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கதை சொல்கிறேன் | தமிழ் சிறுகதைகள் | Tamil Short Stories

இலக்கிய தாகமும், எழுத்து வேட்கையும் தணித்துக் கொள்ள எழுதுகிறேன்..

Tag: "Tamil Book review"

சுந்தர காண்டம்.

மனம் ஒரு குரங்கு மனிதமனம் ஒரு குரங்கு அதை தாவ விட்டால் தப்பி ஓடவிட்டால்...

வெண்ணிற இரவுகள்

"வெண்ணிற இரவுகள் "  முகநூல் தளத்தில் இந்த கதையைப் பற்றி பதிவு எழுதாதவர்களே இல்லை என்று சொல்லும் அளவுக்கு நாயகி நாஸ்தென்காவைப் பற்றியும் அவ்வளவு பதிவுகள். அப்படி என்ன இந்தக் கதையில் இருக்கிறது என்ற ஆர்வம் இந்தக் கதையைப் படிக்க காரணமானது.

தூக்கிலிடுபவரின் குறிப்புகள்

தூக்குதண்டனை  பெற்றவர்களின் கழுத்தில் சுருக்குக் கயிறு மாட்டி லீவரை அழுத்தியதும் பாதாளத்தில் சென்றதும் அந்த நபரின் கடைசி நிமிட.... அதனால் ஒவ்வொரு முறையும்  ஜனார்த்தனன் மனம்  பட்டபாடு.  இந்த வேலையை அவர் எந்த சூழ்நிலையில் ஒப்புக்கொண்டார் என்பதையும் இப்படிப்பட்டவரின்  குடும்பத்திற்கு சமூகம் கொடுக்கும் (மரியாதை அல்ல) இடம், அவரின் தாய், தந்தை ,சகோதரர்கள் , தன் மனைவி குழந்தைகள் குறிப்பாக தன் பெண்ணுக்கு மணமகன் தேடுவது  என குடும்பம் சார்ந்த  குறிப்புகள் ஒருபுறம்.

இரகசியம் என்பது பொதுவாக வெளியில் சொல்லாது  ஒருவரின் ஆழ்மனதில் இருக்கும் கனவு ,ஆசை ,கோபம், காதல், இன்னபிற என்று சொல்லலாம். இந்த புத்தகத்தில் உள்ள ரகசியம் ,  ஒருவர் தன் இலக்கு நோக்கிச் செல்லும் வழியில் எதிர்ப்படும்  பூட்டிய கதவு,  எழும்பி நிற்கும் சுவர்,  தடுக்கி விட காத்திருக்கும் கல், திறந்திருக்கும் சன்னலையும் சாத்திவிடும் உள்நுழையும்  பெருங்காற்று, இன்னும் இன்னும் இதுபோன்ற எத்தனையோ தடைகளை, அவற்றின் தன்மைக்கு ஏற்ப, இலகுவாக அல்லது தன் முழு வலிமையினால் ,திறந்தோ, உடைத்தோ, நகர்த்தியோ, தள்ளியோ, சுற்றிக்கொண்டோ, ஏறிநின்று  (வெற்றிபெற்ற அல்ல) சாதனை படைத்தவர்களை உங்களால் எப்படி சாத்தியமாயிற்று? என விழிவிரிந்து ,வியந்து பார்த்து, கேட்கும் கேள்விக்கு பதிலே இந்த இரகசியம்.தமிழில் 'கதாநாயகன்' என்ற பெயரில் P.S.V.குமாரசாமி அவர்களின் மொழிபெயர்ப்பில் அருமையாக இருக்கிறது.

மெரீனா என்ற பெயர் + அட்டைப்படத்தை பார்த்ததும் (எஸ்.ஜானகி சிரித்த முகமும் கண்டு என்ற பாடலை குழந்தைகுரலில்  ஒருகுழந்தை பாடி பயிற்சி செய்வதுபோன்று பாடத்தொடங்கிகொஞ்சம் கொஞ்சமாக சுருதிமாறி கடைசியில் சிரித்தமுகம் கண்டு என்பது அழுத முகம் என குழந்தை பாடுவது போன்று பாடியிருப்பார் .) நகைச்சுவை கதைஎனநினைத்து வாங்கிவிட்டேன்.

கண்ணுக்குத் தெரியாத மனிதன்

ஹெச் .ஜி.வெல்ஸ் தன் வீட்டினரால் பெர்ட்டி என்று அன்புடன் அழைக்கப்பட்டவர். மூன்றுவயதிலேயே தன் அம்மாவால் புத்தகம் படிக்கும் பழக்கத்தை மேற்கொண்டவர். ஏழாம் வயதில் காலொடிந்து மாதக்கணக்கில் படுக்கையில் இருக்கவேண்டிய நிலையில் அவனின் அப்பா அவருக்கு தாவரவியல், உயிரியல் , விண்வெளியியல் ஆகிய புதத்தகங்களை அறிமுகப்படுத்த பின்னாளில் இதனை  குறிப்பிட்டு வாழ்வில் முக்கியமான தருணம் என்று சொல்லியிருக்கிறார்.

சிறுவயதில் கிடை மாடுகள் சாலையில் செல்வதைப் பார்த்திருக்கிறேன். தொலைவிலிருந்தே  கேட்க தொடங்கும்  மாட்டின் கழுத்திலிருக்கும் மணியின் டிங் டிடிங்டாங் சத்தமும் டக்டக் குளம்படிச் சத்தமும் சாலையின் ஒரு கோடியிலிருந்து மறுகோடிக்கு செல்லும் வரையிலும்  குறைந்தபட்சம் ஐந்து நிமிடங்கள் வரையிலும் தாளம் தப்பாத இசையாக  கேட்கும்.

டான்டூனின் கேமரா

புத்தகத்தின் அட்டையிலும் உள்ளேயும் எறும்பின் உடலமைப்பைப் போன்றே படங்களை வரைந்தளித்த கே.ஜி.நரேந்திரபாபுக்கு  நன்றிகள். வயதில் சிறியவர்களாக நவீன தொழில் நுட்பத்தினை எளிதில் புரிந்து கையாளக் கூடியவர்களாக வீட்டில் இருக்கும் பெரியவர்களுக்கு சொல்லித்தரும் சாமிநாத, சாமிநாதிகள்(பேரன் பேத்திகள்) குழந்தைகள் தின பதிவாக இந்த புத்தக விமர்சனத்தைப் பதிவிடுகிறேன்.

மேனிலைப் பள்ளி இறுதித் தேர்வில் "பிடித்த எழுத்தாளர்" தலைப்பில் கட்டுரை வரைக என்றகேள்விக்கு ராணிமுத்து வரிசையில் வாசித்த அகிலனின் நாவல்களால்   அவரின் ரசிகையான நான் சந்தோஷத்துடன் அகிலனைப் பற்றியும் அவரின்  'துணைவி ' நாவலைப்பற்றியும் எழுதினேன்.

தெனாலிராமன் கதைகள் | Tenali Raman Stories

விஜயநகர பேரரசின் கிருஷ்ணதேவராயரின் அவையில் இடம்பெற்ற விகடகவிராஜன் எல்லோருக்கும் தெரிந்த  தெனாலிராமன். புத்தகத்தில் 27 கதைகள் உள்ளன. தனக்கு வந்த ஆபத்தோ, உடனிருப்பவர்க்கு வரும் சங்கடமோ  தன்னுடைய சமயோசித அறிவினால் அழகாக திருப்பிவிட்டு ஒவ்வொருமுறையும்  "சபாஷ்" போடவைக்கிறான்

அறிவியல் விளையாட்டு

ஆன்மீகமோ,அறிவியலோ, கருத்துகளோ ,கணிதமோ, கதையாக, பாட்டாக, விளையாட்டாக குழந்தைகளிடம்  கற்றலை விதைத்தால் அது அவர்களை அறியாமலே மனதில் ஆழப்பதிந்துவிடும்.

சாயாவனம்(sayavanam)

சிதம்பரம் குழந்தையாக இருக்கும்போதே அவன் அம்மா அவனைத் தூக்கிக்கொண்டு ஊரைவிட்டுச் சென்று விடுகிறாள். உருவத்திலும் செல்வத்திலும் வளர்ந்தவனாக திரும்பிவரும் சிதம்பரம், சாம்ப சிவத்திற்கு சொந்தமான சாயாவனத்தை விலைக்கு வாங்கி கரும்பாலை ஒன்றை நிறுவ வேண்டும் என்று எண்ணத்துடன் வருகிறான்.

அகிலன் என் அபிமான எழுத்தாளர். ராணிமுத்து வரிசையில் வாழ்வு எங்கே? நெஞ்சின் அலைகள், துணைவி, சிநேகிதி பால்மரக் கட்டினிலே இந்தகதைகள் எல்லாம் ஒவ்வொன்றும் மறக்க இயலாதவை.

இன்பமயமான தமிழகவரலாறு

சூழலியல் சீர்கேடு எப்படியெல்லாம் உருவாகிறது என்பதை நாம் தெரிந்து கொள்வதுடன் நம் சந்ததியினரை எச்சரிக்கவும்  இந்த நூலை அவசியம் அனைவரும் படிக்கவேண்டும். 

நல்லதோர் வீணை

உடற் பிணியைப் போக்கும் ஓயாத மருத்துவ பணி. அதற்கு இணையாக மகளிரின் உள்ளத்திற்கு உரமூட்டும் வகையில் எழுத்துப் பணி இரண்டையும் சிறப்புறச் செய்த லெஷ்மி அவர்களுக்கு என் வணக்கங்கள்.

