing narratives, transmitting to Western readers the pleasures, moods and interactive dimensions of a village bard's performance.;The tales are most profoundly concerned, Gold argues, with human rather than divine realities. In an afterword, she highlights their thematic emphases on politics, love and death. Madhu Nath's vital colloquial telling of Gopi Chand and Bharthari's stories depicts renunciation as inevitable and interpersonal attachments as doomed, yet celebrates human existence as a "carnival of parting".