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

    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?

    The enthralling story of Rama, the incarnation of God, who slew Ravana, the evil demon of darkness, is known to every Indian. And in the pages of history, as always, it is the version told by the victors that lives on. The voice of the vanquished remains lost in silence. But what if Ravana and his people had a different story to tell? The story of the Ravanayana has never been told. Asura is the epic tale of the vanquished Asura people, a story that has been cherished by the oppressed castes of India for 3000 years. Until now, no Asura has dared to tell the tale. But perhaps the time has come for the dead and the defeated to speak. “For thousands of years, I have been vilified and my death is celebrated year after year in every corner of India. Why? Was it because I challenged the Gods for the sake of my daughter? Was it because I freed a race from the yoke of caste-based Deva rule? You have heard the victor’s tale, the Ramayana. Now hear the Ravanayana, for I am Ravana, the Asura, and my story is the tale of the vanquished.” “I am a non-entity – invisible, powerless and negligible. No epics will ever be written about me. I have suffered both Ravana and Rama – the hero and the villain or the villain and the hero. When the stories of great men are told, my voice maybe too feeble to be heard. Yet, spare me a moment and hear my story, for I am Bhadra, the Asura, and my life is the tale of the loser.” The ancient Asura empire lay shattered into many warring petty kingdoms reeling under the heel of the Devas. In desperation, the Asuras look up to a young saviour – Ravana. Believing that a better world awaits them under Ravana, common men like Bhadra decide to follow the young leader. With a will of iron and a fiery ambition to succeed, Ravana leads his people from victory to victory and carves out a vast empire from the Devas. But even when Ravana succeeds spectacularly, the poor Asuras find that nothing much has changed from them. It is then that Ravana, by one action, changes the history of the world.

    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.

    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.

    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.

    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.

    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.

    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.

    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.

    It narrates the life of 'Christie Andrapper' who witnesses the murder of an old friend.According to its author Benyamin (author of the best seller Aadujeevitham), "the story of Manjaveyil Maranangal is investigative in nature and analyses two important deaths. The novel takes a reader through generations of a family – all far away from the home land."Here is an actual article about the Anthrapper family, featured in Mathrubhumi- http://www.mathrubhumi.com/static/oth...

    A hunted, haunted Brahmin youth vows revenge for the gruesome murder of his beloved father. Cold, calculating, cruel and armed with a complete absence of accepted morals, he becomes the most powerful political strategist in Bharat and succeeds in uniting a ragged country against the invasion of the army of that demigod, Alexander the Great. Pitting the weak edges of both forces against each other, he pulls off a wicked and astonishing victory and succeeds in installing Chandragupta on the throne of the mighty Mauryan empire.History knows him as the brilliant strategist Chanakya. Satisfied—and a little bored—by his success as a kingmaker, through the simple summoning of his gifted mind, he recedes into the shadows to write his Arthashastra, the ‘science of wealth’. But history, which exults in repeating itself, revives Chanakya two and a half millennia later, in the avatar of Gangasagar Mishra, a Brahmin teacher in smalltown India who becomes puppeteer to a host of ambitious individuals—including a certain slumchild who grows up into a beautiful and powerful woman.Modern India happens to be just as riven as ancient Bharat by class hatred, corruption and divisive politics and this landscape is Gangasagar’s feasting ground. Can this wily pandit—who preys on greed, venality and sexual deviance—bring about another miracle of a united India? Will Chanakya’s chant work again? Ashwin Sanghi, the bestselling author of The Rozabal Line, brings you yet another historical spinechiller.

    It has a long foreword by the novelist himself and a longer afterword by P K Balakrishnan. This special edition also has illustrations by Sherif and photographs of the real characters including Pathumma and goats.