This Is R.K. Narayan S Classic Chronicle Of The Adventures Of A Boy Named Swami, And His Friends Rajam And Mani, In A Sleepy And Picturesque South Indian Town Called Malgudi. Swami S Days Are Full Of Action-When He Is Not Creating A Ruckus In The Classroom Or Preparing In His Inimitable Way For Exams, He S Trying To Acquire A Hoop From The Coachman S Son To Run Down The Malgudi Streets, Playing Tricks On His Grandmother, Or Stoning The School Windows, Inspired By A Swadeshi Demonstration. But The Greatest Feat Of Swami And His Friends Lies In Putting Together A Cricket Team For The Mcc (The Malgudi Cricket Club) And Challenging The Neighbouring Young Men S Union To A Match. Just Before The Match, However, Things Go Horribly, Horribly Wrong, And Swami Has No Option But To Run Away From Home, Wanting Never To Return To Malgudi Again . . . Malgudi Schooldays Is A Brilliantly Evocative And Delightfully Funny Account Of The Growing-Up Years From One Of The Greatest English Language Writers Of Our Time. Includes A Slightly Abridged Version Of The Novel Swami And Friends Along With Two Other Swami Stories, Available Together For The First Time Features Fifteen Black-And-White Illustrations By R.K. Laxman Attractive Design The First In A Series Of Indian Literature Classics On The Puffin List

Four gems, with new introductions, mark acclaimed Indian writer R. K. Narayan's centennial Introducing this collection of stories, R. K. Narayan describes how in India "the writer has only to look out of the window to pick up a character and thereby a story." Composed of powerful, magical portraits of all kinds of people, and comprising stories written over almost forty years, Malgudi Days presents Narayan's imaginary city in full color, revealing the essence of India and of human experience. This edition includes an introduction by Pulitzer Prize- winning author Jhumpa Lahiri. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

The Book Is The First Attempt To Write A Full-Fledged Account Of The World Of Malgudi As Depicted In The Novels Of Narayan. It Takes Up For Detailed Discussion Swami And Friends, The Bachelor Of Arts, The Dark Room. The English Teacher, The Financial Expert, Waiting For The Mahatma. The Guide, The Man-Eater Of Malgudi, The Vendor Of Sweets, A Tiger For Malgudi, The World Of Nagaraj And Grandmmother`S Tale.

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Grandly uninvolved in the bustle of Malgudi, Nagaraj enjoys a purposeless but orderly life of prayer, gossip and a little book-keeping at Coomar's Boeing Sari Centre. Fulfilment, however, eludes him. And even in his desultory determination to write his magnum opus, something always seems to prevent him getting started.Then crisis visits Nagaraj in the person of Tim, his tearaway young nephew, whose escapades not only serve to expose his weaknesses, but also to give him a hundred and one excuses for delay .

R. K. Narayan (1906—2001) witnessed nearly a century of change in his native India and captured it in fiction of uncommon warmth and vibrancy. Swami and Friends introduces us to Narayan’s beloved fictional town of Malgudi, where ten-year-old Swaminathan’s excitement about his country’s initial stirrings for independence competes with his ardor for cricket and all other things British. Written during British rule, this novel brings colonial India into intimate focus through the narrative gifts of this master of literary realism.

English language was transplanted in India by the British rulers who ruled country more than 150 years. People believed that English is a language of Britishers and hence it must go with them. But to learn English language does not mean that people would evolve a slave mentality. In the present scenario, English language with its great literary heritage is no longer a language of particular country or a race. It has become global lingua franca. It is a medium of an international mutual contact among the natives of all over the world. It has thrown open a vast panorama of world-wide scientific, literary, cultural and political world of knowledge.

R. K. Narayan (1906—2001) witnessed nearly a century of change in his native India and captured it in fiction of uncommon warmth and vibrancy. In The Dark Room, Narayan’s portrait of aggrieved domesticity, the docile and obedient Savitri, like many Malgudi women, is torn between submitting to her husband’s humiliations and trying to escape them. Written during British rule, this novel brings colonial India into intimate focus through the narrative gifts of this master of literary realism.

This is the story of Nataraj, who earns his living as a printer in the little world of Malgudi, an imaginary town in South India. Nataraj and his close friends, a poet and a journalist, find their congenia l days disturbed when Vasu, a powerful taxidermist, moves in with his stuffed hyenas and pythons, and brings his dancing-women up the printer's private stairs. When Vasu, in search of larger game, threatens the life of a temple elephant that Natara j has befriended, complications ensue that are both laughable and tragic.

Set against the backdrop of the Indian Freedom Movement, this fiction novel from award-winning Indian writer R. K. Narayan traces the adventures of a young man, Sriram, who is suddenly removed from a quiet, apathetic existence and, owing to his involvement in the campaign of Mahatma Gandhi against British rule in India, thrust into a life as adventurously varied as that of any picaresque hero. “There are writers—Tolstoy and Henry James to name two—whom we hold in awe, writers—Turgenev and Chekhov—for whom we feel a personal affection, other writers whom we respect—Conrad, for example—but who hold us at a long arm’s length with their ‘courtly foreign grace.’ Narayan (whom I don’t hesitate to name in such a context) more than any of them wakes in me a spring of gratitude, for he has offered me a second home. Without him I could never have known what it is like to be Indian.”—Graham Greene “R. K. Narayan...has been compared to Gogol in England, where he has acquired a well-deserved reputation. The comparison is apt, for Narayan, an Indian, is a writer of Gogol’s stature, with the same gift for creating a provincial atmosphere in a time of change....One is convincingly involved in this alien world without ever being aware of the technical devices Narayan so brilliantly employs.”—Anthony West, The New Yorker