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mirrors the change from the feudal order to a democratic one, where religious superstition and feudal practices have been replaced by scepticism and the politics of power.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.

Once Upon a time by A. Sethumadhavan, is a novel which surrounds priyamvada, who is an HR professional, and a single parent at the centre of its narrative. The strong undercurrent of this award-winning title is the way woman asserts her independence and deft strokes in the book suggest how a professional woman scores. The novel very beautifully depicts the personal journey of a single parent, where are dilemmas which priyamvada faces, doing a tightrope walk between the labor force and the managements, trying to fill the vacuum in her daughter’s life and consciously attempting to steady her own emotional moorings.

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.

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

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

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

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

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।

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.

The Saga of the Cactus Land: A novel that comes from the very soul of the writer, a book that germinated within the innermost recesses of his heart and exploded into this brilliant, heart-warming, gentle and yet scorching tale of his family's life in the inhospitable dry lands and the experiences of his people when everything that they owned and cherished was suddenly lost following the construction of the Vaigai dam, which resulted in their village finding itself deep down on the river-bed of the Vaigai. The story revolves around the central character of Peyathevar, a quintessential good man, hard-working, unremittingly honest, strong, manly and yet with the capacity to break down and cry, as also the incredible will-power to pull himself up and fight. His relationship with his grandson Mokkarasu, a very salient element in the novel, is a throbbing vein of tenderness and love that runs through the story. The simple, hard-working villagers lose their beloved land, on which they had lived, loved, ploughed, weeded, harvested, played and procreated - in short, spent their entire lives. They become refugees in their own country. The story of these innocent, largely unlettered people comes vibrantly alive because the characters are based on real people and because of the compassion and empathy that permeate its telling. 'The mud of this earth is our food...it is our medicine' says Peyathevar at one point. But alas, that mud becomes the underwater grave of the village of Kallikkadu.

Thattakam is the story of a generation of people who lived in a small village called Kandanasseri in Kerala. The village as well as the people, had a glorious historic past studded with myths, legends and real events of social and political significance. It is both a real and an imaginary story at the same time. Even today, the village retains elements of its traditional past while peeking into modernity. English translation by Vasanthi Sankaanarayanan of the Sahityā Akademi Award-winning Malayalam novel Thattakam by Kovilan (V. V. Ayyappan).

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!

‘नौकर की कमीज़’ भारतीय जीवन के यथार्थ और आदमी की कशमकश को प्रस्तुत करनेवाला उपन्यास है। इस उपन्यास की सबसे बड़े ख़ासियत यह है कि इसके पात्र मायावी नहीं बल्कि दुनियावी हैं, जिनमें कल्पना और यथार्थ के स्वर एक साथ पिरोए हुए हैं। कहीं भी ऐसा नहीं लगता कि किसी पात्र को अनावश्यक रूप से महत्त्व दिया गया हो। हर पैरे और हर पात्र की अपनी महत्ता है। केन्द्रीय पात्र संतू बाबू एक ऐसा दुनियावी पात्र है जो घटनाओं को रचता नहीं, बल्कि उनसे जूझने के लिए विवश, है और साथ ही इस सोसाइटी के हाथों इस्तेमाल होने के लिए भी। आज की ‘ब्यूरोक्रेसी’ और अहसानफ़रामोश लोगों पर यह उपन्यास सीधा प्रहार ही नहीं करता, बल्कि छोटे-छोटे वाक्यों के सहारे व्यंग्यात्मक शैली में एक माहौल भी तैयार करता चलता है। विनोद कुमार शुक्ल की सूक्ष्म निरीक्षण शक्ति का ही कमाल है कि पूरे उपन्यास को पढ़ने के बाद ज़िन्दगी के अनगिनत मार्मिक तथ्य दिमाग़ में तारीख़वार दर्ज होते चले जाते हैं। उनके छोटे-छोटे वाक्यों में अनुभव और यथार्थ का पैनापन है, जिसकी मारक शक्ति केवल मिलमिलाहट ही पैदा नहीं करती बल्कि बहुत अन्दर तक भेदती चली जाती है।

Abbie Deal, the matriarch of a pioneer Nebraska family, dies at the beginning of A White Bird Flying, leaving her china and heavy furniture to others and the secret of her dream of finer things to her granddaughter Laura. Grandma Deal's literary aspirations had been thwarted by the hard circumstances of her life, but Laura vows that nothing, no one, will deter her from a successful writing career.

प्रयाग शुक्ल की मज़ेदार कविताओं की किताब जिसे आप और आपका बच्चा स्कूल बस का इंतज़ार करते समय या घर पर स्कूल के लिए तैयार होते समय गा सकते हैं। उनकी शब्दावली बनाने का एक मज़ेदार तरीका। देबब्रत घोष के रंगीन चित्र उनकी हास्य की भावना से समृद्ध हैं, जिसका आप और आपका बच्चा आनंद लेंगे। Age group 6-8 years

Indian English literature began as an interesting by-product of an eventful encounter in the late eighteenth cntury between a vigorous and enterprising Britain and a stagnant and chaotic India, and is now nealy twi hundred years old. It is literature written originally in English by authors Indian by birth, ancestry or nationality. It is no part of English literature any more than American literature or Australian lterature can be said to be branch of British literature. It is legitimatly a part of Indian literature, since its differntia is the expression in it of an Indian ethos.