ரெட் பலூன்(Red Balloon)

"ரெட் பலூன்" சிறார் வகை நாவல். இது படமாக்கப்பட்டு கேன்ஸ் திரைப்படவிழாவில் தங்கப்பதக்கம் விருதையும், ஆஸ்கார் விருதையும், பிரிட்டிஷ் அகாதெமி விருதையும்  பெற்றிருக்கிறது.

ஆகாயத்துக்கு அடுத்த வீடு

வயதானபின்பு நிதானமாய் யோசிக்கும் போதுதான் தெரிகிறது நாம் எவ்வளவு நாட்கள் பயனற்றதை  செய்திருக்கிறோம் என்று.

குறிஞ்சி மலர்

வறுமை விரட்டிய நிலையிலும் பண்பு நிறைந்தவனான அரவிந்தனே என் மனதுக்கு குறிஞ்சிமலராகிறான்.  மலரில் ஆண்மலரும் உண்டுதானே!!!

"'ஜீவனாம்சம்' சி.சு.செல்லப்பாவின்  'எழுத்து' இதழில் 1959-60 இல் வெளிவந்துள்ளது. முன்னுரையில் ஆசிரியர்  இந்த படைப்பிற்கான நடப்பு ஆதாரம் உண்டு என்பதோடு அது என்ன என்பதையும் கொடுத்துள்ளார். அதை அப்படியே தராமல் கதைக்கு ஜீவனாக ஒரு இழையை  மட்டும் எடுத்து அழகாக  முழுக்க முழுக்க சாவி்த்திரி என்ற நாயகியின் மன போராட்டம் வழியே கதையை கொண்டு சென்று...."

வாடி வாசல்(Vaadi vaasal)

"மாடு என்றால் செல்வம் அப்படிப்பட்ட செல்வத்தை, அதன் தொடர்பான பாரம்பரியமிக்க  வீர விளையாட்டை  வாடி வாசல்  என்ற  அழியாத கால்நடை சுவட்டை பதிப்பித்த 'காலச் சுவடு'க்கு நன்றிகள்."

கல்கியின் சிறுகதைகள்

"தந்தைக்கு தன் புதல்வியின் சங்கீத ஞானத்தைப் பற்றி மகா பெருமை. தன் வண்டியின் ஹாரன் சத்தத்திற்கு அடுத்து பெண்ணின் குரல்தான் அவருக்கு மிகப் பிடிக்கும்."

உலகளவில் புகழ்பெற்ற ஏழைகள்

வெள்ளத்தனைய மலர் நீட்டமாக உள்ளத்தனைய உயர்வு பெற்று  வாழ அனைவருக்கும் புத்தாண்டு  வாழ்த்துகள்!!

மறைந்து வரும் மரங்கள்

'எங்கேயோ காணக்கூடிய அற்புதங்களைக் கண்டு அதிசயிக்கும் மனிதன் கண்முன் அழியும் இயற்கையைின் அற்புதங்களைப் பற்றி ஒரு கவலையும் இல்லாமல் வாழ்வது கூட உலக  அதிசயமாயுள்ளது அப்படித்தான் மரங்கள் அழிவதும்'

வாடா மலர்(vada malar)

தானப்பனும் குழந்தைவேலும் சிறுவர்களாக இருந்தபோது  கரித்துண்டுகளால் மீசை வரைந்து அதை வீட்டிலுள்ள கண்ணாடியில்  பார்க்க  முயற்சிக்க , அம்மா அப்பாவுக்கு பயந்து  பக்கத்திலுள்ள குட்டையில் பார்க்கின்றனர்.

வாஷிங்டனில் திருமணம்

"அலிபாபாவின் குகையின் கதவு திறக்க 'திறந்திடு சீசேம்' என்று சொல்ல வேண்டும். பல்வேறு அழுத்தங்களால் மூடிக்கிடக்கும் மனதை திறக்கும் சாவி, விசா இன்றி வாஷிங்டனில் திரும(ன)ணம் காண வைத்ததற்கு மீண்டும் நன்றிகள் சா(வி)ர்."

புதுமைப்பித்தனின் ஆற்றங்கரை பிள்ளையார்

"உறங்கிக் கொண்டிருந்த பிள்ளையார் ஒரு அற்புதமான கனவு காண்கிறார். தான் பெரிதாக வளர்வது போல் தெரிகிறது. முகத்தில் புன் சிரிப்பு தோன்றுகிறது. தும்பிக்கை சற்று அசைகிறது."

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TAMIL BOOKS REVIEW | தமிழ் புத்தக விமர்சனம்

These reviews are my perspective only if you think youre easily get offended by reading this review my suggestion is "fall back to safe zone".

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தமிழ் புத்தக விமர்சனம் " ஸீரோ டிகிரி - சாரு நிவேதிதா ", தமிழ் புத்தக விமர்சனம் " பழி - அய்யனார் விஸ்வநாத் ", தமிழ் புத்தக விமர்சனம் " எனது பார்வையில் ஆர்.எஸ்.எஸ். - ஜெயகாந்தன் ", தமிழ் புத்தக விமர்சனம் " ரெயினீஸ் ஐயர் தெரு - வண்ணநிலவன் ", தமிழ் புத்தக விமர்சனம் " ஒரு கடலோர கிராமத்தின் கதை - தோப்பில் முஹம்மது மீரான் ", தமிழ் புத்தக விமர்சனம் " சூடிய பூ சூடற்க - நாஞ்சில் நாடன் ", தமிழ் புத்தக விமர்சனம் " the alchemist ( ரசவாதி ) - paulo coelho ", தமிழ் புத்தக விமர்சனம் " நட்சத்திரவாசிகள் - கார்த்திக் பாலசுப்ரமணியன் ", தமிழ் புத்தக விமர்சனம் " கெட்ட வார்த்தை பேசுவோம் - பெருமாள் முருகன் ", தமிழ் புத்தக விமர்சனம் " ஆமென்: ஒரு கன்னிகாஸ்திரீயின் தன்வரலாறு - சிஸ்டர் ஜெஸ்மி - குளச்சல் மு.யூசுப் ", தமிழ் புத்தக விமர்சனம் " புதுவையில் ஒரு மழைக்காலம் - அய்யனார் விஸ்வநாத் ", தமிழ் புத்தக விமர்சனம் " கொமோரா - லஷ்மி சரவணகுமார் ", தமிழ் புத்தக விமர்சனம் " 1098 - சுப்ரபாரதிமணியன் ", தமிழ் புத்தக விமர்சனம் " பாத்துமாவின் ஆடு - வைக்கம் முகம்மது பஷீர் - குளச்சல் யூசுஃப் ", தமிழ் புத்தக விமர்சனம் " எங்கே உன் கடவுள் - சாரு நிவேதிதா ", தமிழ் புத்தக விமர்சனம் " நகர்துஞ்சும் நள்யாமத்தில் செங்கோட்டு யானைகள் எடுத்துப் படித்த viii தஸ்தாவேஜ்கள் - பாவெல் சக்தி ", தமிழ் புத்தக விமர்சனம் " சாப்பாட்டுப் புராணம் - சமஸ் ", தமிழ் புத்தக விமர்சனம் " ஒரு சிறிய விடுமுறைக்கால காதல் கதை - எஸ்.ராமகிருஷ்ணன் ", தமிழ் புத்தக விமர்சனம் " ஹிப்பி - அய்யனார் விஸ்வநாத் ", தமிழ் புத்தக விமர்சனம் " கானல் நீர் - அப்துல்லா கான் - விலாசினி ", தமிழ் புத்தக விமர்சனம் " அதீதத்தின் ருசி - மனுஷ்யபுத்திரன் ", தமிழ் புத்தக விமர்சனம் " பசித்த மானிடம் - கரிச்சான் குஞ்சு ", தமிழ் புத்தக விமர்சனம் " கூளமாதாரி - பெருமாள் முருகன் ", தமிழ் புத்தக விமர்சனம் " யூதர்கள் - முகில் ", தமிழ் புத்தக விமர்சனம் " என் கதை - கமலா தாஸ் - நிர்மால்யா ", தமிழ் புத்தக விமர்சனம் " உணவின் வரலாறு - பா.ராகவன் ", தமிழ் புத்தக விமர்சனம் " கோதைத்தீவு - வ.ரா ", தமிழ் புத்தக விமர்சனம் " பெரியாரின் போர்வாள் நடிகவேள் எம்.ஆர்.ராதா - சோம சுந்தரம் ", தமிழ் புத்தக விமர்சனம் " மிட்டாய் கதைகள் - கலீல் ஜிப்ரான் - என்.சொக்கன் ".

அவசியம் வாசிக்க வேண்டிய தமிழின் கிளாசிக் நாவல்கள் #VikatanPhotoCards

கூளமாதாரி, ஏறு வெயில், பூனாச்சி அல்லது ஒரு வெள்ளாட்டின் கதை போன்ற நாவல்களையும், பல சிறுகதைகளையும் எழுதியவர் எழுத்தாளர் பெருமாள்முருகன். பேராசிரியர் சங்க தமிழ் இலக்கியம் துவங்கி நவீன இலக்கியம் வரை புலமை கொண்டவர். அவர் பரிந்துரை செய்த தமிழின் 10 கிளாசிக் நாவல்கள்.

தமிழ் இலக்கியம் ஒரு பெருங்கடல். தமிழ் இலக்கியத்தில் பல்வேறு காலகட்டத்தில் ஆகச்சிறந்த நூல்கள் பல வெளியாகி உள்ளன. தமிழைத் தாண்டி பிற மொழிகளில் பல நாவல்கள் மொழிபெயர்க்கப்பட்டுள்ளன. அவற்றில், கிளாசிக் தன்மை வாய்ந்த 10 நாவல்களை எழுத்தாளர் பெருமாள்முருகன் பரிந்துரைத்துள்ளார்.

