Katha Prize Stories: Volume 8

An accessible celebration of the Indian experience in all its diversity. The works created by the Katha Award winners – be it a story set in contemporary Mumbai or a complex fable narrated by the Kunkna Dangi Adivasis of Gujarat – are moulded with intelligence and artistry. The stories in this volume are representative of some of the most sensitive works produced in bhashas.

The fourteen stories in this volume are representative of some of the most sensitive work produced in the bhashas. The languages featured here are Asomiya, Bangla, Gujarati, Hindi, Kannada, Konkani, Maithili, Malayalam, Marathi, Punjabi, Rajasthani, Tamil, Telugu and Urdu.

Indian Review of Books

… the final product is a rich tapestry of present-day India, woven with the intricate and diverse patterns that constitute the fabric of this country, not necessarily echoing a oneness of a mythical commonality but preserving the unique qualities that make up the fibre of a specific language.

The themes are varied and wide-ranging – feminist, ageist, revolutionary, dalit …

For the very first time Katha has given us the pleasure of reading a translation of the oral literature – orature as it is called nowadays – of the Kunkna Dangi Adivasis ... from Gujarat. “The Tale of Raja Manasinha and Rani Salavan” narrated originally by Dahyabhai Vadhu is a wonderful tale of princes and princesses and their adventures, so beautifully woven and so creatively translated that the very beginning enchants us … A must read for all those stuck on Disney tales – here’s something so refreshing, and at the same time so familiar, that it leaves us begging for more.

This is but an appetizer of what this volume actually contains. It is a collection that is rewarding in its choice of stories, the wide variety of language it sources, not to mention the wonderful readability it sustains, without in any way losing the individual character of each specific language literature. Go out and get it!

– N Kamala

The Hindu
(Sunday, January 17, 1999)

Over the past eight years, the Katha Prize Stories series have undoubtedly more than established the importance of regional fiction. Its publishers can justifiably take credit for creating a growing interest in regional literature.

Now, the Katha team has brought out another volume, the new Katha Prize Stories volume, that strays clear of the beaten track and establishes the immense talent waiting to explode on the literary horizon. It explores, for the first time, a range of ideas – from the man-woman relationship, folk literature of dalit sentiments and the feminist viewpoint.

Some of the stories leave you with a haunting feeling, while some shock you into accepting the harsh realities of life. Still others talk about compassion. Each story is a short journey but leaves one asking for more.

Oral literature has always been part of India’s culture but the tradition is gradually fading away. In an attempt to retain some of these folk traditions and dialects, Katha has gone through a process that few can sustain. It has established that popular language literature is still alive and has takers. Unfortunately, translations have to be most often in English.

Jayant Bhendre’s story “May We Be the Way the Lord Meant Us to be,” is a chilling account of urban terrorism. The arms of the mafiosi are long and through his seemingly simple story about a family in Mumbai, he shows the extent to which innocent lives are destroyed by terrorism.
S Diwaker with “Who Knows How to Live” talks about the cross that a family bears every generation.

The most ambitious translation is the story of Raja Manasinha and Rani Salavan, which was sung by the Kunkna Dangi Adivasis of Gujrat and translated from that dialect into Gujarati by Dayabhai Vadhu, a Kunkna tribal himself … one thing that stands out is the rich cultural heritage of the tribe.

- Suchitra Behal

Sunday Times
(January 24, 1999)

The vibrancy and vigour of an oral narrative, so closely rooted in the soil, are never dissipated even as the readers are transported into exotic kingdoms and heavenly courts. Sheer lyricism emanates out of every twist and turn of the tale, despite its iron framework of rules, motifs and established orders. Katha’s initiative is particularly praiseworthy because it gives to the readers a piece of little tradition at a time, when the new generation is looking westward for inspiration.

Inclusion of an oral folk story is just one among many “firsts” achieved by Katha this year. For the first time a Maithili story is included ...

