The Fruit and Other Stories by Gollapudi Srinivasa Rao

The mango (Mangifera indica L.) makes up a significant horticultural blessing of India. No other fruit has such a conspicuous register in written works, verses, mythical tradition, chronicles, painting and statuesque as that of mango. The colloquial name of mango is ‘aam’ which implies ‘the common’. It is not only typical throughout India; but is also the fruit of the ordinary folk people. Attributable to its nutritive advantage mango has pandemic solicitation and promptly called the ‘king of fruit’. Moreover, ripe fruit is revitalizing, energizing, fattening, diuretic and laxative. Each and every portion is promising, rewarding and propitious and has been employed in folk remedies in some procedure or another. Besides gobbled as dessert as well as green, mango can be cured by processing into different products in domicile and folk industry. Like Ayurveda, folk medicine also gives equal importance to preventives as well as curative measures but folk prescriptions are covered in the name of rituals and rites and some other cultural behaviour. Gangetic West Bengal is rich in mango-lore and the folk people have valuable wisdom relating to mango and they undertake their own experimentation in their own ways either in the orchards (for ITKs), or in the kitchens (for folk foods) or in the dispensaries (for folk medicines) and in the mind-land (for folk literature). Therefore, it was worthwhile to conduct a survey in the perspective of mango-lore of the Gangetic West Bengal for collecting and documenting the riches of folklore by participatory rural folk appraisal. The present study is based on intensive surveys carried out over a period of 4 years starting from the year 2007 with a detailed account of the folk diversities, folk knowledge and cultural tradition pertaining to mango cultivation and industry in Bengal. Mango-lore, the aggregate of cultural tradition delineating mango, is originated from the beliefs, culture and customs of folk people and it covers the tradition based cultural expressions exemplified by non-material folklore (viz. riddles, proverbs, sayings, folk tales, folk songs etc.) and material folklore (viz. folk foods, folk medicines, folk implements, folk varieties etc.). In the folk songs and dramas of Bengal, the diversities in mango are mentioned. Less than 5 per cent mango area of Bengal is under the cultivation of these diversities. Though it is now a common practice that orchardist-folk sells their orchards to the merchant-folk for a specific period of time, the so called folk germplasm are kept for their own consumption. Though the industrial-orchardist, now-a-days, have least interest in those folk varieties and more frequently than not they avail the opportunity of felling those, the ambitious scientists and institutions are now looking forward to have right to hold the genetic resources of the folk germplasm of mango. But as folk wisdom as well as folk variety of mango is the wealth of a folk, any individual does not claim the credit and these are closely related to culture and heritage of folk people in confined locations. Social scientists should be alert regarding this folk-intellection in plant improvement of mango.

SMART MOVES JOURNAL IJELLH

In Hullabaloo in the Guava Orchard, her debut novel, Kiran Desai has experimented in the making of a comic fable. She presents a hilarious story of life, love, and family relationships - simultaneously capturing the vivid culture of the Indian subcontinent and the universal intricacies of human experience. The story is set in a small Indian but fictitious town called Shahkot. Sampath is the protagonist who belongs to a middle class family. After experiencing drastic boredom in his life, Sampath decides to spend his life in trees. And then after, the story reveals its real mood. At a deeper level, the novel displays the theme of alienation, magic realism, rebellion, etc. Desai is a masterful dialogue writer, and she uses this skill to great effect in Hullabaloo in the Guava Orchard. She infuses the dialogue with local idioms and paints a vivid portrait of life in a small city in India. With a clear objective of writing a comic satire, she also makes a satirical attack agains...

Pursuits: A Journal of English Studies

This article explores biophilic consciousness in Kiran Desai’s novel, Hullabaloo in the Guava Orchard, from the perspective of Eco-criticism. The prime concern of this study goes to present the prevalence of biophilia representing through its main character, Sampath Chawla who escapes from the modern sense of materialism and human’s relationship with nature and others species, and comes up to the lap of nature where he gets complete happiness. Nature provides what he dreams to achieve in life. The orchard provides him shelter, animals become his friends, and nature provides him knowledge, freedom and peace putting forward the urgent need of maintaining harmonious relation between human, animals and nature. His dream of being a part of nature and its preserver gets symbolically fulfilled as he lives in the orchard with the monkeys, refusing every offer of his family. The study shows ultimate freedom, joy and happiness come from blending of human life with the nature suggesting us to ...

