Books published by Mehta Publishing House

FROM THE BEGINNING TO THE END, THIS COLLECTION IS FULL OF ENTERTAINMENT. THE WORDS HAVE SUCH POWER THAT THEY MAKE YOU LAUGH AND THINK AT THE SAME TIME, THEY REVEAL THE HUMOUR BUT ALSO THE SECRETS OF LIFE HIDDEN DEEP DOWN. EACH HUMAN MIND CRAVES FOR AUTHORITY AND YET TRIES TO SHUN AWAY FROM RESPONSIBILITY. NANA’S CHARACTER IS BASED ON SUCH CONTROVERSIAL FEELINGS. HE WANTS TO BE FAMOUS YET, HE IS ALWAYS SCARED OF PEOPLE AROUND HIM. HIS MIND CRAVES FOR IMPORTANCE STILL, HE FEARS EVERYONE. DESTINY OPENS UP SOME NEW OPPORTUNITIES FOR HIM, BUT HIS POOR LUCK SNATCHES AWAY EVERYTHING FROM HIM. WHENEVER HE TRIES TO TELL HIS VILLAGERS SOMETHING OF UTMOST IMPORTANCE, THEY EITHER IGNORE HIM OR BEAT HIM. DOES HE GET NAME AND FAME AT THE END…….? TO GET THE ANSWERS, YOU MUST READ GUDGULYA AND EXPERIENCE TICKLING THROUGHOUT.

THIS SON-IN-LAW IS VERY CHARMING AND HANDSOME. BUT THAT WAS NOT SO ABOUT HIS WIT. AT TIMES, HE BEHAVED AS IF HE HAD NO SENSE OR COMMON KNOWLEDGE AT ALL. FINALLY, AFTER A LONG LONG WAIT, HE GETS MARRIED. HE GETS AN INVITATION FROM HIS IN-LAWS PLACE ESPECIALLY FOR THE CELEBRATION OF DIWALI. HIS FATHER WARNED HIM BEFORE LEAVING THAT HE HAD TO BEHAVE PROPERLY AT HIS IN-LAWS HOUSE AS HE IS NO MORE JUST ANYBODY. ON THE CONTRARY, HE IS NOW THEIR SON-IN-LAW. SO HE MUST SHOW ATTITUDE WHILE BEING AT THEIR PLACE.WHAT HAPPENS THEN……………?

A SET OF 12 STORIES WOVEN TOGETHER TO OFFER US SOME KIND OF RELAXATION FROM THE DAILY HUBBUB AND CHAOS. DA MA, WITH HIS SENSITIVE MIND AND CLEAR VISION SUCCEEDS IN REVEALING THE SMALL BOUTS OF HAPPINESS AND CONTENT WRAPPED IN THE TINIEST MOMENTS WHICH WE OTHERWISE FAIL TO NOTICE. IT IS A FACT THAT EACH ONE HAS SUFFERS FROM SOME PROBLEM OR THE OTHER IN HIS OR HER LIFE. THERE ARE PEOPLE WHO JUST CANNOT COME OUT OF THE SOLACE CREATED BY THEMSELVES. ON THE OTHER HAND, A FEW HAVE SUCH ZEAL THAT THEY INDULGE THEMSELVES IN THE WONDERS OF LIFE INSTEAD OF NITPICKING. THOUGH A FEW, THEY HELP TO RELEASE THE TENSIONS IN THE SURROUNDINGS. TATYA, BHIKU, VITHOBA, MADHU AND MANY SUCH OTHER PEOPLE ARE SUCH FINE EXAMPLES HELPING US TO UNDERSTAND THE POSITIVE AND NEGATIVE ASPECTS OF LIFE THAT THEY ARE EXPERIENCING, MOSTLY AS A RESULT OF THEIR WAY TO LOOK AT LIFE. AFTER READING THIS ONE IS SURELY COMPELLED TO PONDER OVER LIFE AND JUDGE ONESELF AS TO HOW HE OR SHE WANTS TO LEAD HIS OR HER LIFE, WITH SMILES OR WITH COMPLAINTS…….?

minate like the seed and grow into a tree. Merge like a drop or a wave and become like the ocean. Drown! Merge! Cease to exist! Surrender yourself completely into the Self; lose your duality; then you will become the ocean! Become vast! There will be no more boundaries, no sorrow, and no pain. You will be neither poor nor meek. You will be accomplished, wealthy, and like a King. All divine incarnations are your reflections. You are no longer 'you'; you are God!

GERMINATE LIKE THE SEED AND GROW INTO A TREE. MERGE LIKE A DROP OR A WAVE AND BECOME LIKE THE OCEAN. DROWN! MERGE! CEASE TO EXIST! SURRENDER YOURSELF COMPLETELY INTO THE SELF; LOSE YOUR DUALITY; THEN YOU WILL BECOME THE OCEAN! BECOME VAST! THERE WILL BE NO MORE BOUNDARIES, NO SORROW, AND NO PAIN. YOU WILL BE NEITHER POOR NOR MEEK. YOU WILL BE ACCOMPLISHED, WEALTHY, AND LIKE A KING. ALL DIVINE INCARNATIONS ARE YOUR REFLECTIONS. YOU ARE NO LONGER ‘YOU’; YOU ARE GOD!

