{"product_id":"oxford-india-anthology-of-modern-malayalam-literature-set-of-2-volumes-nah860","title":"The Oxford India Anthology of Modern Malayalam Literature (Set of 2 Volumes)","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eNAH860\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/pt\/book-author\/p%20p%20raveendran%20g%20s%20jayasree\" class=\"underlined\" title=\"P. P. Raveendran \u0026amp; G. S. Jayasree\"\u003eP. P. Raveendran \u0026amp; G. S. Jayasree\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/pt\/book-publisher\/oxford%20university%20press%20new%20delhi\" class=\"underlined\" title=\"Oxford University Press, New Delhi\"\u003eOxford University Press, New Delhi\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e2017\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e9780199465170\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e1001\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003ePaperback\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e8.5 inch X 5.5 inch\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e950 gm\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003ccenter\u003e \u003cp\u003e \u003cb\u003eVolume-1\u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003ccenter\u003e \u003cb\u003eBack of the Book\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e Showcasing a range of writers of diverse styles and sensibilities, this two-volume anthology constitutes a selection of the seminal works of innovative writing in Malayalam, the language of Kerala, which has in recent years exerted a profound influence on the Indian literary imagination. The product of a fruitful alliance of writers and translators, this anthology represents a century and more of poetry, drama, fiction, and non-fictional prose by authors from varied social and cultural backgrounds. Both volumes are supported by a general introduction, introductions to individual sections, and biographical notes on the authors.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e The contents of this volume, drawn from poetry, drama, and prose, demonstrate a creative struggle to rebuild tradition from a new perspective and signal a phenomenon that emphasizes the status of Malayalam as the language of social imagination.\u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eAbout the Author\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e P.P. Raveendran is professor emeritus at the School of Letters, Mahatma Gandhi University, Lerala, India.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e G.S. Jayasree is Professor and head of the Institute of English, and Director of the Center for Women’s Studies, University of Kerala, India She is also the editor of Samyukta: A Journal of Gender \u0026amp; Culture.\u003c\/p\u003e \u003ccenter\u003e \u003cb\u003ePreface\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e This book is the result of a deeply felt need for a comprehensive anthology of modern Malayalam literature which would be useful alike to researchers, literary treasure hunters, and votaries of the language who can only read its literature in translation. When the proposal for such an anthology first came from Mini Krishnan of Oxford University Press about ten years ago, we were a little diffident, considering the daunting magnitude of the editorial work that involved a lot of translation, compilation, and revision. The project inched along for much longer than we thought it would, to the exasperation of all those involved. However, Mini has been steadfast in her support, and now we realize that it is to her that we owe the greatest share of gratitude in the preparation of this anthology. She has not remained a titular 'project editor', but has played an active role in executing the project, helping us edit and give shape to the final copies of the pieces included here.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e A number of other friends have helped us in many important ways. Some by looking at our initial list of contents and suggesting inclusions, some by lending books that were not available in the market, others by extending moral support when we were on the verge of giving up, and a few by providing editorial help. These include Abhirami Sriram, Deepthi Ajayan, the late D. Vinayachandran, E.V. Ramakrishanan, KM. Krishnan, KN. Panikkar, K Radhakrishna Varier, K Satchidanandan, Jayasree Ramakrishnan, Lakshmi Sukumar, N. Sam, the late Paul George, P. Balachandran, P.S. Radhakrishnan, R. Saritha, R.E. Asher, Saji Mathew, Scaria Zacharia, Sherine Upot, Udaya Kumar, and V.C. Harris. We also acknowledge the goodwill and support of M.A. Baby, former minister for Education and Culture, Government of Kerala, who has been enthusiastic about this anthology right from its conception. His personal interest in the project facilitated financial assistance from the Department of Culture, Government of Kerala, which helped us in the initial years of the manuscript-preparation. For the remaining and significant funding that we required to finish the project, we owe to the generosity of Women's Initiatives, Thiruvananthapuram, the publisher of Samyukta: A Journal of Women's Studies, whose editors also provided help in some cases in the form of translators. The editorial collective of Haritham: Journal of the School of Letters also provided substantial support in locating translators. The book comprises a mix of translations already in print, published translations that needed revisions, and completely fresh translations done specially for the present anthology. Wherever we have been constrained to use earlier translations, we, as editors, have taken care to read them with contemporary eyes and make them up to date in terms of language and style. Notes, unless otherwise stated, are invariably by the editors. We are thankful to all the translators who have spontaneously obliged us, sometimes at a very short notice. A formal acknowledgement of the copyright holders appears at the end of the volume.