10 DIVINE FLOWERS IN REGIONAL INDIAN LITERATURE- PART 5 - HIBISCUS - (Chempakar / Japa)

   

 

The Hibiscus, known as Japa in Sanskrit and Chempakar in Malayalam, glows like a living flame — its crimson petals symbolizing energy, purity, and divine power. This radiant flower has occupied a sacred space in Indian tradition, history, and literature for centuries.

Sacred and Symbolic Flower

In Indian spiritual thought, the deep red hibiscus represents shakti — the feminine cosmic energy that sustains creation. It is the chosen flower of Goddess Kali and Lord Ganesha, both deities embodying strength and transformation. The red bloom signifies blood, life, and the fire of devotion, uniting worship and vitality in one form.

In Bengali devotional poetry, the hibiscus or Jaba phool is inseparable from the imagery of Kali Ma. Poets like Ramprasad Sen and Kamalakanta Bhattacharya often describe Kali’s garland of hibiscus flowers as blazing with divine energy — a symbol of love that transcends fear. The flower becomes a poetic metaphor for intensity of faith, for surrendering one’s ego into the goddess’s all-consuming power.

In Regional and Classical Literature

In Odia and Assamese devotional songs, the hibiscus stands for the offering of one’s heart — red, open, and sincere — to the divine. Its association with purity and strength appears in local bhakti poetry where devotees express love and surrender through floral imagery.

In South Indian tradition, the Sevvarali or Chempakar is sacred to Lord Ganesha. Tamil hymns like Vinayagar Agaval and various Thevaram verses mention offerings of hibiscus to invoke the god’s blessings for courage and wisdom. The flower’s bold colour and firm petals symbolize steadfastness and determination — qualities that mirror Ganesha’s own nature.

In folk songs and women’s verses across regions, the hibiscus appears as a symbol of feminine beauty and inner power — soft yet strong, ornamental yet meaningful.

Hibiscus in the History of India

Beyond literature and devotion, the hibiscus holds a notable place in India’s cultural and medicinal history. Ancient Ayurvedic texts like the Charaka Samhita mention Japa pushpa for its healing properties — used in hair oils, skin tonics, and herbal preparations. The flower was cultivated in temple gardens and palace courtyards for its ritual importance and natural dye, its red pigment once used in religious markings and traditional textiles.

During the medieval and colonial periods, the hibiscus featured in Indian art and temple sculpture, symbolizing divine femininity and auspiciousness. It was also part of folk medicine and village rituals, where garlands of hibiscus were used in protective rites and seasonal festivals. Even today, from Bengal’s Kali Puja to Kerala’s Ganapati Homam, the flower continues to bridge India’s ancient spirituality with its living cultural practices.

A Flower of Fierce Devotion

Across centuries, the hibiscus has remained a flower of fire and faith — representing strength, sacrifice, and undying devotion. In the tapestry of Indian regional literature, it stands as a living emblem of beauty with purpose — radiant like passion, sacred like love, and eternal like the spirit of India itself.

(  'This post is a part of Blogchatter Half Marathon' and hyperlink it to: https://www.theblogchatter.com

10 DIVINE FLOWERS IN REGIONAL INDIAN LITERATURE- PART 4- CHAMPAKA (Champakam / Champa / Champaka)

 

 

Among the many fragrant blossoms celebrated in Indian literature, Champaka stands out for its golden glow and intoxicating aroma. Known as Champakam in Sanskrit and Tamil, Champa in Hindi, and Champak in Odia and Assamese, this flower belongs to the Magnolia family and is easily recognized by its deep yellow to orange petals that exude a heavy, sweet fragrance, especially at dusk.

Symbolism and Significance

In Indian poetry and mythology, the golden Champaka symbolizes sensuality, divine charm, and eternal beauty. It is often linked with both earthly love and spiritual devotion — a delicate balance of desire and purity. Its golden hue is seen as a reflection of the divine aura, associated with deities like Lord Vishnu, Lord Krishna, and Goddess Lakshmi. In temple traditions across South and Eastern India, Champaka garlands are offered to gods, symbolizing devotion that is pure yet passionate.