Meera: Devotion had taken the form of Meera; Meera was matchless and will continue to be so. Many have attained freedom from this life, many souls have been set free from the continuous cycle of birth and death, yet Meera is different. What makes her so different from others? Osho says that it is the transparency that Meera possesses which makes her so different, it is the purity and crystal clarity of her soul that makes her so different. Meera is completely devoted to Krishna. Meera has no separate identity for herself. Meera is Krishna. And when we feel her devotion, understand her dedication, we bow down before her, we lose ourselves, we breathe the air that she breathes in, we get merged with Meera. While trudging along any other path, we at least have something concrete before our eyes. But that is not the case with devotion. It is indeed the toughest route of all. We do not have anything concrete to concentrate upon. The soul of soul, the master soul, HIM... Not seen by human eye, but only felt or sensed. To love such Supreme Spirit unseen ever, to forget ourselves completely, to offer ourselves to HIM, to submit everything, even our ego... Indeed it is an impossible task, only a few can achieve it. Meera did this and that too with an ease, with a simplicity... She wrote bhajans, geet and many other poetic forms for him, her mind did not linger to find rhymes, her pen did not stop for perfection, her words did not tried to follow each other, yet, she simply poured her feelings for Krishna. She was his follower, she was not obsessed by Krishna yet she was all for Krishna. Her devotion inspires us, mesmerizes us...

IT IS RATHER IMPOSSIBLE TO UNDERSTAND MEERA. IF ONE TRIES TO MEASURE HER INTENSITY BASED ON THE CREDENTIALS OF POETRY, SCIENCE OR PHILOSOPHY THEN HE WOULD FAIL IN HIS ATTEMPT AS SHE IS NEITHER A POEM NOR A SCIENTIFIC DESIRE OR PHILOSOPHICAL ASPIRATION. THOUGH SHE DOES NOT HAVE ANY PHYSICAL FORM SHE IS VERY TRUE IN HER OCCURRENCE. IT WAS THE DEVOTION THAT TOOK THE FORM OF A PHYSICAL APPEARANCE OTHERWISE, MEERA WOULD NEVER HAVE KNOWN ANY MATERIAL OUTLINING HIGHLIGHTING HER. THE COMMON MAN ALWAYS CURSES THE ALMIGHTY WHEN HE IS BOMBARDED BY ANGUISH; IN CONTROVERSY TO THIS, MEERA THANKS THE ALMIGHTY FOR ALL THE GRIEF AND ANGUISH THAT THE ALMIGHTY CASTS UPON HER AS IT GIVES HER ADDED OPPORTUNITY TO PRAISE HIM. SHE THANKS HIM FROM THE BASE OF HER HEART FOR RELEASING HER FROM THE CHAOS OF LIVING. SHE FINDS PEACE WITH THE SITUATION AS IT GIVES HER EXTRA STRENGTH AND VIGOUR TO MERGE HER SOUL DEEPER WITH THE ALMIGHTY. HER PENANCE IS MEANT ONLY FOR THE LORD KRISHNA. SHE DOES NOT SEE THE ALMIGHTY IN ANY OTHER FORM. IT IS HER FAITH THAT ENABLES HER TO SACRIFICE HER WILLINGLY TO THAT LORD KRISHNA WHO IS BELIEVED TO BE A PART OF SOME 25 THOUSAND YEARS AGO. YET, THE TIME PERIOD DOES NOT DIMINISHES THE INTENSITY OF HER CERTAINTY ABOUT ‘HIS’ BEING INTO EXISTENCE. THOSE WHO ARE UNABLE TO UNDERSTAND HER DEVOTION, CURSE HER, BLAME HER, TRY TO END HER LIFE SO AS TO GIVE A FULLSTOP TO THE DIVINE DEVOTION REFLECTED BY HER. HOWEVER, SHE REMAINS TRANQUIL AND DOES NOT LOSE HER COMPOSURE OVER IT. A SWEET SMILE LINGERS ON HER LIPS. THOUGH WE HAVE NEVER SEEN MEERA AND WILL HAVE NO CHANCE OF SEEING HER, WE FEEL HER PRESENCE, WE SENSE HER SMILE, WE UNDERSTAND HER CALMNESS. WE BECOME SURER ABOUT HER DEVOTIONAL ATTITUDE, REMEMBERING ONLY HER MERGER WITH LORD KRISHNA.

