His son is India's best-known cinema superstar - Amitabh Bachchan. The core of this book is a long sequence called Madhushala (the house of wine) which could be compared to the Rubaiyat in imagery and metre.

    Yayati was a great scholar and one of the noblest rulers of olden times. He followed the shastras and was devoted to the welfare of his subjects. Even the King of Gods, Indra, held him in high esteem. Married to seductively beautiful Devyani, in love with her maid Sharmishtha, and father of five sons from two women, yet Yayati unabashedly declares, My lust for pleasure is unsatisfied. His quest for the carnal continued, sparing not even his youngest son, and exchanging his old age for his son s youth.

    It is considered one of the greatest literary works written in modern times in Hindi literature. It also signifies the epitome of Chhayavadi school of Hindi poetry which gained popularity in late nineteenth and early twentieth century.Kamayani depicts the interplay of human emotions, thoughts, and actions by taking mythological metaphors. Kamayani has personalities like Manu, Ida and Shraddha who are found in the Vedas. The great deluge described in the poem has its origin in Satapatha Brahmana. Explaining his metaphorical presentation of Vedic characters, the poet said:"Ida was the sister of the gods, giving consciousness to entire mankind. For this reason there is an Ida Karma in the Yagnas. This erudition of Ida created a rift between Shraddha and Manu. Then with the progressive intelligence searching for unbridled pleasures, the impasse was inevitable. This story is so very ancient that metaphor has wonderfully mingled with history. Therefore, Manu, Shraddha and Ida while maintaining their historical importance may also express the symbolic import. Manu represents the mind with its faculties of the head and heart and these are again symbolized as Faith (Shraddha) and Intelligence (Ida) respectively. On this data is based the story of Kamayani."The plot is based on the Vedic story where Manu, the man surviving after the deluge (Pralaya), is emotionless (Bhavanasunya). Manu starts getting involved in various emotions, thoughts and actions. These are sequentially portrayed with Shraddha, Ida, Kilaat and other characters playing there part, contributing in them. The chapters are named after these emotions, thoughts or actions. Some people consider that the sequence of chapters denotes the change of personality in a mans life with age.Following is the sequence:Chinta (Anxiety)Asha (Hope)Shraddha (Reverential belief, Faith, Virtue of being a woman)Kama (Sexual love)Vasna (Passion for material pleasure)Lajja (Shyness)Karma (Action)Irshyaa (Jealousy)Ida (Logic, Intellect)Swapna (Dream)Sangharsh (Internal conflict)Nirved (Disregard of worldly things, Renunciation)Darshan (Philosophy, Vision)Rahasya (Hidden knowledge, Mystery)Anand (Bliss, Self-realization, Shiva)

    It tells the story of Ramanath, a charming but morally weak young man, who in order to fulfil his beautiful wife's Jalpa excessive craving for jewellery involves himself in complex economic and personal relationships, which eventually leads to his apparent ignominy, and his escape from home. He doesn't even bother to realise that by doing so he brings disgrace to his family honour and leaves his dear wife alone. However, Jalpa's brave attitude brings a sense of redemption in Ramanath and they unite again.One of the classics of Indian literature, Gaban gives an engrossing picture of Indian society. It also captures the social and economic conditions and conflicts of a North Indian society in pre-independence India. It is a must read for readers interested in regional Indian literature.

    Still above is Vaikuntha, heaven, abode of God.The doorkeepers of Vaikuntha are the twins, Jaya and Vijaya, both whose names mean 'victory'. One keeps you in Swarga; the other raises you into Vaikuntha.In Vaikuntha there is bliss forever, in Swarga there is pleasure for only as long as you deserve. What is the difference between Jaya and Vijaya? Solve this puzzle and you will solve the mystery of the Mahabharata.In this enthralling retelling of India's greatest epic, the Mahabharata originally known as Jaya, Devdutt Pattanaik seamlessly weaves into a single narrative plots from the Sanskrit classic as well as its many folk and regional variants, including the Pandavani of Chhattisgarh, Gondhal of Maharashtra, Terukkuttu of Tamil Nadu and Yakshagana of Karnataka.Richly illustrated with over 250 line drawings by the author, the 108 chapters abound with little-known details such as the names of the hundred Kauravas, the worship of Draupadi as a goddess in Tamil Nadu, the stories of Astika, Madhavi, Jaimini, Aravan and Barbareek, the Mahabharata version of the Shakuntalam and the Ramayana, and the dating of the war based on astronomical data.With clarity and simplicity, the tales in this elegant volume reveal the eternal relevance of the Mahabharata, the complex and disturbing meditation on the human condition that has shaped Indian thought for over 3000 years.

