It has no touch of rural life or modernization and the problems occurring with that. It does not reach deep down its interior to handle the pains, yet it has a peculiar style, a natural freshness. It finds depths and humour in simple subjects. It does not avoid pain, but is not very fond of it. It presents the normal mind, normal set up, normal feelings. It makes us laugh and freshens us up. It makes us forget about our day- to- day life and the meager problems that come with it.

    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.

    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.

    Success lies within, in the deepest crannies of your mind. It’s more about what you conceive about your future than what people perceive of your nature.Neeya nana fame Gopinath presents us a human intellect calculator. You can SWOT analyze yourself with this book as a yardstick- a mirror in which will reflect on your blind spots.But it always feels ecstatic when we get down off a moving bus, when we can ride a bike hands free, handle a problem in twelfth hour. Isn’t it?If you feel you are still addicted to the adrenaline rush- Please don’t buy this book!

    In what modern Indians mistakenly call the Indus Valley Civilisation. The inhabitants of that period called it the land of Meluha a near perfect empire created many centuries earlier by Lord Ram, one of the greatest monarchs that ever lived. This once proud empire and its Suryavanshi rulers face severe perils as its primary river, the revered Saraswati, is slowly drying to extinction. They also face devastating terrorist attacks from the east, the land of the Chandravanshis. To make matters worse, the Chandravanshis appear to have allied with the Nagas, an ostracised and sinister race of deformed humans with astonishing martial skills!The only hope for the Suryavanshis is an ancient legend: When evil reaches epic proportions, when all seems lost, when it appears that your enemies have triumphed, a hero will emerge.Is the rough-hewn Tibetan immigrant Shiva, really that hero? And does he want to be that hero at all? Drawn suddenly to his destiny, by duty as well as by love, will Shiva lead the Suryavanshi vengeance and destroy evil?

    ‘Chauthi khidaki’ is a fantastic scientific tale built around the concept of Time. ‘Porkhel’ uses theanalogy of a childat play with her dolls, to highlight that human beings are mere pawns in the hands of Fate. ‘Sucheta Chakrapani ani Ticha Kokilkanth’ tackles the tangle between an artiste and her art – a fantastic rendering reminiscent of magical realism. Matkari’s stories give us the feeling of entering a jungle at dusk. The reader begins his journey along the border that separates reality from fantasy. Matkari employs different narrative styles and structure to lead the reader along familiar as well as unfamiliar paths in this jungle.While being immensely attractive, this journey takes the reader into ever deeper regions.

    Even grownups can enjoy the beauty of Oru Kudayum Kunjupengalum. One of the best known works of the author. This edition has illustrations by K R Raji.

    Entitled Songs in Time of War, Shared Ground, The Traveller and Seven Elements, the libretti take us all over the world - from Chinese and Indian poetry, to the beauty and quietness of the Wiltshire rectory where English poet George Herbert lived and died.Spanning centuries of creativity and humanity, the poems that form these libretti pulse with life, energy and inspired brilliance.They are accompanied by four pieces of calligraphy by the author.

    Whether he is analysing the fine dividing line between obscenity, pornography and erotica, his description of sex from 'Chaturbhani' (200-350 B.C.) or describing his ideas of a composite Indian woman. The book abounds with Indian as well as foreign myths, legends, proverbs and poems ranging from Chaucer, Shakespeare, Whitman to Kalidasa, Iqbal and Faiz.

    It is a portrait of a ghetto saint - an ordinary man selected by the universe to bring enlightenment to poor belittled people.

    Will you still call this a love marriage? And what if on the engagement day while you pull the ring out from your pocket, you realize what you planned was just a dream which never comes true…? How would you react when a beautiful person comes into your life, becomes your most precious possession and then one day goes away from you…forever? Not all love stories are meant to have a perfect ending. Some stay incomplete. Yet they are beautiful in their own way. Ravin’s love story is one such innocent and beautiful story. He believes love stories seldom die. They are meant to stay for the generations yet to come and read them. And given that one chance to narrate his love story, this is how he began…

    Drawing from real-life characters and incidents, these sketches are as varied as people can be and quite interesting.The stories in Vyakti Aani Vyalli were written over a period of more than 20 years, from 1944 to 1968. Of the 20 stories in the book, the one about Bhaiyya Nagpurkar was the earliest one written by the author. The lead character is a Brahmin by birth, but he is often mistaken for a Muslim for various reasons. He is wealthy man with a bad reputation, but he admires Gandhiji, the Father of Nation. He even avoids drinking alcohol on the days when Mahatma is fasting.There are a lot of other varied sketches in this book. Narayan helps in arranging marriages and also ensures that the functions go smoothly. The author reveals an interesting side of Narayan.There is Parophari Gampu who would go out of the way to help people, and then there is the washer-man Namu Parit. The washer-man breaks buttons and uses his customers clothes on himself, and never delivers on time. He has every other evil habit imaginable but has no idea that the things he do are wrong.There is also a school boy named Sakharam Gatne, who speaks classical Marathi and is addicted to books. Lakhu Risbud, who is another interesting character, is a disillusioned writer who wanted to change the world with his pen, but ends up working as a sub-editor in some obscure magazine.The list goes on, with a fine variety of characters reflecting the ironies of life. Vyakti Aani Vyalli earned the writer a Sahitya Akademi Award.

    Love story which is depicted in Vairamuthu s own style.

    

    A widower of firm Gandhian principles, Jagan nonetheless harbours a warm and embarrassed affection for his wastrel son Mali. Yet even Jagan's patience begins to fray when Mali descends on the sleepy city of Malgudi full of modern notions, with a new half-American wife and a grand plan for selling novel-writing machines. From different generations and different cultures, father and son are forced to confront each other, and are taken by surprise . . .