Meera is heard, preached and sang by many; but a very few can reach her soul. In this modern world, Osho seems to be the only one who has reached her soul, who has felt her tears, who has understood the intensity of each of her breath. Osho himself has lead a life full of poetry, he has found rhythm in his living, he has composed lyrics based on the experiences. Just like Meera, Osho sees love everywhere. For him it is love which keeps this world going on, for him it is love which protects him, comforts him, offers him warmth. His whole being is 'LOVE'. And Meera??? Meera herself is supreme devotion, she is unique though many devotees have achieved the ultimate salvation. What makes her so unique? Osho has tried to put her uniqueness in words. He states that the crystal clear devotion practiced by Meera is worthy enough to prove her divinity. We all know that Meera is Krisha, she sees Him everywhere, but as we go on understanding her we find ourselves blending with her, we start becoming Meera in a way. The path to devotion is not simple or easy. It is marked with unseen hurdles. It often checks on the intense desires of the devotee. Devotion is intricate as the cause is unseen. It needs extreme faith to surrender to something which we believe to be there but cannot see with naked eyes. Meera did it without any second thoughts in her mind. She sacrificed herself for the unseen cause of her life. This is what makes her unique from others. A true poem takes birth from the depth of the mind, it does not linger over attempting rhythm, it may not be wellversed. Even after centuries and eras pass, such true poem holds the power to captivate minds. Meera had accepted the fact that she is merged in love. Her faith, her reliance and her devotion takes us with her.

THE DAY GANGI ENTERED WOMANHOOD, ALL THE VILLAGERS WENT CRAZY. THEY ALL HAD EYES ONLY FOR HER. EVEN AFTER DAYS, HER BEAUTY HAS CAST SPELLS ON THEM. HER CURVY FIGURE HAS MADE THEM FORGOTTEN EVERYTHING. HER FAIR AND MILKY COMPLEXION HAS DISSOLVED ALL THEIR ANXIETIES. HER NOSE, OH YES, IT IS NOT AS SHARP AS IT OUGHT TO BE, YET IT SUITS HER, SO DO THE YOUNGSTERS THINK. AND THE GREENISH MOLE ON HER LEFT CHEEK REALLY ADDS TO HER BEAUTY. IT PROBES THE MIND OF ALL. NO OTHER WOMAN IN THE VILLAGE DARES TO PART HER HAIR IN A WAY GANGI PARTS THEM. HER BEAUTY HAS ALWAYS BEEN A TOPIC OF ENVY IN THE MINDS OF ALL, BE IT WOMEN OR THE MEN. AS THE MEN ARE UNABLE TO GET ENOUGH OF HER THEY HAVE COME UP WITH THEIR FAVOURITE PASSTIME, GOSSIPING ABOUT GANGI. THEY HAVE ALWAYS LINKED HER UP WITH SEVERAL CHARACTERS. STILL, THEY KNOW THAT AT LEAST FOR THE NEXT TEN YEARS OR SO NO OTHER WOMAN WOULD BE A GOOD COMPETITOR TO HER.

THE TITLE ITSELF SUGGESTS THE MEANING; SOMETHING THAT WAS SOLD AND BOUGHT SIMULTANEOUSLY WITHOUT ANY COMPULSION OR OBLIGATION. BABU WAS GOING DEEPER DOWN THE HELL. HE WAS UNDER OBLIGATION TO PAY THE AMOUNT OF TEN THOUSAND THAT HE HAD TAKEN AS LOAN FROM TAVANAPPA AND NOW WAS UNABLE TO REPAY IT. IT WAS A CUSTOM IN THEIR VILLAGE TO SOLVE THEIR DISPUTES MUTUALLY. HENCE A FEW WISE HEADS SAT TOGETHER AND FOUND OUT A SOLUTION. IT WAS DECIDED THAT TAVANAPPA WOULD BE THE NEW OWNER OF THE BABU’S HOTEL AND WOULD IN FACT GIVE BABU TWO THOUSAND RUPEES IN RETURN. BABU AGREED TO THIS AND DETACHED HIMSELF COMPLETELY FROM ALL THE THINGS THAT WERE THE PART OF HIS HOTEL ‘SWALPAVIRAM’. WHILE BABU OPENED ANOTHER HOTEL CLOSE BY, TAVANAPPA STARTED REGULATING THE BUSINESS AT SWALPAVIRAM. WHEN A FEW DAYS PAST AFTER THIS TRANSACTION, SOMEONE PUT AN IDEA INTO TAVANAPPA’S MIND SAYING THAT HE WAS ENTITLED TO RECEIVE EVERYTHING THAT WAS UNDER THE ROOF OF THE HOTEL, INCLUDING THE BEAUTIFUL WOMAN!

THE SOCIETY WHERE WE LIVE WITH OTHERS WE COME ACROSS MANY PEOPLE, SOME ARE EASILY UNDERSTANDABLE WHILE SOME SEEM TO BE FATHOMLESS. THE ROADS THAT WE PLAN TO RIDE ACROSS SOMETIMES RESEMBLE THE FATHOMLESS CHARACTERS. SO MUCH THAT AT TIMES, WE MAY FIND OUT THE DEPTH OF THESE FATHOMLESS PEOPLE BUT WILL NOT BE ABLE TO FIND OUT THE LENGTH OF THESE TRACKS. THESE ARE THE PATHWAYS TRAILED BY THE PEDESTRIANS OVER THE AGES AND ARE ENDLESS. IT IS MEANINGLESS TO ATTEMPT MEASURING THEIR LENGTHS, NO ONE HAS EVER TRIED TO MEASURE THEM. THE STATE HIGHWAYS, THE NNATIONAL HIGHWAYS ARE ALL MEASURED AND MARKED WITH THE MILESTONES, BUT NOT THE PATHWAY CREATED BY THE TRAILS. THE ZIGZAG PATHWAY MAKES THE MEASUREMENT IMPOSSIBLE. HAVE YOU EVER TRIED TO WATCH THE WAY A TRAIL WINDS ITSELF ALONG THE LINE? SOMETIMES IT SWAYS ALONG THE WAY WHILE SOMETIMES ALL OF A SUDDEN IT SIMPLY DISAPPEARS FROM OUR SIGHT. AT MOMENTS, IT BEHAVES IN AN ELEGANT LADYLIKE MANNER WHILE AT TIMES, IT HAS THE NAUGHTINESS SURROUNDING IT. YOU WILL FIND HER TURNING BACK AT MOMENTS MAKING IT SURE THAT YOU ARE STILL FOLLOWING HER. WILL YOU BE ABLE TO MEASURE HER?

