She was an interested observer of the process of editing the translation series: Past Continuous in the late 1990s, and an invitee at the Rashtrapati Bhavan when the three translations were received by President KR Narayanan from the translators.
A visit to an institution is an eye-opener because of the heterogeneity of children, both in terms of age, gender, medical condition, and their legal status.
The textual narrative highlights the tensions and dilemmas faced by parents and students regarding their school’s expenditure, teachers’ attitudes, administrative norms for the duration and timing of holidays and vacations, and the balancing of home responsibilities with the school’s demands.
Aiyar’s scholarship is significant in this context, as she critiques the dominant ‘plumbing’ view in public policy, where problems are seen as technical bottlenecks to be fixed by better design.
The Child Labour (Prohibition and Regulation) Act, banning children under 14 from hazardous jobs and regulating others, was passed in 1986, followed by the 1987 National Policy, which emphasized rehabilitation and education. Subsequently,
The chapters cover topics that include the study of leaves, seed germination, seed dispersion, floral structures, biodiversity in the living world, food, sensitivity, the animal kingdom, microorganisms, reproduction in plants and animals, animals’ internal organs, animal life cycles, plant nutrition, and the growth and development of both living and non-living entities.
Marketed as a real-life practical manual for teenagers, Beyond the Syllabus proves to be apt even for adults dealing with such questions.
It highlights the silting of rivers and the changing of their courses, which students would otherwise read about without really understanding the phenomena as they happened in the past, or reflecting on them through the prism of today’s disasters.
The initial couple of chapters on the protohistoric period of India, viz. the Harappan Civilization (‘Harappan Culture’, pp. 25-42) and the Rig-Vedic period (‘Society and Ideas in the Age of the Vedas’, pp. 43-48), are important in that they lay bare several myths pertaining to these ages.
From being one among many, Mihr rose to become the favourite wife of the Mughal Emperor Jahangir, who married her in the sixth year of his reign subsequent to the demise of Ali Quli Beg. Sharing an extraordinary, sensitive relationship with his twentieth wife,
However, most Indian rulers were generally caring of their people, irrespective of their community and religion. In Cochin, Jews, Christians, and Arab Muslims were all welcome, and the first mosque in india was built there in the actual lifetime of Prophet Mohammed.
Here, fictionalizing a historical event draws young readers into the folds of India’s unique victory in overthrowing the British Empire. There is little knowledge about the salt marchers, which is appropriately covered by fictional elements. It does not distort history
Railway Chronicles of Bhopal is unusual because it takes the laying of a railway track as its starting point but then weaves its story to introduce us to the administrative skills of the Begums who were the then Nawabs of Bhopal.
Together, these two books complement each other: the first, ideal for introducing very young children to the idea that kindness, curiosity, and discipline are the building blocks of greatness;
Shivaji and His Swarajya Adventures is rich with leadership lessons. These are not buried in subtext; they are clearly highlighted, making it easy for readers to identify and reflect upon them. This approach makes the book particularly suitable for read-aloud sessions,
This remarkable person was Kundavai, daughter of the mighty ruler, Sundar Chola, who ruled over most of the Southern region of India. After his death, she continued to stay in her brother’s palace, to help and advice first her brother Rajaraja Chola 1, one of the most powerful kings of medieval India, and later his son, Rajendra.
Two key elements in the story offer a unique perspective. One is Roop’s toy: a kaleidoscope. Roop sees the world through it, blending colours together. For her, red, blue, green and purple are not separate. They merge into one. The kaleidoscope unites them. But when she sees the world outside, where colours are divided, it hurts her. The second is the river, which serves as a metaphor.
The book’s clear structure, with one chapter dedicated to each traveller, makes it an excellent resource for young history enthusiasts.
The narrative voice is engaging and deceptively simple. It’s conversational yet informative. It’s never stodgy. It never talks down to the young reader. It is well edited for clarity and consistency but it’s also got a real sparkle to it. This passage describes universal adult franchise:
The narrative naturally begins with Dr. BR Ambedkar, whose life was marked by the harsh realities of caste discrimination. Those early experiences forged in him a determination to secure dignity and justice through state action.
Significantly, as the work demonstrates, ‘Jana Gana Mana’, even before it became the nation’s anthem, was adopted by Netaji Subhas Chandra Bose and his Indian National Army.
In travelling this ground, we also need to understand the relationship between science and technology. The most advanced technological products we use are also the products of science. Significant advances, for example, in electronics, utilize ultraviolet (UV) or extra-UV lasers to produce chips, in which the transistor size is measured in nanometres.
