Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Sign In  |  Sign up
Your Cart (0)
Best Deals
Share our website with your friends.
Email this page to a friend
Books > Language and Literature > Voices in the Dark (A Century of Classic Nepali Short Stories about Women)
Subscribe to our newsletter and discounts
Voices in the Dark (A Century of Classic Nepali Short Stories about Women)
Pages from the book
Voices in the Dark (A Century of Classic Nepali Short Stories about Women)
Look Inside the Book
Description
About the Book

ANN HUNKINS is a writer's dream-she translates works from Nepali with the crisp diction of contemporary America, cutting to the heart of the story which may be set a century ago in a culture quite different from the ones we know. Her narrative force takes the reader on a journey through twentieth century Nepal, through the streets of old Kathmandu, and through the troubled relationships between men and women from the Rana period to contemporary times. Herself a poet, Hunkins has worked more than a decade on her translations, often working with the writers themselves to clarify their intents, and has managed to capture the power of these stories through their moments, voices and ambiguities. This is a book to be treasured by both the traveller who wants to know Nepal better, as well as younger Nepalese who were educated in English medium schools and want a gateway to their classics.

About the Author

ANN HUNKINS is a former Fulbright grantee with an M.A. in poetry from UCDavis; her poems and translations have appeared in Manoa, the North American Review and various publications in Nepal. In 2008 she received a National Endowment for the Arts Translation Grant for the novel Aviral Bagdacha Indravati (On Flows the Indravati) by Ramesh Vikal. Published translations include contributions to W. W. Norton’s Language for a New Century: Contemporary Poetry from the Middle East, Asia & Beyond, 2008, as well as Dhoopi (The Juniper, 2006), a long poem by Toya Gurung, and Karagar (The Prison, 2005), a novel by Banira Giri. She was one of the awardees of the Devkota Century Award in 2010, for contributions to Nepali literature. She worked for the UN Office of the High Commissioner on Human Rights in Nepal in 2006, interpreting for war crimes witnesses, torture victims and others. She currently lives in Santa Fe, New Mexico.

Introduction

ON THE JOY OF NEPALI WOMEN A friend, a Nepali woman, laughs so loudly, so boisterously that her peals of delight ring across rooms, making people turn their heads to look at her. An aunt of mine radiates domestic bliss, never more so than when she is mock-hectoring her sons and daughters-in-law, her daughters and sons-in-law and her herd of grandchildren. My mother, in her sixties, giggles like a schoolgirl at the least gag: nothing is funnier to her than someone slipping on cow dung. Another friend, a human rights lawyer, stares down evil all day at work, and goes home to her husband and son in peace.

Reading the stories in this collection, it struck me how rare it is to find joyous women in Nepali literature. It is rare enough to find joyous women in Nepali life, but women such as those I mention above do exist. I have known many, I have sometimes been like them and I have daily admired them, these women of ebullient spirit. It is not that such women are untouched by sorrow, for our society is structured to make victims of women. Yet they are not defeated by their suffering; they eventually emerge sparkling, burnished, wise, their capacity to celebrate and revel intact, even aflame.

Literature often aims to illuminate that which is dark, that which in this collection shed light on the multiple tyrannies that Nepali women are made to suffer: the exploitation of a patriarchal order, the misogyny condoned by Hindu orthodoxy, the psychological colonization of women, the emotional collapse caused by the strains of hierarchical mores, to make no mention of the universal sorrows of the human condition....

Frustration, including but not limited to sexual frustration, is a common theme here. Many of the women in these stories desire a lot, but very few of them act; for, as we learn from the female narrator in the 'The Itch That Begs To Be Scratched: to pursue fulfilment is fraught with complication. In most cases, it is beyond imagining. The female narrator in 'Nandabir' therefore waits passively for a man who alternately intrigues her and irritates her: it is not within her power to summon him, or go to him. In 'The Peach Tree' a young woman learns, as she comes of age, how fraught is the ownership of her sexuality. Marital love and sexual union are chillingly negating, even life-threatening, in 'The Yellow Rose.' The married woman in 'Your Wife and I'-who sometimes seems liberated-in the end turns out to be a pawn for the narrator, who is acting out his wife's infidelity. In 'Makhmali,' the protagonist's thrill at getting married ends as a nightmare in the brothels of Bombay. And in 'The Scream' entire generations of Badi women and girls sacrifice their pleasures for those of their customers.