GARVEL, A TYPE OF VEIL WHICH KEEPS THE SURROUNDINGS COOL WAS THERE SINCE SHIVA’S CHILDHOOD. NOW IT HAD REACHED THE HUGE TAMARIND TREE AND HAD ACTUALLY HALFCOVERED IT. IT HAD CLEVERLY AND ARTISTICALLY WOVEN ITSELF THROUGH THE DENSE BRANCHING OF THE TAMARIND, OCCUPYING EVERY INCH OF ITS BLOSSOM. SO MANY YEARS HAVE PASSED. IT WAS STILL STANDING ERECT, FACING THE STORMS, READING BETWEEN THE RAINS. IT WAS MANY TIMES TORN APART FROM THE STORMY WINDS AND THE TORRENTIAL RAINS. YET, IT WAS THERE, FACING EVERYTHING BRAVELY. NEITHER THE WINDS NOR THE RAINS HAVE BEEN ABLE TO ROOT IT OUT OF ITS BIRTHPLACE. BUT NOW THE STORY HAD TAKEN ANOTHER ROUTE, COMPLETELY. THE FAMINE SINCE THE LAST THREE YEARS WAS STARTING TO SHOW ITS EFFECT DESTRUCTING THE GARVEL. THERE WAS HARDLY ANY TINGE OF GREEN LEFT, FORGET THE FLOWERS. THE BRANCHES WERE AS GOOD AS THE DRIED STICKS. IT WAS SOMEHOW SURVIVING, LOOKING FORWARD TO THE DRY SUMMER PASS AWAY. IT WAS SURE OF FLOURISHING THROUGHOUT THE MONSOON, IF IT COULD ENDURE THROUGH THE SCORCHING SUMMER. BUT THIS WAS NOT TO HAPPEN. THE FAMINE CONTINUED THROUGHOUT. THE SUN BAKED EVERYTHING. IT MADE THE GARVEL LIMP AND GO LAME, IT LOST ITS LAST STRUGGLE AND SLID DOWN FROM THE AGEOLD TAMARIND TREE GIVING AWAY ITS VERY LIVING. IT WAS SO SUDDEN; THE OLD TAMARIND LAY FLABBERGASTED OVER THIS LOSS.

NO SOONER DID SARJA SAT DOWN; THE WHIP STARTED ITS WORK OVER ITS BACK SEASONED WITH THE CONTINUOUS THRASHING OVER THE YEARS. BLOOD DROPLETS STARTED OOZING OUT FROM THE MARKS MADE BY THE WHIP. AS IF THIS WAS NOT ENOUGH, THE WIDE STICK PLAYED ITS PART IN HURTING IT. THROUGHOUT THIS HARASSMENT, SARJA REMAINED MOTIONLESS; AS ALWAYS. IT NEITHER TURNED, NOR MOVED. THIS HAD BECOME A ROUTINE. PEOPLE HAD STARTED CALLING THE IMMOVABLE OX. ITS OLD AGE WAS BLEMISHED BY THIS. WHEN THE MONSOON BROUGHT RAINS WITH IT, SARJA WAS LEFT IN A HOPELESS CONDITION. NO ONE HAD TIME TO FEED IT. THE OPTION OF EITHER THE HAY HALF EATEN BY THE BUFFALOES OR THE OIL CAKES SOAKED IN THE EXCRETIONS OF THE COWS WERE OPEN FOR IT. THOUGH THE HUNGER COMPELLED IT TO EAT AND EVEN ENJOY IT SOMETIMES, THE HUNGER WAS NEVER SATISFIED. THE ENDLESS WORK WAS ALSO TAKING ITS TOLL. NOW SARJA COULD EITHER STAND OR SIT DOWN.

