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The Greatest Malayalam Stories Ever Told
The Greatest Malayalam Stories Ever Told is a collection of fifty brilliant short stories translated from the Malayalam. Selected and translated by poet, editor, and translator A. J. Thomas, this collection includes established masters such as Karoor Neelakanta Pillai, Vaikom Muhammad Basheer, Lalithambika Antharjanam, Ponkunnam Varkey, Thakazhi Sivasankara Pillai, S. K. Pottekkatt, Uroob, O. V. Vijayan, M. T. Vasudevan Nair, and Paul Zacharia, as well as accomplished new voices such as N. Prabhakaran, C. V. Balakrishnan, Aymanam John, Chandramathi, and others.The Farmer’ by Thakazhi and ‘The Speaking Plough’ by Varkey deal with the trials and tribulations of village life. In Pilllai’s story ‘Wooden Dolls’ and Kesadeva’s ‘The Oath’, we encounter the seemingly simple, but intrinsically complex personalities of three rural women characters. In his classic story ‘The World-renowned Nose’, Basheer, the master satirist, resorts to biting satire to expose human vanity. In Antharjanam’s ‘Dhirendu Majumdar’s Mother’, the mother emerges as the revolutionary heroine of the Partition of 1947 and the Bangladesh Liberation War of 1971. ‘Humans and Animals’ by Nandanar narrates an unbelievably macabre incident from the horrors of Partition. In O. V. Vijayan’s masterpiece, ‘The Hanging’, the reader is drawn into a father’s sorrow over the death of his child. Madhavikkuty in ‘Scent of a Bird’ draws in bold strokes the existential angst of a modern woman who wishes to make a career for herself. P. Vatsala’s story ‘Pempi’ describes the plight of Adiyar tribal women. M. T. Vasudevan Nair, in his celebrated story, ‘Vision’, underlines the freedom and liberated state of women choosing for themselves.‘Photo’ by M. Mukundan is a harrowing story about child molestation. Zacharia, in his inimitable style, tells the story of aneccentric and reclusive masseur-physician who is challenged by a patient to heal her in ‘The Garden of the Antlions’. Sara Joseph’s ‘Sweat Marks’ shows how caste elites come together to dupe a brilliant Dalit student. These and other stories in this collection portray with brilliance and nuance the complex tapestry of the Malayali experience down the ages.
464 pages, Kindle Edition
Published November 5, 2023
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Displaying 1 - 11 of 11 reviews
January 12, 2024
In 1891, the Malayalam literary magazine Vidya Vinodini published a short story named Vasana Vikriti (‘Strange Stirrings’) by Kesari Vengayil Kunhiraman Nayanar. This, writes AJ Thomas in his introduction to The Greatest Malayalam Stories Ever Told, was the very first Malayalam short story that ‘exhibited the essential features of the form’. Thomas goes on to provide a brief insight into the evolution of the short story in Malayalam: beginning with loosely narrated, frequently verbose tales, then passing through a phase of more structured, realist stories; going on to modernist styles, with a plethora of allegories, fantasies and symbols, before transitioning into the ‘after-modern’ phase.
This introduction is, in its way, a good gateway to the stories Thomas has selected and translated for The Greatest Malayalam Stories Ever Told: it offers an insightful, informative glimpse of what to expect.
The fifty stories comprising this book are arranged chronologically according to their respective authors’ year of birth, with Karoor Neelakanta Pillai (born 1898) beginning the collection with Wooden Dolls, about a woman crafting painted dolls to earn a living. The progression and evolution of the Malayalam short story can be seen as the book progresses. For example, the stories near the beginning, like Ponkunnam Varkey’s poignant The Speaking Plough or Thakazhi Sivasankara Pillai’s The Farmer, are rather more conventional, stories that speak of the farmer and the land, of poverty and how it affects the agricultural communities of Kerala. Further into the book, the themes and treatment of the stories become more eclectic, more modern and experimental: allegories creep in (as in Uroob’s The Fair Child); stories become more abstract, more open to interpretation by a reader. Disturbing truths are dwelt upon, and sometimes (as in MP Narayana Pillai’s The Court of King George VI), the near-absurdity of the story can make one wonder: what, really, is the author trying to say?