The writing is breezy and engrossing for mature readers who have some background knowledge of and interest in the thought paradigms of different religions and philosophies. Each chapter gives you much to learn and much to reflect on, examples chosen from ancient history and religious and spiritual traditions.
In this book, Sen takes on the challenge of presenting the Bhagavad Geeta to a young audience. Instead of approaching it as a commentary, Sen adopts a creative narrative frame: an extended dialogue between a grandfather and his two grandchildren with occasional interventions from the mother.
In my three decades of teaching Economics, I have often felt that the subject as taught in schools, or at the undergraduate and post-graduate levels in India, is almost entirely the Economics of the West, specifically British and American.
Policymakers too are largely trained in the western tradition,
Next, we go back into time with History. Useful words are explained and a brief timeline of World History follows, beginning with 5000 BCE and ending with present-day landmarks. Everything becomes clear, as events fall into place and comparisons of places and people around the world are simplified.
Through the self-professed ramblings of the author, he tells us not only how to stay untouched while daily life carries on with crashes and booms around him, but also unravels the secret to writing. His all-time favourite author, Emily Bronte, wrote in dreary solitude of a house called Wuthering Heights
The changing seasons bring in exciting and subtle changes in the environment round the year. So, a Seasonal Nature Tracker helps record these transformations as we pay close attention to trees, flowers, animals and the weather, all of which have their own seasonal surprises.
Hindi enthusiasts and educators will also enjoy the book as the narratives are written from a deeply reflective point of view. Peeyush writes in the Introduction that the events mentioned in the book are aspects of nature that caught his interest. He describes it as if he had only caught hold of one end of a story;
Through verse, Whitaker tells this remarkable story of Ajay’s relationship with one of the most feared creatures on the planet. His respect, resilience, and dedication shine through, offering children a window into the lives of conservationists who work quietly, tirelessly, and often unseen in our forests.
Although told in fictionalized terms, this narrative speaks to very real conversations and circumstances around the erosion of food diversity and sovereignty.
The translator’s decision to leave words like gundi, mundi, murgi, and naala untranslated keeps the text rooted in its world. This choice reminds us that these stories cannot be neatly relocated elsewhere.
The first occurrence of narrative drawing was in the Delhi Sketch Book in 1850. Inspired by British satirical magazine Punch, it showcased the life of Britishers in the city. Although short lived, over the next two decades, cartoon magazines sprung up in Bengal, Lucknow, Punjab, Gujarat, Lahore and Bombay. These magazines were mildly humorous and usually were a commentary on everyday life.
Ten Indian Traditions of Folk Music that Tell Our Stories is a remarkably written book by Mamta Nainy. What we often call folk is in fact the expressive culture of the labouring classes—their music is diverse, deeply rooted, and profoundly moving. In ten chapters,
‘I bow to you, O sweet Mahalakshmi’ comes with ‘namastastu’ below pointing to ‘bow to you’ (p. 1). In the book Shiva, below ‘O Lord Shiva, you are the lord of the mountains’, an arrow links ‘lord of the mountains’ to ‘geerisham’ below it (p 9). No italics are used, thankfully, keeping the target readers in mind.
Purushothaman’s sensitivity as a writer allows her to zoom out from individual lives and situate them within broader social realities of gender, caste, and community. This wide-angle lens, which acknowledges how both opportunities and constraints shape musical progression,
Recently there has been much debate on the license allowed by the Korean writer Han Kang to her English translator Deborah Smith.
You Had Me at Annyeong! (Annyeong means hello, bye and also peace, depending on its usage) reads like a novelized version of a Korean serial drama very much in the Mills & Boon style.
In a totally different vein is ‘A Chador for the Dargah’—a sweet story about the innocent friendship between a Muslim girl and her Hindu classmate. This story is set in Old Delhi and captures the atmosphere to perfection. In fact, the stories have varied settings.
The book begins with ‘The Narrator’s’ daily churnings at her office where she works as a copy editor and encounters male chauvinism every day at the hands of different characters, from the ‘Chief’, who is the founder of the magazine to his emotionally estranged son, Kumar, who takes over after his father’s death.
Another interesting aspect is the powerful presence of women of different generations in the book and their singular power. There is no powerful or oppressive character, dead or alive; Shankar, the influential panda, comes closest to a male trying to manipulate,
Dr Rupinder S Brar is a cardiologist, writer and poet who lives in California. Quoting Bhamaha, a seventh century poet, he says that his intent with this book was also, ‘… to grasp the nature of the world and all tastes (rasa), one by one…’.
