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Like Dickens, Saratchandra had a bag of wonderful tales'— The Hindu The Final Question (Shesh Prashna) is one of Saratchandra Chattopadhyay's last novels and perhaps his most radically innovative. The novel caused a sensation when it was first published in 1931, drawing censure from conservative critics but enthusiastic support from general readers, especially women. The heroine, Kamal, is exceptional for her time. She lives and travels by herself, has relationships with various men, looks poverty and suffering in the face, and asserts the autonomy of the individual being. In the process, she tears apart the frame of the expatriate Bengali society of Agra, where she lives. Through Kamal, Saratchandra questions Indian tradition and the norms of nationhood and womanhood. The Final Question transcends time and will appeal to readers of all ages. Translated by Department of English, Jadavpur University.

Poet, novelist, painter and musician Rabindranath Tagore created the modern short story in India. Written in the 1890s, during a period of relative isolation, his best stories—included in this selection—recreate vivid images of life and landscapes. They depict the human condition in its many forms: innocence and childhood; love and loss; the city and the village; the natural and the supernatural. Tagore is India’s great Romantic. These stories reflect his profoundly modern, original vision. Translated and introduced by William Radice, this edition includes selected letters, bibliographical notes and a glossary.

Set in Shimla, The Red Tin Roof evokes with rare delicacy and precision the interplay of seasons, nature and people, while it broodingly tells the story of a young girl growing into adolescence, in the company mostly of older women but also of a younger brother who trails her. In this exploration of an inner world, Nirmal Verma does not so much as tell a story as reminisce. Memory is the seed of his story.

A superb collection of stories from a modern Indian master! One of the most versatile and innovative among contemporary Tamil writers, Sundara Ramaswamy’s wrote short stories in two phases : between 1951 and 1966, and then, after a long gap, in the 1970s. his early stories, focusing on ordinary people leading ordinary lives and are full of gems by way of characterization: the policeman and the priest of the Nadi Krishna temple in ‘Prasadam’, and Varadan and Joswin in ‘True Love’ remain unforgettable, in spite of their pedestrian lives. In the later stories—‘Intoxication’(1973), ‘Waves’(1976)—clouded by the aftermath of the Bangladesh war and the Emergency, the plots turn darker and more complex. Surprising us with their odd twists and turns, raising uncomfortable questions, and yet touched by a fine sense of humour and humanity, the stories in this collection belong with the best in the genre.

Hats and Doctors offers English readers the opportunity to savour, for the first time, the work of Upendranath Ashk, one of Hindi literature’s best-known authors. The stories in this collection often display a wry sense of humour, such as ‘The Dal Eaters’ in which a family of cheapskates journeys to Kashmir. While Ashk’s satirical eye is employed to great effect in ‘The Cartoon Hero’, where a hapless traveller encounters a petty politician on a train, his talent for capturing human frailties is amply evident in ‘Furlough’ and ‘In the Insane Asylum’. Exhibiting a lightness of touch and a deep engagement with the human condition, these stories come alive in Daisy Rockwell’s delightful translation.

Regarded as the first major Indian novel in English, Kanthapura is the story of how Gandhi’s struggle for Independence came to a casteist south Indian village. Young Moorthy, back from the city, brimming with new ideas, seeks to cut across ancient barriers and unite the villagers in non-violent action. The story emerges through the eyes of a delightful old woman, who comments on the villagers’ actions with sharp-eyed wisdom, evoking the spirit of India’s traditional folk epics.

Saratchandra Chattopadhyay is widely acknowledged as one of the greatest Indian novelists of the twentieth century. His novels, serialized in periodicals and subsequently published in book form, earned Saratchandra immense fame in the early decades of the century, and established him as Bengal's master storyteller. Even today, seven decades after his death, Saratchandra remains one of the most popular novelists in Bengal, and is widely read in translation across India as well. This collector's edition of Saratchandra's works in English translation brings together the writer's most renowned and best-loved novels in two omnibus volumes. The first volume features five novels: Srikanta, Devdas, Parineeta, Palli Samaj and Nishkriti. Srikanta is the story of a wanderer who observes the people around him; through them— especially the women he loves and respects, from the sacrificing Annada Didi and the rebellious Abhaya to the housewife Rajlakshmi and the courtesan Pyari Bai— he tries to arrive at an understanding of life. Devdas, on the other hand, is the tragic tale of a man who drives himself to drink and debilitation when he is unable to marry his childhood sweetheart Paro. In Parineeta (Espoused), the orphaned Lalita is secretly in love with her guardian Shekhar, but circumstances conspire to drive the two apart. Palli Samaj (The Village Life) has Ramesh, an engineer, returning to the village of his birth to try and rid it of the backwardness that plagues it, even as he tries to revive his childhood ties with Rama, now a widow. In Nishkriti (Deliverance), the strong-willed Shailaja, the youngest daughter-in-law in a joint family, is made an outcast as a result of a misunderstanding; much later, her elders realize their mistake, just in time to save the family from disintegration. Each of the novels showcases the qualities Saratchandra is famous for: everyday stories told in a simple yet gripping style, strong characters, meticulous plotting, true-to-life dialogue, and unforgettable depictions of life in turn-of-the-century Bengal. Translated especially for Penguin, these classic novels will delight those new to Saratchandra's works as well as those who want to return to them again.