`நினையாரோ தோழி.. தினையேனும் எனை நினையாரோ?'- புதுக்கோட்டையில் பெருக்கெடுத்த சங்க இலக்கியம் #MyVikatan

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வாய்ப்பு-குட்டிக் கதை

செயற்கை நுண்ணறிவும் மனித ஆற்றலும்-Artificial Intelligence and Human Power

போதைப் பொருள் பாவனையும் கட்டுப்பாடும்-Drug Abuse and Control

நோய் தொற்றியது-Tamil short story

சேப்பியன்ஸ்-மனித குலத்தின் சுருக்கமான வரலாறு நூலின் மீதான எனது பார்வை-The book review of Sapiens-History of humankind

Menu footer widget, ஹிட்லர்:சொல்லப்படாத சரித்திரம் நூலின் மீதான எனது பார்வை-the book review of hitler sollappadaatha sariththiram.

முகில் எழுதிய ஹிட்லர் சொல்லப்படாத சரித்திரம் என்ற புத்தகமானது ஹிட்லரின் முழுமைய…

பாம்புகளும் மனிதர்களும்-Snakes and humans

ஒவ்வொரு ஆண்டும் உலகளவில் 50 லட்சம் பேர் பாம்புக்கடியை எதிர்கொள்வதுடன், அதில் கி…

ஆதி இந்தியர்கள் நூலின் மீதான எனது பார்வை-The book review of Aathi indhiyargal

டோனி ஜோசப் எழுதிய ஆதி இந்தியர்கள் என்ற புத்தகமாகனது ஆபிரிக்கா மேற்காசியா,கிழக்…

பேராசை -Tamil short story

பிரம்மதத்தன் காசியை ஆண்ட போது போதிசத்வர் செருப்புத் தைக்கும் குடும்பத்தில் ஒரு …

Smartphone ஆபத்துக்களை அள்ளித்தரும் அதீத பயன்பாடு-Excessive use of smartphone poses risks

நவீன உபகரணங்களும் புதிய தொழில்நுட்பங்களும் வசதிகளை மட்டுமே கொண்டு வருவதில்லை.பக…

வேர்கள் நூலின் மீதான எனது பார்வை-The book review of verkal

அலெக்ஸ் ஹேலி எழுதிய வேர்கள் நாவலானது அமெரிக்க மூலதனத்தின் கோரப்பசிக்கு இரையான …

அவமானம் நூலின் மீதான எனது பார்வை-The book review of Avamaanam

புத்தகத்தின் பெயர்:- அவமானம் ஆசிரியர் :- சாதத் ஹசன் மண்ட்டோ தமிழில் :- ராமாநுஜம…

பூனையும் எலியும்-Tamil short story

காட்டிலே ஒரு வேடன் மாலை வேளையில் வலை விரித்துச் செல்வான். இரவு அதிலே சிக்கும் வ…

ஊழின் அடிமையாக நூலின் மீதான எனது பார்வை-The book review of Oozhin adimaiyaga

மரியா ரோஸா ஹென்ஸன் எழுதிய ஊழின் அடிமையாக என்ற புத்தகமானது இரண்டாம் உலகப்போர் க…

தொலைந்து போன மோதிரம்-Tamil short story

சோமன், ராமன் என்ற இரண்டு  ஆட்கள் ராஜாவிடம் பணி புரிந்து வந்தனர். ராமனைக் கண்டால…

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• Jun 2, 2021

Children’s Books by Tamil Authors to Check Out

I often get asked recommendations for books, recently, I’ve been asked a few times for recommendations for my favourite stories for children in Tamil or by Tamil authors. I’ve put together a list of story books I’ve truly enjoyed with my own children written by a Tamil author or about Tamil children. I’ve included only books that tell a story. I hope to add more books as I am able to, but send me any suggestions for stories you think I should check out here.

The Magic Crystal and the Superheroes

Sharanja Jeneeit / Arun Krishna (illustrator)

In this story, an adventurous superhero sister brother duo tries to save a magic crystal from a fierce dragon. Will they be able to save the magic crystal?

Tamil children need more books with characters that are strong, brave and of Tamil heritage. Children should feel represented in the stories they read. This book highlights different aspects of Tamil culture and shows us that Tamil children can be superheroes too. It is a dual-language book, in both Tamil and English; this helps build print awareness in both languages.

Language: English and Tamil (dual language)

Format: Hardcover

Ella’s Choice

Gaiathry Jeyarajan

Children are meant to listen all the time, right? Wrong! Not Ella! It's time everyone listened to HER about what is NOT okay. Fierce little Ella wants everyone to know that her voice is important too! But will her parents support her? Will her friends respect her? Let's find out!

This book helps to introduce the idea of consent and boundaries to children in an easy-to-understand and friendly way, all important conversations to have. It is written by Dr. Jeyarajan, a Toronto based psychologist.

Language: English

Format: Hardcover or Paperback

Two Drops of Brown in a Cloud of White

Saumiya Balasubramaniam/ Eva Campbell (illustrator)

Ma misses the sun, warmth and colors of their faraway homeland, but her daughter sees magic in everything — the clouds in the winter sky, the “firework” display when she throws an armful of snow into the air, making snow angels, tasting snowflakes. And in the end, her joy is contagious. Home is where family is, after all.

This story is one that can resonate with immigrant families who find them having to make a new home in an unfamiliar place, and shows us that even within the same family, moving to a new place can be seen through different lenses, like this mother and daughter duo.

Palm Trees Under Snow

Meera Bala/ Galina Moleskine (illustrator)

Growing up, Maya was surrounded by palm trees, the ocean breeze, and a big extended family. Maya’s life takes a turn as she witnesses her beautiful island being destroyed by the war. Maya’s parents decide to immigrate to another country to find peace and safety. When she arrives in the new country, Maya can’t speak the language and no one at school wants to be her friend. Will Maya ever feel a sense of belonging in her new home?

This book for school aged children beautifully introduces children with the struggle many immigrant children face of acceptance and belonging, while also sharing about the challenges that lead to their migration.

Paati Veedu

Vanitha Veerasamy/Navya Raju (illustrator)

Vanitha loves visiting her grandmother’s place every weekend. What are her favourite things to do there? Who does she enjoy spending time with? This simple story is a reflection of the author’s own childhood memories and depicts the joy an extended family brings into a child’s life.

Paati Veedu is a simple story, perfect for even the youngest readers, to talk about the fun and joy of visiting grandparents and extended family. The illustrations are familiar and help children to see themselves and their families in a story.

Language: Tamil

Format: Board Book

Gift for Amma

Meera Sriram/ Mariona Cabassa (illustrator)

In hometown of Chennai, India, a girl explores the vibrant rainbow of delights in a southern Indian street market as she searches for a gift for her amma (mother). Endnotes explain all the items on sale and introduce readers to markets around the world.

This vibrant and colourful book takes us on a visual tour of a market, while bringing to us familiar objects that we often don’t see in other picture books. This book reminded me of a trip down Gerrard Street in Toronto (back in the day!) where the streets were lined with colourful little trinkets.

Format: Hardcover/ Paperback

Dancing in Thatha’s Footsteps

Srividhya Venkat/ Kavita Ramchandran (illustrator)

On Sundays, Varun has his karate lesson, and his sister Varsha heads to dance school with their grandfather. One weekend, Varun reluctantly accompanies his sister to her lesson. Bored of waiting, he peeks into the classroom, and almost immediately, he is fascinated by the rhythm and grace of bharatanatyam, a dance from India that Varsha is learning to perfect. Varun tries a few moves at home in secret because…well, boys don’t dance, do they? His grandfather is not so sure. Will Thatha be able to convince Varun to dance in his footsteps?

This beautiful book helps to challenge gender stereotypes in a gentle way, showing that bharatanatyam and dance does not have to be just for girls. Many of us can relate to stories like this of being dragged to extra-curriculars we think we may not be interested to, especially if we have a sibling of the opposite gender but find ourselves exploring and truly interested in something we may not have found on our own otherwise.

Format: Hardcover/Paperback (releasing June 30, 2021)

Note: I had read a preview review version.

In Conclusion

What are some of your other favourite children’s stories by Tamil authors? I’ve love to check out some of your recommendations.

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Vishy’s Blog

On books, reading and other delightful things, book review – ponniyin selvan (ponni’s son) (volume 1) by kalki.

May 26, 2021 by Vishy

I haven’t read a book in my native language Tamil in a while. So I thought that before I forget it completely, I’ll read a book in Tamil  I decided to read ‘ Ponniyin Selvan ‘ (Ponni’s Son) by Kalki .

‘ Ponniyin Selvan ‘ was first published in the 1950s, when it was serialized in Kalki magazine. It was probably the first (or one of the first) historical novels in Tamil and it got great acclaim and a huge fan following when it first came out. It led to a whole historical-fiction-industry in Tamil, when everyone and their brother and sister started writing historical novels. I think that craze died sometime in the 1990s.

I first read ‘ Ponniyin Selvan ‘ when I was in school. It was reissued again  in Kalki magazine. We used to read a couple of chapters every week and then wait for the next week’s issue. The story ran for nearly three years. A few years back, one of the publishers decided to publish the book in the format in which it originally came out in the 1950s, with the same font, and the illustrations by the original artist. When this edition came out, I got it. It was beautiful. That is the one I am reading now. I finished reading the first volume today.

