A Sanyasi goes about apprising the people of the village that life should be found on values and not superstitions.

    In the story, it is traced somewhere in the African continent and plays a crucial role in re-constructing the history of human evolution.

    The protagonist of this novel is a common man by birth, individual by his attitude and scholar in his own orbit. He is engrossed by social, scientific, philosophical and personal aspects of his life. The novel is tending to find the ultimate truth of life through the protagonist. Scenarios stitched in between the story, is very well equipped to project the basic conflicts of life and death.

    Story of an Electrical Engineer, who finds rural environment more interesting than cities, finds his real interest in Farming and turns a rugged forest land into Farm with his own innovations and about his emotional journey.

    Gives some great insights into Gayatri mantra and how it can transform the life of a mortal.

    It captures the dominance of a colonial power over the region that began with the entry of the Portuguese about four hundred years ago. The novel is a graphic description of the displacement of this strongly-rooted community which saw its resurrection in a new area. In the course of its narrative, the novel traces the gradual changes in the structure of the family that moved from a closely knit joint family of the bygone era to the nuclear family. It also deals with the factors that are responsible for the change in value systems of individuals in the wake of such paradigm shifts. With its vast canvas, it remarkably weaves fiction with myth and history, peppered with cultural details and linguistic nuances. The narration in Swapna Saraswatha progresses in the form of an epic detailing the story of nine generations spread over a period of two hundred and fifty years from 1510 to about 1760. It encompasses more than a hundred and fifty characters which include Hindus, Muslims, Christians, chieftains, traders, farmers, priests and black magicians, and covers a range of themes spread across folk tales, legends, armies, myths and a sprinkling of history.

    Detailing his life in necessary, but not excruciating, detail, it amuses, provokes, depresses and ultimately help (Source wikipedia),

    N. Murthy Rao, caused a sensation in the literary world of Kannada, and won A. N. Murthy Rao admirers, enemies and the Pampa Award from the Karnataka Government. The thought provoking book gives expression to A. N. Murthy Rao's opinions about God, customs, rituals, traditions and Indian culture.

    Until his time; no Indian had dared to say so. The martyrs of 1857 are really fortunate that they got such a historian to tell their history who himself was both a historian and a creator of history. At times; we visualise Veer Savarkar coloured in the red colour of that revolution; as if he himself was present on the battlefield and participated in the heroic war. At other times; we see him patiently analyse the strengths and weaknesses of both sides—why the mutineers lost and why the British won. The way he analyses the politico-military aspects of the revolution shows his wisdom as a youth of 26 years.The Indian War of Independence; 1857; is a step by step account of the uprising of Indian Hindus and Muslims against the ruthless British rulers. Tracing footsteps of the barefooted; undernourished and almost unarmed Indian masses challenging the British bullets by the sheer force of their will power; the author establishes beyond an iota of doubt that the uprising was a War of Independence and not a mere Sepoy Mutiny as dubbed by the British.Some glaring truths about this book:• This book became the Bible for Indian revolutionaries.• The book was proscribed by the British Government before its publication.• The book was smuggled into India and England after it was published in Holland.• The demand for this book was so enormous that it used to be sold and resold at the stupendous price of Rs. 300 (in 1910).

    Translated in Kannada by: Ravi BelagereOne of the best pieces of historical fiction. A very existential novel about the revolt of 1857 in British India.

    It is based on an episode in the Mahabharata, where Yayati, one of the ancestors of the Pandavas, is given the curse of premature old age by his father-in-law, Shukracharya, who is incensed by Yayati's infidelity.

    Apart from this, many a times each state of each nation has role models from the past but not forgotten history. Maharashtra has its own idols. The greatest and most loved of them all is shivaji maharaj.

    *Includes Cagney's own quotes about his life and career. *Includes a bibliography for further reading. *Includes a table of contents. "You don't psych yourself up for these things, you do them...I'm acting for the audience, not for myself, and I do it as directly as I can." – James Cagney A lot of ink has been spilled covering the lives of history’s most influential figures, but how much of the forest is lost for the trees? In Charles River Editors’ American Legends series, readers can get caught up to speed on the lives of America’s most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. When the American Film Institute assembled its top 100 actors of all time at the close of the 20th century, one of the Top 10 was James Cagney, an actor whose acting and dancing talents spawned a stage and film career that spanned over 5 decades and once compelled Orson Welles to call him "maybe the greatest actor to ever appear in front of a camera." Indeed, his portrayal of “The Man Who Owns Broadway”, George M. Cohan, earned him an Academy Award in the musical Yankee Doodle Dandy, and as famed director Milos Forman once put it, "I think he's some kind of genius. His instinct, it's just unbelievable. I could just stay at home. One of the qualities of a brilliant actor is that things look better on the screen than the set. Jimmy has that quality." Ultimately, it was portraying tough guys and gangsters in the 1930s that turned Cagney into a massive Hollywood star, and they were the kind of roles he was literally born to play after growing up rough in Manhattan at the turn of the 20th century. In movies like The Public Enemy (which included the infamous “grapefruit scene”) and White Heat, Cagney convincingly played criminals that brought Warner to the forefront of Hollywood and the gangster genre. Cagney also helped pave the way for younger actors in the genre, like Humphrey Bogart, and he was so good that he found himself in danger of being typecast. While Cagney is no longer remembered as fondly or as well as Bogart, he was also crucial in helping establish the system in which actors worked as independent workers free from the constraints of studios. Refusing to be pushed around, Cagney was constantly involved in contract squabbles with Warner, and he often came out on top, bucking the conventional system that saw studios treat their stars as indentured servants who had to make several films a year. American Legends: The Life of James Cagney examines the life and career of one of Hollywood’s most iconic actors. Along with pictures of important people, places, and events, you will learn about Cagney like never before, in no time at all.

    A monumental epic penned by Kuvempu. The work is as much a product of individual sadhana as of the profound influence of Indian thought as a whole. This is the most popular work and the magnum opus by Kuvempu in Kannada based on the Hindu epic Ramayana. It earned him many distinctions including the Sahitya Akademi Award and the Jnanapeeth award in 1967.

    First published in 1970, the book seeks to explain the causes for the 13 May 1969 riots in Kuala Lumpur.Dr Mahathir sets out his view as to why the Malays are economically backward and why they feel they must insist upon immigrants becoming real Malaysians speaking in due course nothing but Malay, as do immigrants to America or Australia speak nothing but the language of what the author calls “the definitive people”. He argues that the Malays are the rightful owners of Malaya. He also argues that immigrants are guests until properly absorbed, and that they are not properly absorbed until they have abandoned the language and culture of their past.