\u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eIntroduction\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e It is a platitude of historiography that historical developments seldom follow the chronology of decades and centuries. Historical events fall neatly and squarely within the time span of specific centuries only in narrative reconstructions performed by historians after the events themselves have receded into the past. This is no less true of developments in literary history. Although it might be useful for academic purposes to associate particular trends and movements in literature with centuries and decades, we also know that it would be undesirable to push such associations beyond a point. The methodological problems that literary historians face in defining such period concepts as 'romanticism' and 'modernism' are related, in a sense, to this knowledge.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e It would be useful to begin this overview of Malayalam poetry of the twentieth century with the above cautionary note. Sensibilities never change overnight, and it would indeed be absurd to imagine that twentieth-century Malayalam poetry represents, in terms of sensibility, a clean departure from the current trend in the previous century. However, there is also a sense in which particular centuries can be associated with distinct literary trends and tendencies. The consensual use of the twelfth and thirteenth centuries in south-Indian Kannada literature as the Age of Bhakri, or of the eighteenth century in European literature as the Age of Enlightenment, or of the early twentieth century in British literature as the Age of Modernism could be cited in this context. One can indeed talk about specific social and political processes that provided appropriate environments for the development of each of these literary trends in the cultures in question. A poetic sensibility is to be understood as the crystallization of the aesthetic, cultural, and sociopolitical dynamic at work in a society at a particular moment in history, and in Kerala of the late nineteenth and early twentieth centuries this dynamic became manifest as a tension between the forces of what has often been described as 'tradition' and 'modernity\"! 'Traditional' and 'modern', however, are not literary critical labels alone. A whole gamut of political, social, and cultural practices are signified by the two terms, and in the case of Indian literatures, they are also related to the constitution of the Indian nation and colonialism's role in the constitution of the nation. Look at some nineteenth-century developments, listed out almost at random, which together helped shape the society of Kerala as it evolved itself into a modern polity: the consolidation of British political power in the three regions of Thiruvitamkur, Kochi, and Malabar consequent to the fall of Velu Thampi, Paliath Achan, and Pazhassi Raja in the previous century; the introduction of English education and the starting of new schools and colleges; the founding of printing presses and the publication of printed books; the circulation of newspapers and journals; the demand by lower-caste women for the right to cover their breasts; the legal proscription of slavery; the uprisings by lower castes for the right to have access to public roads and public offices; Mahatma Ayyankali's ride in a decorated carriage to assert his personal freedom; the inauguration of the first textile mills and industrial workshops; the launching of a train service from Kerala to Madras; Sri Narayana Guru's consecration of an idol of Lord Siva at Aruvippuram; the submission of a 'Malayali Memorial' and subsequently an 'Ezhava Memorial' that pleaded for a fair representation of the Malayalis of all castes in government offices; and the launching of a number of women's magazines. It is a fact of history that Kerala proceeded towards modernity on the road buttressed by events like these. The same fact would also compel one to see that the poetic developments being examined here are framed and nurtured by the environment of social renaissance that evolved in the region from the latter half of the nineteenth century.