Champaka in Classical Literature

In Kalidasa’s Meghaduta, one of Sanskrit literature’s finest poetic works, the fragrance of the Champaka becomes a messenger of longing and love. The exiled Yaksha instructs a cloud to pass over lands filled with blooming Champaka trees, their perfume mingling with the breeze — a metaphor for the tender emotions that travel unseen between lovers. Kalidasa’s use of Champaka here is not incidental; it captures the essence of separation (viraha) through scent, the subtlest of senses, suggesting how memory and love linger like fragrance in the air.

In Odia poetry, Champaka often embodies radiant beauty and emotional intensity. Medieval poets like Upendra Bhanja and Dinakrushna Das use it to describe the elegance of Radha and Krishna’s divine play. The flower’s brightness mirrors the golden hue of Krishna’s beloved or the dawn of divine realization in devotional literature. Similarly, in Assamese Borgeet and lyrical poetry, Champaka is celebrated as a symbol of divine attraction, representing the union of the soul with the supreme. Its scent is likened to the call of the divine, awakening inner joy and longing.

Colour, Beauty, and Literary Appeal

The golden-yellow colour of the Champaka conveys warmth, radiance, and auspiciousness. In literary imagery, it becomes a metaphor for sunlight, divine energy, and enlightenment. Its delicate, waxy petals and heady fragrance often make it a poetic substitute for the beauty of a beloved woman or the charm of the divine. Poets have long drawn parallels between the soft petals and tender emotions, the fragrance and spiritual essence, and the golden hue and inner illumination.

Conclusion

 Whether as a divine offering, a symbol of passionate love, or a poetic messenger of longing, the Champaka holds a luminous place in Indian literary imagination. Its fragrance transcends the physical, weaving through the verses of Kalidasa, the songs of Odia saints, and Assamese devotional poetry — reminding readers that beauty, like fragrance, is fleeting yet eternal in its emotional resonance.

 

(This post is a part of Blogchatter Half Marathon 2025)

10 DIVINE FLOWERS IN REGIONAL INDIAN LITERATURE- PART -3- JASMINE (MALLIGAI/MOGRA/CHAMELI)

   

  

Among the most beloved and fragrant flowers of India, Jasmine stands as a timeless symbol of purity, love, and spirituality. With its tiny, star-like white blossoms and sweet, soothing scent, it is woven deeply into India’s cultural, poetic, and religious traditions. From garlands adorning temple deities to strands tucked into women’s hair, jasmine is an inseparable part of Indian life. The flower is often associated with grace and auspiciousness, and its fragrance has inspired poets and devotees across centuries.

Known as Malligai in Tamil, Mallepoovu in Telugu, Mogra in Marathi, and Chameli in Hindi, jasmine thrives in the warm tropical climate of India and blooms abundantly during the summer months. Its gentle white hue and rich aroma have made it a universal symbol of beauty, innocence, and spiritual awakening.

In Tamil literature, especially in Sangam poetry, jasmine is closely linked with themes of love and longing. The flower often appears in Akam (interior) poems, where the heroine decorates her hair with malligai blossoms while waiting for her beloved. The flower’s gentle fragrance mirrors the tenderness of her emotions. In Andal’s Tiruppavai and Nachiyar Tirumozhi, jasmine takes on a devotional hue—Andal speaks of wearing fresh garlands of malligai to offer to Lord Vishnu, representing a union of love and divine surrender. The act of adorning herself with jasmine becomes both an expression of beauty and a sacred ritual of devotion.

In Telugu poetry, jasmine (known as Mallepoovu) is a recurring image in Padakavita and devotional songs. It often symbolizes purity and auspiciousness, its fragrance likened to divine grace. Poets like Annamacharya used the imagery of jasmine garlands in compositions praising Lord Venkateswara, where the flower represents the devotee’s pure offering to the divine.

Moving northward, in Hindi and Marathi traditions, jasmine—Chameli or Mogra—appears in bhajans and sufi poetry, its scent symbolizing the soul’s yearning for union with the eternal. The white blossoms become metaphors for simplicity and surrender before God.