What is the story about? Well, ‘Ponniyin Selvan’ has a long, epic, rambling plot. It is a historical novel set at around 970 C.E. It is about the Chola king and queens and princes and princesses and their friends and enemies. It has everything that one would expect in a historical novel – many characters, intricate plot, conspiracies, palace intrigues, romance, war, amazing adventures, secrets from the past, charming characters, spies, badass villains, many surprising revelations. The influence of Alexandre Dumas is deeply felt in Kalki’s book – there is a young man, Vandhiyadevan, who looks like D’Artagnan, there is a beautiful woman, Nandini, who looks like Milady de Winter, and there is even a minister like Cardinal Richelieu. Of course, the actual plot and characters are different and fascinating in their own way.

One of the things I loved about the book is that it focuses on the plot and the characters. There is a lot of charming dialogue, but there are no long monologues or boring descriptions. There is rarely a dull moment in the story. Another thing I loved about the book is that, the author gives the required historical background, whenever it is required for a better understanding of the story. He doesn’t push the historical background into the footnotes or into the notes at the back of the book, but provides it in the middle of the story. That way he makes us learn history on the way and I loved that. Another thing I loved about the story is that different characters in the book quote classic Tamil poetry, and they follow it up with a commentary on the poem. Sometimes a poem has mythological allusions which are not readily apparent while reading the poem and the author, through a character’s voice, explains them. It was fascinating to read.

I read the book for the first time when I was fifteen and now when I am reading it again after many years, my reading experience is totally different. For example, when I read it the first time, I unconsciously classified the characters as good and bad, the way we tend to do when we are younger. But reading it now, I realized that the way Kalki has depicted the characters, they are complex and imperfect and fascinating. The bad characters are not really bad, and the good characters are not really perfect. It is fascinating how we see a book with new eyes, when we read it again after many years.

The artwork in the book by Maniom, is very beautiful. It has a classical, vintage feel to it. I’m sharing some of my favourite pictures from the book, below. Hope you like them.

Hoping to start the second volume later today 😊

Have you read ‘ Ponniyin Selvan ‘? Do you like re-reading your favourite books? Do you relate to them differently when you read them again?

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Posted in Book Review , Historical Novels , Tamil literature | Tagged   Cholas , Kalki , Kundhavai , Manion , Nandini , Ponniyin Selvan , Tamil Historical Novels , Tamil literature , Vandhiyadevan | 17 Comments

17 Responses

What a beautiful reprint of this book Vishy, I love all the illustrations you share and that format. It’s interesting too that it sparked off a trend in writing historical fiction and good to know this one has stood the test of time.

Enjoy the next volume.

Thank you, Claire 😊 Glad you liked the illustrations. It makes me nostalgic and makes me remember my teenage self and summer holidays when we used to read for the whole day 😊 Have started the next volume and am nearly halfway in. It is wonderful!

I wish I could read Tamil. It is my mother tongue but as I didn’t grow up in the south, I didn’t learn to read or write in the language. Tamil literature is very rich and it must be wonderful to be able to read books in the original. I do love re reading books from my childhood and youth and enjoy revisiting them through an adult lens. Thank you for the wonderful post!

Glad you liked the post 😊 Hope you get to read some of these Tamil books in translation. I’ve heard that the translations are wonderful too. Re-reading books from our childhood is wonderful, isn’t it? Glad you like it too 😊

What striking illustrations and how wonderful you’ve shared them with us…that must have taken some time and patience!

I’ve not heard of this book but I do love to revisit and reread books, of all kinds but especially the books i loved when I was a kid, books that I reread even then, ad compare how differently I feel about them now or what stands out differently. Eventually I started to keep a log of my favourite passages, so now if I reread something I’ve not read for a decade or so, I can also look back to see which passages I flagged on my previous reading (there is usually a little overlap, but not much)! What strikes me about your reread here is the idea that the characters were interpreted as more one-dimensional whereas now you have seen complexity and contradictions. Fascinating!

Glad you liked the illustrations 😊 So nice to know that you enjoy re-reading your favourites too! Loved what you said about how your favourite passages from the first read and the subsequent read were different. Thanks for sharing your thoughts 😊

I love that you noticed shades of gray in characters your younger self had assumed were black and white – you’re right, we do that as kids. I admire you for reading Tamil – I’m still trying to develop a habit of reading Marathi.

Loved what you said about shades of grey. Hope you enjoy reading Marathi books and stories.

“The bad characters are not really bad, and the good characters are not really perfect.” — thinking to read one from my childhood now…

Thank you for your comment, Dop 😊 So nice to see you after a long time. Hope you enjoy reading your childhood favourites again.

Ponniyin Selvan is a masterpiece. The characters have unique qualities. Even a mixture of the three musketeers and Macbeth wouldn’t come close to kalkis literary work.

I have read the 5 volume English translation and was fascinated by the narrative and it’s fascinating take episode to episode. Even when reading it I felt it naturally lent itself to serialization. Glad Mani Ratnam is making it.

Nice, where can I buy this book with illustrations? I have read the hardbound book in tamil, but love to get this version with the illustrations.

This illustrated edition is published by Vikatan Publications. You can get it on Amazon or through their website.

its very very intersting book

[…] what I wrote in my review of the first part of the book, last year. You can find the whole review here. ‘Ponniyin Selvan’ is a historical novel set at around 970 C.E. It is about the Chola […]

Nice film But if you mentioned bit about Keerthi Vijayabahu, then it is perfect. Next thing is Buddhist monks never bow in front of King and never stand for King. Probably Mr Manirathnam does not know about that.

Any way nice film.

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This anthology of Tamil stories lay out the rich possibilities of modern fiction in an old language

‘the greatest tamil stories ever told’, selected and edited by sujatha vijayraghavan and mini krishnan, is deliberately themeless..

It is notoriously hard to review short stories, even more so if they are thirty in number and ordered neither by theme or author or cultural milieu, except that they were written in the same language (or kind of, between dialects and the ever increasing gulf between spoken and written Tamil). There is no logic except what the editor has made of the assignment to collate the greatest Tamil stories ever told. And the editor’s rationale rings in the foreword: the stories provide the reader with a “fair idea of the Thamizh people and their vibrant culture.” I will take the reviewer’s liberty to make the object nouns plural: peoples and cultures.

I am not an expert on the volume of work that encompasses literature written in Tamil, nor on the sociological groups that partake in this enterprise. But one gets the sense that if they were to pull up the Tamil Nadu censuses from the late British Raj (which would have been Madras Presidency, I suppose) to the recent ones, they would find most of the major groups in this collection: from Indira Parthasarathy’s upper middle class man to Father Mark’s Dalit Christians to Dilip Kumar’s Gujarati-Tamil population, the list goes long. And that is indeed what the collection aims to do, for all strata of Tamil society to “have their voices here.”

The collection also boasts of some of the most prominent literary voices that have written in Tamil from the 1900s, from the pre-independence Pudumaipittan, Bharathiyar, and Kalki to the contemporary Perumal Murugan, Ambai, Bama. There are some names visibly missing as well, like Jayakanthan or Salma, but that is a fruitless critique, because literature is capacious and it is an impossible task to organise stories that will exhaust all authors and themes and groups and ideas. And as much as any collection claims to carry the whole length and breadth of a language’s literary produce, that claim is as truthful as claiming Tamilians don’t have linguistic pride.

Drama and monologues

This review, like the stories themselves, has no common anchor. The themes are varied, the literary concerns are varied, and so is the quality of the individual stories. The form of the short story shoulders immense responsibility on its tiny body: to develop character, build a concern, and deliver an ending that rounds them all off. Unlike its lengthier cousin, the novel, the short story necessitates intense precision. Sometimes one detail is all it takes to either make the story brim with life or push it into a cesspool of missed opportunity.

Dilip Kumar’s “The Solution” is such an example of attention to detail. The Gujarati household’s obsession with ritual purity finds expression even in the specifics of which hand should be used to pick up a bucket while going to the toilet. The hypocrisy of such cleanliness comes to its boiling point when a rat is found dead in the communal well. What follows is the drama of getting the corpse out and purifying the water, the (re)solution of the story.

La Sa Ra’s “Rivulets” also begins with a boy’s thoughts on his father’s incorruptible pristine whiteness. Multiple details set up the boy’s character for us: childhood memories and random philosophical rumination on the nature of existence. There’s even a well that introduces the narrator to the titular word “rivulets”: the thin thread of water that fills the well continuously from an underground spring.

But none of these details actually leads up to the primary conflict of the story: a baby is found dead and abandoned in a rubbish heap and its mother is whipped in public as part of street justice. The narrator’s mother launches into a lengthy public monologue about the unfairness of punishing only the woman. But we know nothing about her, nor her propensity for bold feminist lectures. The story records several details in stream of consciousness but without the underlying logic needed to execute it.

The form of the monologue also figures in Maalan’s “The Door Opens.” A depressed man, completely disillusioned and fed up of life, meets a saamiyar (a kind of monk). He comments sardonically on the opulence of one who has supposedly renounced the world, before observing the different people who seek life advice from the saamiyar.

The narration breaks suddenly when the Saamiyar offers a preachy monologue in response to an American man’s desire to become a monk. To don saffron, he says, is not renunciation but the embracing of everyone and everything, Universal Love. The story ends immediately after this monologue, with the narrator claiming the door in his mind had been opened. A (random) lesson for all.

Tyranny and justice

But not all lessons need to be in a monologue. In fact, lessons not in the form of a monologue might have a better impact. CS Chellappa’s “The Door Closes” narrates the story of prisoner 623. After serving term as a political prisoner, 623 makes his way outside the prison only to be met with the glaring emptiness of the outside in stark contrast to his imaginings of freedom. Sundara Ramaswamy’s Naadar sir, despite breathing new passion into his students for football, finds himself rebuked by an administration that can only comprehend exam scores. Father Mark Stephen’s “Penance” explores the structural hypocrisy that marks Dalit Christians as light-bearers for Mother Mary but simultaneously vulgarises that job. The fruitlessness of individual agency in the face of structural injustice comes to the fore, while a sense of hopeless injustice pervades.

