"It is not too much to compare Mr. Narayan to Chekhov." -The New York Times There is no better introduction to R.K. Narayan than this remarkable collection of stories celebrating work that spans five decades. Characters include a storyteller whose magical source of tales dries up, a love-stricken husband who is told by astrologers he must sleep with a prostitute to save his dying wife, a pampered child who discovers that his beloved uncle may be an impostor or even a murderer. Standing supreme amid this rich assortment of stories is the title novella. Told by the narrator's grandmother, the tale recounts the adventures of her mother, married at seven and then abandoned, who crosses the subcontinent to extract her husband from the hands of his new wife. Her courage is immense and her will implacable -- but once her mission is completed, her independence vanishes. Gentle irony, wryly drawn characters, and themes at once Indian and universal mark these humane stories, which firmly establish Narayan as one of the world's preeminant storytellers.

Collection of three novellas, one of a grandmother, one of an old miser, and one of a childless couple

As a young girl spends time at her grandmother's apartment, she is treated to traditional Jewish tales, including "Bavsi's Feast," "The Golden Shoes," "The Garden of Talking Flowers," and "A Phantom at the Wedding."

Have you ever seen an opossum, hurrying across the road with its eyes and coat shining in your headlights? Or hanging upside down from a tree? Or lying on the ground 'playing possum' as if dead? And did you ever wonder why the opossum acts this way? The ancient Cherokee people wondered about the opossum, whose silly grin and hairless tail caught their imagination. In those days, the people had no written language, and they relied on stories to explain the behavior of the animals in their world. According to Cherokee legend, the Opossum owned a magnificent tail, covered in glistening fur, of which he was terribly proud. The tail was so magnificent, in fact, that the Opossum thought it his duty to make everyone else appreciate it as well. In this seventh volume of the Grandmother Stories, Si-qua the Opossum brags constantly about his tail until his neighbors can stand it no more. Something must be done about him! The prideful Si-qua is overcome by loss and despair when his outer beauty is suddenly gone. But an unexpected ally helps Si-qua discover powerful abilities within himself that will soon win the true admiration of his friends.

This is a piece of Victorian Erotica, anonymously published in 1880. This is erotica for open minded adults only.

Although the short story has existed in various forms for centuries, it has particularly flourished during the last hundred years. Reader's Companion to the Short Story in English includes alphabetically-arranged entries for 50 English-language short story writers from around the world. Most of these writers have been active since 1960, and they reflect a wide range of experiences and perspectives in their works. Each entry is written by an expert contributor and includes biography, a review of existing criticism, a lengthier analysis of specific works, and a selected bibliography of primary and secondary sources. The volume begins with a detailed introduction to the short story genre and concludes with an annotated bibliography of major works on short story theory.

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 study also considers the effect that Narayan’s writing for overseas publication had on novels such as Swami and Friends, The Guide and The Man-Eater of Malgudi. Narayan’s imaginary small town of Malgudi has often been seen as a metonym for India. Thieme draws on recent thinking about the ways in which place and space are constructed to demonstrate that Malgudi is always a fractured and transitional site, an interface between older conceptions of Indianness and contemporary views that stress the ubiquitousness and inescapability of change in the face of modernity. The study also shows that Malgudi is seen from varying angles of vision and with shifting emphases at different points in Narayan’s career. As well as offering fresh insights into the influences that went into the making of Narayan’s fiction, this is the most wide-ranging and authoritative guide to his novels to have appeared to date. It provides a unique account of his development as a writer.