"It was a wonderful experience interacting with you and appreciate the way you have planned and executed the whole publication process within the agreed timelines.”
Subrat SaurabhAuthor of Kuch Woh Pal
Rakoshi Devis came to me as a shock since they happened to rescue my senses at a time when extreme anger overwhelmed my consciousness and it was waiting to annihilate my sanity. They salvaged me from the predicament of devastation which hovered around me like an eagle waiting to pounce upon its prey.
The Rakoshi Devis I saw in my vision were three gruesome-looking figures ready to overthrow conventional wisdom that often enforces the norm of propriety on a woman. These introduced themselves to me as strong opponents of the egocentric MANHOOD that’s born to obliterate feminine identity. A ‘Demonic Man’ happens to challenge the Devis’ feminine prowess; not evidently by oppressing them but implicitly until he brings them to the point where they become vulnerable to his attack. The Rakoshis then blend their feminine benignity with their demonic ire and manifest themselves into a transformed version of the fierce ‘Demonic Goddess’ to counteract the refractory Egoistic Masculine Vampire.”
Dr. Payal Trivedi
Dr. Payal Trivedi holds nearly 15 years of experience in teaching English at various academic organizations in Ahmedabad. Presently, she holds a place of prestige as an English Educator in a renowned (Indian) Academic organization. A Doctorate in English Literature, Dr. Trivedi has many reputed articles published in various international ref. and peer-reviewed Journals. Her article on the documentary film Chena KintuAjana Published in the International Journal of English Language and Literature Vol. 2, No. 3 (2015): 317-326 is exemplary of her literary writing abilities. Her write-up on the popular presentation Bachchader Experimentum in Kolkata by the organization Trimukhi Platform became a part of the reputed conference at Jadavpur University Kolkata. Besides being a literary writer, Dr. Trivedi is also a theatre critic and has contributed critical documentaries for many noteworthy theatre performances. Some of her known write-ups include Janardan Ghosh’s presentation on Girish Karnad’s play Hayavadana, Vikram Iyengar’s presentation of Karnad’s Naga-Mandala and Roysten Abel’s direction of Karnad’s monologue Flowers. Her critical evaluations on Art and Literature have earned her distinguished repute in the literary scenario.