The themes covered in these stories are multifarious. Poverty, a hallmark theme in a lot of Indian writing (not just Malayalam), is there, and it shows itself again and again throughout the collection. Casteism and communalism rear their ugly heads: Sara Joseph’s Sweat Marks, about a bright young woman being denied what she merits after excelling in academics, hits especially hard, more so for being subtle. This being, after all, Kerala, communism and relations with the erstwhile Soviet Union come through vividly in several stories, including NS Madhavan’s The Fourth World. Human relationships form the focus of many stories: OV Vijayan’s heart-wrenching The Hanging, for instance, about a poor villager making a trip to a city jail to meet his son in prison; or the whimsical The Ship of Butterflies (by Thomas Joseph), in which a naval captain pines for the wife who’s died, leaving him lonely.
The sheer variety—of settings, characters, styles, genres—on display in this book means there’s something for just about any reader. There’s satire, as in Vaikom Mohammad Basheer’s The World-Renowned Nose. Or the dawning horror as one follows two children as they go to get themselves photographed in M Mukundan’s The Photo. SK Pottekkatt’s On the Riverbank is a lyrical description of nature, and Rajalakshmi’s excellent The Apology, about a confrontation between a college student and a lecturer which gets blown out of proportion, offers a glimpse of politics at work in human relationships.
Interestingly, too, not all these stories are set in Kerala: they range far and wide. Lalithambika Antharjanam’s Dhirendu Majumdar’s Mother, for instance, is firmly Bengali in its ethos; T Padmanabhan’s The Death of Makhan Singh is set in Kashmir, and Nandanar’s Humans and Animals takes place in an army barracks somewhere in north India.
This is a fine collection of stories, richly textured, engrossing, deliciously diverse. At times provocative, always evocative. An excellent sampling of Malayalam literature in its short form.
(From my review for Open: The Magazine: https://openthemagazine.com/lounge/bo...)
This introduction is, in its way, a good gateway to the stories Thomas has selected and translated for The Greatest Malayalam Stories Ever Told: it offers an insightful, informative glimpse of what to expect.
The fifty stories comprising this book are arranged chronologically according to their respective authors’ year of birth, with Karoor Neelakanta Pillai (born 1898) beginning the collection with Wooden Dolls, about a woman crafting painted dolls to earn a living. The progression and evolution of the Malayalam short story can be seen as the book progresses. For example, the stories near the beginning, like Ponkunnam Varkey’s poignant The Speaking Plough or Thakazhi Sivasankara Pillai’s The Farmer, are rather more conventional, stories that speak of the farmer and the land, of poverty and how it affects the agricultural communities of Kerala. Further into the book, the themes and treatment of the stories become more eclectic, more modern and experimental: allegories creep in (as in Uroob’s The Fair Child); stories become more abstract, more open to interpretation by a reader. Disturbing truths are dwelt upon, and sometimes (as in MP Narayana Pillai’s The Court of King George VI), the near-absurdity of the story can make one wonder: what, really, is the author trying to say?
The themes covered in these stories are multifarious. Poverty, a hallmark theme in a lot of Indian writing (not just Malayalam), is there, and it shows itself again and again throughout the collection. Casteism and communalism rear their ugly heads: Sara Joseph’s Sweat Marks, about a bright young woman being denied what she merits after excelling in academics, hits especially hard, more so for being subtle. This being, after all, Kerala, communism and relations with the erstwhile Soviet Union come through vividly in several stories, including NS Madhavan’s The Fourth World. Human relationships form the focus of many stories: OV Vijayan’s heart-wrenching The Hanging, for instance, about a poor villager making a trip to a city jail to meet his son in prison; or the whimsical The Ship of Butterflies (by Thomas Joseph), in which a naval captain pines for the wife who’s died, leaving him lonely.