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Though all literary genres were affected by the tension between tradition and modernity (which also led to a literary renaissance in almost all Indian languages at the turn of the century), it became more crucial, relatively speaking, for poetry because of the focused attention that language receives in the communication of poetic experience. Inasmuch as the poets of the time were eager to document and interpret the complexities of what they thought was the realiry around them, one might describe them as social interpreters who were motivated by an unconscious desire to capture the spirit of the unfolding social renaissance. Much as they aspired to do this, they were also hamstrung by the language of poetry, which, at the end of the nineteenth century, was either a faded echo of the mediocre traditions in Sanskrit, or a copy of the language of effete romanticism imbibed from some of the late Victorian English poets. It was an inability to comprehend and represent the 'essence' of a reality that was somewhat incomprehensible to them that bound together poets as diverse in sensibility as Venmani Acchan Namboodiri (1817-1891), Venmani Mahan Namboodiri (1844-1893), Keralavarma Valiya Koyil Thampuran (1845-1914), A.R. Rajaraja Varma (1863-1918), K.C Kesava Pillai (1868-1913), Kodungalloor Kunhikuttan Thampuran (1864-1913), CS. Subramaniam Potti (1875-1954), and V.C Balakrishna Panikkar (1889-1915). One might, following conventional critical wisdom, assess these writers in terms of their proximity to or distance from the dominant neoclassical spirit and the emerging romantic ethos. This indeed is another way of talking about the interplay of tradition and modernity in the literary culture of the day. The writers of the time obviously could not have escaped being influenced by the colonial literary ideology that presented itself in the form of the English literacy canon, a constituent of objective history that spoke in terms of such characteristics. Though some of the writers mentioned here recognized that reality was formed not merely by the 'facts' of objective history, but was a melange of dreams, desires, aspirations, fantasies, and subjective experiences, they nevertheless had no access to a language that could be deployed in articulating such experiences. True, the advocacy by some of these writers of a 'pure' Malayalam diction as opposed to a highly Sanskritized diction for poetic expression can today be perceived as an innovation. It, however, did not evolve into a culture of literacy response. It is against this background that the development of a new idiom and a new form in the writings of the poets, referred to as the poetic trinity in early-twentieth-century Malayalam, assumes significance.\u003c\/p\u003e \u003ccenter\u003e \u003cp\u003e \u003cb\u003eVolume-2\u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003ccenter\u003e \u003cb\u003eBack of the Book\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e Showcasing a range of writers of diverse styles and sensibilities, this two-volume anthology constitutes a selection of the seminal works of Innovative writing In Malayalam, the language of Kerala, which has in recent years exerted a profound influence on the Indian literary imagination. The product of a fruitful alliance of writers and translators, this anthology represents a century and more of poetry, drama, fiction, and non-fictional prose by authors from varied social and cultural backgrounds. Both volumes are supported by a general Introduction, introductions to Individual sections, and biographical notes on the authors.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e This volume on fiction embodies the several transformations of the genre in the twentieth century. The stories and excerpts here demonstrate a resistance to historical linearity and illustrate Malayalam fiction's abiding fascination for experiment at the level of form and content.\u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eIntroduction\u003c\/b\u003e\n\u003c\/center\u003e \u003cp style=\"text-align: justify;\"\u003e Fiction is a type of articulation that adopts the specific rhetorical mode of narration for ordering and understanding the experience of the world. It is a form of narrative expression that communicates through language, a succession of real or imagined, yet meaningful, events organized in time. Narratives, however, are ubiquitous human practices found not only in fiction, but also in a number of places such as myths, histories, mimes, cartoons, comics, films, paintings, and news reports. From a historical perspective, narration of events used to be a way of sharing an experience, preparatory to weaving an elaborate social fabric. Colouring narratives with imagination came later when narrators, with verbal dexterity and expressive powers, started experimenting with the ways of capturing the unreserved attention of their listeners. This was the moment of the birth of oral storytelling. Tellers of tales in all societies can be regarded as raconteurs adept at reproducing their personal experiences in a pleasing fashion. The word 'tale' itself, as etymologists say, is related to real-life events and their oral recounting. The best tales, even today, are the ones that veer constantly between the extremes of the fantastic and the real, and often move into the grey area of what we might call fictive documentation.