Denied agency, women pit themselves against other women: this too is a common theme in these stories. For women must out maneuver female rivals to ensure their own security in a patriarchal order. In 'The Son' it is the co-wives Subhadra and Laxmi who battle each other. In 'Pavitra' and 'Internal Conflict' the wives and maids compete for the favors of the man of the house. A girl jealously vies for her sister's husband in 'A Sweater for Bhinaju.' Shobha's love for her mother remains unreturned in 'What are you Doing, Shobha?' And 'The Wives' is peopled with scheming housewives who, shifting allegiances, wield their power vindictively over each others' lives.

The stories in this collection do not merely depict women's suffering: they also suggest solutions. A woman whose happiness is won at the cost of another woman's destruction cannot be free. We learn this from 'Two Deaths.' Told that her daughter from a previous marriage poses an obstacle to her security-the possibility of remarriage-the protagonist Hasina decides to drown her. She loses her own life as well. In Simone de Beauvoir's term, the quest for a compromised freedom is false consciousness. In a patriarchal order women can attain power only by appeasing their own oppressors. Their security is predicated on a basic falsehood: that they agree to be mastered by men. Hasina acts, therefore, in bad faith. The result is her annihilation, the death of her body symbolizing the loss of her spirit's freedom.

Many of the stories in this collection dwell on the problem of bad faith, exemplified by women victimizing other women while competing for male favor. Some stories offer instructive alternatives as well. Sarita, in 'Nausea,' tries so hard to liberate her friend Sarala; this story of a supportive friendship between two women will ring true to any woman reader who has bonded deeply with other women. 'Mother,' too, offers a tender portrayal of the love between a mother and daughter as the daughter, Gyanimaiju, is initiated into the ecstasy of love and the bitterness of betrayal. These stories teach us something of women's considerable capacity to love other women. Though our patriarchal order encourages us to war with each other, we do-often-defy expectation and break through to women's true freedom.

As a woman reader in an unerringly insubordinate era, I admit I am more attracted to stories of resilient women than to stories of fragile women. They fill me with rebel glee, and inspiration. Yet it would be irresponsible to ignore the fact of women's unhappiness. The subject of women's unhappiness has long occupied South Asian writers: the vast body of Bengali, Hindi, Urdu and Nepali writings on widows stands as a testament to this. The greatest minds of the subcontinent have fretted over ‘the woman problem,’ And indeed should continue to do so, for the objective conditions of our society are certainly not conducive to women's happiness. From literature, I want to learn not just how women suffer, but also how we overcome our suffering: how we repair the damages we have sustained, how we recover, grow, strengthen, overthrow oppressive orders and live in contentment, even joy.

Among all the female characters in these stories, the nameless wife in 'The Adulterer's Woman' is the one who most inspires me. Rejected by the protagonist, she marries another man. And when the protagonist wants possession of her again-and his love is expressed unequivocally as the desire to assert his ownership over her-she is not easily won over. The story ends inconclusively, yet we are offered reason to believe that no matter what this nameless woman chooses, she will look out for herself now as she had done at an earlier juncture in her life. This story grows in the mind after reading: is the woman happy? What will make her happy? What makes any woman happy: chasing after this man versus that man, or following a larger dream?

Similarly thought-provoking is 'The Son Who Wasn't Mine.' Though the narrator in the story is passive, her desires transgress ordinary boundaries. The object of her fantasies is an adolescent boy. She is over thirty. Her sexual yearnings for the boy are mixed in with cravings to mother and nurture him. The story highlights the complexity of women's desire. It is not for nothing that more than twenty years after her death, Parijat remains the Single most intellectually uninhibited writer that Nepal has produced. This story offers a tantalizing glimpse into her work, which is replete with female characters as multidimensional as was the author herself.

Here we see what happens when a writer is also a visionary. The women in Parijat's fiction offer us flesh-and-blood women permission to abandon false consciousness for freedom (and upon attaining freedom, to experience joy). As a reader, I am grateful to such visionaries: the parameters of my life are daily expanded by their thinking. As a writer, too, I am grateful. From them I have learned that one of literature's heaviest responsibilities is to suggest alternatives to present realities. For a writer is not merely a recorder of what is: she also proposes what ought to be.