The sheer variety—of settings, characters, styles, genres—on display in this book means there’s something for just about any reader. There’s satire, as in Vaikom Mohammad Basheer’s The World-Renowned Nose. Or the dawning horror as one follows two children as they go to get themselves photographed in M Mukundan’s The Photo. SK Pottekkatt’s On the Riverbank is a lyrical description of nature, and Rajalakshmi’s excellent The Apology, about a confrontation between a college student and a lecturer which gets blown out of proportion, offers a glimpse of politics at work in human relationships.
Interestingly, too, not all these stories are set in Kerala: they range far and wide. Lalithambika Antharjanam’s Dhirendu Majumdar’s Mother, for instance, is firmly Bengali in its ethos; T Padmanabhan’s The Death of Makhan Singh is set in Kashmir, and Nandanar’s Humans and Animals takes place in an army barracks somewhere in north India.
This is a fine collection of stories, richly textured, engrossing, deliciously diverse. At times provocative, always evocative. An excellent sampling of Malayalam literature in its short form.
(From my review for Open: The Magazine: https://openthemagazine.com/lounge/bo...)
May 27, 2025
I feel cheated by this book. I kept it for the last because I really enjoy reading Malayali authors. They have a really uncanny flair for enveloping you in the culture and letting readers understand how things work. But unfortunately, A.J. Thomas chose the pretentious style of writing for this anthology and I ended up with metaphors, unfinished stories, streams of consciousness, and my personal pet peeve, magic realism. You will not be forgiven, sir!
First, ten out of fifty stories by women, which is not a good ratio. Some of the stories focused on North Indians and Bengalis. Like, WHY?! It's a ridiculous choice to include a random story about a sardar's death in Punjab. Also, why so many partition stories? The Hindi and Punjabi ones are full of the same stuff; there's no reason for Malayalam to foray into it too. One needs variety, which is why we have a series of books on regional languages and not a "Greatest Stories about Hindu Muslim Unity" or "Greatest Stories about Partition".
Some of the stories that I did like include:
The Oath by P. Kesavadev : A woman keeps saving up to buy an uruli (cooking vessel) at the fair every year, but something or the other keeps interfering with her plans.
The Hanging by O. V. Vijayan : An old father deals with the man his son has become and how he deals with his son's ultimate death. It's a very poignant story and brings out how sometimes the dreams one has for their children can go awry almost overnight.
Vision by M. T. Vasudevan Nair : A woman struggling with her marriage and a lover visits her mother from whom she gets little support, nor does she get any from her childhood friends or cousins. But support comes unexpectedly from the oldest family member.
Pempi by P. Vatsala : A man who was encouraged into staying in a different village to work by giving him a wife has thoughts of leaving her and returning home. He is stunned when the opposite happens. Ha, serves you right!
Photo by M. Mukundan : I wouldn't say I "liked" this story, but it was the creepiest one across all the anthologies. A young boy and girl with strict parents set out to get themselves photographed as a wedded couple. But without money to pay for the photo, they end up in a terrible situation. The end was heart-wrenching.
Two Historians and a Young Woman by Gracy : A hilarious story about two historians (one old and one young) head over heels with a new research scholar. They make up historical stories to support their claims over the woman, who probably has no idea of their existence!
This ends the regional short stories journey for me. Great job, Aleph! Even if I did not like some of the anthologies, it's important to document the more obscure, older stories.
First, ten out of fifty stories by women, which is not a good ratio. Some of the stories focused on North Indians and Bengalis. Like, WHY?! It's a ridiculous choice to include a random story about a sardar's death in Punjab. Also, why so many partition stories? The Hindi and Punjabi ones are full of the same stuff; there's no reason for Malayalam to foray into it too. One needs variety, which is why we have a series of books on regional languages and not a "Greatest Stories about Hindu Muslim Unity" or "Greatest Stories about Partition".
