In 2003, a group of men and women, setting themselves up as guardians of Tamil culture, objected publicly to the language of a new generation of women poets - particularly in the work of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani - charging the women with obscenity and immodesty. More than a decade later, a deep divide still persists in the way readers and critics perceive women poets. Tamil women poets have been categorized as 'bad girls' and 'good girls'. The traditional values prescribed for the 'good' Tamil woman are fearfulness, propriety and modesty. Our poets have chosen, instead, the opposite virtues - fearlessness, outspokenness and a ceaseless questioning of prescribed rules. This anthology celebrates the poetry of the four poets through Lakshmi Holmstrom's English translation.

'A masterclass of contemporary Tamil poetry' - Namita Gokhale In 2003, a group of men and women, setting themselves up as guardians of Tamil culture, objected publicly to the language of a new generation of women poets - particularly in the work of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani - charging the women with obscenity and immodesty. More than a decade later, a deep divide still persists in the way readers and critics perceive women poets. Tamil women poets have been categorized as 'bad girls' and 'good girls'. The traditional values prescribed for the 'good' Tamil woman are fearfulness, propriety and modesty. Our poets have chosen, instead, the opposite virtues - fearlessness, outspokenness and a ceaseless questioning of prescribed rules. This anthology celebrates the poetry of the four poets through Lakshmi Holmstrom's English translation.

In 2003, a group of men and women, setting themselves up as guardians of Tamil culture, objected publicly to the language of a new generation of women poets -- particularly in the work of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani -- charging the women with obscenity and immodesty. More than a decade later, a deep divide still persists in the way readers and critics perceive women poets. Tamil women poets have been categorized as 'bad girls' and 'good girls'. The traditional values prescribed for the 'good' Tamil woman are fearfulness, propriety and modesty. Our poets have chosen, instead, the opposite virtues -- fearlessness, outspokenness and a ceaseless questioning of prescribed rules. This anthology celebrates the poetry of the four poets through Lakshmi Holmstrom's English translation.

Exploring themes of personal loss, sexuality, identity and selfhood, and a quest for meaning in a fluid world, this collection of short stories by Ambai articulates the real experience of women and communicates their silences in words and images.

Ainkurunuru is a collection of five hundred poems written by five different poets who lived two thousand years before. It tells you the story of the lovers, their sadness, joy, jealousies, and quarrels in verses of breathtaking sophistication and indirection. It is about the art and life of a people almost irretrievably lost, found in palm script, and restored by scholars in love with the Tamil language.

Love, as a force in human affairs, is still not given much attention or credency by social scientists. With Notes on Love in a Tamil Family, Margaret Trawick places the notion of love prominently in social scientific discourse. Her unforgettable and profusely illustrated study is a significant contribution to anthropology and to South Asian studies. Trawick lived for a time in the midst of one large South Indian family and sought to understand the multiple and mutually shared expressions of anpu--what in English we call love. Often enveloping the author herself, changing her as she inevitably changed her hosts, this family performed before the young anthropologist's eyes the meaning of anpu: through poetry and conversation, through the not always gentle raising of children, through the weaving of kinship tapestries, through erotic exchanges among women, among men, and across the great sexual boundary. She communicates with grace and insight what she learned from this Tamil family, and we discover that love is no less universal than selfishness and individualism.

The breathtaking poems in Love Stands Alone speak to us across time, space, language and culture. The interior, akam, and the exterior, puram, form their two overarching themes. The akam poems are concerned with love in all its varied situations: clandestine and illicit; conjugal happiness and infidelity; separation and union. The puram poems encompass all other aspects of worldly life: wars and battlefields, the munificence of kings and chieftains, and the wisdom of bards. With a comprehensive introduction by A.R. Venkatachalapathy, M.L. Thangappa’s translations delight the senses and bring alive a world long past.

'The poems of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani so enraged the Establishment in Tamil Nadu, it was even suggested that the poets be burned alive... [Their] poems raise the banner of bold rebellion as they explore the marginalized world of women.'- Paul Zacharia In 2003, a group of men and women, setting themselves up as guardians of Tamil culture, objected publicly to the language of a new generation of women poets - particularly in the work of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani - charging the women with obscenity and immodesty. More than a decade later, a deep divide still persists in the way readers and critics perceive women poets. Tamil women poets have been categorized as 'bad girls' and 'good girls'. The traditional values prescribed for the 'good' Tamil woman are fearfulness, propriety and modesty. Our poets have chosen, instead, the opposite virtues - fearlessness, outspokenness and a ceaseless questioning of prescribed rules. This anthology celebrates the poetry of the four poets through Lakshmi Holmstrom's English translation. 'The poems of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani so enraged the Establishment in Tamil Nadu, it was even suggested that the poets be burned alive... [Their] poems raise the banner of bold rebellion as they explore the marginalized world of women.'-Paul Zacharia In 2003, a group of men and women, setting themselves up as guardians of Tamil culture, objected publicly to the language of a new generation of women poets - particularly in the work of Malathi Maithri, Salma, Kutti Revathi and Sukirtharani - charging the women with obscenity and immodesty. More than a decade later, a deep divide still persists in the way readers and critics perceive women poets. Tamil women poets have been categorized as 'bad girls' and 'good girls'. The traditional values prescribed for the 'good' Tamil woman are fearfulness, propriety and modesty. Our poets have chosen, instead, the opposite virtues - fearlessness, outspokenness and a ceaseless questioning of prescribed rules. This anthology celebrates the poetry of the four poets through Lakshmi Holmstroms' English translation.

In the late 1970s Ondaatje returned to his native island of Sri Lanka. As he records his journey through the drug-like heat and intoxicating fragrances of that "pendant off the ear of India, " Ondaatje simultaneously retraces the baroque mythology of his Dutch-Ceylonese family. An inspired travel narrative and family memoir by an exceptional writer.

Suryakant Tripathi 'Nirala', the first modern Hindi poet of India, is all of sixteen and not conversant with the Khari Boli Hindi of the litterateurs yet when his father gets him married and sends him off to his in-laws' in Dalmau to fetch his bride. There he meets a strange man called Kulli Bhaat who claims descent from a family of bards and, despite his mother-in-law's reservations about Kulli's sexuality, Nirala finds himself drawn to Kulli. Then an influenza epidemic breaks out, claiming numerous lives, and Nirala's bereavement leaves him without mooring. Adrift on the boat of time, he seeks employment in various places but finds himself unable to stay away from Dalmau for long. Kulli, in the meanwhile, has taken a Muslim wife and become a champion of the untouchables. Set in pre-Independence India, A Life Misspent is as much the account of an unlikely friendship as it is a coming-of-age story. A memoir on the making of one of the greatest poets of all time.