Srikanta, the narrator of Saratchandra's epic novel, is an aimless drifter, a passive spectator to his own life, a weak and impressionable soul who cannot survive without the support of an individual stronger than himself. As a child he idealizes the chaste and selfless Annada Didi. Arriving in Burma as a young man looking for new experiences, Srikanta meets the rebellious Abhaya who rejects her violent, bigamous husband to live openly with her lover. Srikanta then experiments with becoming a sanyasi, is bewitched for a while by the Vaishnavi, Kamal Lata, and wanders on till his directionless existence finally finds a focus- when he resigns himself to life with the notorious but stunning Pyari Baiji, breaking free of the social values he grew up with. Through his dynamic and arresting characters, Saratchandra brings alive nineteenth-century Bengal, rife with prejudices and ready for change.

Classic tales of courage and compassion The fabled monarch Vikramaditya is considered a model of kingly virtues, and his reign a golden age. These famous stories narrated by the thirty-two statuettes of nymphs supporting the magic throne of Vikramaditya extol his courage, compassion and extraordinary magnanimity. They are set in a framework recounting the myths of his birth, accession, adventures and death in battle, after which the throne remained concealed till its discovery in a later age. A fascinating mix of marvellous happenings, proverbial wisdom and sage precepts, these popular tales are designed to entertain as well as instruct. Many have passed into folk literature. The original author of the Simhasana Dvatrimsika is unknown. The present text is dated to the thirteenth century AD. It exists in four main recensions, from which extracts have been compiled together for the first time, in this lively and faithful translation of this celebrated classic by a renowned Sanskritist

Look, my feet measure beyond earth and sky!’ he said and touched the sky. I have surrendered to my lord who glanced at me with his large radiant eyes. The Tiruviruttam is an iconic poem by Nammāḻvār (c. ninth century CE), the greatest of the āḻvār poet-saints of the Tamil Śrīvaiṣṇava tradition. Its hundred interlinked verses celebrate the love between an anonymous heroine and hero, who come to be identified with Nammāḻvār and his beloved deity, Viṣṇu. The poet masterfully weaves the erotic and esoteric to reveal both the contours of love and the never-ending cycles of separation and union, of birth and death, from which only Viṣṇu can offer release. In A Hundred Measures of Time, Archana Venkatesan has crafted a sonorous free-verse rendering and an accompanying far-ranging essay to delight poetry lovers and scholars alike.

Poet; philosopher and merchant; Banarasidas had no precedent in literature or tradition that might have inspired him to write his life’s story or guided him in his task. His motivation to write his story was simple: ‘Let me tell my story to all.’ Completed in the winter of 1641; in Agra; Ardhakathanak is the first autobiography in an Indian language. Banarsidas charms us with his transparency and frankness; revealing as much of himself as possible. And he punctuates the fast-flowing narrative of his life every now and then to muse on the nature of human existence. The result is an astonishing account that is more modern than medieval in tone; and free of formulaic conventions and stylized ornamentation. At the end of his ‘half story’; Banarasi becomes as intimate to us as an old friend. We know the ups and downs of his life almost as well as we know our own and we come to identify with his intellectual and spiritual struggles; and perhaps even share them.

The poems in this book are some of the earliest about Visnu, one of the Hindu Trinity, also known as Tirumal, the Dark One. Tradition recognizes twelve alvars, saint-poets devoted to Visnu, who lived between the sixth and ninth century in the Tamil-speaking region of south India. These devotees of Visnu and their counterparts, the devotees of Siva (nayanmar), changed and revitalized Hinduism and their devotional hymns addressed to Visnu are among the earliest bhakti (devotional) texts in any Indian language. In this selection from Nammalvar's works, the translations like the originals reflect the alternations of philosophic hymns and love poems, through recurring voices, roles and places. They also enact a progression"from wonder at the Lord's works, to the experience of loving him and watching others love him, to moods of questioning and despair and finally to the experience of being devoured and possessed by him.

Amir Khusrau, one of the greatest poets of medieval India, helped forge a distinctive synthesis of Muslim and Hindu cultures. Written in Persian and Hindavi, his poems and ghazals were appreciated across a cosmopolitan Persianate world that stretched from Turkey to Bengal. Having thrived for centuries, Khusrau’s poetry continues to be read and recited to this day. In the Bazaar of Love is the first comprehensive selection of Khusrau’s work, offering new translations of mystical and romantic poems and fresh renditions of old favourites. Covering a wide range of genres and forms, it evokes the magic of one of the best-loved poets of the Indian subcontinent.