Some of the stories that I did like include:
The Oath by P. Kesavadev : A woman keeps saving up to buy an uruli (cooking vessel) at the fair every year, but something or the other keeps interfering with her plans.
The Hanging by O. V. Vijayan : An old father deals with the man his son has become and how he deals with his son's ultimate death. It's a very poignant story and brings out how sometimes the dreams one has for their children can go awry almost overnight.
Vision by M. T. Vasudevan Nair : A woman struggling with her marriage and a lover visits her mother from whom she gets little support, nor does she get any from her childhood friends or cousins. But support comes unexpectedly from the oldest family member.
Pempi by P. Vatsala : A man who was encouraged into staying in a different village to work by giving him a wife has thoughts of leaving her and returning home. He is stunned when the opposite happens. Ha, serves you right!
Photo by M. Mukundan : I wouldn't say I "liked" this story, but it was the creepiest one across all the anthologies. A young boy and girl with strict parents set out to get themselves photographed as a wedded couple. But without money to pay for the photo, they end up in a terrible situation. The end was heart-wrenching.
Two Historians and a Young Woman by Gracy : A hilarious story about two historians (one old and one young) head over heels with a new research scholar. They make up historical stories to support their claims over the woman, who probably has no idea of their existence!
This ends the regional short stories journey for me. Great job, Aleph! Even if I did not like some of the anthologies, it's important to document the more obscure, older stories.
November 22, 2023
I think this has to be one of my favourite The Greatest Short Stories edition from @alephbookco . A. J. Thomas, writer and poet has selected & translated fifty stories to be part of this fantastic collection. The themes are varied and hits a chord. Written masterfully, we are introduced to old and budding writers who pull you into the rich and immersive world of Malayalam literature. This comes a close second for me in the language series but the translation earns major points as it left no room for error and doubt.
The first two stories captures the essence of rural women who live complex lives. In ‘Vision’, we see a woman whose marriage has become hot topic of conversation receiving surprising advice from her grandmother. In ‘Scent of a Bird’ we are taken to a world that exists between life and death. ‘Sethu’ explores a strange and detached relationship between a father and his son. But my favourite of all was ‘Photo’ which addresses the issue of child molestation followed closely by ‘Pempi’, another hard hitting tale about tribal women. Out of the fifty short stories, there were hardly two or three that didn’t work for me.
The world of Malayalam literature is famous for addressing difficult topics and this book was no different. I found it to be a melting pot of interesting themes, voices and ideas and I enjoyed reading all of them. I highly recommend this to those who enjoy reading translated literature.
Thank you for the copy @alephbookco ✨
The first two stories captures the essence of rural women who live complex lives. In ‘Vision’, we see a woman whose marriage has become hot topic of conversation receiving surprising advice from her grandmother. In ‘Scent of a Bird’ we are taken to a world that exists between life and death. ‘Sethu’ explores a strange and detached relationship between a father and his son. But my favourite of all was ‘Photo’ which addresses the issue of child molestation followed closely by ‘Pempi’, another hard hitting tale about tribal women. Out of the fifty short stories, there were hardly two or three that didn’t work for me.
The world of Malayalam literature is famous for addressing difficult topics and this book was no different. I found it to be a melting pot of interesting themes, voices and ideas and I enjoyed reading all of them. I highly recommend this to those who enjoy reading translated literature.
Thank you for the copy @alephbookco ✨
December 18, 2023
Most of these stories have tragic endings, although some are funny and whimsical with a touch of magic realism. A miasma of communism pervades the book. The yarns are not just based in Kerala but on a wider canvas – Nainital, J&K, Andamans and even in an earthly orbit in space.
There is one story with similarities to
The Breast by Philip Roth and The Nose by Nikolai Gogol.
An example of the lyrical text
There is one story with similarities to
The Breast by Philip Roth and The Nose by Nikolai Gogol.An example of the lyrical text
Moonlight nights are surely a reality when in these times. Scattering spangles of intoxication among the wakeful beings, some human beings are filling themselves with it like fabulous Chines jars.A good anthology added to the collection from Aleph.