From temples to tresses, jasmine has woven itself into India’s cultural and poetic consciousness. Whether as Andal’s offering to Vishnu or a lover’s adornment in Sangam verse, jasmine continues to bloom in literature as an everlasting emblem of beauty, devotion, and divine fragrance.

 

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10 DIVINE FLOWERS IN REGIONAL INDIAN LITERATURE- PART -2 PARIJATA (NIGHT JASMINE / PAVAZHAMALLI)

  

 

The Parijata, also known as the Night Jasmine or Pavazhamalli in Tamil, is a celestial blossom steeped in mythology, poetry, and devotion. Its fragrance, which fills the air at dusk and fades by dawn, mirrors the transient beauty of life and love — a symbolism that Indian literature across languages has cherished for centuries.

According to the Harivamsa Purana, the Parijata was a heavenly flower that emerged from the Samudra Manthan (churning of the ocean). Lord Indra planted it in his celestial garden, and it became the pride of heaven. However, its descent to earth is the heart of one of the most emotional episodes in Krishna’s life. The legend tells us that Satyabhama, one of Krishna’s wives, desired the flower after hearing how it adorned Rukmini’s courtyard. To fulfill her wish, Krishna brought the Parijata tree from Indra’s abode, sparking divine tension and human emotion — love, jealousy, and the yearning to possess beauty itself. This myth, layered with sentiment, has found poetic resonance in regional literatures across India.

In Kannada literature, the Parijata finds a prominent place in Raghavanka’s Harishchandra Kavya and later devotional compositions. The Parijata Harana episode — the bringing of the celestial tree to earth — is celebrated in Yakshagana and Harikatha traditions, blending mythology, music, and moral interpretation. The flower becomes more than just a symbol of beauty; it represents divine grace descending to the mortal world, an allegory for bhakti (devotion) and the human quest for spiritual fulfillment.

In Tamil Nadu, the Pavazhamalli blooms nightly in temple courtyards, its white-orange hues likened to purity encased in sacrifice. The flower, often offered to Lord Vishnu, is believed to carry the fragrance of heaven. In Telugu and Bengali devotional songs too, the Parijata stands as a metaphor for longing and divine love — the soul’s yearning for God, much like Satyabhama’s yearning for Krishna’s affection.

Thus, the Parijata’s journey from heaven to earth is not just a myth but a metaphor that regional Indian literatures have beautifully woven into themes of love, devotion, and divine grace. Its short-lived bloom reminds us that true beauty lies not in possession, but in offering — much like the flower that opens only to the night and fades with the dawn.

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10 DIVINE FLOWERS IN REGIONAL INDIAN LITERATURE — PART 1: LOTUS (KAMAL / THAMARAI)

  

The lotus, known as Kamal in Sanskrit and Thamarai in Tamil, is one of the most celebrated flowers in Indian art, culture, and literature. It blooms in muddy waters, yet remains untainted — a living metaphor for purity amidst imperfection. Across regional literatures of India, the lotus has inspired poets, saints, and mystics to explore its layers of symbolism, from divine beauty to spiritual liberation.

In ancient Tamil Sangam poetry, the lotus often symbolizes feminine grace and dawn’s freshness. Poets compared a lover’s eyes, face, or even walk to the blooming thamarai — radiant yet delicate. The Akananuru and Kurunthogai collections frequently evoke the image of the lotus pond as a backdrop for love and longing, its fragrance mingling with poetic emotions. In contrast, the Bhakti poets like Andal and Manikkavachakar transformed the lotus into a symbol of devotion — offering thamarai malar at the divine feet of Vishnu or Shiva, where surrender meets purity.

In Sanskrit literature, Kalidasa used the lotus to portray not only beauty but also spiritual elevation. His heroines often carry the fragrance of lotuses, and his gods are adorned with them — Padmanabha (Vishnu, whose navel bears the lotus from which Brahma was born) and Padmapani (Avalokiteshvara in Buddhist tradition) exemplify its sacredness. To be “lotus-eyed” (Kamalaksha) is the highest compliment — one reserved for deities and beloveds alike.

