Raghavendra Patil (b.1951) belongs to the postmodernist group of writers in Kannada. Like his predecessors, U.R. Anantamurthy, Yahvant Chittal, Tejasvi and Shantinath Desai, he arrived at the novel through the short story. The Chariot (Teru), which won him the Sahitya Akademi Award, is his second novel. Though Patil belongs to the postmodern era, he does not share the thematic concerns or techniques of Western postmodernism. He is closer to the nativistic movement, which has already produced major writers like Chandrasekhar Kambar and Kum. Veerabhadrappa. He has also inherited some of the qualities of his famous uncle Anandakanda, such as an interest in local history and closeness to rural life. The story that Patil tells in The Chariot spans more than a hundred and fifty years, beginning with the years when the Peshva extended his rule to North Karnataka and ending with the years after the Emergency, and it relates to the Belagavi region, with its epicentre in an imagined but fully realised village named Dharamanatti. The novel offers two images of Teru, which in Kannada means both the chariot and the festival associated with it. The first is centred on an atrocious human sacrifice made in the name of religion by an autocratic ruler, and the second, distanced in time by a century and a half, mirrors the change from the feudal order to a democratic one, where religious superstition and feudal practices have been replaced by scepticism and the politics of power. The novel is remarkable for its innovative technique, which handles myth and reality with equal success.

it is a collection of 25 travel tales that talk about his trips around the world.

This book carries 51 poems of Kuvempu in translation with a long introduction to give the pan India audience an understanding of Kuvempu's major concerns. Prof Raghunath has made his choice carefully to represent Kuvempu's social concern, and that seems to be at the heart of his introductory piece.

लेखक स्वयं प्रकाश कुछ भी कर सकते हैं. एक कहानी में, वह आपको इस तरह हंसा और रुला सकता है कि आपकी आंखें नम हो जाएंगी। सावधान, इस किताब में ऐसी कहानियाँ हैं जो आपको इतना हँसाएँगी कि आपका पेट दर्द करने लगेगा। इसका प्रभाव ग्लूकोज की तरह होता है। यह आपकी जीभ पर लगते ही घुल जाएगा और आपको हंसने पर मजबूर कर देगा. यह भी संभव है कि किस्सा आपके रक्तप्रवाह तक पहुंचे और आपके दिल को गर्म कर दे। यह आपको मास्टर कहानीकार चैपलिन की याद दिला सकता है। 30 बेमिसाल हास्य कहानियाँ.सुनी तो आपने होंगी लेकिन उन्हें इस शैली में केवल स्वयं प्रकाश ही बता सकते हैं. जो लोग लेखन शैली के मूल्य को कम आंकते हैं, उनके लिए हमारे पूर्वज ग़ालिब साहब याद दिलाते हैं कि इस दुनिया में कई अच्छे कहानीकार हैं... हांजी के बोलने के भाव, उनकी चारपाई, केश, टोपी और उनकी दाढ़ी, ठुड्डी ये सब अतनु रॉय के चित्रों में देखा जा सकता है। Age group 9-12 years

मिट्टी की गाड़ी प्रियंवद की लघु कहानियों का संग्रह है। मिट्टी की गाड़ी को 2018 में फेडरेशन ऑफ इंडियन पब्लिशर्स, नई दिल्ली द्वारा 11-17 वर्ष की आयु वर्ग में उत्कृष्टता प्रमाणपत्र प्राप्त हुआ। Age group 9-12 years

मैं नदी के आत्मीय की तरह नदी के पास जाता था।उसकी पीठ पर हाथ रखना चाहता था। नदी की पीठ पर हाथ रखने की जगह मेरे हाथ मेरी पीठ पर पहुँच जाते थे। तब मुझे पता चलता था कि मेरी पीठ के बीचोंबीच एक नदी का निशान है। हर व्यक्ति की पीठ के बीचोंबीच एक नदी का निशान है। नाधी से ही तो हमारी रीढ़ बनी है। पर नदी ने इतनी ज़रूरी बात पीठ पीछे क्यों कही?

मैं कलम से, एलन रंगों से और सुशील काग़ज़ के खिलौने बनाकर बच्चों को बहला रहे थे। जब क्लास ख़त्म हुई तो देखा बच्चे रंग, कलम और काग़ज़ के खिलौने से हमें बहला रहे थे। ~गुलज़ार Age group 6-8 years

सोचती हूँ भाषाओं का काम क्या है? किसी को आवाज़ दो तो वह पलट कर देखता है और मुस्कुराता है। बस इतनी-सी बात है। जिनकी भाषा हम नहीं जानते हैं उन्हें अपनी भाषा में बात करते देखते हैं और खुश होते हैं तो उनका अपनी भाषा पर यक़ीन बढ़ता है। अभाव, बीमारी, ग़रीबी, दुख के भी साधारण लोगों ने अपने जीवन में थोड़ा थोड़ा प्रेम, थोड़ी थोड़ी आत्मीयता और मनुष्यता बचाकर रखी है। उन्हें देखते हुए सोचती हूँ की धरती में प्रेम सबसे ताकतवर मूल्य है।