BORN ON 8TH AUGUST 1926, SHANKAR PATIL WAS THE MOST FAMOUS AMONGST THE CONTEMPORARY AUTHORS FOR HIS STORIES BASED MOSTLY ON THE RURAL LIFE. HIS LANGUAGE TYPICALLY REFLECTED THE BEAUTY OF VILLAGE LIFE. THOUGH HE WAS A PROMINENT STORY WRITER, HE SUCCESSFULLY TRIED HIS HANDS OVER THE OTHER FORMS OF LITERATURE INCLUDING THE DRAMA FORMAT. INITIALLY, HIS THEMES APPEAR TO BE SIMPLE BUT IF STUDIED AT DEPTH ONE IS TO SEE THE MANYFOLD DIMENSIONS INVOLVED IN HIS WRITING PROCESS. ENTERTAINMENT IS NOT HIS SOLITARY AIM. HIS WRITING REFLECTS HIS CONCERN AND COMMITMENT FOR THE SOCIETY. INSTEAD OF CLINGING TO THE RITUALS AND TRADITIONS HE AIMS AT FINDING OUT NEW MEANINGS FOR ACHIEVING BETTER LIVING STANDARDS. HIS WRITING HAS THE BASE OF A SENSITIVE MIND WHICH IS COMPLETELY HARMONIOUS WITH THE NATURE. HE UNDERSTANDS AND ACCEPTS CHANGE AS EASILY AS ONE BREATHES UNDER THE NORMAL CIRCUMSTANCES.

LIFE OF A HUMAN BEING, SO VERY COMPLICATED, A VERY COMPLEX PROCESS INVOLVING VARIOUS RELATIONSHIPS, FEELINGS, EMOTIONS AND EVENTS, NEVER IMAGINED BEFORE. SOME OF THE RELATIONS CREATE HARDLY ANY BONDING BETWEEN TWO PEOPLE WHILE SOME WEAVE TOGETHER FOREVER, AT THE BASE OF THE HEART. SOMETIMES, YOU GET TO KNOW SOMEBODY BETTER AFTER MANY YEARS AND THEN.... THIS BOOK IS BASED ON THE RELATIONSHIP OF A FATHER AND HIS TWO CHILDREN. THE FATHER WHO HAS FALLEN A VICTIM IN THE HANDS OF DESTINY; THE SON WHO HAS FULFILLED HIS DUTY OF BEING A SON BY OFFERING HIMSELF NOT SAYING ANYTHING, NOT COMPLAINING ABOUT ANYTHING, AND THE DAUGHTER WHO HELPS TO ACHIEVE THE SET TARGET, NOT BACKING AT ANY POINT. SUDHA MURTI`S EMOTIONAL, THOUGHTFUL WRITING WITH A NEW DIMENSION....

EVERY TIME, SHE SENT HIM A LETTER, SHE SENT A SMALL FLOWER OF `BAKUL` FOR HIM, WITHOUT FAIL. HER LETTER ALWAYS BROUGHT BACK SOME SPECIAL MEMORIES FOR SHRIDHAR. HE USED TO GET LOST IN THE MEMORIES WITH THE SMALL FLOWER IN HIS HAND. THE FLOWER REPRESENTED HER. HER MILD MANNERS, HER SIMPLICITY, THE FRAGRANCE AROUND HER, AND THE CHASTITY IN HER EYES ALONG WITH THE LOVE EVERY SINGLE TENDER THING WAS PRESENT IN THE FLOWER. HER PERSONALITY WAS DEVOID OF EGO. HE HAD COLLECTED EACH FLOWER FROM HER LETTER. HE HAD STORED ALL THOSE FLOWERS IN A SMALL BAG. EVERY DAY, HE KEPT THE BAG BENEATH HIS PILLOW. EVERY LETTER BROUGHT A NEW HOPE FOR HIM, SAYING THAT THE FLOWER WILL BE A LIFELONG PARTNER. SUDHA MURTHY, HAS PICTURED THIS VERY SENSITIVELY.

CHEN PALACE, A UNIQUE PIECE OF ARCHITECT IN NEW ENGLAND. IT IS NOT JUST ANY BUILDING WHICH IS CONSTRUCTED WITH BRICKS AND SOIL, IT HAS A HISTORY OF THOSE PEOPLE WHO HAVE STAYED IN THIS BUILDING SINCE ITS CONSTRUCTION, WHO THEMSELVES ARE SO UNIQUE THAT THEY ARE KNOWN TO BE WHIMSICAL. THE INFRASTRUCTURE ITSELF HAS MAINTAINED A DISTANCE BETWEEN ITSELF AND THE REST OF THE VILLAGE, ALWAYS, RIGHT FROM THE DAY IT WAS CONSTRUCTED, OR WAS IT BEFORE CONSTRUCTION ITSELF? ALWAYS IN SECLUSION, ALWAYS WRAPPED IN THE MYSTIC LAYERS, PASSING THROUGH VARIOUS PHASES OF PROSPERITY AND DECLINE, STILL MAINTAINING THE SAME DISTANCE FROM THE VILLAGERS. THE PEOPLE STAYING HERE, WHAT ARE THEY MADE UP OFF? DO THEY HAVE TENDER MINDS? WHY ARE THEY SO STONEFACED? AND HOW IS IT THAT ONE DAY THEY DISCOVER THE TENDER FEELING OF LOVE? THE CURSED PALACE KEEPS ON MOVING ON THE UNFATHOMABLE ROADS YET VERY SWIFTLY ENGULFS THE READERS IN ITS INTERIORS.