Most women readers know too well that women are made to suffer in our society. My friends whom I have described above, along with my mother, my aunt, and myself know that what we want to learn from literature is how not to suffer. We want to know that it is all right to be free. We want reinforcements for the joy we do feel. In most South Asian literature, even today, women who try to be free are always punished: they are killed, or they kill themselves, or in other drastic ways they pay dearly for their freedom. It is time, I think, for South Asian writers, for Nepali writers, to allow their women characters to be free with impunity; to imagine Nepali women's liberation. For is it not also the task of the writer to expand the public imaginary, to create convincing fictional models that flesh-and-blood women may emulate?

These stories, translated with great skill and sensitivity by Ann Hunkins, allow us to contemplate what kinds of women we have written so far, and what kinds of women we might write from here on. Translating literature is an extremely difficult and mostly thankless job with no financial reward and little fame as compensation. This collection is purely a labor of love. It is an immense contribution on Ann Hunkins' part to hold up such a clear mirror to our public imagination. We should read these stories not just to mourn for broken lives, but also to resolve what we might do-via writing and other forms of activism-to offer Nepali women the possibility of joy.

CONTENTS

  Translator’s Note xi
  Introduction: On the Joy of Nepali Women 1
1 Naso 7
2 Pavitra 18
3 Two Deaths 24
4 Mother 32
5 A Swater for Bhinaju 42
6 What Are You Doing, Shobha? 48
7 The Adulterer’s Woman 65
8 The Yellow Rose 74
9 The Son Who Wasn’t Mine 83
10 The Peach Tree 91
11 The Wives 98
12 Your Wife and I 105
13 Nandabir 115
14 Internal Conflict 121
15 Makhmali 130
16 The Itch That Begs to Be Scratched 135
17 Nausea 140
18 The Scream 149
  Acknowledgements 157
  Glossary 159
  Sources in Nepali 165

 








Voices in the Dark (A Century of Classic Nepali Short Stories about Women)

Item Code:
NAN824
Cover:
Paperback
Edition:
2017
Publisher:
ISBN:
9789937623896
Language:
English
Size:
8.5 inch X 5.5 inch
Pages:
178
Other Details:
Weight of the Book: 205 gms
Price:
$31.00   Shipping Free
Look Inside the Book
Add to Wishlist
Send as e-card
Send as free online greeting card
Voices in the Dark (A Century of Classic Nepali Short Stories about Women)
From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 4254 times since 30th Dec, 2017
About the Book

ANN HUNKINS is a writer's dream-she translates works from Nepali with the crisp diction of contemporary America, cutting to the heart of the story which may be set a century ago in a culture quite different from the ones we know. Her narrative force takes the reader on a journey through twentieth century Nepal, through the streets of old Kathmandu, and through the troubled relationships between men and women from the Rana period to contemporary times. Herself a poet, Hunkins has worked more than a decade on her translations, often working with the writers themselves to clarify their intents, and has managed to capture the power of these stories through their moments, voices and ambiguities. This is a book to be treasured by both the traveller who wants to know Nepal better, as well as younger Nepalese who were educated in English medium schools and want a gateway to their classics.

About the Author

ANN HUNKINS is a former Fulbright grantee with an M.A. in poetry from UCDavis; her poems and translations have appeared in Manoa, the North American Review and various publications in Nepal. In 2008 she received a National Endowment for the Arts Translation Grant for the novel Aviral Bagdacha Indravati (On Flows the Indravati) by Ramesh Vikal. Published translations include contributions to W. W. Norton’s Language for a New Century: Contemporary Poetry from the Middle East, Asia & Beyond, 2008, as well as Dhoopi (The Juniper, 2006), a long poem by Toya Gurung, and Karagar (The Prison, 2005), a novel by Banira Giri. She was one of the awardees of the Devkota Century Award in 2010, for contributions to Nepali literature. She worked for the UN Office of the High Commissioner on Human Rights in Nepal in 2006, interpreting for war crimes witnesses, torture victims and others. She currently lives in Santa Fe, New Mexico.