The very title Bloom Again (or Phir Ugna) encapsulates the collection’s core ethos. It is not a nostalgic look at a lost past but a powerful assertion of a cyclical ethic of renewal, re-rooting, and reclamation. Even as poems like ‘Migration’, ‘Civilization’, and ‘Return’ mourn the dislocation caused by urbanization and modernity. The collection collectively gestures toward hope and resistance.
The book carries a poem or two from the random listings of poets cited above. The curation shows scant regard for spatial and/or temporal boundaries. This reviewer would refrain from referring to the collection as a symphony, tempting as the word may be, for while with a symphony each cord, each note is synchronized to meld into a harmonious whole, which is not the case with this delightful little book.
The metaphor of ‘lines’ is creatively traced both through text and visual image. The vivid images in the poem are given context and feeling through Kripa’s striking illustrations where washing lines are blown by the wind, a file of refugees walk through the cotton fields to find safety, and closed doors and gates represent the insensitivity and indifference of officialdom.
It is very difficult to even summarize the stories here because the twist at the end of each tale would not permit me to do so. Nevertheless, some of the titles and their backdrop and characters can be briefly mentioned here just to give the readers an idea about what to expect.
What makes this collection even more special is how the stories are framed. Each one begins with an introduction to an object deeply connected to Kashmiri life—a garment like the pheran, a jewelry piece like the saraf, or a flower or musical instrument.
The varied terrain of the Himalayan region hosts its own species and life forms, and each has a story to tell. The first section of the book has stories devoted to Birds and Animals, Flowers and Trees. The stories that follow in the second section lead into the mysterious world of ghosts, goblins and cunning tricksters. Such elusive figures have always dwelled in the mountain paths and caves, and continue to do so.
Maha Khan Phillips presents through Gul’s lived experience a glimpse into the elite of Karachi and contemporary life inside a conservative Islamic nation that shows its citizens enjoying trendy styles and modern music. Gul is estranged from her family for having rejected the life they expected her to lead.
A friendship between human and other living beings, other animals, the warmth and care shared between them, and love, has many, many forms to manifest itself, many experiences and in many ways. It is intriguing that the author chose the idea of building the house for a dog, considering the context and life of the family being portrayed in the book. The observation remains noticed but unanswered.
Dr. Ratnagar off the project and silenced. Thus, the mystery begins. An apt case for the Seekers to solve!
Mala Kumar’s The Missing Rocks of Hampi skillfully weaves two mysteries—one set in the time of the Vijayanagar Empire, and the other in the present that the Seekers are after.
The book has a chapter on how to find out the purity of these minerals by giving a brief history of scientific study of food that we eat. Properties of the minerals are explained. We get answers on malnutrition and overnutrition from the book. Almost 30 pages are devoted to the subject.
Activity books serve as a beneficial medium for discussing such topics. Creating an activity book focused on food and culture can be challenging due to the diversity within cultures, such as the variety of foods, beliefs, and art forms across different regions. This raises questions about what to include in the book and the criteria for those selections.
‘Quite Alarming’ or hearing a listicle of maxims that he is advised to follow in ‘Getting Help from Chanakya’, or even the final story which brings our two young sleuths together again, this time bent upon ‘Knowing the Rakshasas’—each story trundles to a halt with its moral and pedagogical imperative, and in the process becomes rather far removed from what would motivate often reluctant readers to turn the page.
Such poignant words illustrate the various shades of the night sky, and the many creatures that come alive at night.
I got the opportunity to read both the English and the Hindi book together, and found that reading the words in these two languages simultaneously opened my mind to different perceptions.
The other black and white illustrations in the book also kindle the imagination of the reader to create unusual, goose-bumpy mental pictures that metamorphose into comforting ones, as and when the stories begin to give solutions to the dire present- day condition,
The question of translation always brings with it multiple expectations. For some, a translation must remain faithful to the original; for others, the text should be supple enough to absorb the nuances of the language into which it is being carried.
The illustrations in the book are inspired from dense urbanized places with inadequate space wildlife. Beyond images and verses of catchy rhyme, there is the dark background representing the disastrous effects of dumping overwhelming amounts of junk and litter into water bodies, of which the animals and birds have to face the consequences.
At the heart of the story lies Akru, a strange and fascinating animal. The plot revolves around a humorous yet thought-provoking contest between the Idu Mishmi tribe and the spirits of the mountains (Ngolo/Golos) over Akru’s ownership.