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e From documentation to fiction, however, is a long journey, in the process of which the tale gets absorbed into the generic hierarchy of literature. The acknowledgement of the 'literary' happens at the moment when a narrative gets recognized as possessing certain extra-communicational qualities aimed at aesthetic intensification. However, this recognition is not a naive act. The very idea of ‘literature', as theorists today would claim, is the construct of a criticism which, while assuming and proclaiming its 'disinterestedness' and its ideological 'innocence', has constituted writing in a manner so as to reproduce and naturalize ideologically controlled values as 'literary' or 'aesthetic' features. It was in the possibility of the repeatability of these aesthetic features that a genre was set and a tradition stabilized.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e Theoretical issues such as this as well as debates on what goes into the making of a 'tradition' confront the historian of ideas who sets out to trace the shifts in the flow of narratives in Malayalam during the past hundred and twenty years. Keeping in view the absurdity of arbitrarily fixing historical developments to dates on the calendar, this introduction attempts to explore the vicissitudes in the evolution of Malayalam fiction over the period mentioned. There is a general agreement among scholars today that the modalities of fictional writing in this country intersected and reinforced the institutions of colonial modernity in the nineteenth and early twentieth centuries. There were also counterveiling forces that sought to resist the hegemony of colonial culture by drawing upon the resources of native traditions. This gave rise to a complex scenario of cultural interaction where the historical processes of ideological consolidation, subversion, and containment gained a great deal of prominence. Consolidation, subversion, and containment, in fact, are three important aspects of the process of cultural churning that took place in most languages in India in and after the nineteenth century. The first refers typically to the ideological means whereby a dominant order seeks to perpetuate itself; the second, to the resistance to that order; and the third, to the containment of ostensibly subversive pressures. It is our belief that the interplay of tradition and modernity should be read along these multiple axes if one is to make sense of the evolution of the fictional context in Malayalam over the past hundred and twenty years.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e The colonial project in the aesthetic domain can be understood as one which aimed at the creation of a politically passive subordinate class of literary 'subjects'. In maintaining the exclusiveness of the Western models, colonial scholars were engaged in promoting certain distinct features of writing that elevated literature to the status of the classical and the normative. It formed part of a strategy of ideological domination. Thus, the popularization of the novel form, which was the outcome of certain ideological interests in imperial Britain, translated itself into the perpetuation of analogous interests in the colonies. Values of liberal humanism were naturalized and the subjects were lulled into self- complacency on imagined notions of freedom and choice. A study of the social exchange involved in the process points to a certain aristocracy of taste, dependent upon the volume of transmitted cultural capital.\u003c\/p\u003e \u003cp style=\"text-align: justify;\"\u003e In order to gain a perspective on the exclusiveness of the colonial project, one will have to place this development within the long history of narrative traditions in Indian languages. Many of these traditions have not survived the tyrannies of history. A few, like some of the folk and native performance traditions referred to in the General Introduction, have indeed survived, and most of these indicate a plurality of cultural tastes, which cannot be reduced to the taste of the ruling class. In the colonialist's view, a work of art has meaning and interest only for someone who possesses the necessary cultural competence to decipher its code. This notion of taste, ahistorical as it is, is founded on a set of aesthetic principles that aims at the universalization of cultural dispositions that in reality are associated with particular social and economic interests. Without retreating into a theory of cultural relativism, one can imagine a situation where Western forms of narration were received and assimilated by traditions of imaginative writing in India that bore distinctively native traits of sensibility and cultural response. It is in this context that this introduction, through its five sections, sets out to examine how Western aesthetic values were naturalized in colonial India and how Indian forms of narration interacted with Western fictional forms, leading to the production of fictional genres that could discharge new and radically different functions in the postcolonial world.