By J J Salverda de Grave
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Additional resources for Eneas, roman du XIIe siècle
We owe a deep debt to Vidya Mani, who, despite her busy schedule, offered with great alacrity to pore over the proofs, asserting that nothing gave her greater pleasure. We are also thankful to Varsha Natarajan, who volunteered to read the final proofs. However, mistakes, if any, are entirely ours. If this book is a pleasure to hold, it owes to the creativity and aesthetic sense of Malvika Mehra, who immediately agreed to design the book. We also thank her able assistant R Venugopal. For the beautiful images on the cover, we have to thank the gifted artist, K R Santhanakrishnan, who readily gave us permission to use his paintings.
Only the jewels that Rukmini’s mother Meenakshiammal wore were left. He could clear his debts only by selling off his ancestral house and lands. He moved to where Kuppuswamy Iyer now lives, near the canal bank. Meenakshi also used to look like Goddess Mahalakshmi. She had infinite dignity. Such a big tragedy had befallen them, but she was not broken. She used to say, ‘We lived so happily for all these years. Did god ask someone and give it to us? What he gave, he has taken away, so what? As long as he and Rukmini are alive, I have no complaints.
By stringing together these finely etched stories from various decades, we have tried to represent Tamil life in all its manifestations and resplendence. This anthology not only records the evolution of the Tamil short story but also documents the changing landscapes over different periods, straddling a range of social concerns relevant to the times. Similarities and dissimilarities notwithstanding, these stories encapsulate the Tamil experience in its entire glory, marked by the dominant impulse of the human predicament and the triumph of dignity.