Dr. T. K Anandi was born at Tharakkad village at Palghat district. Anandi obtained her PhD from the University of Kerala on the topic "Bhoovudama Bandhangalil Vanna Maattavum Antharjanagalude Munnettavum". She has conducted a study on ‘Inter profile in Kerala’ for the Women and Child Development Department under the Ministry of Human Resource Development based on the 2001 census. She did her post doctoral research on the topic "Participation of Women in India's Struggle for Freedom". Anandi is now working in Kerala Shasthra Sahithya Parishath. She is also working as the president of Society for Working Women's Development based in Calicut. She was a member in Women's Policy Making Committee in Kerala. She is married to the renowned historian K. N. Ganesh.
The published works of Anandi are Veettamma Oru Sthree Vicharam (Housewife a Feminist Perspective), Janakeeya Samaraththil Malabarinte Penpathakakal, Sthreesamooham Shasthram (with Dr. K. N. Ganesh).
'Vettamma-Charithraparamaya Oranweshanam' ('Housewife: A Historical Enquiry') taken from Veettamma-Oru Sthree Vicharam (Housewife: A Feminist Perspecive) is included here. The writer attempts a socio-political analysis of the plight of the women who are forced to be labelled as housewives having denied the opportunity to pursue work life of their own. It is a creative and historical enquiry about the women’s liberation in the Indian context. The family atmosphere, changing pattern of man-woman participation in works, the scale of the output of work are the topics that have been studied in this article.
Born on 4th January, 1974 in Adoor to Reghukumari Amma and Dr. G. Ramachandran Nair. She took MBBS Degree and Diploma in Obstetrics and Gynaecology from Trivandrum Medical College. She also secured DNB from National Board of Examination, Delhi and MNAMS Degree from National Board. Besides, she took P. G Diploma in Ultrasonography from AnnaMalai University.
Vandhyathayum Chikilsayum (Infertility and its cure) is her published work. The book deals with important questions like what is Infertility, its causes, which couples suffer the most from this and what are its remedies.
“Vandhyatha – Charitram” (Infertility – History) is the chapter included here. In this chapter, the author deals with the myths and habits associated with Infertility in ancient cultures and the changes that happened with the passage of time.
Born at Paravoor in Kollam District on 16 May, 1952. Daughter of S. Damodaran and M. Meenakshi. She works at the Head Office of Kerala Agro Industries Corporation in Trivandrum. “Yatrayude Avasanam” (“The End of the Journey”) is her published work. D. Chandralekha presents the problems of women through her writing. Woman is subordinate to man in all societies. Chandralekha’s stories are manifestations of sorrow and angst of women who are subject to exploitation everywhere. ‘Iruttinte Arakal’ (‘Chambers of Darkness’) from the book “Yathrayude Avasanam” is included here. The life of a girl called Smitha is unfolded here. It’s been many years since I started loving the king-my eternal lover with a sturdy physique and a smiling face. But I never was able to saw the king when I longed for a meeting and an embrace. Here, ‘King’ denotes death. Smitha is alienated from the society on because she does not know who her father is. She hates her mother due to this, and for the same reason the man she loved leaves her. “I will not transfer this curse to one more generation. My sorrows are mine alone. I’ll not give it to anyone else”. She then jumps into the sea along with the ‘King’ she has loved for years and thus ends her life. Though the writer conveys her intentions there is vagueness at certain places. The language and style used in this story is not that simple.
Chandrika is a poet, translator and critic. “Avakashangal Ariyuka” (“Know Your Rights”) (Translation), “Bhadradeepam, Bimbakalpana: Kumaranasanteyum Vallatholinteyum Kavithakal” (“Imagery and Themes in the poem of Kumaranasan and Vallathol”) etc. are her published works. The chapter ‘Kavyabimba Sankalpam’ (‘The Concept of Imagery in Poetry’) from the book “Bimbakalpana: Kumaranasanteyum Vallatholinteyum Kavithakal” is included here. The content of this book is the thesis submitted by Chandrika to the Kerala University for Ph. D. This is an attempt to enter into the personalities of the two poets based on their poetical images, to study them deeply. The first chapter contains the definition of “Bimba” (Imagery in Poetry) and its significance and place in the study of poetry. A “Bimba” is the use of words in poetry in order to evoke your senses aesthetic satisfaction and joy in the minds of the readers. Among the fine senses the eye and the ear are mostly associated with this.
Born in Delhi as the daughter of Prof. Omcheri and Dr. Leela Omcheri. Started learning music and dance from the age of three onwards. She is the student of the International Centre for Kadhakali, Delhi. Won the scholarship for Higher Education from Sahithyakala Parishat and Central Govt. An expert in Carnatic Music, Hindstani Music and Mohiniyattam. Secured Degrees like M. A., M.Phil and Ph. D. She is the head and senior Reader in the Department of Carnatic Music (Faculty) Music Department, Delhi university.
Besides her books like “Sopana Music of Kerala” and “Music and Musical Instrument of India,” she has collaborated with her mother Dr. Leela Omcheri in the writing of five books.
“Keralathile Lasya Rachanakal” (Lasya Writings of Kerala) is a book written by a mother and daughter rooted in a rich literary tradition. All their works are on Music and Arts. In this book the deal with the Abhinaya Padas which are the chief ingredient in the field of Dance. The purpose of this book is to bring to light rare facts and ancient writings in this field. The books depicts in the beginning the ancient dancers (belonging to the “Thali” period) of Kerala who were described as “Nakas”. We get a glimpse of their lives and dealings with Art. So far no one has written about Thali Naukas. This book gives a new piece of information. The Thali Naukas were as community of Temple dancers in Kerala many years before the Devadasi system originated. Their life style was very different from that of the Devadasis. There is no doubt in saying that this book dealing with the musical and dance traditions of Kerala will benefit lovers of art and music.
Devaki was born in 1928 in the village Mookkuthala at Malappuram district. She had participated in the seminars conducted by the Kerala Sahithya Academy.
Most of the works of Devaki Nilayangode provide direct visions of the lives of Namboothiri women. They are the sketches of experiences echoing the pangs and pulses of an era. Devaki slowly reminisces about the days when Nambootiri women ( Kerala Brahmin women) destined to be confined to the unlit corners of their kitchen emerged as part of the waves of the revolutionary movements of freedom spreading across the whole nation.
“Pathayam" (store) an article from the book Kalappakarchakal written by Devaki, published in 2008 is included in this book. The still throbbing, indelible memory of the childhood game hide and seek played in the sprawling nalukettu (namboothiri home) and pathayappura is almost palpable to the readers. The day to day lives in the namboothiri illangal (namboothiri homes) is actually revealed through these childhood memories. Pathayam or store was the prime object proclaiming the prosperity and wealth in a family. A pathayam, well stored with paddy was an assurance of peace in the family. The cockroaches gaining entry through the half open store and licking the jaggary smeared ornaments leaving them polished were an amusing sight, also a part of her childhood. The china jars kept in the drawing room as a symbol of prestige were inevitable factors for storing grains. Devaki minutely sketches the changing faces of times.