\u003c\/p\u003e \u003ccenter\u003e \u003cp\u003e \u003cb\u003eContents\u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003ccenter\u003e \u003cp\u003e \u003cb\u003eVolume-1\u003c\/b\u003e\u003c\/p\u003e \u003c\/center\u003e \u003ctable width=\"100%\"\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd width=\"90%\"\u003e Preface\u003c\/td\u003e \u003ctd width=\"10%\"\u003e xi\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e General Introduction\u003c\/td\u003e \u003ctd\u003e xiii\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e POETRY\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Introduction\u003c\/td\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Sita Immersed in Reflection\u003c\/td\u003e \u003ctd\u003e 18\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Hymn of Love\u003c\/td\u003e \u003ctd\u003e 22\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Father and Daughter\u003c\/td\u003e \u003ctd\u003e 26\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e A Song\u003c\/td\u003e \u003ctd\u003e 32\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Master Carpenter\u003c\/td\u003e \u003ctd\u003e 34\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Father Artiste\u003c\/td\u003e \u003ctd\u003e 41\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Kuttippuram Bridge\u003c\/td\u003e \u003ctd\u003e 50\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Toll of the Bell\u003c\/td\u003e \u003ctd\u003e 54\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Story of the Axe\u003c\/td\u003e \u003ctd\u003e 58\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Son of Sahyan\u003c\/td\u003e \u003ctd\u003e 67\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Manaswini, the Noble-Minded\u003c\/td\u003e \u003ctd\u003e 77\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Rats\u003c\/td\u003e \u003ctd\u003e 82\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e To a Parted Companion\u003c\/td\u003e \u003ctd\u003e 86\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Berry in the Palm\u003c\/td\u003e \u003ctd\u003e 89\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e An Excerpt from the Epistle to Mr T.S. Eliot\u003c\/td\u003e \u003ctd\u003e 93\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Lay of the Anklet\u003c\/td\u003e \u003ctd\u003e 97\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Transition\u003c\/td\u003e \u003ctd\u003e 107\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e A Requiem to Mother Earth\u003c\/td\u003e \u003ctd\u003e 110\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Temple Bell\u003c\/td\u003e \u003ctd\u003e 116\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Shanra\u003c\/td\u003e \u003ctd\u003e 119\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Autograph Tree\u003c\/td\u003e \u003ctd\u003e 129\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e How to Go to the Tao Temple\u003c\/td\u003e \u003ctd\u003e 133\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Advent\u003c\/td\u003e \u003ctd\u003e 136\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Rejection\u003c\/td\u003e \u003ctd\u003e 139\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Buddha and the Lamb\u003c\/td\u003e \u003ctd\u003e 143\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Gandhi\u003c\/td\u003e \u003ctd\u003e 145\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Where Is John?\u003c\/td\u003e \u003ctd\u003e 147\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Justice Cooked\u003c\/td\u003e \u003ctd\u003e 152\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Carpenter's Daughter\u003c\/td\u003e \u003ctd\u003e 154\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Before Our Very Eyes\u003c\/td\u003e \u003ctd\u003e 163\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Fishmonger\u003c\/td\u003e \u003ctd\u003e 166\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Season of Rains\u003c\/td\u003e \u003ctd\u003e 168\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Sweeping the Front Yard\u003c\/td\u003e \u003ctd\u003e 172\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Poison Fruit\u003c\/td\u003e \u003ctd\u003e 174\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e DRAMA\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Introduction\u003c\/td\u003e \u003ctd\u003e 179\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e From the Kitchen to the Stage\u003c\/td\u003e \u003ctd\u003e 194\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Lease Rent Arrears\u003c\/td\u003e \u003ctd\u003e 200\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Egalitarian\u003c\/td\u003e \u003ctd\u003e 206\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Broken Home\u003c\/td\u003e \u003ctd\u003e 209\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Shower of Flowers\u003c\/td\u003e \u003ctd\u003e 220\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Crime 27 in 1128\u003c\/td\u003e \u003ctd\u003e 228\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e You Made Me a Communist\u003c\/td\u003e \u003ctd\u003e 238\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Kanchana Sita\u003c\/td\u003e \u003ctd\u003e 244\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Lone Tusker\u003c\/td\u003e \u003ctd\u003e 257\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Sutradharan\u003c\/td\u003e \u003ctd\u003e 267\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Bharatavakyam\u003c\/td\u003e \u003ctd\u003e 277\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Kelu\u003c\/td\u003e \u003ctd\u003e 286\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Ravunni\u003c\/td\u003e \u003ctd\u003e 297\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e In Every Age\u003c\/td\u003e \u003ctd\u003e 305\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e PROSE\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Introduction\u003c\/td\u003e \u003ctd\u003e 315\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Life's Struggle\u003c\/td\u003e \u003ctd\u003e 331\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Two Salutations\u003c\/td\u003e \u003ctd\u003e 339\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Sense of Beauty\u003c\/td\u003e \u003ctd\u003e 346\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Kalidasa as Time's Minion\u003c\/td\u003e \u003ctd\u003e 353\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Perception of Beauty\u003c\/td\u003e \u003ctd\u003e 359\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Story of 1114\u003c\/td\u003e \u003ctd\u003e 366\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Malayalam of Malayalis\u003c\/td\u003e \u003ctd\u003e 377\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Parting from the Path of Life\u003c\/td\u003e \u003ctd\u003e 385\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Sakuntala's Foreign Sisters\u003c\/td\u003e \u003ctd\u003e 393\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Psychology of Power\u003c\/td\u003e \u003ctd\u003e 398\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Indian Poetics\u003c\/td\u003e \u003ctd\u003e 404\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Toynbee and Manipravalam\u003c\/td\u003e \u003ctd\u003e 414\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Evolution of the Language and the Birth of Literature\u003c\/td\u003e \u003ctd\u003e 423\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Ivory Tower\u003c\/td\u003e \u003ctd\u003e 435\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Psychological Background of Faith\u003c\/td\u003e \u003ctd\u003e 440\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Old Truths and New Myths\u003c\/td\u003e \u003ctd\u003e 445\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Uncompromising Dalit Language\u003c\/td\u003e \u003ctd\u003e 458\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Gospel of the Angry\u003c\/td\u003e \u003ctd\u003e 465\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Ethical Foundations of Modern Kerala\u003c\/td\u003e \u003ctd\u003e 469\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Modernity, Childhood, Gender Difference:\u003c\/td\u003e \u003ctd\u003e 478\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Reflections on Ammuvinte Aattinkutty\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Glossary\u003c\/td\u003e \u003ctd\u003e 485\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Bibliography\u003c\/td\u003e \u003ctd\u003e 491\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Copyright Statement\u003c\/td\u003e \u003ctd\u003e 501\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e About the Editors and the Translators\u003c\/td\u003e \u003ctd\u003e 511\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eVolume-2\u003c\/b\u003e\n\u003c\/center\u003e \u003cp\u003e \u003c\/p\u003e \u003ctable width=\"100%\"\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd width=\"90%\"\u003e Preface\u003c\/td\u003e \u003ctd width=\"10%\"\u003e ix\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e General Introduction\u003c\/td\u003e \u003ctd\u003e xi\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e FICTION\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Introduction\u003c\/td\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Indulekha\u003c\/td\u003e \u003ctd\u003e 27\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Saraswativijayam\u003c\/td\u003e \u003ctd\u003e 38\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Dharmaraja\u003c\/td\u003e \u003ctd\u003e 48\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Wooden Dolls\u003c\/td\u003e \u003ctd\u003e 60\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Cool Drink\u003c\/td\u003e \u003ctd\u003e 68\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Whispering Plough\u003c\/td\u003e \u003ctd\u003e 74\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Admission of Guilt\u003c\/td\u003e \u003ctd\u003e 83\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e In the Flood\u003c\/td\u003e \u003ctd\u003e 95\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e A Journey Abroad\u003c\/td\u003e \u003ctd\u003e 101\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Beautiful and the Handsome\u003c\/td\u003e \u003ctd\u003e 107\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Trees for Shade\u003c\/td\u003e \u003ctd\u003e 116\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Sweet-Offering at Chankranti\u003c\/td\u003e \u003ctd\u003e 128\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Akbar's Upanishad\u003c\/td\u003e \u003ctd\u003e 137\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Legends of Khasak\u003c\/td\u003e \u003ctd\u003e 145\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Razor's Edge\u003c\/td\u003e \u003ctd\u003e 