The book has an intensity, emotion, and beauty to it, which makes sure you read it in one go. Whether its Chitty’s playfulness, the rich landscape or some moments of emergency, the description holds your rapt attention.
The plot revolves round the disappearance of a precious plant. There is some tension as neighbours accuse each other of jealousy and theft but the diverse community also comes together in an effort to solve the mystery.
The reference to how Katli’s various personalities handle situations will be meaningful to readers. Katli’s realization that she does not need to switch between personalities and can be herself around people who love her unconditionally (her parents and her friend Abhay) is an important insight.
Nandita da Cunha’s story is gentle yet impactful, and Shreya Sen’s illustrations complement the narrative with warmth and charm. However, according to me, the illustrations could have been more provocative. Illustrations are not just limited to describing the narrative in pictorial form,
Vincent makes it evident that his freedom is uncompromisable. He is an eight-year-old fighting for autonomy in the world of adults who decide what is right and wrong. It also highlights a forgotten era where children in fact, were left alone to explore and find their way.
I feel very connected to the protagonist, since Agassi’s story narrates a common challenge faced by children, that is, self-doubt. The author is successful in addressing this relatable issue to the readers and motivates them to imbibe an optimistic outlook.
Another thing I liked is the writing style. It’s simple and easy to follow, but never boring. Agalya’s thoughts are funny and relatable.
Stories such as this one serve the important purpose of helping children learn life lessons that will not automatically emerge either from academic education or everyday family conversations. The story effectively delivers its key idea: life will have its ups and downs, but we can still be happy by embracing what we have. In addition, there is a multitude of small and big lessons that can be learnt from the book.
Anil is disheartened when he learns that the city plans to build a new solar panel factory on land that includes a mangrove. While the factory promises sustainable energy, it threatens the local ecosystem and livelihoods of the fisherfolk who depend on the mangroves.
The illustrations expand the text in surprising ways, offering depictions beyond the familiar. We meet a mermaid in a wheelchair, a mer-guy cooking for his companion, a plump mermaid, and even glimpses of the lagoon’s fraught history of conflict and disaster. These visual choices enrich the narrative and push the boundaries of what mermaid stories can be.
The narrative created unfolds with brisk pacing and carefully planted twists, with each chapter closing on a note that propels the reader forward; with each hand on the chapter headings almost beckoning the reader onward.
Thematically, the novel revolves around solidarity and exclusion. The Freezies comprehend in Christaki a mirror of their dislocation. Friendship with him is a granting of symbolic asylum. Dhondy employs that friendship to offer us a reflection on asylum and sympathy.
From an educational perspective, the book opens up discussions about the Irula tribe, Dr. N. Kalyani, and the lives of all tribal communities living in forests. The poem conveys compassion for animals and nature. It sparks curiosity and sensitivity among children—especially those from rural or marginalized backgrounds.
‘Mahesh ka Saanp-Prem’ is an interesting anecdote about Mahesh’s love of, and living with snakes since his childhood, carrying them to school and taking them for a ride on his motorcycle. Mahesh doesn’t just keep snakes as a hobby; he builds an entire world around them. His separate house, his carefully designed pots with air holes, his daily routine of taking each snake for a walk—all these details turn his fascination into a way of life.
This story could unfold in any tribal village or rural area of central and northern India. The village is situated close to the forest where people from almost all households go to collect mahua.
From tales of the wild, we soar to J.R.D. Tata’s life in The Five Fantastic Flights of Jeh. The bilingual book presents itself as a visual biography in which J.R.D.’s five flights chart a trajectory of curiosity, risks, and public service. Yellow backgrounds in the first and last flights create a circular structure, emphasizing continuity. Each flight teaches a lesson, initiation, generosity, perseverance, dignity of labor, and resilience,
‘Baaya aur Dahina Haath’ follows a severed ghost-hand carried by a ghost dog, turning memory and belonging into riddles. In ‘Sone ke Beat’, pigeon droppings turn to gold, while ‘Kukadkoo aur Kankad Koo’ brings a hen that lays golden eggs, stirring gossip through the village.
The second book, The Rabbit in the Moon, contains the fables of ‘The Tale of How the Bedbug’s Selfishness Cost the Louse Her Life’, and ‘The Tale of How the Rabbit in the Moon Saved His Relatives’.
‘Monsoon Mischief’ feels like a splash of childhood, reminding readers of muddy adventures and small troubles that become larger in imagination. ‘The Clingy Friend’ is warm yet gently cautionary; it is sure to resonate with anyone who has struggled with clingy friendships. Readers feel both amused and intrigued, recognizing themselves in the humour while being comforted by its soft resolution.