The story of Gajendra Moksham from the Bhagavata Purana deepens the lotus’s symbolism. Gajendra, the elephant king, while bathing in a lake, is seized by a crocodile. In his desperate struggle, he plucks a lotus from the water and raises it as an offering to Vishnu, calling out for divine help. His cry is not just for physical rescue but for liberation from ignorance and ego. Moved by his pure devotion, Vishnu descends on Garuda, releases Gajendra from bondage, and grants him moksha — salvation. The lotus here becomes a vehicle of surrender, bridging mortal suffering and divine grace.

Thus, in every petal of the lotus, Indian literature finds a reflection of the human spirit — striving to rise above the murky waters of the world toward light, purity, and ultimate freedom.

From Kamal comes Kamaladalākṣi (कमलदलाक्षि) — literally meaning “one whose eyes are like the petals of a lotus” — is a phrase that beautifully captures the delicate grace and divine charm of the lotus in Indian literature.

Across regional and classical texts, kamaladalākṣi is an epithet often used to describe goddesses, heroines, and even divine beings whose eyes radiate compassion, calmness, and beauty. In Sanskrit poetry and epics like the Ramayana and Mahabharata, goddesses such as Lakshmi and Parvati are addressed as Kamalākṣī or Padmākṣī, for their eyes resemble the half-open lotus — tender, serene, and spiritually radiant. Likewise, Lord Vishnu himself is Kamalākṣa, “the lotus-eyed one,” whose gaze signifies infinite mercy and awareness.

In Tamil devotional literature, the imagery of Thamarai Kangal (lotus-eyes) recurs often. Andal, in her Tiruppavai, praises Lord Krishna’s thamarai kaNN, eyes that shine with both playfulness and compassion. The Alwars and Nayanmars used this symbolism to show how the divine gaze, like the lotus, can bloom within the heart of a devotee — untouched by worldly murk.

The metaphor extends beyond beauty — it represents awakened vision. Just as the lotus opens with sunlight, the kamaladalākṣi soul opens with divine wisdom. In the story of Gajendra Moksham, when Gajendra offers a lotus to Vishnu, it is this awakening that the lotus symbolizes — the moment when the eye of the soul sees beyond suffering and recognizes the divine.

Thus, kamaladalākṣi is more than poetic imagery; it embodies the essence of seeing with purity, where the eyes reflect not desire or illusion but spiritual awareness. Whether sung in Sanskrit hymns, Tamil pasurams, or Bengali bhajans, this term remains an immortal emblem of beauty that is both earthly and transcendental — the lotus-eye that beholds truth amid illusion.

(This post is a part of Blogchatter Half Marathon' and hyperlink it to: https://www.theblogchatter.com)

INVISIBLE HOUSEMATES BY DEEPA PADMANABAN

  

Author: DEEPA PADMANABAN
Genre:  NON-FICTION

Publisher: HARPERCOLLINS

Book buy link: @Amazon

Invisible Housemates by Deepa Padmanabhan is a fascinating and eye-opening book about the innate abilities of insects and tiny creatures that quietly share our living spaces. Many of these beings are the ones we often fear, feel allergic to, or prefer not to encounter or even talk about. Yet, through this book, the author sheds light on their lesser-known qualities and remarkable contributions to human life and the environment.

This is not just a book about insects — it is about understanding our invisible co-inhabitants and their indispensable roles in maintaining the ecosystem. It helps readers familiarise themselves with the creatures that surround us, revealing how they keep the ecological balance intact, sustain the food chain, and influence the air we breathe and the food we eat.

Deepa Padmanabhan has done a tremendous job in compiling scientific, medical, and agricultural insights about these creatures in an engaging and accessible way. Certain parts of the book touch upon well-known beliefs or mythological associations, but what makes it stand out is the depth of research. The author goes beyond the obvious, weaving together facts and figures from around the world, supported by references from literature, films, religious scriptures, and contemporary studies.