The monsoon night passes like a knife— again and again the heart is cut away The seventeenth-century ascetic Anandghan (Cloud of Bliss) is one of the outstanding poets of Jain vernacular literature. His transcendental songs have been popular for over three centuries and remain part of the Jain devotional canon even today. Anandghan’s songs—which even inspired Mahatma Gandhi—are not restricted to Jain themes alone but illuminate how religious differences are superficial in comparison with the inner experience of the Self. The poet’s use of striking and fresh imagery vividly conjures the world of seventeenth-century India even as he persuades listeners to grasp the transcendental dimensions of their lives within the everyday struggles of material existence. This rigorous new translation mirrors the raw immediacy of Anandghan’s songs and highlights their universal appeal.

A masterly translation of the Tamil version of Ramayana The epic story of Rama, which is part of the Indian collective consciousness, has been retold in many regional languages. Pre-eminent among the many vernacular retellings of the Ramayana is the twelfth-century Tamil version by Kamban. The son of a temple drummer, Kamban is reputed to have had an impressive mastery of Tamil and Sanskrit classics. Fascinated by the lore of Ramayana, he immersed himself totally in it. Though Kamban acknowledges his indebtedness to the Sanskrit version of the Ramayana by Valmiki, his is an independent work, enriched by various religious, philosophical and literary influences. The Kamba Ramayana differs from Valmiki’s in significant ways. Though cast in the heroic mould of a Purushotama or ‘the best among men’, Valmiki’s Rama is still a man. Kamban, on the other hand, never allows the reader to forget the godhood of Rama. His Ravana too, though flawed, is a heroic figure. While Valmiki’s diction is sparse and direct, Kamban’s exuberant prose sparkles with wit and inventiveness. Translated into English by the late P.S. Sundaram, this edition has been abridged and edited by his long-time friend N.S. Jagannathan. Though pared down from the original six volumes to a single one, this translation retains the magic and poetry of the original.

Kumarasambhavam celebrates the love story of Siva and Parvati, whose passionate union results in the birth of their son, the young god Kumara. Beginning with a luminous description of the birth of Parvati, the poem proceeds in perfectly pitched sensuous detail through her courtship with Siva until the night of their wedding. It plays out their tale on the immense scale of supreme divinity, wherein the gods are viewed both as lovers and as cosmic principles. Composed in eight scintillating cantos, Kumarasambhavam continues to enchant readers centuries after it was first written. Hank Heifetz's sparkling translation brings to life the heady eroticism and sumptuous imagery of the original.

Red Lilies and Frightened Birds is a collection of poems in praise of the three ancient Tamil royal dynasties—Cheras; Cholas and Pandyas. Translated from the early medieval Tamil classic Muttollayiram; these beautifully crafted verses retain a surprisingly contemporary tone—a testament to their enduring appeal over the centuries. While some of them are odes to the splendour of the king’s country and city; his prowess in war; and the ruining of the enemy country; others reveal how young women; deeply infatuated with the king; pine and long for him. M.L. Thangappa’s translation brilliantly brings to life the playful inventiveness and heady imagery of the original verses. This edition also includes an illuminating introduction by A.R. Venkatachalapathy which places this classic in its historical and cultural context.

The vast ocean of stories that influenced storytelling the world over 'The Kathasaritasagara' is said to have been compiled by a Kashmiri Saivite Brahmin called Somadeva in AD 1070, although the date has not been conclusively established. Legend has it that Somadeva composed the Kathasaritasagara for Queen Suryavati, wife of King Anantadeva who ruled Kashmir in the eleventh century. The stories in this book are retold from ten of the eighteen books of the original Kathasaritasagara. The most remarkable feature of the Kathasaritasagara is that unlike other texts of the time, it offers no moral conclusions, no principles to live by and is throughout a celebration of earthly life. The tale of Naravahanadatta, the prince of the vidyadharas, the sky-dwellers with magical powers, comprises the main narrative and is used as an outer frame to introduce the stories in the text. Promiscuous married women and clever courtesans, imbecile Brahmins, incompetent kings and wise ministers, wicked mendicants and holy ascetics, cursed men and men who are granted boons, evil non-human creatures and friendly magical beings, all jostle for attention in Arshia Sattar’s masterful translation of this timeless collection of tales.