In addition to every new character and plot, the illustrations present amplify each story, adding colour and emotion. Even though some pages are text-heavy, the visuals never seem to fail in holding the attention of the readers, and in adding a sense of vibrance to the story.
Rinkydink racoon, in Being Stubborn isn’t Fun, always wants his friends to agree with everything he decides. Fed up of always agreeing to him, his friends leave him alone to do his own thing. He soon realizes that he misses his friends and should have to let go of his stubbornness.
More than a tale of sport, the book is an exploration of sibling camaraderie, childhood curiosity, joy of the ordinary, and the thrill of small acts of independence. Keditsu’s lucid prose and Loitongbam’s expressive artwork together create a reading experience where simple storytelling resonates with both culture and emotion.
I became such a child at heart with the book in my hand. My child ego blossomed, pushing the adult ego to the back burner. Putting my fingers to the keyboard to write a review came at a later stage.
In Jim Corbett National Park, we meet the giant Asian elephant—gentle and wise; weighing up to four tons. But right behind him slithers danger: the King Cobra from Agumbe, a massive reptile that is eighteen-feet long and actually not true cobra (surprise!).
A book becomes compelling when it transforms raw, realistic moments into sources of fascination. Raya’s character, although a child, is still shown as mature and understanding and these traits make her a deeply endearing character. Her observing nature is a catalyst for learning, which develops understanding of not only her surroundings,
Singh, subtly but definitively, challenges gender roles and stereotypes through the characters in the book. The father is scared of lizards, while the mother is not. It brings in the idea to children that men, even grown men, are allowed to be afraid. Later in the book, Diya shares her experiences with her bus driver, Rani, and her friend, Farah. By choosing to portray a woman bus driver, Singh has again broken the stereotypical notion of male bus drivers.
After reflection comes discovery with the section on ‘Fun Facts about Cats’, where imagination meets real-world learning. Did you know cats sleep almost two-thirds of the day; can leap six times their body height, or pick up scents spanning the width of a football field? These informative tidbits bring the poem to life
This enjoyable book holds the reader’s attention right through to the end and will amuse him or her with all the loud and sometimes strange animal sounds, as they try to shake Bear out of her deep sleep. The expressive and entertaining illustrations complement the text effectively.
Each verse is preceded by a 100-150-word description where Zai has focused on some well-known character traits, distinctive or curious behaviour that may seem whimsical or odd to the observer, and the reason for the same, helping to foster love for both poetry and the natural world.
Alankrita Amaya has written the story in Hindi. This story is about a character named Champu and her journey to the planets. Distinguishing characteristics of each planet have been woven into the story—an easy and engaging way to learn about planetary facts!
Shabnam’s writing is fast paced and filled with witty flourishes. She has a knack for crafting eccentric characters who feel instantly real. Tinaz Toddywala’s detective zeal, Dorab and Dina’s wide-eyed schemes, teachers and neighbours all come alive with little quirks and sharp humour.
All these sound-characters are so different, but together they make the story really fun and unique. It’s not like a regular story with a beginning, middle, and end. It’s more like a world of sounds that come alive and make you imagine things.
When I finished the book, I realized something important.
Vinayak Verma’s illustrations make the story even more delightful. With expressive faces and details, the pictures add to the humour of each attempt at the elusive ‘perfect’ medu vada. Children will especially enjoy spotting all the funny versions of vadas along the way.
The book needs no words to rely on. The illustrations by Tanya Sharma bring to life the sights, sounds and smells of all the cities we visit. The cities are threaded not just with food, but also with their essence—for example, Hyderabad’s Charminar, Gujarat’s Dandiya, Jaipur’s Hawa Mahal, and Kerala’s boats. There is ample diversity and inclusivity in the choice of locations.
The technique used is a classic and effective educational strategy often called ‘shared writing’ or ‘interactive storytelling’. The teacher acts as a facilitator, guiding the narrative while allowing Popo to be the primary creator. This models the structure of a story (beginning, middle, and end) and empowers the child to be successful.
Appukutonok Kenekoi Ujon Koribo? tells the story of a kingdom besieged by an unanswerable question—how do they weigh the prince’s elephant, Appukuttan? While the adults scratch their heads, it is a child named Meenu who thinks differently. The Eureka moment comes with her ingenious idea, leading the elephant into a river and using a clever measurement technique based on the laws of physics.
