Contents: Introduction. 1. Divine flame of creation (1). 2. Divine flame of creation (2). 3. Sky and earth. 4. The egg that humans came out of. 5. The eternal separation. 6. The tight embrace. 7. Melo. 8. Sedi. 9. The family. 10. Five forces and the six rocks. 11. Nature alive. 12. Lightning. 13. The three daughters. 14. Thinghuai. 15. The water spirits (1). 16. The water spirits (2). 17. Naughty spirits. 18. The lake that never dries up. 19. The sheltering river and rocks. 20. The great competition. 21. The heat of the sun threatened earth. 22. Donyi-Polo (Sun and moon). 23. A vision of the sun. 24. The coaxing of the sun. 25. The male-female moon. 26. The moon and the tree. 27. The theft. 28. The eclipse. 29. The reward. 30. Pathian. 31. The source of grain. 32. The mother force. 33. The sacrifice. 34. Akangla. 35. Jebo-Samir. 36. Thiailungi. 37. She who lives in Marshes. 38. The power of woman. 39. The tiger woman. 40. Ancestors. 41. A prayer. 42. The unsuspecting father. 43. Omflam. 44. The wicked python-man. 45. The wicked python-man. 46. The girl and her tree-lover. 47. The sun's daughter. 48. The unfaithful river. 49. Etiban. 50. From the land of the dead. 51. Ramenhawii. 52. The consolation. 53. An elegy. 54. The ways of love. 55. The boy who wanted an angel for a bride. 56. The hero. 57. The husband who was tired of his wife. 58. Cruelty. 59. The angry lover. 60. A prestigious possession. Bibliography.
"The book is a product of several years of the author's experience of life among the tribes of the north-east. Sujata Miri has painted in many different styles; however, the particular style of painting, which is more or less uniformly evident in the paintings reproduced in this volume, is not the result of a conceptually planned scheme, but comes spontaneously from the depth of her mainly intuitive musings about tribal imagination and creativity. Perhaps it was her dissatisfaction with abstract discursive, stereotyped descriptions of life in tribal India that led her to take to painting in this particular genre and rely on her intuitive understanding of things rather than philosophical and anthropological ratiocination. The point that is being forcefully made is that tribal life can be articulated perhaps with much greater authenticity through the medium of painting than through words. The paintings are, of course, also meant to be enjoyed just as paintings, and not simply as depicting some form of life or other." (jacket)