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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
From the hundreds of short stories written by Gangadhar Gadgil, this representative collection has fourteen in English translation. There is fable and fantasy, humour and poignancy, sentiment and cynicism, sharp comment on society and human behaviour that is tender as well as brutally exploitative. Every character lives and breathes in Gadgil’s stories whether they struggle in the middle-class chawls, crowded restaurants and streets of suburban Mumbai, or even on the beach at Mahabalipuram. His language is playful, acerbic, alliterative, sometimes even poetic, never effusive, always clear and precise.
Gadgil’s stories are relevant, long after they were first published in Marathi, since the changing social structure, the pace of life, the tension in interpersonal relationships and the consequent angst that he depicts, remain essentially the same.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
From the hundreds of short stories written by Gangadhar Gadgil, this representative collection has fourteen in English translation. There is fable and fantasy, humour and poignancy, sentiment and cynicism, sharp comment on society and human behaviour that is tender as well as brutally exploitative. Every character lives and breathes in Gadgil’s stories whether they struggle in the middle-class chawls, crowded restaurants and streets of suburban Mumbai, or even on the beach at Mahabalipuram. His language is playful, acerbic, alliterative, sometimes even poetic, never effusive, always clear and precise.
Gadgil’s stories are relevant, long after they were first published in Marathi, since the changing social structure, the pace of life, the tension in interpersonal relationships and the consequent angst that he depicts, remain essentially the same.