… the Volume 8 is a winner, leaving very little scope for caviling.

Fourteen short stories, culled from thirteen Indian languages, present a breathtaking range of forms and content. Despite the diversity of locales and setting – urban, rural, ethereal, cross-border – trademark India is never to be missed in each one of them. The skirmishes between castes and communities, subjugation of the downtrodden, the loneliness and angst of the aged, fiendish designs of the political manipulator, survival of humanism even in the heart of darkness – the frames which build the social mosaic of present-day India run through the anthology. The multiplicity of approaches to storytelling which characterize this volume, establishes the short story as the most promising and popular genre in almost all the regions …

The process of selection of these stories is a year-long grind, involving myriad of imaginative minds. No wonder, it showcases the best that Indian literature has to offer in 1997. Barring a few patches like Kashmir, North East other than Assam, the whole Indian society finds expression in these stories. If the editor’s note be our guide, with the projects in hand, these parts will soon be mirrored in the future volumes. Given the quality of the present stories, that is something to look forward to.

– Chinmay Kumar Hota

The Express Magazine
(December 27, 1998)

Fourteen different ways of looking at India. All authentic, all insightful, all comprehensible. And though it’s the eighth volume in as many years, Katha has taken many more turns to get at the heart of the ethos it relives. There’s no denouement in the process, only more of sharing of the rich diversity of our storytelling experiences.

India comes alive in eminently readable translations for the benefit of the English reader. The collection is disturbing, heartwarming, nostalgic, resigned, hopeful, and full of despair by turns. If the quality of short stories selected for translation is anything to go by, Indian fiction in its various regional flavours seems to be doing just fine. And for the first time, Katha also includes an oral fable of the Kunkna Dangi Adivasis of Gujarat …

Those of us who’re tired of poorly edited and badly proofed Indian publications in English will particularly find Katha Prize Stories a delight. Read it.

Business Standard
(January 26, 1999)

In a country like India, both enriched and fractured by its multilinguality, Katha’s latest volume of prize stories-in-translation is a generous offering …

… there are moments of pure joy … perhaps the loveliest of which is Sriramana’s “Mithunam” translated by Syamala Kullury …

[One should approach the volume with] a desire to taste varied sensibilities and styles ...

India Today
(January 25, 1999)

Like Katha’s previous volumes, this one puts together from regional languages stories with a fascinating range of idea and topics. Fourteen stories explore diverse issues yet an underlying theme, that of survival, can be detected. Survival is explored through the dynamics of human relationship, be it a relationship between parents and children or between strangers. Another important thematic intervention is that of survival in the situation of urban violence. A novel attempt has been made in this volume: a written presentation of a living oral tradition from Gujarat. This is an interesting and important addition as it records for posterity traditions, which may otherwise die ...

Katha has brought the English-reading audience closer to regional language literature. One hopes this will eventually make international readers too focus on Indian literature beyond Indo-Anglian writing.

– Urmi A Goswami

The Statesman
(December14, 1998)

Mr A N Sehgal said Katha was a boon as it encouraged creativity in language. Katha was important since it helped people to appreciate literature written in different languages. He also said that whole-hearted efforts should be made to eradicate illiteracy as the nation approached the new millennium.

The Pioneer
(December14, 1998)

The Katha awards instituted eight years ago present a fascinating range of ideas and topics – philosophical questions, larger existential problems, social values, man-woman relationship and most elusive rasas – hasya and sringara.

These short stories also present a varied range of style from folk to oral literature, subaltern, feminist and experimental writings. The stories give an insight, where the media reports do not fully present the picture of real problems, and try to find a solution.