Introduction

ON THE JOY OF NEPALI WOMEN A friend, a Nepali woman, laughs so loudly, so boisterously that her peals of delight ring across rooms, making people turn their heads to look at her. An aunt of mine radiates domestic bliss, never more so than when she is mock-hectoring her sons and daughters-in-law, her daughters and sons-in-law and her herd of grandchildren. My mother, in her sixties, giggles like a schoolgirl at the least gag: nothing is funnier to her than someone slipping on cow dung. Another friend, a human rights lawyer, stares down evil all day at work, and goes home to her husband and son in peace.

Reading the stories in this collection, it struck me how rare it is to find joyous women in Nepali literature. It is rare enough to find joyous women in Nepali life, but women such as those I mention above do exist. I have known many, I have sometimes been like them and I have daily admired them, these women of ebullient spirit. It is not that such women are untouched by sorrow, for our society is structured to make victims of women. Yet they are not defeated by their suffering; they eventually emerge sparkling, burnished, wise, their capacity to celebrate and revel intact, even aflame.

Literature often aims to illuminate that which is dark, that which in this collection shed light on the multiple tyrannies that Nepali women are made to suffer: the exploitation of a patriarchal order, the misogyny condoned by Hindu orthodoxy, the psychological colonization of women, the emotional collapse caused by the strains of hierarchical mores, to make no mention of the universal sorrows of the human condition....

Frustration, including but not limited to sexual frustration, is a common theme here. Many of the women in these stories desire a lot, but very few of them act; for, as we learn from the female narrator in the 'The Itch That Begs To Be Scratched: to pursue fulfilment is fraught with complication. In most cases, it is beyond imagining. The female narrator in 'Nandabir' therefore waits passively for a man who alternately intrigues her and irritates her: it is not within her power to summon him, or go to him. In 'The Peach Tree' a young woman learns, as she comes of age, how fraught is the ownership of her sexuality. Marital love and sexual union are chillingly negating, even life-threatening, in 'The Yellow Rose.' The married woman in 'Your Wife and I'-who sometimes seems liberated-in the end turns out to be a pawn for the narrator, who is acting out his wife's infidelity. In 'Makhmali,' the protagonist's thrill at getting married ends as a nightmare in the brothels of Bombay. And in 'The Scream' entire generations of Badi women and girls sacrifice their pleasures for those of their customers.

Denied agency, women pit themselves against other women: this too is a common theme in these stories. For women must out maneuver female rivals to ensure their own security in a patriarchal order. In 'The Son' it is the co-wives Subhadra and Laxmi who battle each other. In 'Pavitra' and 'Internal Conflict' the wives and maids compete for the favors of the man of the house. A girl jealously vies for her sister's husband in 'A Sweater for Bhinaju.' Shobha's love for her mother remains unreturned in 'What are you Doing, Shobha?' And 'The Wives' is peopled with scheming housewives who, shifting allegiances, wield their power vindictively over each others' lives.

The stories in this collection do not merely depict women's suffering: they also suggest solutions. A woman whose happiness is won at the cost of another woman's destruction cannot be free. We learn this from 'Two Deaths.' Told that her daughter from a previous marriage poses an obstacle to her security-the possibility of remarriage-the protagonist Hasina decides to drown her. She loses her own life as well. In Simone de Beauvoir's term, the quest for a compromised freedom is false consciousness. In a patriarchal order women can attain power only by appeasing their own oppressors. Their security is predicated on a basic falsehood: that they agree to be mastered by men. Hasina acts, therefore, in bad faith. The result is her annihilation, the death of her body symbolizing the loss of her spirit's freedom.

Many of the stories in this collection dwell on the problem of bad faith, exemplified by women victimizing other women while competing for male favor. Some stories offer instructive alternatives as well. Sarita, in 'Nausea,' tries so hard to liberate her friend Sarala; this story of a supportive friendship between two women will ring true to any woman reader who has bonded deeply with other women. 'Mother,' too, offers a tender portrayal of the love between a mother and daughter as the daughter, Gyanimaiju, is initiated into the ecstasy of love and the bitterness of betrayal. These stories teach us something of women's considerable capacity to love other women. Though our patriarchal order encourages us to war with each other, we do-often-defy expectation and break through to women's true freedom.