An individual’s fight against tyranny become crucial foci in Poomani’s “Change” and Bama’s “Ponnuthayi”. But instead of despondency, they initiate the kind of feminist protest that the mother in “Rivulets” unsuccessfully executes. Poomani narrates the story of Muthupechhi, who works as an agricultural labourer. Muthupechhi confronts the landlord who pays them in worm-infested grain, finally organising the other labourers to boycott the landlord’s farm the very next day, leading his farm to partial ruin. Bama’s Ponnuthayi calls the police on her abusive husband, a matter that elicits the interest of everyone around her. But no amount of scorn, rebukes, including her own mother’s harsh words, move Ponnuthayi, who uses the thali that had shackled her earlier to her husband to fund her own petty shop.

The idea of fitting retribution finds its way into other stories, but with more open endings. Anbaathavan’s “Certificate!” narrates the story of an Irular boy’s attempts to get a caste certificate in order to join high school. After being insulted for his caste being that of snake-catchers, the boy flings baby snakes in the office in order to “prove” his caste to the apathetic officials.

Sa Kandasamy’s “The Slaying of Hiranya” follows the story of a Koothu performer who takes his revenge on the lead actor for raping his wife. In a gruesome, even cinematic, narration, the enraged man in his performance of Narasimha gores the entrails of the villain Hiranya before embracing his wife in his triumph over evil.

Mythology and processes of myth-making in themselves become fertile ground for other stories. Kumudini’s “Letters from the Inner Palace,” and Balakumaran’s “Rain, Endless Rain” partake in the stories from the Ramayanam and Mahabharatam, reviewing their narrative worlds. On the other hand, Thoppil Mohamed Meeran’s “Space Travellers” and Imayam’s “The Binding Vow” animate local legends alongside modern concerns of environmental degradation and gendered caste violence.

Identities and connections

Vasantha Surya, in her introduction, finds in the Tamil literary aesthetic a commitment to an “ethic of doubt and questioning,” in other words, a willingness to probe uncomfortable situations. Stories like Chudamani’s “My Name is Madhavan” and Ambai’s “Journey” confront topics like disability rights and marital infidelity with sympathetic curiosity.

Ambai explores a pregnant woman’s life: from rejecting a dowry-demanding bridegroom to marrying an impotent but adoring husband to becoming impregnated by her new father-in-law, provoking questions on the honour of reproduction and its demands on desire. Chudamani’s “sightless” young man’s typewriting skills become just another “blind boy” circus trick for the narrator’s mother. “My name is not ‘blind boy’,” says the young man, “My name is Madhavan,” before walking out of the house and the story itself.

In other stories, characters’ self-assuredness is tested against the influence of another. And so the crow in Bharathiyar’s “ The Story of a Crow Learning Prosody ,” influenced by his wife’s art of love, forgets his desire to learn the art of poesy. The protagonist of Aadhavan’s “Arrogance” who judges his people-pleasing Guru discovers the uneasy weight of being adored by a learned rasika.

Anukoolasamy, the teacher-protagonist of Thi Janakiraman’s “Crown of Thorns,” finds to his horror that despite his staunch practice of non-violence, his words have caused one boy to be shunned by the entire class for a year. And god himself in Pudumaipittan’s “God and Kandasami Pillai,” finds his venerated dances dismissed by a modern audience.

In some cases, this influence of the other finds no explanation, even as it rips apart the self’s possession. An inexplicable connection draws Thatha and the Paychi tree in S Thenmozhi’s “Paychi Tree.” Not just Thatha, but his wife and the rest of the family also struggle to articulate their intimacy with the woman after whom the tree was planted.

In S Ramakrishnan’s “Pigeon Fever,” the slightly cuckoo (or should I say pigeon) Goverdhan, a middle-aged clerk with a monotonous lifestyle, embarks on a journey to count every pigeon in Madras. During one such outing, he comes across a purdah-clad woman who shares his passion. In their second chance meeting, Goverdhan, compelled by a force outside his reasoning, hands over his detailed notebook to her.

With reasoning, however, I must now hand over my notebook to you. Multiple stories and multiple themes have inevitably been kept out of this review. It would be an impossible task, much like the task of compiling such a collection, to be able to re-view every story within a word limit. But despite what Vasantha Surya says in her introduction, these stories – like every story – need to be “saddled with commentaries” beyond just this review, in order that they may “roam free in the wilderness of the shared imagination, and give birth to others like themselves, and yet, unlike themselves.”

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Best Tamil Books To Read Before You Die

If you wan to explore more of the Tamil Literature here is a complete list of best books to read in tamil .  The Tamil language has a rich literary tradition spanning over 2000 years.  The earliest examples of Tamil literature date back to the Sangam period (600 BCE - 300 CE), and consist of the early Sangam poems and classical literature.   In addition, many medieval era Tamil devotional poems were composed in the Shaiva Bhakti movement . If you are a tamil book reader then this article is for you as in this article you will see some of the best tamil books to read before you die. Tamil literature has been transmitted through many sources such as written manuscripts, oral tradition, and printed media.  The earliest known inscriptions in Tamil are from about 500 BCE to 300 CE. Modern Tamil literary works include novels, short stories, poems, plays, essays, historical and scientific works, and more. Below we have compiled a list of interesting books to read in tamil.

Our Top Picks For best tamil books to read before you die

• Muthal Paarvaiyilae Ennai : Best For Romance 
• Yavana Rani :   Best For Historical Novel 

Also Read : Best Telugu Books ,  Must Watch Tamil Movies  and Tamil Romantic Movies 

best books to read in tamil : tamil literature books

1. theeyaga unnai kanden.

The yoga Unnai Kanden , written by Muthulakshmi Raghavan follows the story of Yamuna. The readers have a swoon-worthy read as Yamuna’s life is faced with the dilemma of choosing between the two princes. Theeyaga Unnai Kanden is one of the best tamil novels that you must read if you are more attracted towards the genre of Romance

• Year of publication: 2014
• Price: ₹250
• Goodreads Rating : 4
• Genre: Novel, Romance

2. Muthal Paarvaiyilae Ennai

Written by Sorna Sandhanakumar , the story features the romance between a husband and wife ,  easily one of the best story books to read in Tamil. After a sudden accident, the wife loses her memory and forgets her husband. As we go deeper into the story, we find how with the support and love from her family and loved ones, she finds her memory, and the love for her husband again.

• Year of publication: 2019
• Goodreads Rating :3.5
• Genre: Romance

Video Review

3. Yavana Rani

At number 3 in our Tamil Books List we have Yavana Rani , one of the best tamil novels to read in terms of historical and action filled genre. Yavana Rani, written by Sandilyan, is a historical novel set during the reign of Karikalan. The book takes the readers back to the early Cholas dynasty, covering the story of Chola Army’s Commander-in-Chief. The plot for the book was derived from an  old Tamil poem. 

• Year of publication: 2016
• Price: ₹735
• Goodreads Rating :4.2
• Genre: Historical Fiction
• Pages: 672 Pages

4. Moga Mul

One of the most renowned romance novels in Tamil literature, Moga Mul was written by Thi. Janakiraman. Divided into a massive number of 686 chapters , the book digs in deep into the swoon-worthy relationship of the leads. The movie based on the book won the National Award.

• Year of publication: 1980
• Price: ₹690
• Goodreads Rating : 4.1

5. Sivakamiyin Sabadham – Sivakami’s Vow

Another historical novel that is set in the seventh century, Sivakami’s Vow is written by the legend Kalki Krishnamurthy. It is considered one of the best books in Tamil literature. The book is based on the historical events chronicled during the life of Chalukya king Pulakesi II. It is a series divided into four parts.

• Year of publication: 1944
• Price: ₹425
• Goodreads Rating : 4.4
• Genre: Drama, General Fiction
• Pages: 686 pages

6. Sila Nerangalil Sila Manithargal

Penned by Jayakanthan, the book is the expanded form of a short story named Agnipravesam, published in 1968. The short story made a cultural impact with its storyline that includes a mother purifying her daughter after she had sex with a stranger. Readers suggested alternate endings. Following these suggestions, the novel was published.  It includes personal experiences from the author’s life.The book won Sahitya Akademi Award in 1972.

• Year of publication: 1970
• Price: ₹299
• Genre: Literary Fiction, Romance
• Pages: 448 pages

7. Kallikaattu Ithigaasam

Based on the theme of migration , this is another one of the acclaimed books of Tamil literature written by Vairamuthu. The reader journeys through the story of a farmer trying to make ends meet. The book traces how migration impacts the lives of people and how it can worsen people’s lives. If you are just getting started with reading tamil literature , then this is among the best tamil books to read for beginners.  

• Year of publication: 2001
• Price: $185
• Goodreads Rating :4.1
• Genre: Fiction
• Pages: 376 pages

The Tamil language has precious importance in Tamil Nadu. It has a deep connection with its culture, literature , and music and it has been used to deliver spiritual knowledge as well. In this article I have tried to suggest you some of the best tamil books to read. These are just some of the literary works that played a vital role in the education of people. Many authors have contributed a lot to non-fictional literature to enrich the literature and culture of Tamil Nadu, and with it, of the nation.

Frequently Added Questions 

Q1 who is the best tamil author.