The Authors

Amar Mitra
Arupa Patangia Kalita
Azhagiyasingar
Damodar Mauzo
Dhoomketu
S Diwakar
Jayant Bendre
Mohinder Singh Sarna
Naveen Kumar Naithani
Sajid Rashid
Sarah Joseph
Sriramana
Sudhakar Ghatak
Vijayadan Detha
Kunkna Dangi Adivasis

The Translators

Krishna Paul
Anaeesh Bhatt
BHushan Arora
Dahyabhai Vadhu
Dilip Kumar Ganguli
Indu Ashok Gersappe
Krishna Barua
Malati Mathur
Maya Sharma
Rakesh Chaudhary
S N A Chary
Sonali Singh
Syamala Kallury
D Umapathy

The Nominating Editors & Journals

Assamese: Arup Kumar Dutta (Gariyoshi)
Bangla: Debes Ray (Desh)
Telugu: Amarendra Dasari (Andhra Bhoomi)
Marathi: Usha Tambe (Saptahik Sakal)
Maithili: Udaya Narayana Singh (Katha Disha)
Konkani: M L Sardessai (Jaag)
Gujarati: Ganesh Devy (Gadyaparva) - originally an oral tale, among Kunkna Dangi Adivasis
Hindi: Pankaj Bisht (Katha Desh)
Kannada: Vaidehi (Sudha)
Malayalam: Paul Zacharia (Malayala Manorama, Mathrubhumi Daily)
Tamil: Indira Parthasarathy (Navina Virutcham, Dalit)
Urdu: Sara Rai (Dastak)
Punjabi: Sutinder Singh Noor (Aarsee)
Rajasthani: Malashri Lal (Rajasthan Patrika)

Edited by
Geeta Dharmarajan

Publishers: Katha
Cover Design: Taposhi Ghoshal
Colours: Arvinder Chawla
Logo Design: Crowquill
Category: Katha Prize Stories
Statistics: 5.5" x 8" 224 pages
ISBN 81-85586-84-5 [PB]
Price: Rs 250 [India and the subcontinent only]

Buy now!

Katha Prize Stories: Volume 7

As varied as variety itself, this collection brings to you trenchant, very Indian fictions that explore personal joys and sorrows, friendships and alienations, the everyday tenderness and harshness of life. This is a compelling collection of sixteen stories from Asomiya, Bangla, English, Gujarati, Hindi, Kannada, Malayalam, Oriya, Punjabi, Rajasthani, Tamil, and Urdu.

Biblio
(March - April 1998)

… worthy additions to what is fast becoming a rich store of Indian literature in translation.

With Katha Prize Stories Volume 7, Katha continues its diligent dismantling of the barriers between “mainstream” and “regional” literature in India ... the stories in Volume 7 are thought provoking and imaginative, and a few sparkle especially bright.

– Latha Anantharaman

The Hindustan Times
(October 24, 1998)

Painstakingly selected by a jury of distinguished writers and scholars, it shows evidence of having been subsequently edited with love and diligence. This makes the volume a rare intellectual and emotional treat. Indeed, this volume comes as yet another proof of the fact that Katha has become a dependable deliverer of the best short fiction from India in the various languages every year.

The collection embraces a wide variety of concerns endeavouring to unveil hidden depths of the human mind. Couching this volume are brief biographical entries on the writers with sensitive insights into the responses of both the writer and the translator to the story. This makes the volume a worthwhile peek into the “backstage” of the immensely fecund world of literary creation in the bhashas. More than anything else, the Katha awards and their publication thus, encourage a participative impulse in the reader, involving him in the search for the best. This is, once again, a reminder that there is no dearth of raw material for creativity in India and also that there is abundant talent waiting to tap it. Though rooted in different linguistic spheres, these stories do not merely celebrate the local and the particular. Rather, invigorated by the vitality that these roots give, they successfully deal with common human preoccupations and predilections, nudging the reader to turn his eye both inward and outward.

Indian Review of Books
(April 16 – May 15 1998)

Crowded With Talent
Katha has done it again, has presented for our delectation a stimulating selection of stylish Indian fiction translated into English … it’s Brilliant. Sixteen excellent translations of memorable stories packed tightly in a magenta overcoat.