Smart Moves Journal IJELLH, 2020

In Hullabaloo in the Guava Orchard, her debut novel, Kiran Desai has experimented in the making of a comic fable. She presents a hilarious story of life, love, and family relationships-simultaneously capturing the vivid culture of the Indian subcontinent and the universal intricacies of human experience. The story is set in a small Indian but fictitious town called Shahkot. Sampath is the protagonist who belongs to a middle class family. After experiencing drastic boredom in his life, Sampath decides to spend his life in trees. And then after, the story reveals its real mood. At a deeper level, the novel displays the theme of alienation, magic realism, rebellion, etc. Desai is a masterful dialogue writer, and she uses this skill to great effect in Hullabaloo in the Guava Orchard. She infuses the dialogue with local idioms and paints a vivid portrait of life in a small city in India. With a clear objective of writing a comic satire, she also makes a satirical attack against the creation of gurus in Indian society.

Exploring Gender in the Literature of the Indian Diaspora. , 2015

The Mango Season (2003). Malladi defines the new South Indian individuality through abundant use of food imagery and culinary nostalgia. This essay examines the relevance of food and alimentary images in Malladi's novel and their significance in the development of the characters and interpersonal relationships among and between the characters. The (re)imagining of South Indianness as opposed to the already established "Indianness" will be analysed through Malladi's references to South Indian food patterns and specific references to South Indian traditions and habits, especially through the eyes of a South Indian American woman. This essay argues that food habits and food imagery act as identity markers for the women characters, thereby shaping their distinctiveness with special nuances that highlight their ethno-regional affiliations. Further this essay also strengthens the fact that food and references to food also create social, racial and sexual identities. The specific use of food to establish female individuality and food as a metaphor for emotional development and expression of characters will be analysed through this essay, making connections with the overt references to food in conjunction to women in Malladi's The Mango Season.

Ethnobotany Research and Applications

The remarkable increase in agricultural productivity during the green revolution in developing Asian countries is now witnessing signs of exhaustion in productivity. Intensive agriculture practices with poor concerns of scientific methods and ecological facet led to trouncing of soil health, reduction of freshwater resources and agro-biodiversity. Vermicomposting

Awais Yousaf and Khamsa Qasim

Kamala Markandaya has depicted the miseries and problems of the Indian peasants as well as the sorrows and sufferings of total Indian village life so vividly and successfully in her first novel ‘ Nectar in a Sieve’(1954), that it has become a miniature epic of Indian village life. Kamala Markandaya derives the title ‘ Nectar in a Sieve ‘ for her first novel from the poem ‘ Work Without Hope ‘ by Samuel Taylor Coleridge because a couplet written by him adequately expresses the theme of the novel. “ Work without hope draws nectar in a sieve, And hope without an object cannot live,” --these lines of Coleridge have been used by Markandaya as an epigraph. Similar incidents are also focused in the writing of Munshi Premchand, an Indian village singer. Markandaya drags the readers to the heart of a South Indian village, where evidently there is no change in life for one hundred decades. Presently the village is occupied by industry and modern technology in the form of a tannery and which results in an impact of ominous consequences in the lives of the villagers. Markandaya reveals in her writing that the lives of the peasants in the village is constantly haunted by hunger, despair and fear. It is basically a depiction of South Indian village life. The hardship and difficulties faced by the Indian tenant peasants are revealed through the straightforward peasants. Kamala Markandaya is proved to be an unparallel woman writer of creativity and a successful masterpiece of the pragmatic tendency in literature. Inspite of being a city dweller , she

Using the exchange of the review and response of the recent translation of the classic Telugu play, 'Kanyasulkam' by Vijayasree and Vijay Kumar, this paper attempts to demonstrate the crying need for a very sensitive approach towards reviewing of translated works that would draw out the best from the translator's and the original writer's efforts to preserve the cultural uniqueness and specificity through semantic-cultural adaptation.