wrote on the royal family of the erstwhile state of Travancore. The other two are Dharmaraja (1913) and Ramaraja Bahadur in two parts (1918-1920). Marthanda Varma on the surface, is a historical romance, but its subtext is a political one of contemporary significance. In the novel there is a subplot with Subhadra at the centre. Through what she does or what happens to her, C.V. is projecting a futuristic vision of the New Woman in the Indian context. The conventional image of the woman is replaced by an imagined figure that was to emerge on the Indian scene. Another unique feature of this novel is the introduction, for the first time, of untouchables, the channans of south Travancore, Hence is fiction asserting humanistic values over and above the taboos and superstitions of yester-years.

    T. Vasudevan Nair. It was translated into English as Second Turn in 1997. M. T. Vasudevan Nair won Vayalar Award, given for the best literary work in Malayalam, for the novel in 1985. Later, in the year 1995, Mr. Nair was awarded the highest literary award in India, Jnanpith Award, for his overall contribution to Malayalam literature.The novel is set as a retelling of the Indian epic Mahabharata, from the view of Bhima, the second Pandava.

    K. Pottakkadu, the writer who won the highest literacy award in India, Jnanpith, tells the true story of ordinary human beings who make their lives in a street of Kozhikkodu, Mithayitheruvu. After the tragic end of the novel also the central character tries to hold himself together and to start a new life. A highly touching story by an elegant author.

    It has won him many recognitions including Kerala Sahithya Akademi Award and Kendra Sahitya Akademi Award.

    The story is split into parts which first explore the world from the point of view of each of these protagonists. A carefree Kalyanikutty is brought home in the middle of her exams by her widowed mother following the rumours that had been running around the town on her affair with a boy with a bad character, Prabhu. She surprises everyone with her cold attitude towards what they think is taboo in this society, she attain maturity and becomes strong enough to shock the society once again. Subha, her best friend is forced to marry the man whom she despised the most, Prabhu. She finds self-destruction as the only way to take revenge against the people who are trying to subjugate her and as a bad omen to the family it works. Prabhu, the spoilt , charming, womanizing rascal of the town completes the equation. His failure starts with Kalyanikutty, but gets the fatal blow from Subha that turns him around. His reprisal and how he finally realizes the mistakes prompts him to attempt the final act of redemption. In the depths of a canvas of very calm individuals and a modern town life this story runs as a strong undercurrent of tragedies. To all these drama only stars are the witness.

    Both novels depict the same issue narrated by two different people from the same place but with different perspectives. This twin wonder is interconnected, and at the same time independent, with Beniyamin touch.

    Mukundan. Widely regarded as the author's magnum opus, the novel vividly describes the political and social background of Mahe (Mayyazhi), the former French colony, in the past, in a mystical way.[1] The novel was translated into English and French, both the versions winning accolades.

    It is a story based on the life of famous Russian writer, Fyodor Dostoyevsky and his wife Anna.

    The descendants of Ittykkora is believed to be active even now, living a secret life, controlling large number of business and power, following the gospel of Ittykkora with their own set of customs and rituals. Using medieval history as the base for his theme, Ramakrishnan does a good job in keeping the central theme intact, while exploring the other aspects of modern life across continents and culture.

    Ente Priyappetta Kathakal has created a revolution in Kerala culture breaking the usual norms of language in theme and illustration.

    This novel won him many recognitions including Kerala Sahithya Akademi Award and Vayalar Award.

    Set in Bengal, it tells the story of a family of executioners with a long lineage, beginning in the fourth century BC. The protagonist of the novel, Chetna, is a strong and tenacious woman who struggles to inherit this profession.According to noted literary critic M. Leelavathy, Aarachaar is one of the best literary works produced in Malayalam and follows the legacy of O. V. Vijayan's classic work Khasakkinte Itihasam. The novel received the 2013 Kerala Sahitya Akademi Award. It was also awarded the prestigious Odakkuzhal Award in 2013 and Vayalar Award in 2014.

    It is a collection of legends numbering over a hundred, about magicians and yakshis, feudal rulers and conceited poets, kalari experts, practitioners of ayurveda and courtiers; elephants and their mahouts, tantric experts.It includes popular tales such as about the twelve children of Vararuchi and Parayi (a woman of Paraiyar caste), Kayamkulam Kochunni, Kadamattathu Kathanar among many others. The story of 12 children is popularly known as Parayi petta panthirukulam.

    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.

    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.