January 22, 2025
the translations didn't really work for me.
October 31, 2025
Such memorable short stories.
November 20, 2023
'The Greatest Malayalam Stories Ever Told' presents an engaging collection of fifty translated short stories from Malayalam offering a diverse literary panorama. The anthology serves as a cultural exploration delving into the intricate social, cultural and emotional dimensions of Kerala. Thomas adeptly selects tales that navigate themes like Dalit discourse and feminist perspectives, providing a nuanced glimpse into the region's intricate societal dynamics. The anthology skilfully incorporates the theme of migration, revealing the compelling narratives of Malayalis who reshaped their lives across India. This collection authentically portrays identity, belonging and the challenges confronted by those venturing beyond their homeland making it an essential read for literature enthusiasts.
November 30, 2023
"The Greatest Malayalam Stories Ever Told" is a captivating anthology comprising fifty masterfully translated short stories curated by the discerning A. J. Thomas. This literary compendium serves as a testament to the richness of Malayalam literature, featuring luminary figures such as Karoor Neelakanta Pillai, Vaikom Muhammad Basheer, Lalithambika Antharjanam, Ponkunnam Varkey, Thakazhi Sivasankara Pillai, S. K. Pottekkatt, Uroob, O. V. Vijayan, M. T. Vasudevan Nair, and Paul Zacharia, interwoven with the distinct voices of emerging talents like N. Prabhakaran, C. V. Balakrishnan, Aymanam John, and Chandramathi.
In Thakazhi's 'The Farmer' and Varkey's 'The Speaking Plough,' the anthology plunges into the intricacies of rural life, offering a poignant portrayal of its trials. Pillai's 'Wooden Dolls' and Kesadeva’s 'The Oath' delicately unravel the complexities of rural women, their seemingly simple lives revealing profound intricacies. Basheer's 'The World-renowned Nose' employs biting satire to expose the folly of human vanity, while Antharjanam’s 'Dhirendu Majumdar’s Mother' elevates a mother to the status of a revolutionary heroine amid historical upheavals.
Nandanar's 'Humans and Animals' starkly recounts a macabre incident from the horrors of Partition, and O. V. Vijayan's 'The Hanging' delves into a father's profound sorrow. Madhavikkuty's 'Scent of a Bird' boldly explores the existential angst of a modern woman, and P. Vatsala's 'Pempi' sheds light on the plight of Adiyar tribal women. M. T. Vasudevan Nair’s 'Vision' celebrates women's freedom, while M. Mukundan's 'Photo' unfolds a harrowing tale of child molestation.
In conclusion, "The Greatest Malayalam Stories Ever Told" stands as an exquisite mosaic of narratives that transcend cultural boundaries, offering readers a profound and insightful journey into the diverse facets of Malayali life. A. J. Thomas's adept translations ensure that the essence of each story is preserved, making this anthology not only a celebration of Malayalam literature but also a bridge for a global audience to appreciate the depth and diversity of these literary masterpieces.
🌟🌟🌟🌟🌟
In Thakazhi's 'The Farmer' and Varkey's 'The Speaking Plough,' the anthology plunges into the intricacies of rural life, offering a poignant portrayal of its trials. Pillai's 'Wooden Dolls' and Kesadeva’s 'The Oath' delicately unravel the complexities of rural women, their seemingly simple lives revealing profound intricacies. Basheer's 'The World-renowned Nose' employs biting satire to expose the folly of human vanity, while Antharjanam’s 'Dhirendu Majumdar’s Mother' elevates a mother to the status of a revolutionary heroine amid historical upheavals.
Nandanar's 'Humans and Animals' starkly recounts a macabre incident from the horrors of Partition, and O. V. Vijayan's 'The Hanging' delves into a father's profound sorrow. Madhavikkuty's 'Scent of a Bird' boldly explores the existential angst of a modern woman, and P. Vatsala's 'Pempi' sheds light on the plight of Adiyar tribal women. M. T. Vasudevan Nair’s 'Vision' celebrates women's freedom, while M. Mukundan's 'Photo' unfolds a harrowing tale of child molestation.