The book’s flow is smooth and never dry — each of its thirteen chapters deals with one insect or creature, moving steadily from one perspective to another, leaving the reader in awe and wonder. These are not rare or exotic species but the very ones we come across in our everyday lives — seen, ignored, or even swatted away.

Nearly 31 pages of references add immense value to the book, assuring readers of the author’s authentic and responsible approach to the subject. This meticulous documentation also reflects her commitment to passing on the right information to readers.

The book spans the journey of these tiny beings from the dawn of human civilisation to the present day, tracing how they evolved, adapted, and even travelled to other continents hidden within cargo shipments. Each chapter is a fresh take on a new creature, making the reading experience thoroughly engaging. In just 220 pages, the author delivers a wide-ranging and in-depth analysis of these invisible housemates, blending science, history, and culture with effortless grace.

Invisible Housemates is fit for readers of all age groups — anyone with a curiosity about their surroundings will find it delightful and enlightening. With its inviting title and glossy cover, complete with well-crafted depictions of tiny creatures in appropriate colours, the book stands apart from a conventional zoology volume.

In fact, it would be wonderful to introduce the book to children through shorter, adapted chapters. Such exposure can help remove fear and aversion towards insects while nurturing an early appreciation for ecology. Combining mythology, science, culture, environmental awareness, and global comparisons, this book offers young minds a window into the fascinating interconnectedness of life on Earth.

By the end, readers are sure to look at these invisible housemates with renewed respect and wonder — seeing them not as pests, but as partners in the planet’s delicate balance. Do grab a copy of this engaging work, and you will find yourself pouring appreciation toward the author for bringing to light the hidden, living parts of our world.

(Received a copy of the book from the author in return of an honest review)

(  'This post is a part of Blogchatter Half Marathon' and hyperlink it to: https://www.theblogchatter.com )

THE HUNGER CLOCK

  

 

Ding dong, the hunger strikes,
A rhythm felt in bones and spikes.
Breakfast, lunch, or dinner near,
The stomach rings, its call is clear.

No hands, no gears, no ticking sound,
Yet perfect timing always found.
Biology knocks, a subtle beat,
A clock within, precise, discreet.

A glass of water, a morsel fed,
The ringing fades, the body led.
Yet even empty, the bell may chime,
A pulse of life, a silent rhyme.

Some heed it fast, some let it wait,
The hunger bell respects no state.
Food or not, it strikes in tune,
Morning, noon, and fading moon.

It knows the body, knows the need,
Each cell aligned, each organ heed.
No battery, key, or settings new,
It’s built to work, in every hue.

Ding dong, a pulse through veins and gut,
A faithful rhythm, sharp and shut.
It hums of balance, life’s design,
A measure older than our time.

So hear it strike, that inner sound,
No feast, no prayer, no offering bound.
The hunger clock, so finely spun,
A song of life, and of the sun.

WATERY WATERY EVERYWHERE- HOW TO KEEP YOUR CHENNAI HOME COZY, CLEAN, AND BEAUTIFUL DURING HEAVY RAINS

    

Heavy rains have lashed Chennai once again. Clothes hang half-dried on rods and chairs, laundry bags overflow, and the terrace looks like a mini lake. The house smells damp; windows are shut tight against gusty winds and stray drizzles that sneak in through the cracks. Floors glisten with wet footprints, and the entire ambience feels “watery, watery everywhere.”

Yet, even amidst this humid gloom, many Chennai homes remain intact in their art, décor, and warmth — a testament to the city’s spirit of homely resilience.

How do they do it?
Here are a few ways to retain that charm and comfort when the weather drenches everything around:

 

Brighten and Freshen Up

Keep a few lamps or fairy lights glowing in corners to create a cozy warmth. Add a few drops of eucalyptus or lemongrass oil in diffusers — they fight musty smells and instantly lift the mood.

 

Smart Drying Corners

Set up a compact indoor drying rack near a fan or window. Place an old towel or mat beneath it to catch drips. If possible, dry lightweight clothes first so they rotate faster.

 

Fabric Refresh

Sprinkle fabric fresheners or lightly iron clothes to chase away dampness. Cushion covers, bed linen, and curtains benefit from a quick tumble in the dryer or a mild sun exposure between showers.