Cutpiece Kumar is a book aimed at channelling the creative minds of children to take up suitable projects which they could be proud of. This neatly illustrated book very significantly highlights the stitching together of a patch work quilt by a boy, to welcome his soon to be born sister.
The kingdom was populated by people who were eager and intelligent to find answers to any and every question that came their way. But weighing Appukuttan on a machine was next to impossible.
To write for children demands a particular kind of sensitivity and, if I may say so, a childlike spirit. The ability to reach their level without sermonizing; to see the world through their eyes, and resist the pull of adulthood—to write for them is to become them.
Khushboo ki Chori is a high-quality anthology that serves as an introduction to classic Bengali children’s literature for Hindi readers. Its strength lies in sheer quality of the original contributors, which includes celebrated names like Leela Majumdar, Narayana Gangopadhyay, and Sukumar Ray.
Kavita Singh Kale’s illustrations are hand-drawn, with visible strokes and layered shading. Their grainy warmth echoes the boy’s small, tender world, mosque domes shaded in twilight blues, and eyes brimming with unshed tears. The book gently touches on desire, faith, dignity,
In another, the finding of a bear’s nail turns a simple trek into a tale tinged with dread, balancing the real with the mythical. In the third, a playful young monk’s journey to disciplined devotion culminates in a tree of light and life—a parable of patience.
But Papa, I did not cry.’ In another story, science and wonder walk side-by-side. From ice cream to Einstein’s Museum, relativity is explained so simply that even children can see its lightness. Yet beyond science, kindness, and rescue shine.
Suno Kahani 2 unfolds with ‘Badi Hokar Main Hawai Jahaaz Banungi’ where a mother and daughter turn the everyday into sky-bound play, and imagination acts as both—wings and the destination. In ‘Khoya Hua Haathi’, an elephant wanders into town— for the crowd it is a spectacle; for the elephant, a lost path back home.
Yet in sharing it, he transformed that private gift into one that now belongs to countless children. The book does not ask its young readers to follow a strict order. Chapters can be read like leaves plucked from a branch. In this playfulness lies the essence of childhood, discovery without boundaries, freedom without rules.
Ek tha Ramu is a tender tale of human-animal companionship. This book tells of a man’s love for a stray dog and the grief that follows its loss. Ashok Seksariya’s narrative is simple yet moving, while Neelesh Gahlot’s illustrations, though limited in number, add warmth and poignancy. The story introduces children to the intensity of attachment and the inevitability of mortality in a manner both gentle and memorable.
Being left-out, alone, hurt, rejected— most of us have felt some or all of these emotions at some time or the other; for a short time or for longish periods as well. The protagonist in this book is a little girl who is constantly trying to be noticed and appreciated by her peers, whether in games or at school, or any other occasion. She feels there is nothing ‘good enough’ or ‘special’ about her that will win her their appreciation.
With an amazing concept and creative as well as colorful illustrations, this picture book is well worthy of all the awards and recognitions coming its way. The illustrations have very innovatively played around with the many words with ‘bb’/‘ee’ sound in the end.
The story Pet Mein Chhupi Kahaniyaan belongs to the folktale genre, in which a friend comes to the rescue of another friend— but what is the threat? This story has ‘stories’ as anthropomorphized characters which take on animal forms to seek revenge on their wrongdoer. The consequences of sleeping on a story could be ghastly. But it is also a story of friendship saving the day.
Rooted in facts about elephant migration, told from the perspective of elephants, and accessible to readers as young as 6-7 years when read aloud to them, Mari ka Safar is thoughtfully crafted. It successfully employs storytelling to create awareness about elephant migration and arouse empathy towards elephants. Additionally, a note at the end of the story explains and emphasizes the need to protect elephant corridors.
n the former, young readers are taught to empathize with the challenges of moving places and leaving behind familiar settings, and the opportunities of growth that are brought to the forefront, along with themes of sporting spirit and its role in self-confidence.
The simple current of the tale rolls on highs and lows, stalling on expressions emphasizing, ‘All for a Roar’, drifting into a tide of speedy actions affected by the roar and finally, the soothing efforts towards a cordial transformation. From the first word to the end, the author, Nandini Nayar, excels in maintaining a velvety flow of words lending a readable quality to the text. Young readers would read aloud the story effortlessly.
In all, there are thirteen stories of animals, people, bees, birds, thieves and disappearing words, some realistic as well as some imaginative. Most of the stories are brief and crisp, dealing with amusing topics—all quaint, intrinsically funny, fantastic and elementary.