Osho is the first of this type, always representing a fresh religiousness, totally novel, knowledgeable, mystic, occult. Kabir`s `dohe` are like a shawl woven by the different threads of human experiences and life. Each thread stands for the values of life, each a shining facet with a dimension. Love, dream, truth, ego, title, prestige, sati. Kabir has explained each aspect with perfect examples as was his peculiarity, while Osho sheds light on Kabir`s qualities. Kabir himself lives a human life, but reveals the formula of becoming free, he also seeks our attention towards living in the present with an eye on the future. He brings it to our notice that in this huge cosmos, we literally possess nothing, whatever we see around is all `HIS`, hence whatever leaves after we are no more is the eternal truth. Kabir also points out to the importance of a teacher. He tells us that guru is the indication to reach the almighty. At the end Kabir admits that he has achieved the god, saying `kahe Kabir mai pura paya!`

SUDHA MURTHY IS FROM THE NORTH KARNATAKA. PEOPLE HERE HAVE A TYPICAL PERSONALITY. THEY ALL CARRY THE CULTURE WITHIN THEMSELVES. ALL THE STORIES COLLECTED HERE RESEMBLE THE JASMINE GARLAND, EACH FLOWER CARRYING THE FRAGRANCE AND INTERWOVEN IN THE KARNATAKI THREAD. THE TENDEREST PART OF THE AUTHOR`S MIND COMES INTO LIGHT THROUGH THE WAY SHE HAS PICTURED THE UNCOMMON ASPECTS OF THE COMMON PEOPLE. SHE HAS ALSO BATHED IT IN LIGHT HUMOUR.

'RUTU NYAHALNARE PAAN' IS A COLLECTION OF INTERVIEWS OF V.S.KHANDEKAR. THESE INTERVIEWS ARE TAKEN DURING 1935 TO 1976 WHICH WAS WRITING PERIOD OF KHANDEKAR. IT CONTAINS INTERVIEWS TAKEN BY MAGAZINES LIKE 'VIHANGAM' & 'SAMARTH'. THIS COLLECTION COVERS ALMOST FOUR DECADES & WIDE RANGE OF VIEWS OF KHANDEKAR EXPRESSED IN VARIOUS INTERVIEWS.

THE "PATIL` OF THE VILLAGE, VERY SHREWD, CONNOISSEUR, FLIRT! FALLS IN LOVE WITH A FRIVOLOUS WOMAN, AND MARRIES HER, IN SPITE OF BEING MARRIED. THIS STORY PRESENTS HIS DISMAY IN LOOKING AFTER BOTH THE WIVES. THIS IS A DRAMA BY THE FAMOUS AUTHOR SHANKAR PATIL WITH HIS MIDAS TOUCH, FULL OF DIALOGUES, TUSSLES, LAWANIS, AND THE EVER SPECIAL RURAL LANGUAGE, AS THE TITLE SUGGESTS…..

A VERY SWEET MISUNDERSTANDING; MARRIAGE TAKES AWAY ALL THE PROBLEMS. THE WORD CHATURBHUJ MEANS GETTING MARRIED, JOINING HANDS IN HANDS. MARRIAGE DOES NOT END ALL THE PROBLEMS, ON THE CONTRARY, IT STARTS THE PROBLEMS. AFTER MARRIAGE, WE COME TO REALISE THE TRUE COLOURS OF LIFE. THE BIG DRAMAS OF REAL LIFE, THE TERRIBLE CHANGES OF CIRCUMSTANCES, THE PHYSICAL AND MENTAL UPS AND DOWNS, AND THE WAVES OF HAPPINESS; ALL THIS REVOLVES AROUND JUST ONE WORD, MARRIAGE. VA PU PRESENTS THE MIND FRAMES OF THE EAGER YET WORRIED BRIDEGROOM THROUGH "CHATURBHUJ`, THE AGONY OF THE WOULD BE BRIDE`S FAMILY THROUGH "CHUDA`, THE TERRIBLE CHANGES IN THE LIFE OF TWO FRIENDS AFTER MARRIAGE THROUGH "ANTAR` AND THE LIFE OF THE WIFE WHO IS STUCK IN THE TWIST IN THE DESTINY THROUGH "BALIDAN`.

THE SKY THE NAME SHANKAR PATIL IS NOW WELL RECOGNIZED IN THE WORLD OF MARATHI LITERATURE. HIS SAVOUR DIALOGUES AND LANGUAGE WITH ITS RURAL TOUCH BINDS TOGETHER PERFECTLY WELL GIVING IT A DEFINITE TOUCH AND FRESHNESS. HE VERY APTLY COMBINES THE VARIOUS CHANGES IN THE NATURE, THE SOCIAL CHANGES AND THE COMBINED EFFECT OF IT ON THE RURAL LIFE AND CULTURE, IN HIS STORIES. MEMORIES ARE LIKE THE CLOUDS, FULL OF RAINS, READY TO POUR ANYTIME, ENDLESSLY. SOMETIMES, THEY POUR LIGHTLY AND SOMETIMES VERY STRONGLY. BUT THE MEMORIES HAVE THE STRENGTH TO EVOKE THE DEEPEST CORDS, TENDEREST MOMENTS. THE MEANINGS OF MEMORIES CHANGE FROM PERSON TO PERSON YET THEY FILL THE MIND WITH THE RESONANCE OF THE MONOTONOUS RAIN AND THE CLOUDY MIND MERGES INTO THE CLOUDY SKY.