Dandin's work as a novelist, poet and pioneering theorist of literary style has secured for him an important place in classical Sanskrit literature. He lived in Kanchi, near present-day Chennai, in the period c. AD 650?750, during the Pallava rule. The Dasa Kumara Charitam is a prose romance recounting the exploits of Prince Rajavahana and his nine companions. Its colourful tales of adventure are notable for their ironic humour, amoral outlook and uninhibited descriptions of contemporary life and manners. A remarkable feature of the stories is the geographical sweep of their action, ranging from present-day Punjab to Kerala, Gujarat to Assam and all the way to the islands of the Indian Ocean. Also remarkable is the rich variety of characters and situations. Dandin vivifies each personage, major and minor, and provides lively accounts of assassinations, executions, dance festivals and royal assemblies, describes at length the training of a courtesan, and even the tools for burgling a house. Even though Tales of the Ten Princes can be enjoyed for its absorbing stories alone, it is also a wonderfully detailed sociological account of an important age in ancient India.

Every moment it seeks to slip from the mind’s nook Fresh poetic meaning is a gazelle to be captured The Captured Gazelle is an elegant and lucent translation of the poems of the seventeenth-century Persian poet Mulla Tahir Ghani, better known as Ghani Kashmiri. Eulogized by poets such as Mir and Iqbal, Ghani is an outstanding representative of sabk-e-Hindi or the ‘Indian style’ in Persian poetry, which became a hallmark of the Mughal–Safavid literary culture. The introduction situates Ghani against his unique background in which Iranian and Indian poetic cultures came together to create a glorious literary age in Kashmir, while the translations capture Ghani in his wide spectrum of moods—satirical, playful, self-pitying, pessimistic, mystically resigned—bringing alive his wit and ingenuity in a modern idiom without losing hold on the tone.

In the ancient Tamil country, the Vaiyai was much more than a mighty river rushing towards the sea. People knew the river intimately and lived their lives upon its banks. In these exquisite poems from the distant past (second to eighth century CE), we glimpse the ebb and flow of everyday life: the bathing, the water games, the lovers’ quarrels and the sacred rituals. Breathtaking in their descriptive power and graceful in their celebration of sensuality, the Vaiyai poems from the Paripāṭal anthology delight our senses and give us insight into a world long past. In V.N. Muthukumar and Elizabeth Segran’s radiant new translation, the Vaiyai River comes alive to a new generation of readers.

The god Shiva is utterly seduced by Mohini, the enchanting female form assumed by the god Vishnu during the churning of the ocean for nectar. A barber employs wit and wile and rumours of witchcraft to win his wife back from the lustful attentions of their king. The celestial nymph Urvashi curses the Pandava prince Arjuna when he rejects her sexual advances. A woman caught in adultery befools her elders with a religious ritual. A man with a disagreeable missing wife insists nevertheless that she be recovered by his ruler who has a similar problem. Refined, colloquial, romantic, cynical, satirical by turns, these stories of erotic love, elegantly translated from the Sanskrit classics, make a sustained argument for the secular ends of life of desire tempered with discrimination and pleasure with restraint.

Tilism-e-Hoshruba is an epic narrative of the adventures of the legendary Persian hero Emir Hamza—the protagonist of Hamza Nama—his sons and grandsons. The epic opens with the commander-in-chief of the Islamic army, Hamza, pursuing Laqa, who makes false claims to divinity. Laqa takes refuge in Kohistan, adjacent to the enchanted land of Hoshruba, ruled by the formidable King of Sahirs, Afrasiyab Jadoo. Afrasiyab reveres Laqa and deputes his sahirs or wizards to help him fight Hamza. Hamza’s grandson Asad then sets out to conquer Hoshruba, assisted by the clever trickster Amar, who possesses divine artefacts such as a cloak of invisibility and a magic pouch containing parallel worlds. Aided by powerful allies and beset at every step by magical snares, dangerous enchantments and seductive sorceresses, the Islamic army finally conquers Hoshruba. Tilism-e-Hoshruba has enthralled generations of readers with its chivalrous heroes, breathtakingly beautiful princesses, powerful sahirs, sahiras and demons. This brilliant condensed translation by Shahnaz Aijazuddin sensitively reinterprets the highly Persianized Urdu of the original text into this eminently readable book that retains the essence of the original.

Late medieval poems from Kerala that still resonate in every Malayali’s heart touchstones of faith in Kerala. Puntanam’s Jnana-paana may claim to be the first original modern poem in Malayalam; simple and innocent, it still speaks directly to the reader. Melpattur’s Narayaniyam is ‘the last great hurrah of classical Sanskrit’ in India; the poem excerpted here, majestic in its humility, describes a vision of the Lord. With his elegant verse translations, Vijay Nambisan brings these poems to a new audience. Also translated is a poem by Mahakavi Vallathol which relates the story of Melpattur and Puntanam’s meeting and how the Sanskritist scorned the vernacular poet. In his incisive ‘Translator’s Apology’, Nambisan explores the dynamics of Malayali culture; places its literature in context; studies matters of prosody; and questions the attitude of an elitist language to a regional one.