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Motiba's tattoos : a granddaughter's journey into her Indian family's past /
"When Motiba died a whole world disappeared with her. Motiba - "grandmother" in Gujarati - was marked with mysterious signs from a lost era: geometric tattoos on her face and forearms. What did these symbols mean? When had they been etched? Why?" "Haunted by the riddle of Mo...
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| Format: | Book |
| Language: | English |
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New York :
PublicAffairs,
©2000.
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| 100 | 1 | |a Kamdar, Mira. | |
| 245 | 1 | 0 | |a Motiba's tattoos : |b a granddaughter's journey into her Indian family's past / |c Mira Kamdar. |
| 260 | |a New York : |b PublicAffairs, |c ©2000. | ||
| 300 | |a xxv, 289 pages : |b illustrations, maps ; |c 22 cm | ||
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| 505 | 0 | |a Kathiawar -- Rangoon -- Bombay -- America -- Kaliynga. | |
| 520 | 1 | |a "When Motiba died a whole world disappeared with her. Motiba - "grandmother" in Gujarati - was marked with mysterious signs from a lost era: geometric tattoos on her face and forearms. What did these symbols mean? When had they been etched? Why?" "Haunted by the riddle of Motiba's tattoos, Mira Kamdar begins a journey down the hazy, twisting corridors of the past. The deeper she delves, the more she realizes that her family's story is part of a much larger saga. It is one version of the great story of the twentieth century - the story of leaving home, of severing roots, of losing one's tribe; the story of abandoning a rural life firmly anchored in traditions and rituals for the tantalizing prospects of urban existence in an increasingly global consumer culture." "With details of her relatives' many fascinating lives, Kamdar evokes the moods and atmospheres of lost times and places. She retraces pivotal historical moments - Satyagraha and India's independence movement, World War II, the "brain drain" years of a triumphant American military-industrial complex, the borderless, dot.com world of the Indian diaspora today - but never strays from the intimate experiences of her remarkable family."--BOOK JACKET. | |
| 504 | |a Includes bibliographical references (p. [285]-289). | ||
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