As a woman reader in an unerringly insubordinate era, I admit I am more attracted to stories of resilient women than to stories of fragile women. They fill me with rebel glee, and inspiration. Yet it would be irresponsible to ignore the fact of women's unhappiness. The subject of women's unhappiness has long occupied South Asian writers: the vast body of Bengali, Hindi, Urdu and Nepali writings on widows stands as a testament to this. The greatest minds of the subcontinent have fretted over ‘the woman problem,’ And indeed should continue to do so, for the objective conditions of our society are certainly not conducive to women's happiness. From literature, I want to learn not just how women suffer, but also how we overcome our suffering: how we repair the damages we have sustained, how we recover, grow, strengthen, overthrow oppressive orders and live in contentment, even joy.

Among all the female characters in these stories, the nameless wife in 'The Adulterer's Woman' is the one who most inspires me. Rejected by the protagonist, she marries another man. And when the protagonist wants possession of her again-and his love is expressed unequivocally as the desire to assert his ownership over her-she is not easily won over. The story ends inconclusively, yet we are offered reason to believe that no matter what this nameless woman chooses, she will look out for herself now as she had done at an earlier juncture in her life. This story grows in the mind after reading: is the woman happy? What will make her happy? What makes any woman happy: chasing after this man versus that man, or following a larger dream?

Similarly thought-provoking is 'The Son Who Wasn't Mine.' Though the narrator in the story is passive, her desires transgress ordinary boundaries. The object of her fantasies is an adolescent boy. She is over thirty. Her sexual yearnings for the boy are mixed in with cravings to mother and nurture him. The story highlights the complexity of women's desire. It is not for nothing that more than twenty years after her death, Parijat remains the Single most intellectually uninhibited writer that Nepal has produced. This story offers a tantalizing glimpse into her work, which is replete with female characters as multidimensional as was the author herself.

Here we see what happens when a writer is also a visionary. The women in Parijat's fiction offer us flesh-and-blood women permission to abandon false consciousness for freedom (and upon attaining freedom, to experience joy). As a reader, I am grateful to such visionaries: the parameters of my life are daily expanded by their thinking. As a writer, too, I am grateful. From them I have learned that one of literature's heaviest responsibilities is to suggest alternatives to present realities. For a writer is not merely a recorder of what is: she also proposes what ought to be.

Most women readers know too well that women are made to suffer in our society. My friends whom I have described above, along with my mother, my aunt, and myself know that what we want to learn from literature is how not to suffer. We want to know that it is all right to be free. We want reinforcements for the joy we do feel. In most South Asian literature, even today, women who try to be free are always punished: they are killed, or they kill themselves, or in other drastic ways they pay dearly for their freedom. It is time, I think, for South Asian writers, for Nepali writers, to allow their women characters to be free with impunity; to imagine Nepali women's liberation. For is it not also the task of the writer to expand the public imaginary, to create convincing fictional models that flesh-and-blood women may emulate?

These stories, translated with great skill and sensitivity by Ann Hunkins, allow us to contemplate what kinds of women we have written so far, and what kinds of women we might write from here on. Translating literature is an extremely difficult and mostly thankless job with no financial reward and little fame as compensation. This collection is purely a labor of love. It is an immense contribution on Ann Hunkins' part to hold up such a clear mirror to our public imagination. We should read these stories not just to mourn for broken lives, but also to resolve what we might do-via writing and other forms of activism-to offer Nepali women the possibility of joy.

CONTENTS

  Translator’s Note xi
  Introduction: On the Joy of Nepali Women 1
1 Naso 7
2 Pavitra 18
3 Two Deaths 24
4 Mother 32
5 A Swater for Bhinaju 42
6 What Are You Doing, Shobha? 48
7 The Adulterer’s Woman 65
8 The Yellow Rose 74
9 The Son Who Wasn’t Mine 83
10 The Peach Tree 91
11 The Wives 98
12 Your Wife and I 105
13 Nandabir 115
14 Internal Conflict 121
15 Makhmali 130
16 The Itch That Begs to Be Scratched 135
17 Nausea 140
18 The Scream 149
  Acknowledgements 157
  Glossary 159
  Sources in Nepali 165