 

Protect Art and Wood

Move delicate paintings and wooden décor away from seepage-prone walls. A thin coat of wax polish on wood prevents moisture damage. Wipe frames regularly to avoid mould or discoloration.

 

Green Corners

Indoor plants like money plant, snake plant, or peace lily absorb humidity and keep air fresh. A vase of jasmine or chrysanthemums adds instant cheer and fragrance.

 

Let Air Circulate

Even a few minutes of ventilation between downpours can make a big difference. Keep a window slightly ajar or run exhaust fans to let stale air out.

 

Maintaining Kitchens and Bathrooms

These two spaces bear the brunt of humidity during Chennai rains.

Kitchens: Wipe counters and sinks often. Avoid piling wet utensils overnight. Keep a small bowl of coffee grounds or baking soda near the sink to absorb damp smells. Light a camphor cube or use a lemongrass incense stick to freshen the air.

Bathrooms: Use exhaust fans or open windows during dry spells. Mop floors regularly with a mild disinfectant containing citrus or pine oils. Wash mats frequently and replace wet towels promptly. A splash of vinegar or phenyl in cleaning water keeps tiles free from fungus.

 

The Wet Newspaper Problem

Morning newspapers arrive half-soaked, folded in dripping covers. To save them, gently spread the pages on a dry surface or under a fan before reading. Avoid placing them on wooden tables directly — use a tray or mat underneath. Later, sun-dry or air them well before storing for recycling; damp papers can develop fungus and odour.

 

In-and-Out Chappal Care

Rain means muddy footwear at the door. Keep two pairs ready — one for outdoors and another clean pair for indoors. Place a sturdy mat or tray at the entrance for wet slippers. Wash and sun-dry them whenever possible to prevent that unmistakable monsoon smell. A touch of neem or dettol water works wonders for hygiene.

 

A Warm Cup and Good Music

When the rain keeps pouring and the city feels waterlogged, nothing beats a steaming cup of filter coffee or ginger tea. Add some soft Carnatic music or instrumental tunes in the background. Warmth, after all, is not just about temperature — it’s the mood you create.

 

Conclusion

Rains may drench the city and delay drying of clothes, but they also invite us to slow down, care for our spaces, and find comfort indoors. Amidst puddles and pouring skies, a Chennai home continues to glow — with its art, its light, and its ever-adapting heart.

A HOPEFUL GLIMPSE : THE COOUM AND THE MADURAVOYAL EXPRESSWAY

 

Every time I pass through Arumbakkam, especially near Naduvankarai, the sight of the Cooum River leaves a mixed feeling — a little sadness, and lately, a spark of hope. The river here has been in a sorry state for years. The water is dark and dirty, the smell unbearable, and the banks cluttered with garbage. Buffaloes often wander and bathe in it, and it’s painful to think that this was once a flowing, vibrant river.

Now, with the Maduravoyal Expressway construction in full swing, the whole area is slowly changing. There’s a sense of movement, not just in traffic planning, but in the air itself — a feeling that something better might be coming. If the Cooum gets cleaned and restored along with the expressway project, it will be a huge blessing for the people living around Arumbakkam and nearby localities.

I often imagine what it would be like when this vision becomes real — a clean, odour-free stretch with trees on both sides, birds chirping by the water, and people walking or cycling along the banks without holding their breath. The expressway above, carrying cars and buses smoothly over the river, will not just ease traffic; it will mark a shift towards a healthier, more hopeful Chennai.

Maybe, one day soon, we’ll look at the Cooum and see not the city’s neglect, but its resilience and revival.

DIWALI IN MOVIES AND INDIAN BOOKS : THE LIGHT THAT SHINES THROUGH STORIES

      

Every year, as diyas glow and crackers burst across the night sky, India celebrates not just a festival, but a feeling — Diwali, the festival of lights. Beyond homes and streets, this festival has illuminated the pages of books and the frames of films, finding its place in the heart of Indian storytelling. Both cinema and literature use Diwali as a symbol — of reunion, realization, and renewal — making it an eternal motif in our cultural imagination.

