Parva is a novel written by S. L. Bhyrappa in the Kannada language. It is a retelling of the Sanskrit epic Mahabharata, narrated through the personal reflections of the principal characters. The novel is widely acclaimed as a modern classic. Parva is among Bhyrappa's most widely debated and popular works and is considered by many to be his greatest.

Daatu is a powerful novel that explores the rigid boundaries of caste and community in rural India, and what it takes to cross them. Set in Karnataka, the story unfolds around deeply entrenched social structures where identity is dictated by birth, and every step outside those boundaries comes at a cost. At its core, Daatu is about transgression — the act of “crossing over.” Whether it is caste, relationships, or social norms, the novel examines what happens when individuals challenge the invisible lines that define their lives. The narrative is layered with realism, capturing village life with honesty and nuance. It reflects how traditions, power, and fear shape human behaviour, while also revealing moments of resistance, dignity, and change. Recognised as a significant work in Indian literature, Daatu offers readers not just a story, but a lens into the complexities of caste, morality, and social transformation.

The novel narrates the story of the Hindu epic Mahabharata, primarily using monologue as a literary technique. Several principal characters from the original Mahabharata reminisce about their entire lives. Both the setting and the context for the reminiscence are the onset of the Kurukshetra War. Parva is acknowledged as S.L. Bhyrappa's greatest work. Non-Kannadigas who have read it in its Hindi and Marathi translations consider it one of the masterpieces of modern Indian literature. It transforms an ancient legend into a modern novel. In this process, it has gained rational credibility and a human perspective. The main incident, the Bharata war, symbolic of the birth pangs of a new world order, depicts a heroic but vain effort to arrest the disintegration and continue the prevailing order. It is viewed from the standpoints of the partisan participants and judged with reference to the objective understanding of Krishna. Narration, dialogue, monologue, and commentary are all employed for its presentation. Shot through with irony, pity, and objective understanding, the novel ends with the true tragic vision of faith in life and hope for mankind. Parva has been translated into several major Indian languages: Bengali, Hindi, Marathi, Tamil, and Telugu, apart from English. The novel narrates the story of the Hindu epic Mahabharata, primarily using monologue as a literary technique. Several principal characters from the original Mahabharata reminisce about their entire lives. Both the setting and the context for the reminiscence are the onset of the Kurukshetra War.