I have to admit that almost all the stories are favourites for different reasons. A grand collection indeed. The translators have obviously laboured with love. Their work is admirable, sensitive, evocative and subtly nuanced as I’m sure the originals are. Katha deserves a round of applause for continuing to give writers in Indian languages much-needed exposure, unearthing a cache of talented translators and revealing the wealth and diversity of literature that lies hidden and unappreciated in this amazing land of ours.

–Jaya Banerji

The Statesman
(Monday, February 9, 1998)

All the stories in this collection are representative of the wide diversity of Indian cultures, habits and customs and reveal the depth of talent available in our country. Katha’s attempt to showcase this talent is laudable.

The Telegraph
(January 2, 1998)

Katha Prize Stories Volume 7 edited by Geeta Dharmarajan and Meenakshi Sharma continues one of the most important publishing initiatives in recent years ... The volume is superbly produced, which makes it a welcome change from the unattractive get up of most books of translation in the country. The writers featured in the collection includes such established names as Prem Prakash, Vaidehi and Baldev Singh while newer talents include Nazir Mansuri, Brinda Charry and Phul Goswami. Another significant feature of this volume is the dominance of women writers. Something for Mr Rushdie to mull over perhaps.

Economic Times
(Sunday, February 8, 1998)

… Katha has commendably applied the mountain-will-come-to-Mohammed adage to bring the richness of India's literature to English habitues, in a manner uniquely its own. That is, sensitive translations of representative fiction writing in regional languages … Katha Prize Stories Volume 7 continues the task of keeping India in touch with itself via the creativity of its contemporary short story writers.

For the most part, taken together the curiously timely yet timeless tales paint a mesmerising picture of India in her awesome diversity, reflected in the varied concerns of her people.

So, each story is a brush stroke.

Bookworm
(August 1998)

“The Whale” by Nazir Mansuri (Volume 7), for instance, has been translated with such finesse from the Gujarati by Nikhil Khandekar – and it must have been a ferociously difficult task, given the fact that the whole story depends upon its descriptions of the locale for its effectiveness, and the locale is pretty specialized – that is difficult to believe that it wasn’t written in English. Katha also considers fiction originally written in English and Volume 7 contains one of the best specimens that I have read for some time, “The Sisters,” written by Brinda Charry ... And to think we would have never got to read any of them, if it wasn’t for Katha. But the far bigger tragedy? We wouldn’t have known what we were missing.

The Week
(February 22, 1998)

Katha’s collection of short stories are a treasure, once again...

Each annual volume is a collector’s item bringing together, within the pages of a single publication, English translations of the best short fiction of the previous year in all the major Indian languages.

It used to be said that Indian language writing translations could never adequately capture the quality and spirit of the original. Year after year Katha has been triumphantly proving this proposition wrong. The boom in the last few years in English translations of Indian fiction – all the big names in Indian publishing have got into the act – owes much to Katha’s trail blazing effort.

In making Indian short fiction accessible to Indians themselves, in enabling literary enthusiasts in each language region to discover what their counterparts in other parts of the country are currently reading and writing about, Katha’s contribution is invaluable.

And, unlike almost all the other publishing houses where the quality of releases have fluctuated wildly, Katha has shown impeccable taste. Both in its choice of stories and in the quality of its translations, it has consistently upheld high standards ... all manage to convey what is essential for a good translation: the flavour of the original ...“Topi” ... is one of the finest stories I’ve read in my life.

India Today
(January 26, 1998)

Sound, phonetically aflame English translations have become the distinguishing trait of the Katha series. This volume doesn’t disappoint. The rich and vital sounds, dialects and peculiar flavours of various regions are astutely preserved ... the gifted raconteurs seem wholly clued into the grammar of gripping fiction ...

The absence of literary ornamentation and the gratifying synthesis of emotion and expression characterize almost all the introspective stories about loss and restoration.