Kalki Krishnamurthy (1899-1954) is considered to be one of the greatest writers in modern Indian literature. His most famous work is Ponniyin Selvan or Ponniyin Selvan which tells the story of a prince from southern India who goes on an adventure to find his true love after she is kidnapped by pirates. The novel also deals with other aspects of life during that time period including religion and politics.

Q2 Which is the first reputed novel in Tamil?

Prathapa Mudaliar Charithram is the first reputed novel in Tamil. The author was S.V. Pillai and it was published in 1879. Pillai wrote the book after being inspired by the onset and popularity of novels in western culture.

Q3 Where can I read Tamil books online?

Tamil books are available in many places online. Whether you want to read novels or nonfiction books, there are plenty of options for you. Here are some sites where you can find Tamil books online:

• Amazon Kindle Store
• Flipkart Books
• Google Play Books

Q4. Which are the Best tamil literature books ?

Here is the list of Top 5 Tamil Literature Books :

• Ponniyin Selvan
• Sivagamiyin Sapatham
• Solaimalai Ilavarasi
• Devagiyin Kanavan
• Mohini Theevu
• Niramatra Vanavil
• A Primer of Tamil Literature

Here are the best Tamil Books To Read

• Theeyaga Unnai Kanden
• Muthal Paarvaiyilae Ennai
• Yavana Rani
• Sivakamiyin Sabadham – Sivakami’s Vow
• Sila Nerangalil Sila Manithargal
• Kallikaattu Ithigaasam

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About the Author

Currently working as an Editor in Chief with Ankuraggarwal.in, he is managing all the ins and outs of the content management process and editorial operations. Having an experience of 8 years in the publishing/ e-solution industry, he manages a small freelancing team of fellow editors and has worked with several domains including academics, healthcare, lifestyle and technical writings. He is a stickler for accuracy and loves to read noir-fiction and binge-watch anthologies.

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Aalamaram – Tamil Novel – A Review

by Padmaja Iyengar-Paddy

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23-Oct-2013

More by :  Padmaja Iyengar-Paddy

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அக்னிச் சிறகுகள் – புத்தக விமர்சனம்

புத்தகம் : அக்னிச் சிறகுகள்

ஆசிரியர் : அ.ப.ஜெ. அப்துல் கலாம், அருண் திவாரி

பதிப்பகம் : கண்ணதாசன் பதிப்பகம் (Tamil) , Universities Press (English)

ஐயா அ.பெ.ஜெ அப்துல் கலாம் அவர்களும் , விஞ்ஞானியும் எழுத்தாளருமான அருண் திவாரி அவர்களும் இணைந்து எழுதிய ஐயா அப்துல் கலாம் அவர்களின் சுயசரிதை தான் இந்த அக்னிச் சிறகுகள் புத்தகம். இது நேரடியாக தமிழில் எழுதப்பட்ட புத்தகம் அல்ல , ஐயா அவர்கள் ஆங்கிலத்தில் எழுதிய Wings of Fire புத்தகத்தின் தமிழாக்கமே இந்த அக்னிச் சிறகுகள் . ஐயா அப்துல் கலாம் அவர்கள் தன் சிறுவயது தொடங்கி கல்லூரி , வேலை , ஆராய்ச்சி , வெற்றிகள் , தோல்விகள் , இழப்புகள் என அத்தனையும் எழுதியுள்ளார்

தன் கனவுக்கு தொடக்கமான பால்ய பருவம் குறித்து அவர் விவரிக்கையில் , தனக்கு மிகவும் பிடித்த தன் ஊரான ராமேஸ்வரத்தை அழகாக வர்ணிக்கிறார். புத்தகம் முழுவதும் தன் ஊர் மீதான பிரியத்தை ஆங்காங்கே ஏக்கமாக குறிப்பிடுகிறார். முதல் முதலில் தன்னுடன் அறிவியல் குறித்தும் , விஞ்ஞானம் குறித்தும் உரையாடி தனக்குள் அறிவியல் ஆர்வத்தை விதைத்த தன்னை விட 15 வயது பெரியவரான நண்பர் ஜலாலுதீன் பற்றியும் , தனக்கு முன்மாதிரியான தன் தந்தை ஜெய்னுலாபிதீன் அவர்கள் பற்றியும், தனக்கு முதல் முதல் வேலை வழங்கிய ராமேஸ்வரத்திற்கு முழுவதும் தின பத்திரிகை விநியோகித்துக் கொண்டிருந்த சம்சுதீன் அவர்கள் பற்றியும் சுவாரஸ்யமாக விவரிக்கிறார் அப்துல் கலாம் அவர்கள்.

பின்பு தன் கல்லூரி பருவத்தில் ஏதோ ஒரு பாடத்தை தேர்வு செய்து , பின்பு நல்ல வழிகாட்டுதலுடன் பொறியியல் சேர்ந்தது தனக்கு உத்வேகத்தையும் நல்ல அறிவுரைகளையும் வழங்கிய பேராசிரியர்கள் பற்றியும் விவரித்து முதல் வேலை , ஆராய்ச்சிப்பணி , பின்பு இந்திய விண்வெளி ஆய்வு பணி என நமக்கு உத்வேகத்தை அளிக்கக்கூடிய ஒரு நடுத்தர குடும்ப மாணவனின் வெற்றி கதை நம் கண் முன்னே வளர்கிறது.

இந்திய விண்வெளி ஆராய்ச்சிக்கு பெரும் பங்களித்த விக்ரம் சாராபாய் அவர்கள் பற்றியும். அவர்கள் தன்னை இயக்குனராக தேர்ந்தெடுத்தது, SLV என்ற விண்வெளி ஏவுகணை உள்நாட்டிலேயே தயாரிக்கப்பட்டு தன் தலைமையில் தோல்வியடைந்து பின்பு வெற்றியடைந்து இந்தியாவிற்கு உலக அளவில் பெயர்வாங்கி தந்ததையும் , பின்பு ப்ரித்வி , அக்னி போன்ற போர் ஏவுகணைகள் வெற்றிகரமாக செலுத்தப்பட்டது  என அவர் விவரிக்கும் ஆராய்ச்சி வெற்றிகள் இந்தியராக நமக்கு கொஞ்சம் புல்லரிக்க தான் செய்கிறது.

தோல்விகள் மட்டுமல்ல பல இழப்புகளுக்கு மத்தியிலும் தான் வெற்றிகளை பெற்றிருக்கிறார் ஐயா அப்துல்கலாம் . தொடர்ந்து குடும்ப உறவுகள் 3 பேர் உயிரிழக்க , இந்திய விஞ்ஞானத்திற்கு உத்வேகத்தை தந்துக்கொண்டிருந்த விக்ரம் சாராபாய் உயிரிழக்க இழப்புகளுக்கும் வலிகளுக்கு மத்தியிலும் தான் தன் கனவுகளை வென்றிருக்கிறார் ஐயா. தோல்வியில் துவண்டு ஒடுங்கி உட்கார்ந்திருக்கும் ஒவ்வொருவருக்கும் ஐயாவின் வாழ்க்கை ஒரு பாடம் , சாதாரண குடும்பத்தில் பிறந்து , நாம் அவ்வளவு தான் என்று நினைத்து கவலைப்படும் அனைத்து பிரச்சனைகளையும் சந்தித்து , கடந்து சாதித்து வந்திருக்கிறார். கண்டிப்பாக வாசிக்க வேண்டிய புத்தகம் மட்டுமல்ல மற்றவருக்கு கண்டிப்பாக பரிந்துரைக்கவேண்டிய புத்தகமும் கூட இது. முக்கியமாக பள்ளி கல்லூரி மாணவர்களுக்கு வாங்கி பரிசளியுங்கள்

தமிழ் புத்தகத்திற்கு : அக்னிச் சிறகுகள் ஆங்கில புத்தகத்திற்கு : Wings of Fire

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An intellectual feast: Review of ‘The Sweet Salt of Tamil’ by Tho Paramasivan

The english translation of tho paramasivan’s ariyappadatha tamilakam offers just enough salt to taste the richness of tamil..

Published : May 04, 2023 11:00 IST - 10 MINS READ

The Azhagar Koil at Madurai. In “Ariyappadatha Tamilakam”, ThoPa narrates the legend of the deity Alakar and his consort, Tuluka Nachiyar, a Turkish “princess”. | Photo Credit: THE HINDU ARCHIVES

Several years ago, I had an agitated Italian guest, a Tamil teacher in an American university, lamenting about the natives not knowing their own great language. He had just returned from Tamil Nadu, and was shocked that even in Madurai, the land of senthamizh (classical Tamil), people were so unmindful of grammar and ignorant about their rich literary heritage. Generally, a similar attitude can be seen among the non-Indian Sanskritists, who see themselves as carrying the burden of knowledge of the Sanskrit language and culture which Indians have lost or do not appreciate enough.

The Sweet Salt of Tamil: Things We Do Not Know About Tamil Country

Price: rs.399.

At one level, this attitude may be traced to the institutionalisation of the study of language, literature, and culture in the colonial period. Then again, the transformation of the traditions of knowledge transmission across India, in some cases with even breaks in transmission, have resulted in warped ideas about culture, particularly since English is increasingly the language of academic communication and therefore not quite accessible to the diverse worlds of the vernacular.