ఎన్ని పాకిస్తానులు? ఈ నవలలో నాయకుడో, మహానాయకుడో ఎదురుగాలేడు. అందువల్ల కాలాన్నే నాయకుడుగా, మహానాయకుడుగా, విలన్గా ఊహించుకున్నాడు రచయిత శ్రీకమలేశ్వర్. "ఆగ్రా నా రాజధాని. ఆలోచించండి. ఆసమయంలో హిందువులు కృష్ణుణ్ని దేవునిగా, అవతార పురుషునిగా కొలిచేవారు. అతని జన్మస్థానం మధుర. నా రాజధాని ఆగ్రానుండి కేవలం యాభై కిలోమిటర్ల దూరం. కూల్చాలనుకొంటే కృష్ణుని జన్నస్థానం కూల్చలేనా? పరుగెత్తి పరుగెత్తి అయోధ్యవరకు వెళ్లి రాముని జన్మస్థానాన్ని ఎందుకు కూలుస్తా? నలుగురు పిచ్చోళ్ల గురించి నేను తెలుసుకున్న సమాచారం గురించి విన్నవిస్తాను వినండి. అందరికంటే పెద్ద పిచ్చోడు మహాత్మాగాంధీ. రెండో పిచ్చోడు నేతాజీ సుభాష్ చంద్రబోసు. మూడో పిచ్చోడు ఖాన్ అబ్దుల్ గఫార్ ఖాన్. నాలుగో పిచ్చోడు ఒక అదీబ్". వయోవృద్ధ బోధివృక్షం మాట్లాడ సాగింది - ఆర్యుల వర్ణవాదం అప్రాకృతికమైన సిద్ధాంతం. ఎందుకంటే బ్రాహ్మణుల భార్యలు కూడా నెలనెలా బహిష్టుతో బాధ పడుతున్నవారే. వాళ్లూ గర్భవతులవుతున్నారు. వాళ్లూ పిల్లల్ని కంటున్నారు. వాళ్లకు పాలిస్తూ పోషిస్తున్నారు. బ్రాహ్మణులు స్త్రీల గర్భంలో జన్మించినప్పటికీ బ్రహ్మనోటిలో జన్మించామని వాదిస్తారు. బ్రహ్మనోటిలో గర్భాశయం ఎక్కడుంది? రాత్రిసమయంలో ఔరంగజేబు తన విశ్వసనీయుడైన హంతకుడు నజర్ కుతీ బేగును పిలిపించారు. ఆ గూనివాడు వచ్చి నమస్కరిస్తే, "ఖవాసుపుర భవనంలోకి వెళ్లి, సిపిహర్షికోను తండ్రి నుండి వేరు చేయి. ఆ కాఫిర్ దారాషికో తలనరికి, ఆ తల తెచ్చి నాకు చూపించు" అన్నారు ఔరంగజేబు. హంతకుడు నజర్ బేగును చూసి, "ఈ వేళప్పుడు నువ్వు ఇక్కడకు ఎందుకు వచ్చావు?" అన్నాడు దారాషికో. “సిపిహర్షికోను నీనుండి వేరు చేయమని ఉత్తర్వు". అన్నాడు నజర్ బేగు. ఈ మాట విన్న సిపిహర్ షికో జాగరూకుడయ్యాడు. “మమ్మల్ని చంపడానికి నిన్ను పంపారా?" దార కఠినంగా అడిగాడు. హంతకులిద్దరూ బయట నిరీక్షిస్తున్న సైనికులకు సిపిహర్షికోను అప్పగించి దారాషికో ఉన్న గదిలోకి వెళ్ళి తలుపు మూశారు. బయట సిపిహర్షికో వేస్తున్న కేకలు వినిపిస్తున్నాయి. అప్పుడే కోర్టు మీద చీకటి అలముకోసాగింది.

The book tells the story of Lalu and his red kite in wondrous colours. The kite is Lalu’s love and he is ready to go to any length to keep the kite with him.

The old snake is punished – the frogs will now ride on him. The frogs jump for joy – but they had better watch out! This unusual bilingual retelling of a Panchatantra favourite swings sympathy in favour of the snake. Stunning pictures are based on wooden folk toys from Channapatna in Karnataka, a craft style that came centuries ago from Persia.

Lined up on a street are noisy motorbikes, honking cars, crowded buses, impatient autos... In their midst sits a queenly Maharani! At the heart of this funny little vignette is a cool-as-a-cucumber cow, an all too familiar character of an Indian streetscape. Nancy Raj’s full-of-life pictures bustle with detail and drama, capturing the bovine and the boisterous as everyone tries to unseat her highness. 2018: The Hindu Young World-Goodbooks Award – Best Picture Book 2018: Honor Book, South Asia Book Award

Small noses catch small colds. Big noses catch big colds. Gajapati Kulapati the elephant has a big nose and catches a great, big, mighty cold! And what happens when he sneezes – Aaaaachoooo….? With repetitive sounds and words that roll rhythmically through the pages, this bestselling series about the adorable elephant puts the zing back into storytelling and reading aloud. Bright, zestful pictures and dynamic visual text echo the lilt, making these big, happy books of fun.

Mati pesters her grandmother and father for her own plot of land. When she does get it, she works hard. And then she hears that a company wants to make a coal mine in their village – the enormous black pit that will eat up all their lands, like it has in the next village… As always, Rinchin powers her questions through irresistible storytelling. The little girl’s anxiety about losing her land to “a monster machine” cuts close to the heart as it takes head-on an issue that is ravaging tribal Chhattisgarh, where this story is set, and every other place where there is ‘development’ at a cost.