The Express Magazine
(February 8,1998)

The Katha volumes are an accessible celebration of the Indian experience in all its diversity
… And one thing that the Katha series can always be commended for is its faithful adherence to the original text ...

Katha has several other achievements, the most important one being the cultivation of a whole new readership for translations of contemporary short stories drawn every year from Indian languages. Which is affirmed by the fact that each of the six previous volumes is into reprints ...

... Katha has filled a huge vacuum ... As the noted Hindi litterateur Bhisham Sahni pointed out while releasing the present volume, “Translations are vital for any meaningful study of literature, for there’s a limit to the number of languages you can learn.”

... the present volume, too, is a medley of voices, all distinct and complementary to each other. Katha is a celebration of the diversity of the Indian experience. If Brinda Charry’s “Sisters” sounds real, it is only because this is a refreshing Indian story with a very Indian use of the English language. It has been presented with its original sounds intact ...

“Sheesha Ghat,” Naiyer Masud’s disturbing tale of critical handicaps, for instance, yields as much meaning as the reader infuses into it. It must surely have been one of the most difficult stories to translate. Not that the others are any easier to reproduce. Sanjay Sahay’s brilliantly detailed Hindi short story about the corrupting influence of authority in Bihar, “Topi,” Khalid Javed’s poignant Urdu tale “Bure Mausam Mein”, which appears as the “Season of Fever”; Phul Goswami’s revealing study of contemporary Assam, “Co-Travellers” (“Sahajatri”); and Nazir Mansuri’s innovative Gujarati tale about the fishing community, “Bhuthar” (“The Whale”), must all have been a translator’s nightmare. But most of them have done well enough to be able to communicate the distinct richness of the voices of different regions.

Considering that the collection opens up to most of its reader’s worlds that wouldn’t otherwise exist for them, the publication of each Katha volume is a happy event. And as Bhisham Sahni would readily testify, the readers are the richer for it.

– Ashish Sharma

Business Standard
(Tuesday, February 3, 1998)

Katha has been consistently bringing the latest in Indian fiction. Katha Prize Stories Volume 7 ... carries this tradition forward ... Each story describes a different world, yet speaks of something universal. They draw heavily from immediate surroundings for both the setting and the imagery, which gives them a very Indian flavour. At the same time, they present a view of what lies beyond the apparent. They are like excerpts from life, magnified to allow the intricacies to come through. Together, the kaleidoscopic view of these “worlds” brings home the concept we know as India.

The translations ... have done justice to the original works. They keep the “untranslatable” untranslated, retaining the story’s original flavour.

... Katha offers a window to the contemporary literature scene in the country, and peeping, which has always been tempting, here actually proves exciting.

– Paritosh Bansal

The Pioneer
(Saturday, January 8, 1998)

Katha has done more for Indian writing in translation than what has been achieved by the efforts of Sahitya Kala Akademi and other such Government aided bodies put together. The December compilation of the “best short fiction published” during the year has become a much- awaited annual literary event ...

Katha definitely has carved a niche for itself in the West, more specifically certain Universities abroad where it has been included as primary reading in their syllabi. Such popularity can, however, be counterproductive. Indian readers exiled from the vernacular tradition can do without any souped-up version of what constitutes “Indian writing.” It needs to be added that these apprehensions are not founded on material fact, and the present collection bears testimony to the rigorous and fair selection procedure followed by Katha.

The sixteen stories that adorn Katha 7 highlights the freedom “mother-tongue” writers enjoy over Indian writers writing in English. There is no conscious effort to “root” their narratives on a self-consciously created Indian milieu. There is therefore, in their writing, a quality of universal reference … And yet, this universal quality filters out of a consciousness that is local and rooted. Which explains the recurring motifs of poverty, loneliness of women, disaffection with the system, family relations, etc. Both these features – universality and local consciousness – counterpoise each other in helping the collection escape trite generalizations.