Thoppaidas Paramasivan’s Ariyappadatha Tamilakam (The unknown Tamil country), first published in 1997, does not have any such pretensions. ThoPa, as he was popularly known, does not claim any superior status nor does his work patronisingly presume the intellectual incapacity of the native. On the contrary, he speaks to the Tamil reader intimately and as an equal, offering the wisdom of one who has spent years dwelling on issues, ideas, and concepts that draw upon the rich literature, culture, and history of the Tamil land, underscored by the fact that it is written in the language of the very culture he is celebrating. The first lines of the text set the mood for the intellectual feast to follow: Tamil is sweetness personified for the Tamilian, and lexicographical works like the Pingala Nighandu [1] aver “sweetness and coolness are the hallmark of Tamil”.[2]

This English translation of ThoPa’s iconic work brings the intuitive and informed interpretation of the literary historian, anthropologist and humanist to an audience that may not have had access to his scholarship in Tamil. In his foreword to the Tamil work, the historian A.R. Venkatachalapathy describes ThoPa as causing ripples with his writings; 25 years later, the English translation again carries a deeply appreciative tribute by the same scholar. ThoPa’s activism as a votary of Dravidian politics, his Marxist leanings, and the narrative style of a folklorist that came so easily to him, his teaching career over two decades in the Thiagarajar College, Madurai, and his reputation as a raconteur are vividly presented in the foreword.

It is understandable that Ariyappadatha Tamilakam was chosen as a text exemplar by the Tamil Nadu Textbook and Educational Services Corporation (TNTB&ESC) for publication in English, so as to widen the understanding of Tamil culture across the world. The Tamil book has seven chapters, while the translation by V. Ramnarayan is arranged in six chapters with each having several themes, and a postscript. There are overlaps and repetitions as well as, at times, disconnected ideas woven together. Perhaps this is why the translator has taken the liberty of giving a broad description of the sub-themes under a new chapter title, as for instance the first part is simply “Tamil” in ThoPa’s rendering but in the translation it is the first subheading under the title “The Lie of the Land”.

The title of the translation is also interesting—it is the translator’s take on the contribution of ThoPa to the appreciation of Tamil. “The sweet salt of Tamil” is a condensation of a pithy verse by Valluvar in the Tirukkural . Verse 1302 says, “ uppamaintarral pulavi atuciritu mikarral neela vital ”—a little reserve or sulking is like salt to food, which in excess will spoil the taste.

The first chapter traces the literary references to Tamil, from the collection of early historic war poems, Purananuru , to the early medieval Saiva Tevaram hymns, to the folk traditions, playing on the thin line between language and literary culture. Be it Sambandar’s evocation of Tamil as pattu (“These are the ten Tamil verses recited by Sambandar”[3]) or the lullaby “your maternal uncle will come to teach you golden Tamil”[4], the author presents a plethora of evidence to show that the land, social relationships, and the environment hold a special significance in relation to the language. This leads to a fascinating discussion on water, and the social and religious dimensions of food.

Reinforcing the choice of title of the translation, ThoPa discusses the importance of salt in Tamil, which in essence means “taste”. He argues that the word campalam or salary is a combination of paddy ( campa nellu ) and salt ( alam ) indicating that payment for work rendered was earlier in kind. From the peralam or big salt pans of the Chola and Pandya kings to the salt satyagraha of Gandhi to the protests against the multinational Cargill being given a licence to set up a salt manufacturing unit in Gujarat, the material and symbolic value of this ubiquitous commodity is brought out. Particularly evocative is the description of salt on the plate as an upper-caste privilege.

“Among the many admirable qualities of ThoPa’s scholarship, his celebration of Islamic and Christian traditions within the larger evocation of Tamil stands out.”

There are interesting discussions on housing and clothing (Chapter 2), indigenous religious traditions versus external beliefs and practices (Chapter 3), board games like pallankuli and atu-puli (goat-tiger) , their reflection on the institution of state and issues of social inequality (Chapter 4) that bring together snippets from fieldwork and literary analysis. Religion and social identity, an issue much-discussed in the present times, is flagged through a discussion of Buddhism, Jainism and the Siddha tradition (Chapter 5). The discussion on the 19th and early 20th century linguistic and cultural milieu of Tamil, in terms of Western missionary influences and the Saivite attacks on Christianity and the retaliation (Chapter 6), makes for interesting reading.

Celebrating the secular

Among the many admirable qualities of ThoPa’s scholarship, his celebration of Islamic and Christian traditions within the larger evocation of Tamil stands out. The legend of Tuluka Nachiyar associated with the deity Alakar in Azhagarkoil narrates that the deity consorted with the Turkish “princess” here, after his visit to Madurai to attend the marriage of his sister Meenakshi was thwarted.

The same Turkish figure appears in Srirangam but the legend here revolves around the daughter of a Sultan falling in love with the idol of Vishnu that was looted from Srirangam and brought to Delhi. ThoPa believes the source of the first legend to be the thriving Arab trading community in the region, as evinced by the mercantile corporation called Anjuvaṇṇam, and the second to be a result of brahmanical mythmaking after the 14th century invasion by the Delhi Sultans.

In other examples, non-Muslims visiting the Nagore dargah (shrine) as well as Muslims worshipping in the Vriddhachalam Bhu-Varaha Perumal temple, and garlands from the latter temple being sent as offerings to the dargah of a Sufi saint at Killai, are presented as evidence for the intermingling of cultures.

An activist’s zeal

Equally, ThoPa’s unequivocal condemnation of caste inequalities and privileges can be seen in numerous instances. Be it the discussion on meat-eating, burial customs, worship of ferocious meat-eating village deities, or even the proscriptions on lower castes with regard to their residential areas and clothing, there is the activist’s zeal for social reform that can be discerned.

“ThoPa’s unequivocal condemnation of caste inequalities and privileges can be seen in his discussions on meat-eating, burial customs, worship of village deities, and the proscriptions on lower castes with regard to their residential areas and clothing.”

Caste came in with the north Indian brahmanical rituals and gods, and communities like the paraiya , who made the parai, or leather drums, that were an important cultural marker in Sangam poems, gradually came to be ostracised. An interesting story of brahmanas becoming afternoon paraiyas is recounted: the priests were performing a sacrifice when Siva, dressed as a paraiya, entered the Tiruvarur temple with a dead calf slung over his shoulder. The priests claimed that the temple had been defiled, and Siva punished them by turning them into paraiyas, only relenting when they pleaded for mercy and reducing the curse to apply to just the afternoon time!

The correlation between caste and class is also something that is brought out by ThoPa. For instance, begging was looked down upon in texts like the Tirukkural , but gradually came to be accepted because of deep social cleavages that emerged with the development of state society. Interestingly, beggary ( piccai ) is shown to derive from the Jaina practice of seeking alms ( irattal ), with the term itself derived from the Sanskrit bhiksa .

Casting blame

On the one hand, caste marked social discrimination and oppression; on the other, there was an attempt to integrate different castes through the ideology of bhakti or devotion. Interestingly, ThoPa lays the blame for the solidification of caste as well as a brahmanical/Hindu identity in the Tamil region on the Vijayanagara period. He does not seem to be concerned with the ample epigraphic evidence for the widespread prevalence of caste hierarchy in the Chola period itself.

Noboru Karashima and Y. Subbarayalu have drawn our attention to the separation of the paraiya ceri (settlement) in villages in early medieval Tamil Nadu, and even separation in death institutionalised by the separate cutukatu (burial grounds) for castes like paraiya and izhava. Further, historians have drawn attention to imprecations against paraiya and pulaiya and the specificity of left- and right- hand ( idangai and valangai ) caste formation during this time.

By pinning the blame for casteism on the outsider—the Telugus or the Vijayanagara rulers—ThoPa seems to lose that catholic quality that allows for accommodation. For instance, in the chapter “Karuppu” (“Black”), he argues that since all the ruling and social elites from the 14th century onwards were fair-skinned, it resulted in dark skin being reviled and looked down upon. One wonders whether this distinction of native from outsider is the natural culminating logic of the exercise undertaken by the author. This exclusionary argument has serious connotations for our times, where Indian cultural identity has been projected as Hindu from ancient times despite overwhelming historical evidence to the contrary, and hence cannot pass without criticism.

Lastly, ThoPa gets so carried away with his raconteuring that custom and belief are validated in terms of tradition, even when there are obvious patriarchal, androcentric, and even anti-women ideas at their core. Issues of honour and saving face when a widow is pregnant, or the significance of the tali , a chain tied at the time of marriage around the neck of the woman by her husband, or of cross-cousin marriage are discussed almost with admiration. This brings us back to the dilemma that we started out with, of the etic and emic perspectives in anthropological studies—the outsider’s view versus the insider’s.

While there is much to recommend the view from within, as exemplified in the work of ThoPa, one also has to tread warily, for historical contexts at times get elided, and description passes for interpretation. Nevertheless, ThoPa is successful in bringing out much that is unknown about Tamil, and the translation is effective in offering the right amount of salt to taste the richness of Tamil.

Dr R. Mahalakshmi is Professor, Centre for Historical Studies, Jawaharlal Nehru University.

• This is an early medieval Tamil lexicographical work, dated variously around the 9th-10th or 12th-13th centuries CE.
• “Tamil enra col Tamilarkku inimaiyānatu. ‘Inimaiyum nīrmaiyum Tamilenal ākum’ enru Pinkala Nikantu kurippitukiratu.”
• “ Jñāna Campatan conna Tamilivai pattume”.
• “Tanka Tamil pēca unka tāy māman varuvānka”.

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Karunanidhi agreed with Indira’s decision to cede Katchatheevu in private, but opposed it publicly: Book

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Chennai: In June 1974, as Chief Minister of Tamil Nadu , M Karunanidhi gave his ‘general acceptance’ to the then Foreign Secretary Kewal Singh regarding Indira Gandhi 's government's plans to cede Katchatheevu Island to Sri Lanka .

However, Karunanidhi made it clear that, for "obvious political reasons," he could not publicly support the decision. This incident is detailed in a new book by former UN diplomat R. Kannan titled The DMK Years: Ascent, Descent, Survival .