There is a BIG monster that only Montu can see, that shows up whenever he’s angry or sad, and makes him even more angry, even more sad. One day, when he hurts his leg and is stuck at home, he starts to draw. He draws the window, the tree outside and… the monster! But as he keeps drawing, the monster gets smaller and smaller. What’s happening? Pictures and text gently tell this story of a boy who learns to deal with his inner demons, illustrating how art can heal.

Little Tsomo eats a big, steaming hot momo. And then? A mouthwatering story in which the flavour-filled savoury comes appetisingly alive! Watercolour pencil illustrations softened with subtle brushstrokes conjure up scenes sure to tickle the taste buds, satisfy hunger pangs and stir up a song.

After a school trip to the zoo, Amma is surprised that Meera has seen no animals – not a monkey, a lion, or even a giraffe... But why did Meera see no animals there? Her lively mother forgets to ask! Zestful pictures capture the hilarious inversion of role play.

Dhum Dhum Dhum… dhup dhup dhup… Dungi dances to a dhinchak beat in this foot-tapping story that will make young readers move and groove, clap and tap! Big sheep, small sheep, bored sheep, happy sheep… eye-catching visuals bring to life the dance and drama in a woolly world.

Moyna lives in a little tribal village. She cannot go to school because she has to tend goats, collect firewood, fetch water… But she is so full of questions that the postmaster calls her the ‘why-why girl'! In this inspiring and delightful story, her first picture book, acclaimed Jnanpith award-winning writer Mahasweta Devi tells us how she meets Moyna (and her mongoose) and helps her find answers to all the why-whys – in books, that Moyna herself learns to read. Some of the translations have been done by well-known writers: Malayalam by Paul Zacharia, Tamil by Ambai, and Kannada by Girish Karnad. CBSE recommended

It’s the day of the local market in Malli’s village. Cotton candy, peanut balls, stick ice, rose soda – there’s so much for Malli and her friends to try! But some of them don’t have enough money. Then, Malli has an idea… Friendship and sharing are at the heart of this third book in the Malli series, with pictures that take you around a village in Tamil Nadu and into the bustle of a market filled with treats.

When a herd of elephants creates trouble in the jungle, do the little rabbits run away in fear? No! From Aztec to Chinese, there are many versions of the story about the rabbit in the moon. The illustrations for this bilingual retelling are based on the pithora folk style of central India, which derives from cave art.

Playtime on the terrace takes a turn when a strong wind sweeps Chhotu off his feet and carries him up and away to the clouds and the birds! The light and lively illustrations whirl us to the sky and back.

It’s Monday morning. Time for school. And his model of the earth…? Chintu Chitnis suddenly remembers he hasn’t made it! There’s a last-minute scramble to finish the project, with his little sister Pihu pitching in not very helpfully. And then, in school, Chintu finds an entire continent missing! Where did it go? Set in a Konkani household, this light and humorous story with playful pictures is a quick first introduction to the continents of the world.

Muthu’s constant companion is a rooster called Goondi. But her grandfather tells her not to get too attached to Goondi, since he belongs to Selvi Paati. And the village head wants to buy him for his son’s wedding feast… Muthu can’t bear the thought! So, she makes her move and Thatha makes his, in this tender story about what a dear friend is worth. Pictures add richness and depth to this layered narrative set in an Irula fishing village in Tamil Nadu. Their varying tones and textures capture the setting, the people and the moments.

Ilham has a problem. Her Papa has given her a crisp fifty rupee note for her birthday, and she doesn’t know where to keep it absolutely safe. A pocket would be best, but her new frock doesn’t have one. So she runs to Salma Chachi the tailor to get a pocket stitched — but that leads to another problem. A charming little nugget of a story with the flavour of old Hyderabad captured warmly in the pictures!