Naiyer Masud’s “Sheesha Ghat” is possibly the most difficult in the selection. Along with “The Whale,” it is among the more symbolic and complex of these stories. Created with a great lyrical quality that is preserved in translation, there is a haunting, almost magical balance in the tale, especially in the interplay of symbols and in the interaction between extraordinary characters.

Over all, Katha 7 impresses. If you like reading quality fiction, you can read it without apologizing for not being able to read the original. The translations are quality, non niche efforts, with Katha doing what it does without compromising integrity for regional and such like considerations. Readers of Katha 7 will eagerly await Katha 8.

– Debraj Mookerjee

The Hindustan Times
(Sunday Magazine, October 25, 1997)

Katha Prize Stories Volume 7 ... comes as yet another proof that Katha has become a dependable deliverer of the best short fiction from India in the various Indian languages every year. The collection embraces a wide variety of concerns endeavouring to unveil hidden depths of the human mind.

–Meenakshi Bharat

The Authors

Ashita
Baldev Singh
Brinda Charry
B Chandrika
Khalid Jawed
Nayyar Masood
Nazir Mansuri
Paavannan
Phul Goswami
Prem Parkash
Ram Swaroop Kisan
Sanjay Sahay
Suchitra Bhattacharya
Tarun Kanti Mishra
Vaidehi
Che Yoganathan

The Translators

Mridula Nath
Chakraborty
B Chandrika
Devinder Kaur Assa Singh
Elizabeth Bell
Indira Chandrasekhar
Jasjit Mansingh
Jatindra Kumar Nayak
N Kalyan Raman
N Kamala
Maozzam Sheikh
Nikhil Khandekar
Pradipta Borgohain
Pranava Manjari N
G J V Prasad
Reema Anand
Shama Futehally
Shyam Mathur
Zakir Zaheer

The Nominating Editors & Journals

Assamese: Indira Goswami (Prantik)
Bangla: Shirshendu Chakravarti (Desh)
English: Ananda Lal
Gujarati: Ganesh Devy (Gadyaparva)
Hindi: Asad Zaidi (Hans)
Kannada: Shantinath K Desai (Udayavani)
Malayalam: Paul Zacharia (Malayala Manorama, Mathrubhumi Daily)
Oriya: Yashodara Mishra (Jhunkara)
Tamil: R Chudamani (Dinamani Kathir, India Today)
Urdu: Sara Rai (Soughat, Shabkhoon)
Punjabi: Kartar Singh Duggal (Aarsee)

Rajasthani: Vijayadan Detha (Jagati Jot)

Edited by
Geeta Dharmarajan
Meenakshi Sharma

Publishers: Katha
Cover Design: Taposhi Ghoshal
Colours: Arvinder Chawla
Logo Design: Crowquill
Category: Katha Prize Stories
Statistics: 5.5" x 8" 224 pages
ISBN 81-85586-74-8 [PB]
Price: Rs 250 [India and the subcontinent only]

Buy now!

Katha Prize Stories: Volume 6

As the nation celebrates fifty years of independence, KPS 6 presents an electrifying perspective on the plurality of experiences that is India. Fourteen provocative stories from ten regional languages and an equally stimulating narrative originally written in English imaginatively recreate the political, cultural and social upheavals affecting Indian today. The languages featured are Asomiya, English, Gujarati, Hindi, Kannada, Malayalam, Marathi, Oriya, Punjabi, Tamil, and Urdu.

India Today
(February 15, 1997)

Fluent Fiction: A rewarding collection of regional language literature.

At a time when being Indian and being published abroad spells big money, big fame and bigger media hype, this series shows something remarkable: qualitatively, contemporary Indian writing in regional languages is just as good as Indian writing in English.

