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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.

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.

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.

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

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!

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.

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

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.

Yak yak yak... the tortoise loves to talk – and learns the hard way that keeping his mouth shut is sometimes very necessary! The clipped narrative style pares the original fable from the Panchatantra down to its essence with dramatic effect in this bilingual retelling. It is offset by decorative, detailed illustrations in the style of kalamkari textiles from Andhra Pradesh.