A living picture of the entire life of the Indian farmer - his aspiration and despair, his sincerity and religious piety, his helplessness and innocence. 

This is a collection of stories written by the world famous writer Rabindranath Tagore. This collection includes stories such as Goongi, Prem ka Mulya and Nayi Roshini. 

In the Republic of Vaishali - which comprises eight different states and is run by their elected representatives - lives the beautiful Ambapali. Considered to be the most beautiful woman in the whole republic, she is eventually forced to dedicate herself to the republic as a Nagarvadhu (literally, the wife of the city). She, however, demands various privileges in exchange for this and is granted all of them by the authorities, with the condition that she must fulfil her duties well.  

Satyajit Ray is well known for his contributions to Indian literature. His short stories often explore the macabre and the supernatural and are often marked by keen characterization. This collection brings together Ray’s best short stories - including such timeless gems as ‘Professor Hijibijbi’, ‘Ratan Babu aur Veh Admi’ and ‘Bhakt’. A collection of 12 short stories.

Meri Priya Kahaniyaan contains the favourite stories by the fierce and celebrated poet Amrita Pritam, selected by her. Amrita Pritam, the first female Punjabi poet, novelist, and essayist, and the leading voice of 20th-century Indian literature, was awarded Jnanpith in the year 1982. She authored more than a hundred compositions and has left a special mark in the stories, just like her poems, which are about female sexuality, self-realisation and the pain of loss at a time when women mostly wrote on conservative themes.

Kitne Pakistan? is a 2000 Hindi novel by Kamleshwar, a noted 20th-century Hindi writer. A pioneer of the Nayi Kahani (New Story) movement of the 1950s, and later a screenwriter for Hindi cinema, Kamleshwar’s novel, employing allegory and realism, deals with a vast expanse of human history, as it follows the rise of sectarianism, nationalism, Hindutva and communalism. Kitne Pakistan? casts doubts about the true motives of the people who make decision on behalf of and for common people, who throughout history have been bearing the brunt of their decision.

Night Train at Deoli is a collection of stories, most of which are set in the valleys of Uttarakhand, a place where the author himself grew up. The stories revolve around the lives of simple folk who live a serene life away from the hustle bustle of cities. These simple and heartwarming stories are sure to hit a chord and bring smiles to the faces of listeners.

Urdu Ki Chuni Hui Kahaniyan is an anthology of some of the classic Hindi stories (afsāna) by great writers like Saadat Hassan Manto, Ismat Chughtai, Qurratulain Hyder, Rajinder Singh Bedi, and many other major writers of Hindi literature. This collection of stories varies in style and subject, but one thing that unites all the stories is the enduring quality of the finest Hindi writing, which places them among Urdu masterpieces. An enriching addition in Hindi literature, Urdu Ki Chuni Hui Kahaniyan is presented to listeners by the famous Hindi novelist Kamleshwar. 

Malgudi Ki Kahaniyan (Hindi) is a set of stories that are based in the fictional town of Malgudi. The town of Malgudi is a South Indian village created by the author and offers a valuable peek into the quality of rural life during the pre-independence era. The characters in these stories come from different walks of life, and each has a unique tale to tell. These stories have characters such as astrologers, postmen, doctors, beggars and priests. 

R.K. Narayan’s reputation as one of the founding figures of Indian writing in English is re-examined in this comprehensive study of his fiction, which offers detailed readings of all his novels. Arguing against views that have seen Narayan as a chronicler of “authentic” Indianness, John Thieme locates his fiction in terms of its specific South Indian contexts and cultural geography and its non-Indian intertexts.

The story of Yayati is perhaps one of the most intriguing and fascinating episodes of Mahabharata. Yayati was a great scholar and one of the noblest rulers of olden times. He followed the shastras and was devoted to the welfare of his subjects. Even the king of gods, Indra, held him in high esteem. Married to seductively beautiful Devyani, in love with her maid Sharmishtha, and father of five sons from two women, Yayati unabashedly declared, 'My lust for pleasure is unsatisfied'. His quest for the carnal continued.

Dark Horse is one of the most popular novels of this decade written in Hindi. Such a live and vivid portrayal of the life of candidates preparing for the civil services examination in the Hindi medium were not focused in any other book to date. A candidate preparing for the country's highest honored examination is not only an aspirant but also has a multifaceted lifestyle and struggles in his lap. This is the story of the same struggle.

Premchand ne hindi kahaanee ko ek nishchit pariprekshy aur kalaatmak aadhaar diya. Unkee kahaaniyaan parivesh buntee hai. Paatr chuntee hai. Uske sanvaad bikal usee bhaav-bhoomi se liye jaate hain jis bhaav-bhoomi mein ghatna ghat rahee hai. Isliye paathak kahaanee ke saath ansyoot ho jaata hai. Isliye Premchand yathaarthvaadee kahaaneekaar hain. Lekin ve ghatna ko jyon ka tyon likhne ko kahaanee nahin maante.  

It is an irony of fate that despite being an extremely important and immortal character in the saga of Mahabharata, Ashwatthama has always been neglected. There are other characters in puranic literature, including Ashwatthama, who are considered immortal. But where other characters have received immortality in the form of a boon, Ashwatthama received in the form of a curse! 

This Hindi play by Mohan Rakesh debuted in 1958 and is considered the first modern Hindi play. The play received a Sangeet Natak Akademi Award for best play in 1959. Before this play was written, Hindi plays were either idealistic or didactic, devoid of any connection with contemporary reality; above all their language remained the language of literature, which wasn't suitable for the stage. This play changed it all. Mohan Rakesh went on to write two more plays and left one unfinished at the time of his death in 1972.