 

Diwali on the Silver Screen

Indian cinema, with its vibrant colors and emotional depth, naturally embraces Diwali as a perfect cinematic moment.

In films like Kabhi Khushi Kabhie Gham and Hum Aapke Hain Koun, Diwali scenes are about family togetherness — laughter echoing in decorated homes, diyas lighting up relationships, and joy sparkling in every frame. The festival becomes a bridge of affection, reminding us of the value of unity and tradition.

In contrast, Swades uses Diwali differently. The village celebration, simple and dimly lit, mirrors the protagonist’s awakening to rural realities. Here, the glow of diyas represents inner enlightenment rather than outward festivity.

Regional cinema, too, reflects Diwali with cultural nuance. In Tamil and Telugu films, it often marks new beginnings — a birth, a wedding, or the return of a loved one. Diwali scenes are cinematic shorthand for hope reborn.

 

 Diwali in Indian Literature

In Indian writing, Diwali flickers not just as a festival but as a metaphor for life itself.

Ancient epics like The Ramayana immortalized the festival as the moment of Rama’s homecoming — the triumph of good over evil, light over darkness. Modern authors such as Amish Tripathi reimagine this myth to reflect moral complexity, portraying Diwali as a celebration of justice and balance.

In post-partition stories by Saadat Hasan Manto and Khushwant Singh, Diwali takes on a more poignant role. Amidst the chaos of separation, the festival’s light becomes a symbol of loss — lamps flicker, but hearts remain heavy.

Writers of the Indian diaspora, like Jhumpa Lahiri and Rohinton Mistry, often place Diwali in foreign lands. For them, the glow of diyas on distant shores represents belonging and nostalgia — a quiet yearning for home.

Children’s authors, especially Sudha Murty, use Diwali to teach values of sharing, simplicity, and kindness. Her stories remind us that the brightest lamps are those lit by compassion.

 

The Deeper Symbolism

Whether portrayed through grand Bollywood sets or intimate paragraphs in books, Diwali remains a metaphor of light — not just outside but within. It’s the sparkle of realization, the flame of forgiveness, and the quiet glow of self-discovery.

In both movies and literature, Diwali teaches the same timeless truth: light triumphs when hearts remain kind.

Conclusion

Diwali in art is more than decoration; it’s emotion, memory, and meaning. It tells us that every flickering lamp, every story of reunion, every verse of hope is part of a larger human tale — the search for light in times of darkness. Whether in the grandeur of cinema or the subtlety of prose, Diwali continues to illuminate not just our screens and pages, but also our souls.

 

WHERE CHENNAI EATS : A VEGETARIAN'S PARADISE

    

“In Chennai, food isn’t just eaten — it’s experienced.”

Chennai, my home city, is a wonderland for food lovers. Every street corner tempts you with aromas of ghee, sambhar, and freshly ground chutneys. Though I could never list all my favourite eating joints — there are simply too many — a few legendary names instantly come to mind.

From the iconic Saravana Bhavan and Sangeetha to the ever-dependable A2B, Murugan Idli Shop, and Vasantha Bhavan, these places define the soul of vegetarian dining in Chennai. Hot Chips is every snack lover’s delight, while Grand Sweets and Krishna Sweets offer perfect sweet endings to any meal.

For those who love variety, Cream Centre, Annalakshmi, Eden, Woodlands, Nithya Amrutham, Sri Mithai, Patiala House, and Matsya serve everything from traditional South Indian meals to North Indian and continental favourites.

And then, there’s Sanjeevanam — a gem of a restaurant that serves Ayurvedic, health-conscious food prepared in authentic Kerala-style cooking. Here, every meal is a mindful experience — balanced, nourishing, and beautifully presented on banana leaves. Sanjeevanam reminds you that food can be medicine too, without ever compromising on taste.

Each of these places reflects the city’s diversity and warmth. As a lifelong vegetarian, I’ve explored them all with joy and gratitude. Whether it’s a simple breakfast of idlis or a festive thali, Chennai never fails to serve love on a plate.