    A short novel, that may also be viewed as a set of connected mini-narratives, it can also be considered as one of the foremost instances of metafiction in twentieth century Hindi literature. This book talks about the encounter of narrator with 3 different women during his teenage, youth & adulthood.

    Centuries ago, it was proclaimed of the Mahabharata: "What is not in it, is nowhere." But even now, we can use the same words about it. He who knows it not, knows not the heights and depths of the soul; he misses the trials and tragedy and the beauty and grandeur of life. The Mahabharata is not a mere epic; it is a romance telling the tale of heroic men and women, and of some who were divine. It is a whole literature in itself, containing a code of life, a philosophy of social and ethical relations, and speculative thought on human problems that is hard to rival.

    Prabhat Prakashan has a glorious history of fifty years of publishing quality books on almost all streams of literature, viz. children books, fiction, science, quiz, humanities, personality development, health, dictionaries, encyclopedias, etc. For the last fifteen years, Prabhat Prakashan has been continuously winning accolades for excellence in book publication.

    Shivaji Sawant's Mrityunjaya is an outstanding instance of such a literary masterpiece in which a contemporary Marathi novelist investigates the meaning of the bewildering skein that is life through the personae of the Mahabharata protagonists. For over two decades since its first publication the vast non- Marathi and non-Hindi readership remained deprived of this remarkable exploration of the human psyche till the publication of this English translation by the Writers workshop – a contribution for which there is much to be grateful for. Mrityunjaya is the autobiography of Karna, and yet it is not just that. With deceptive case, Sawant brings into play an exceptional stylistic innovation by combining six "dramatic soliloquies" to form the nine books of this novel of epic dimensions. Four books are spoken by Karna. These are interspersed with a book each from the lips of his unwed mother Kunti, Duryodhana (who considers Karna his mainstay), Shon (Shatruntapa, his foster-brother, who here-worships him), his wife Vrishali to whom he is like a god and, last of all, Krishna. Sawant depicts an uncanny similarity between Krishna and Karna and hints at a mystic link between them, investing his protagonist with a more-than-human aura to offset the un-heroic and even unmanly acts which mar this tremendously complex and utterly fascinating creating of Vyasa.

    Among his expansive and impressive body of work, Gitanjali is regarded as one of his greatest achievements, and has been a perennial bestseller since it was first published in 1910.

    It relates the political development of that age with current geography in a very interesting way. It also brings out a new perspective on Ravana, his rise and his fall.

    The usually venerated characters of this ancient Indian epic are here subjected to a rational enquiry that places them in context, unravels their hopes and fears, and imbues them with wholly human motives, thereby making their stories relevant and astonishing to contemporary readers. Irawati Karve, thus, presents a delightful collection of essays, scientific in spirit, yet appreciative of the literary tradition of the Mahabharata. She challenges the familiar and formulates refreshingly new interpretations, all the while refusing to judge harshly or venerate blindly.

    Chronicling the Indian struggle for freedom and independence from Great Britain, Tharoor directs his hilarious satire as much against Indian foibles as the bumbling of the British rulers.

    The story reflects the social, political and religious scene in Bengal at the turn of the century. The forces that were operating in Bengal at that time were one of the intense nationalism and revival of ancient spiritual values and also that of liberal western thought. What makes Gora a great prose epic is not only its social content but also its brilliant story of self-searching, of resolution, of conflicts and of self discovery.

    Originated at digital platform of Facebook, the famous face of TV news, anchor Ravish Kumar has started writing micro fiction in a limited space of Facebook and twitter. The politics of our times figures as Metaphor in the loving exchange between characters. Laprek is a story of Love in cities. It is a story of Cities in love. रेम हम सबको बेहतर शहरी बनाता है। हम शहर के हर अनजान कोनों का सम्मान करने लगते हैं। उन कोनों में ज़िंदगी भर देते हैं... आप तभी एक शहर को नए सिरे से खोजते हैं जब प्रेम में होते हैं... और प्रेम में होना सिर्फ हाथ थामने का बहाना ढूँढना नहीं होता। दो लोगों के उस स्पेस में बहुत कुछ टकराता रहता है। 'लप्रेक' उसी कशिश और टकराहट की पैदाइश है।