SHANKAR PATIL HAD ONCE MENTIONED,RAIN IS MY BEST FRIEND! WHEN MY MIND BURNS IN THE PYRE, I FEEL SUFFOCATED, LIFELESS, BUT WHEN IT STARTS RAINING, I FORGET MY RESTLESSNESS, BREATHLESSNESS.` THERE IS DEFINITELY SOME RELATIONSHIP BETWEEN HIM AND THE RAIN. HE HAS PICTURED THE RAIN IN VARIOUS FORMS THROUGH MANY OF HIS STORIES LIKE AABHAL, VALIV. SOMETIMES, THE RAIN JUST DRIZZLES, SOMETIMES IT COMES WITH THUNDER AND STORMS, SOMETIMES IT RAINS VERY HEAVILY, SOMETIMES IT BRINGS THE HAILSTONES WITH IT, SOMETIMES IT APPEARS LIKE AN OLD MAN WALKING, TAKING TIME BETWEEN EVERY TWO STEPS, SOMETIMES IT APPEARS AS A NAUGHTY CHILD. WHATEVER THE FORM MAY BE IT ALWAYS GIVES IMMENSE PLEASURE. THIS PLEASURE IS BEYOND ANY HAPPINESS. I REMEMBER ONE OF VINOBA BHAVE`S MEETING. IT HAD JUST STARTED DRIZZLING AND HE HAD SAID, "TODAY, I AM VERY MUCH HAPPY. THE TOUCH OF THESE RAINDROPS IS DIVINE, I FEEL THAT THE GOD HIMSELF HAS COME OVER HERE. IT IS LIKE THE THOUSANDS OF RAINDROPS ARE EMBRACING THE EARTH. BHALCHANDRA PHADKE.

PATIL`S WRITING HAS TWO BANKS, ONE HAVING THE HAPPY SIDE AND ONE HAVING THE SAD SIDE. ONE AWAKENS THE SORROW AND ONE BRINGS CHEERFULNESS. PATIL NEVER WROTE FOR THE SAKE OF HUMOUR, BUT HIS STORIES HAVE MANY UNSEEN SOWN SEEDS OF LAUGHTER. THEY ARE FULL OF THE CONTRAST IN LIFE, THE CONTRAST IS THE CENTRAL THEME OF HIS STORIES. PATIL MUST GET THE CREDIT FOR ADDING THIS CARICATURE TYPE STORIES TO MARATHI LITERATURE. THE HUMORISTS ARE THE WISE MEN OF THE WORLD BECAUSE THE MOST FORCIBLE WAY TO IMPART TRUTH IS THROUGH LAUGH. YES, PATIL PROVES TO THIS TEST. HE IS A VERY CLEVER, ASTUTE, INGENIOUS, NAUGHTY AND MISCHIEVOUS WRITER. THIS BOOK IS A PROOF OF HIS QUALITIES.

THIS IS A STORY BOOK WRITTEN BY SUDHA MURTI ESPECIALLY FOR THE CHILDREN. THIS BOOK IS A COMBINATION OF SOME INDIAN AND SOME FOREIGN STORIES AND YET SOME STORIES ARE A RESULT OF SUDHA MURTI`S OWN IMAGINATION. HERE THE CUNNING FOX MEETS US IN THE FORM OF A BENEVOLENT ROLE. YOU WILL ALSO MEET THE COW, MONKEY AND THE SCARECROW WHO WERE ALL FAVOURED BY THE GRANDFATHER AND WHO STILL ARE STILL GRATEFUL FOR THAT. WE WILL ALSO COME ACROSS MANY WOMEN WHO ARE NOT SCARED OF ANY CALAMITIES. ON THE CONTRARY, WE WILL FIND THEM COOL AND MAINTAINING THEIR CALMNESS THROUGH IT. YOU WILL MEET THOSE YOUNG PEOPLE WHO ARE GAINING LOTS OF MONEY BUT ARE USING THAT TO HELP THE NEEDY AND WHO THEMSELVES ARE STILL RELYING ON THEIR HARD WORK. THESE STORIES WILL SURELY TAKE YOU TO A DIFFERENT WORLD.