Kannan, who has written biographies of Dravidian leaders C N Annadurai and M G Ramachandran, offers a detailed examination of Tamil Nadu's political history post-Independence, focusing on the pivotal role of the DMK .

The book, published by Penguin, traces the party’s evolution from its nascent stage, through its rise to power, its splits—first by MGR and later by Vaiko—and its survival as a dominant force for 75 years.

Kannan's book explores Karunanidhi's significant influence over Tamil Nadu’s political landscape and national politics from 1969 until his death in 2018.

As the DMK celebrates its platinum jubilee, Kannan captures defining moments in both the party's and the state's history, such as the ceding of Katchatheevu, the Emergency, MGR’s exit from the DMK, and the Sri Lankan civil war—events that continue to resonate today. The book also provides insights into the contentious relationship between Karunanidhi and Jayalalithaa.

On the Katchatheevu issue, now prominent due to the frequent arrests of Indian fishermen by the Sri Lankan Navy, Kannan notes that Karunanidhi put up a "fierce facade of opposition" to Gandhi's emissary, G. Ramachandran. He told Ramachandran that, to protect his "political turf," he would take a stand contrary to the Government of India, but advised that Gandhi should go ahead with the decision.

Kannan recounts that on June 19, 1974, Singh, accompanied by B.K. Basu, director of the historical division, met Karunanidhi in Chennai.

They secured his "general acceptance" to the ceding of Katchatheevu. Karunanidhi indicated that, for "obvious political reasons," he could not publicly support the decision, but he promised to "see that the backlash did not blow up."

Kannan adds that Singh received an assurance from Karunanidhi that nothing would be done to embarrass the government and turn it into a Centre versus State issue.

During the meeting, Kannan writes, Karunanidhi asked Singh if the agreement could be delayed by two years. When Singh mentioned concessions from Sri Lanka, Karunanidhi seemed to understand.

However, Kannan observes, "In his desire to rise to the occasion to become a statesman, he had not foreseen the difficulties ahead for the Indian fishermen and how the issue would come to haunt him." The book also records MGR's opposition to the ceding of Katchatheevu.

The Katchatheevu issue continues to put the DMK and Congress on the defensive, with the BJP branding them as "betrayers" of India’s sovereignty. Kannan also examines the DMK’s emergence as a national force, driven by Karunanidhi’s "mastery of coalition politics by compromising on the ideology" to ensure his party’s presence in central governments from 1999 to 2013.

Kannan provides a detailed account of the excesses committed during the Emergency (1975-1977), during which Karunanidhi’s son M.K. Stalin was jailed along with over 1,000 DMK cadres.

The book suggests that for the first seven months of the Emergency, Karunanidhi tried to show that his government was implementing the 20-point programme, but he shifted his stance when Gandhi began considering dismissing his government.

Kannan quotes US Consul General notes from September 1975, which observed the DMK’s ambivalence. The Consul General noted that the DMK was "walking both sides of the street," with Karunanidhi praising the Emergency while his actions suggested otherwise.

Kannan also cites veteran journalist Kuldip Nayar, who noted that Karunanidhi was reluctant to take public action against the Emergency, although he did offer to help start an underground newspaper to be distributed outside Tamil Nadu.

In a chapter titled "Thamizhinath Thalaivar" (Leader of Tamils), Kannan discusses Karunanidhi's role as a fierce champion of the Sri Lankan Tamil cause. He watched tens of thousands of innocent civilians lose their lives as the Sri Lankan civil war came to a bloody end in 2009, while his DMK was part of the UPA-I regime.

"We will never know if his resignation as chief minister over the issue would have brought a ceasefire and saved the deaths of thousands. But Karunanidhi would have lived up to his self-declared title as Thamizhinath Thalaivar. He threw away a historic opportunity," Kannan writes.

Kannan contrasts the leadership styles of Karunanidhi and Jayalalithaa, noting that while the latter enjoyed luxuries and could conduct politics from her residence, Karunanidhi had to engage continuously with party affairs.

"Not a day passed without the DMK leader tending to party affairs at the party office, writing at the Murasoli office, touring the state," Kannan writes. Karunanidhi remained active until illness made it impossible, responding to almost every one of Jayalalithaa’s statements. "Ironically, the two depended on the other to be relevant," Kannan observes.

The book concludes with an examination of the DMK in the post-Karunanidhi era, including its return to power in 2021 after a decade in opposition, and the challenges the 75-year-old party faces.

In a postscript written after the DMK's landslide victory in the 2024 elections, Kannan predicts a shift towards a multipolar contest in Tamil Nadu, with the BJP, NTK, and actor Vijay emerging as significant players.

"With the BJP, NTK, and actor Vijay crowding the political space, Tamil Nadu will likely move from a bipolar (led by the Dravidian majors) to a multipolar contest. A coalition era could be on the anvil. More choices bode well for the voters," Kannan concludes.

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Who Is Shailaja Balakrishnan, Tamil Superstar Chiyaan Vikram’s Wife

Curated By : Entertainment Bureau

Local News Desk

Last Updated: August 14, 2024, 17:44 IST

Chennai, India

The love story of Vikram and his wife is as intriguing as any film plot.

Vikram's wife, Shailaja Balakrishnan has managed to carve out her own identity.

Chiyaan Vikram is an Indian actor, who primarily works in Tamil films, but has also acted in a few Malayalam movies. He is one of the most awarded actors in Tamil cinema and has received eight Filmfare Awards South, one National Film Award, four Tamil Nadu State Film Awards and the Kalaimamani Award from the Government of Tamil Nadu. Vikram’s wife, Shailaja Balakrishnan has managed to carve out her own identity while being married to one of the most prominent actors in the Tamil film industry. Born in the city of Chennai, Shailaja hails from a family that values education and culture. Before marrying Vikram, she was known for her own achievements, both academically and personally.

Shailaja was born on April 21, 1981, into a family of well-educated individuals. Growing up, she was deeply influenced by her parents, who instilled in her the importance of hard work and determination. She pursued her education with dedication and excelled in her studies, eventually earning a degree in psychology.

The love story of Vikram and Shailaja is as intriguing as any film plot. They crossed paths during a film event, where Vikram was a prominent guest. Shailaja, who had been a fan of Vikram’s work, was instantly drawn to his charisma and charm. Their initial interactions blossomed into a deep friendship, which eventually led to romance. Despite the challenges posed by their busy schedules, they found time for each other.

Vikram and Shailaja tied the knot on April 14, 1992, in an intimate ceremony attended by family and close friends. Their marriage is often described as a partnership built on trust and mutual support. Shailaja has been Vikram’s anchor through the ups and downs of his career, providing him with the emotional strength he needs to navigate the competitive world of cinema.

Vikram and Shailaja are proud parents to two children, a daughter and a son. Together, they prioritise family values and ensure that their children grow up in a nurturing environment.

• Chiyaan Vikram
• entertainment
• regional cinema

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Kanguva Trailer Review: Suriya's Period Thriller Captivates; Fans Say 'Kollywood's First Rs 1000 Crore Film'

Kanguva Trailer Review: Suriya's upcoming and most exciting film, a period action thriller titled Kanguva: A Mighty Valiant Saga cast a spell on the actor's fans and the makers of the film dropped the highly-awaited theatrical trailer a while ago. The movie is going to hit the screens worldwide in five languages on October 10. Kanguva will release in IMAX, 3D, and standard formats.

Kanguva Premise The movie was written by Adi Narayana and directed by Siva. A warrior who lived an epic life in the 16th century dies due to a disease. In the present, a woman sets out to find everything about the disease and the warrior who died in 1678.

Kanguva Theatrical Review

The movie's theatrical trailer is a visual treat and the VFX, costumes, and set-up of this period film are adding to the hype. Suriya looked intriguing and Bobby Deol is just as perfect. Within 15 minutes of its release, the trailer garnered about 1.7 Lakh views and 30 K likes. Fans who are thrilled about the trailer cannot stop praising the visuals and premise. They opine the movie could earn Rs 1000 Crore if met with a positive response after release. Fans took to social media to share their enthusiasm. Check out the theatrical trailer and the tweets of Suriya's Kanguva below.

A mass #Kanguva trailer with grand visuals is out 💥💥 #Suriya #KanguvaFromOct10 — Tharani K (@CinemaAngle) August 12, 2024

@Suriya_offl Annan Firing performance🔥🔥💥❤ pic.twitter.com/p1XprvFnDm — ✒சொல் வித்துவான் (@palanikannan04) August 12, 2024

If positive response 1000crs confirm 🥵 #Kanguva #KanguvaTrailer pic.twitter.com/NzGAl9hFZl — Introvert_ (@introvert_lub) August 12, 2024

Trailer looks Promising Visuals are Good. Suriya looks Great — Pandu Raju (@CSKianPaanduRaj) August 12, 2024

Kollywood’s first 1000 crores movie 🔥🔥🔥🔥🧨 — Sounder (@itz_sounder) August 12, 2024

Kanguva Cast This Suriya film stars Bollywood actor Disha Patani, Bobby Deol, Yogi Babu, Redin Kingsley, Kovai Sarala, Anandaraj, Ravi Raghavendra, KS Ravi Kumar, Jagapathi Babu, Natarajan Subramaniam, and BS Avinash among other in pivotal characters.

Kanguva Crew The movie is jointly produced by KE Gnanavel Raja, V Vamsi Krishna Reddy, and Pramod Uppalapati under the Studio Green and UV Creations banners. The movie's cinematography is handled by Vetri Palanisamy and Nishadh Yusuf is working as its editor. Devi Sri Prasad is composing the film's entire soundtrack including background score and tunes.

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