मैं इश्क़ का माता खोल किवड़ीया रंगी चुनरिया ईश्वर अल्लाह बाँध गठरिया ठुमक ठुमक इतराता मैं इश्क़ का माता Age 12+

Chaso, short for Chaganti Somayajulu, was born in 1915 in Srikakulam and spent most of his life in Vizianagaram. He began his literary journey as a poet in English and later in Telugu. He was also an essayist and wrote one play. However, his true passion was the short story, which he considered a lyrical poem. His first short story, 'Chinnaaji,' published in 1942, was critically acclaimed, and by 1945 he was recognised as a leading figure and master of the genre. He set high standards for himself and, throughout a life dedicated to literature, published only about 50 stories. He was the first Telugu writer to incorporate Marxist ideas into short stories, though his stories are notably free of rhetoric. His narratives often portray the raw lives of the poor and the very poor, characterised by brevity, reticence, and compression. He was a founding member of the Progressive Writers Association. An atheist, Chaso willed his body for medical research, which his family honoured after his death in 1994.

Gardy isn’t sure if he is the lost lion cub prince who will save the ‘City of Lions’, Singapore. But he rushes there with his friends, all the same. They find that the city is indeed under threat – from its very own haughty, crotchety, bickering guardians, Sir Leon and the Old Woman under the Sea. What is seeing clearly all about – guessing the future, seeing things how they are, or seeing things how they should be?

The four, along with the lion cub, are off to Canada with a message for the Techno Sage, who has sealed her island with an impenetrable shield. An adventure with a scientific twist!

Looking for a Deep Rose that may make Aditi’s grandmother feel better, the adventurers go to the coast of Devon in England. There they meet the little boy Grendel who lives under the sea, prowls around at night scaring others, can’t remember anything and doesn’t care about it. Re-casting ‘monster’ characters from the Beowulf story, the author wonders if what we see depends on how we see it. Do stories make you look at things differently? Could you be you today, if you didn’t remember who you were yesterday?

On a visit to Australia, there is much excitement with hi-tech gadgets and journeys underwater and on dragonback. Only the elephant is worried — will she finally find her name?

Goldie the dragon is missing! Following a clue, the friends head to Cumae in Italy where they meet the Sybil who knows everything, and the tantrum-throwing Vesuvian Giant.

On a visit to Prague, the naughty granddaughter of Princess Libusha casts a spell on Monkeyji. And the only one who can help is Shemeek, the sleeping white horse of Wysherad. But to reach him Aditi and her gang must first deal with a rude sparrow and a dragon who wants to fight. A popular Czech legend is woven into this unusual adventure. Can a problem also become a solution? In a contest, does someone always win?

In Budapest, Aditi and friends meet a naughty little creature who keeps changing into whatever anyone thinks she is. But it is this changeling who finally comes to the rescue when Beautiful is in trouble.

Somu the bear is unusual. He can dance! But Somu wants to be free and unchained. Can his friend Altaf understand that? This poignant story is about friendship between a young boy and an animal and the boy’s unique understanding of what the animal truly wants. This story describes the true predicament of dancing bears in India.

Marathi has an unbroken literary tradition of over eight centuries, divided conveniently into two distinct periods, classical and modern. The Classical period spans six centuries, remarkable for poetry, devotional and heroic. Jnandev, Namdev, Eknath, Tukaram and Ramdas have become household names throughout India. While Virasaiva, Jain, and Muslim poets have enriched the secular and spiritual content, wandering minstrels have sung heroic ballads. New forms of literature have flowered from the nineteenth century under the impact of English education and western thought. The Chiplunkar, Apte, Anil Despande, Phadke, Khandekar, Mardhekar, Rege and Gadgil. Tracing the earliest reference to Maharashtra in a rock inscription of the fourth century, the history concludes with the formation of the state in 1960.

There is an end coming; to all things. Kali, the Lord of Kaliyug, languishing in an impregnable prison, is devising a terrible revenge. In the age of deceit and treachery, his vassals are exploiting every flaw and weakness to break their liege out of captivity. The worlds are destroyed, villains resurrected, and mortals and Gods are annihilated, all of it just so Kali can rule over the universe. When he breaks loose, nothing can stop the end of days. The Gods are struggling to stop their infighting and to build an alliance to face the ancient peril. A handful of bravehearts including a cursed warrior, a one-of-a-kind Demi-God, a raging sage, and an extraterrestrial orphan are all that stand between the unspeakable evil and the existence of the universe. Hopelessly outnumbered, can they stop a nemesis that can kill them by merely glaring at them? The time is nigh! Stand your ground! Kaliyug is about to take us down!