IT IS THROUGH DIFFERENT STORIES THAT ALL SORT OF PEOPLE COME TO MEET US, PEOPLE WHOM WE WON`T BE MEETING OTHERWISE IN OUR LIFE. THESE ARE RIGHT FROM THE KINGS AND QUEENS, PRINCES AND PRINCESSES, THEIR PALACES, THE MISERS, THE POOREST OF ALL, THE WISEST OF ALL, THE WITTIEST OF ALL, THE STUPIDEST OF ALL, MYSTERIOUS PEOPLE TO THE MAJESTIC EXPERIENCES. IN ONE STORY WE MEET A VERY INTELLIGENT PRINCESS WHO WANTS A MORE INTELLIGENT HUSBAND, SO SHE ALLOWS THE EAGER WOULD BE HUSBANDS TO ASK HER 9 QUESTIONS EACH, AT THE END SHE MEETS SOMEONE WHO IS DASHING AND MORE INTELLIGENT THAN HER. IN ANOTHER STORY, AN ORPHAN CHILD PUNISHES HIS WICKED UNCLE; IN ONE STORY A DRUM HELPS THE OLD COUPLE TO COME OUT OF A DISASTER. SOME OF THESE STORIES WERE TOLD TO SUDHA MURTHY, BY HER GRANDPARENTS WHEN SHE HERSELF WAS A KID, SOME OF THE STORIES WERE HEARD DURING HER VOYAGES AROUND THE WORLD AND SOME OF THE STORIES ARE THE RESULT OF HER INNOVATIVE MIND. FOR AGES, ALL THESE STORIES WERE LINGERING IN HER MIND. SHE HAD BEEN TELLING THEM TO ALL THE YOUNG MINDS WHO HAD COME IN HER LIFE. THIS IS FOR THE FIRST TIME THAT SHE HAS PENNED THEM DOWN AND MADE THEM AVAILABLE TO ALL.

THE BEANS IN A FARM. SHANKAR PATIL`S STORIES ARE A TREASURE OF MARATHI LITERATURE. HE HAS A VERY UNCOUTH MIND. HE DOES NOT INTEND TO EXPOSE THE RURAL LIFE TO GAIN POPULARITY. HE DOES NOT WRITE JUST WITH THE URBAN READERS IN HIS MIND. HE WRITES TO FIND HIMSELF IN THE WORDS, IN THE INCIDENCES, IN THE STORIES. HE HAS RECOGNIZED THE VALUE OF STORY WRITING, HE UNDERSTANDS THAT WRITING IS A MEAN TO FIND THE TRUE SOUL. HE STARTED HIS JOURNEY AS A STORY WRITER IN 1950. THE RURAL MIND AND SOUL LIVES IN A SOCIETY, YET THE SOCIETY FAILS TO INCULCATE THE VALUES LIKE FREEDOM, EQUALITY; THIS IS WHAT HE ALWAYS REGRETS. PATIL HAS MORE FAITH ON TRANSMOGRIFICATION THAN TRADITIONS. HE REALIZES THE PROBLEMS OF RURALITES, HE DOES NOT AIM AT ENTERTAINING, BUT WRITES OUT OF HIS SOCIAL AWARENESS. WHAT FACES HIM IS THE SOCIETY BASED ON THE ABODE OF VALUES AND CULTURE. HE EXPOSES THE SHOWY BUT USELESS TRANSFORMATION IN HIS UNIQUE STYLE, SARCASTIC YET WITH A TOUCH OF HUMOUR. DOES ANYONE FIND EXPERIENCES? NO, THEY COME TO US AUTOMATICALLY; WE JUST HAVE TO KEEP ALL OUR SENSES OPEN TO THEM. PATIL MUST HAVE REALIZED AND PRACTICED THIS. STILL, A LOT HAPPENS BETWEEN HIS FEELING OF THE EXPERIENCES AND REPRODUCTION OF THEM. IT IS A VERY INTRICATE PHENOMENON. HIS STORIES TAKE BIRTH FROM THE DEPTH OF HIS CONTEMPLATION. THIS PROCESS HAS BEEN CONTINUOUSLY GOING ON FOR OVER A PERIOD OF 25 TO 30 YEARS NOW. HIS STORIES HAVE ENRICHED MARATHI LITERATURE WORDLESSLY, CAN WE REFUSE THIS?

SHANKAR PATIL PORTRAYS THE RURAL LIFE AND THE RURALITES AND WE FIND THAT EACH ONE OF THEM HAS BEEN BESTOWED UPON WITH SOME SPECIAL RELIGION. THE AUTHOR POSSESSES THE IMMENSE WORD POWER TO GIVE JUSTICE TO EACH OF THE SPECIAL RELIGION. HE VERY CLEARLY UNDERSTANDS THE TEMPERAMENT OF EACH EXPERIENCE AND COMPLETES THE "HERCULEAN TASK` OF DISCLOSING IT PROPERLY. THROUGH HIS STORIES, THE MEANINGFUL EXPERIENCES OF THESE RURALITES ARE REPRODUCED GENUINELY, ACHIEVING UNIQUENESS. AT THE END, IT SUCCEEDS IN GIVING A SPECIAL FRAGRANCE TO THEIR UNIVERSE, FULL OF HAPPINESS AND SADNESS.

'SASHACHE SINHAVALOKAN' IS A OVERVIEW OF A MARATHI LITERARY LEGEND V.S.KHANDKAR'S LIFE. KHANDEKAR HAS DESCRIBED HIS LIFE STORY IN THE BOOK 'EKA PANACHI KAHANI' WHICH CONTAINS HIS LIFE SPAN FROM 1818 TO 1929 . AFTER THAT AUTHOR SUNILKUMAR LAWATE BROUGHT COLLECTION OF HIS AUTOBIOGRAPHICAL STORIES NAMED AS 'PAHILI PAVALE' & THIS IS THE THIRD PART OF KHANDEKAR'S AUTOBIOGRAPHICAL ESSAYS.