 








Post a Comment
 
Post a Query
For privacy concerns, please view our Privacy Policy
Based on your browsing history
Loading... Please wait

Items Related to Voices in the Dark (A Century of Classic Nepali Short Stories about... (Language and Literature | Books)

Unfathomable - Sahitya Akademi Award Winning Nepali Novel
Item Code: NAE568
$15.00
Add to Cart
Buy Now
New Nepal New Voices (An Anthology of Short Stories)
Item Code: IDK676
$17.50
Add to Cart
Buy Now
Contemporary Indian Short Stories (Set of 4 Volumes)
by Bhabani Bhattacharya
Paperback (Edition: 2016)
Sahitya Akademi, Delhi
Item Code: NAK135
$52.00
Add to Cart
Buy Now
A Sociological Study of the Toto Folk Tales
by Bimalendu Majumdar
Hardcover (Edition: 2013)
The Asiatic Society
Item Code: NAG552
$36.00
Add to Cart
Buy Now
City of Dreams: Stories from Nepal
Deal 20% Off
by Pranaya SJB Rana
Paperback (Edition: 2015)
Rupa Publication Pvt. Ltd.
Item Code: NAL872
$16.00$12.80
You save: $3.20 (20%)
Add to Cart
Buy Now
City of Dreams (Stories)
Deal 20% Off
by Pranaya SJB Rana
Paperback (Edition: 2015)
Rupa Publication PVt. Ltd.
Item Code: NAK851
$21.00$16.80
You save: $4.20 (20%)
Add to Cart
Buy Now
Umrao Jan Ada (Ruswa)
Deal 20% Off
Item Code: NAF801
$16.00$12.80
You save: $3.20 (20%)
Add to Cart
Buy Now
The Cultural Heritage of India (Set of 9 Volumes)
Item Code: NAF605
$595.00
Add to Cart
Buy Now
Masterpieces Of Indian Literature (Set of 3 Volumes)
by K. M. George
Hardcover (Edition: 2008)
National Book Trust
Item Code: NAE178
$125.00
Add to Cart
Buy Now
Chandrakanta
Deal 20% Off
by Devaki Nandan Khatri
Paperback (Edition: 2015)
Rupa Publication Pvt. Ltd
Item Code: NAK841
$29.00$23.20
You save: $5.80 (20%)
Add to Cart
Buy Now
Testimonials
Your books arrived in good order and I am very pleased.
Christine, the Netherlands
Thank you very much for the Shri Yantra with Navaratna which has arrived here safely. I noticed that you seem to have had some difficulty in posting it so thank you...Posting anything these days is difficult because the ordinary postal services are either closed or functioning weakly.   I wish the best to Exotic India which is an excellent company...
Mary, Australia
Love your website and the emails
John, USA
I love antique brass pieces and your site is the best. Not only can I browse through it but can purchase very easily.
Indira, USA
Je vis à La Martinique dans les Caraïbes. J'ai bien reçu votre envoi 'The ten great cosmic Powers' et Je vous remercie pour la qualité de votre service. Ce livre est une clé pour l’accès à la Connaissance de certains aspects de la Mère. A bientôt
GABRIEL-FREDERIC Daniel
Namaskar. I am writing to thank Exotic India Arts for shipping the books I had ordered in the past few months. As I had mentioned earlier, I was eagerly awaiting the 'Braj Sahityik Kosh' (3 volumes). I am happy to say that all the three volumes of it eventually arrived a couple of days ago in good condition. The delay is understandable in view of the COVID19 conditions and I want to thank you for procuring the books despite challenges. My best wishes for wellness for everyone in India,
Prof Madhulika, USA
Love your collection of books! I have purchased many throughout the years. I love you guys!
Stevie, USA
Love your products!
Jason, USA
Excellent quality and service, best wishes to you all.
James, UK
Thank you so much for your wonderful store and wonderful service. A Naga Kanya stat arrived yesterday. The sculpture was very well packaged, and it is very beautiful. I am very very happy with the statue and very grateful to your company for providing access to such lovely works of art. Thank you for providing truly beautiful objects and for providing great service. All the very best to you,
Jigme, Canada
Language:
Currency:
All rights reserved. Copyright 2020 © Exotic India