In conclusion, "The Greatest Malayalam Stories Ever Told" stands as an exquisite mosaic of narratives that transcend cultural boundaries, offering readers a profound and insightful journey into the diverse facets of Malayali life. A. J. Thomas's adept translations ensure that the essence of each story is preserved, making this anthology not only a celebration of Malayalam literature but also a bridge for a global audience to appreciate the depth and diversity of these literary masterpieces.
🌟🌟🌟🌟🌟
December 26, 2023
-A Magnificent Feat of Translation and Storytelling-
Review of ‘The Greatest Malyalam Stories Ever Told’, translated by AJ Thomas
🖋️📖
The thirteenth book in Aleph's bestselling ‘The Greatest Stories
Ever' series.l, this is a collection of fifty brilliantly written stories selected and
adeptly translated from Malayalam by award-winning translator and editor A. J. Thomas.
Spanning over 50 years of Malayalam storytelling, the stories in this collection provide a nuanced portrayal of one of India's most unique societies.
Translation is tricky business. It’s one of those behind-the-scenes job. You know you’ve done it right if nobody noticed you. The greatest translators are the one who are invisible.
What’s most striking about these stories is seamless translation by AJ Thomas. If I don’t know these stories were translated, I wouldn’t have realised it.
In Pilllai’s story ‘Wooden Dolls’ a census recorder knocks at a home and the reader is pleasantly thrown into what is one of the most touching maybe-love stories. The census recorder throws a volley of questions at Nandini who, with her answers, carves a place in the guy’s consciousness. When she shows her carved dolls, the guy remarks that they look like Goddess Lakshmi who rose from the Ocean of Milk during its churning.
Nalini replies- ‘I never joined in the effort to churn the Ocean of Milk. Therefore, I haven't seen Lakshmi. I am merely showing you what my trade is.’
In Kesadeva’s ‘The Oath’, we encounter the seemingly simple, but intrinsically complex personalities of three rural women characters. This is a story that forces you to dive into the vicious cycle of poverty. It shows you why poor remain poor and rich become richer. Kalyani, with her hard labour, buys a chick which grow into a gaggle of hens but will she be able to achieve what she had promised herself?
Review of ‘The Greatest Malyalam Stories Ever Told’, translated by AJ Thomas
🖋️📖
The thirteenth book in Aleph's bestselling ‘The Greatest Stories
Ever' series.l, this is a collection of fifty brilliantly written stories selected and
adeptly translated from Malayalam by award-winning translator and editor A. J. Thomas.
Spanning over 50 years of Malayalam storytelling, the stories in this collection provide a nuanced portrayal of one of India's most unique societies.
Translation is tricky business. It’s one of those behind-the-scenes job. You know you’ve done it right if nobody noticed you. The greatest translators are the one who are invisible.
What’s most striking about these stories is seamless translation by AJ Thomas. If I don’t know these stories were translated, I wouldn’t have realised it.
In Pilllai’s story ‘Wooden Dolls’ a census recorder knocks at a home and the reader is pleasantly thrown into what is one of the most touching maybe-love stories. The census recorder throws a volley of questions at Nandini who, with her answers, carves a place in the guy’s consciousness. When she shows her carved dolls, the guy remarks that they look like Goddess Lakshmi who rose from the Ocean of Milk during its churning.
Nalini replies- ‘I never joined in the effort to churn the Ocean of Milk. Therefore, I haven't seen Lakshmi. I am merely showing you what my trade is.’
In Kesadeva’s ‘The Oath’, we encounter the seemingly simple, but intrinsically complex personalities of three rural women characters. This is a story that forces you to dive into the vicious cycle of poverty. It shows you why poor remain poor and rich become richer. Kalyani, with her hard labour, buys a chick which grow into a gaggle of hens but will she be able to achieve what she had promised herself?