For the past six years, Katha has been bringing out what it considers is the best in Indian short fiction over each year. This anthology of fourteen stories is no exception. Painstakingly selected and translated into English, the collection offers an insight into an India progressing towards fifty years of independence, an Indian which is going through social, political and cultural upheavals. For this, we have to thank the translators (or should we say transcreators?) as much as the editors. In translation, the stories retain their vibrancy and their subtleties without forsaking the refinement of narrative technique …

If one is keen on window shopping the contemporary literary scene in the country, there could not have been a better showcase than this book. All the stories retain a whiff of the region they are rooted in. At the same time, they have the universality that the best of fiction demands.

– Soumya Bhattacharya

Outlook
(January 8, 1997)

The sixth volume of Katha is an extension of the expected: excellent stories, most of them in regional languages, put together in a committed manner as always. There are thirteen short stories in regional languages, and one that was originally written in English. The stories reflect the multicultural tapestry of India as they narrate the individual creative experiences of some of the most talented writers in contemporary times. For those who have read the previous volumes of Katha – in fact, even one – this volume only echoes the standards it has set for itself through its predecessors. In other words, it makes for a fine read.

The Indian Express
(January 12, 1997)

Banking on a steady steam of creative translators, many of whom have transformed the act into an art, the Katha Prize Stories make available a small share of the regional goldmine denied to most readers. These collections negate all regional, national and thematic straitjackets and it is India, resplendent in all its diversity, that comes alive in story after story.

By demonstrating a sustained excellence, the recently released sixth volume of Katha Prize Stories establishes itself as an organic extension of its predecessors. The thematic concerns that manifest themselves in this anthology represent not only the dominant issues that kept the country preoccupied in 1995-96, but also those themes that have become a perennial part of the collective consciousness of India.

– Pallavi Rastogi

Business Standard
(New Delhi, December 27, 1996)

Katha’s Sixer on India’s fifty

Since its inception in 1990, the Katha Prize Stories series had become something of an institution in the world of Indian literature …

Releasing the book at a quiet function attended by Nirmal Verma and Rajendra Yadav, among other luminaries, Dr Manmohan Singh commented on the impact some of the characters in the stories made on him.

Dr Manmohan Singh … [referred in his speech to how] “Literature creates awareness; that role needs to be preserved. Katha’s work is of tremendous significance in building a new India. All of us in public life need to ensure that Katha flourishes.”

– Nilanjana S Roy

The Authors

Anil Vyas
Dhruba Hazarika
Irathina Karikalan
Jayanta Kumar Chakravarthy
P Lankesh
N S Madhavan
Mohinder Singh Sarna
Priya Vijay Tendulkar
Pudhuvai Ra Rajani
Rawindra Pingé
Shaukat Hayat
P Vatsala
Vishnu Nagar
Yashodara Mishra

The Translators

Sharada Nair
Hephzibah Israel
Kaveri Rastogi
Keerti Ramachandra
Mahasweta Baxipatra
Mitra Phukan
Prachi Deshpande
K M Prema
K E Priyamvada
Roomy Naqvy
Revathi
Sara Rai
Satjit Wadva

The Nominating Editors & Journals

Assamese: Harekrishna Deka (Gariyoshi)
English: Makarand Paranjape
Gujarati: Prabodh Parikh (Parab)
Hindi: Asad Zaidi (Hans)
Kannada: Nataraj Huliyar (Lankesh Patrike)
Malayalam: K Satchidanandan (Malayala Manorama, India Today)
Marathi: Sudha Naravane (Loksatta, Dipavali)
Oriya: Pratibha Ray (Jhunkara)
Tamil: Ambai (Sathangai, Kavithaasaram)
Urdu: Gopi Chand Narang (Aajkal)
Punjabi: Kaptar Singh Duggal (Aarsee)

Edited by
Geeta Dharmarajan
Meenakshi Sharma

Publishers: Katha
Cover Design: Taposhi Ghoshal
Colours: Arvinder Chawla
Logo Design: Crowquill
Category: Katha Prize Stories
Statistics: 5.5" x 8" 224 pages
ISBN 81-85586-52-7 [PB]
Price: Rs 200 [India and the subcontinent only]

Buy now!