150\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Girl Who Spreads Light\u003c\/td\u003e \u003ctd\u003e 160\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Colonel\u003c\/td\u003e \u003ctd\u003e 166\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Naalukettu\u003c\/td\u003e \u003ctd\u003e 170\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Srichakram\u003c\/td\u003e \u003ctd\u003e 179\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Aghorasivam\u003c\/td\u003e \u003ctd\u003e 188\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Govardhan's Travels\u003c\/td\u003e \u003ctd\u003e 196\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Agneyam\u003c\/td\u003e \u003ctd\u003e 204\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Court of King George the Sixth\u003c\/td\u003e \u003ctd\u003e 213\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Pulaya Ghetto\u003c\/td\u003e \u003ctd\u003e 222\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Memorial Stones\u003c\/td\u003e \u003ctd\u003e 235\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Kocharethi: The Arayar Woman\u003c\/td\u003e \u003ctd\u003e 243\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Pandavapuram\u003c\/td\u003e \u003ctd\u003e 254\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e On the Banks of the Mayyazhi\u003c\/td\u003e \u003ctd\u003e 261\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Broken Glasses\u003c\/td\u003e \u003ctd\u003e 267\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Till You See the Looking Glass\u003c\/td\u003e \u003ctd\u003e 274\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Black Chinks\u003c\/td\u003e \u003ctd\u003e 280\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Pythagoras\u003c\/td\u003e \u003ctd\u003e 289\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Higuita\u003c\/td\u003e \u003ctd\u003e 292\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Spectral Speech\u003c\/td\u003e \u003ctd\u003e 300\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Orotha and the Spirits\u003c\/td\u003e \u003ctd\u003e 306\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e A Path in the Moonshine\u003c\/td\u003e \u003ctd\u003e 309\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Book of Life\u003c\/td\u003e \u003ctd\u003e 314\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The (Postmodern) Story of Jyoti Vishwanath\u003c\/td\u003e \u003ctd\u003e 326\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Old-Age Home\u003c\/td\u003e \u003ctd\u003e 332\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e In the Moonlit Land\u003c\/td\u003e \u003ctd\u003e 338\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e City of Sunflowers\u003c\/td\u003e \u003ctd\u003e 343\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Unorganized\u003c\/td\u003e \u003ctd\u003e 350\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Cry of the Earth\u003c\/td\u003e \u003ctd\u003e 358\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Onion Curry and the Table of Nine\u003c\/td\u003e \u003ctd\u003e 364\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Vein of Memory\u003c\/td\u003e \u003ctd\u003e 372\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Scent of the Prey\u003c\/td\u003e \u003ctd\u003e 378\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e The Couch\u003c\/td\u003e \u003ctd\u003e 385\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Fire\u003c\/td\u003e \u003ctd\u003e 393\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Glossary\u003c\/td\u003e \u003ctd\u003e 399\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Bibliography\u003c\/td\u003e \u003ctd\u003e 413\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Copyright Statement\u003c\/td\u003e \u003ctd\u003e 423\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e About the Editors and the Translators\u003c\/td\u003e \u003ctd\u003e 429\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003ccenter\u003e \u003cbr\u003e \u003cb\u003e\u003cu\u003e\u003cfont color=\"red\" size=\"5\"\u003eSample Pages\u003c\/font\u003e\u003c\/u\u003e\u003c\/b\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cb\u003e\u003cu\u003e\u003cfont color=\"red\" size=\"5\"\u003eVolume-1\u003c\/font\u003e\u003c\/u\u003e\u003c\/b\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860a.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860b.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860c.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860d.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860e.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860f.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cb\u003e\u003cu\u003e\u003cfont color=\"red\" size=\"5\"\u003eVolume-2\u003c\/font\u003e\u003c\/u\u003e\u003c\/b\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860g.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860h.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860i.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860j.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860k.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah860l.jpg\"\u003e\n\u003c\/center\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default 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