November 13, 2023
A. J. Thomas' "The Greatest Malayalam Stories Ever Told" is a captivating anthology of fifty translated short stories that delves into the rich tapestry of Malayali experience. Poet, editor, and translator A. J. Thomas curates a diverse selection, featuring established masters like Karoor Neelakanta Pillai, Vaikom Muhammad Basheer, and M. T. Vasudevan Nair, alongside emerging voices such as N. Prabhakaran and Chandramathi.
The stories encompass a spectrum of themes, from the trials of village life in Thakazhi's "The Farmer" to Basheer's satirical brilliance in "The World-renowned Nose." Lalithambika Antharjanam's "Dhirendu Majumdar’s Mother" portrays a revolutionary mother during historical events like the Partition of 1947 and the Bangladesh Liberation War of 1971.
The anthology delves into the complexity of rural women characters in Kesadeva’s "The Oath" and Pilllai’s "Wooden Dolls." O. V. Vijayan's "The Hanging" poignantly explores a father's grief over the death of his child, while Madhavikkuty's "Scent of a Bird" vividly captures the existential angst of a modern woman pursuing a career.
The stories address social issues with boldness, as seen in P. Vatsala’s "Pempi," depicting the plight of Adiyar tribal women, and M. Mukundan's "Photo," a harrowing tale of child molestation. Zacharia's "The Garden of the Antlions" narrates an eccentric masseur-physician's challenge to heal a patient, showcasing diverse narratives.
Sara Joseph’s "Sweat Marks" sheds light on caste dynamics, revealing how elites exploit a brilliant Dalit student. The anthology masterfully weaves together narratives that span generations, offering readers a nuanced exploration of Malayali life through the lens of these thought-provoking stories.
The stories encompass a spectrum of themes, from the trials of village life in Thakazhi's "The Farmer" to Basheer's satirical brilliance in "The World-renowned Nose." Lalithambika Antharjanam's "Dhirendu Majumdar’s Mother" portrays a revolutionary mother during historical events like the Partition of 1947 and the Bangladesh Liberation War of 1971.
The anthology delves into the complexity of rural women characters in Kesadeva’s "The Oath" and Pilllai’s "Wooden Dolls." O. V. Vijayan's "The Hanging" poignantly explores a father's grief over the death of his child, while Madhavikkuty's "Scent of a Bird" vividly captures the existential angst of a modern woman pursuing a career.
The stories address social issues with boldness, as seen in P. Vatsala’s "Pempi," depicting the plight of Adiyar tribal women, and M. Mukundan's "Photo," a harrowing tale of child molestation. Zacharia's "The Garden of the Antlions" narrates an eccentric masseur-physician's challenge to heal a patient, showcasing diverse narratives.
Sara Joseph’s "Sweat Marks" sheds light on caste dynamics, revealing how elites exploit a brilliant Dalit student. The anthology masterfully weaves together narratives that span generations, offering readers a nuanced exploration of Malayali life through the lens of these thought-provoking stories.
November 26, 2025
Latest read. My third book from this series (after telugu and Gujarati stories).The book is an anthology of 50 short stories by writers old and new.
You have ancient yakshis, communist comarades, patriotic soldiers and fearsome women. You see the divisions created by caste and religion. You also see space technology and ode to the many luscious backwaters of Kerala. Feminist viewpoints appear next to painful tales of child abuse. A lot of stories were surreal and filled with magical realism.
It’s a mammoth work that needs a lot of background information and understanding the spirit of this state.in
You have ancient yakshis, communist comarades, patriotic soldiers and fearsome women. You see the divisions created by caste and religion. You also see space technology and ode to the many luscious backwaters of Kerala. Feminist viewpoints appear next to painful tales of child abuse. A lot of stories were surreal and filled with magical realism.
It’s a mammoth work that needs a lot of background information and understanding the spirit of this state.in
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