A short novel, telling of the character Chandran at the time of his graduation and then his experiences as he takes his first steps into the "real world".

I thought that this was a very light, readable novel, filled with good humour. Narayan takes a wry look at some Indian customs - the use of horoscopes to assess the compatability of potential marriage partners, and the almost automatic reverence given to sanyasi, for example.

Not a book with tremendous satirical bite - it's too amiable for that - although serious points are made about India in the latter days of the Raj. Overall, though, an enjoyable and easy read.

The story of Chandran, a final-year student of History, on how love tranforms ambitions, alters goals and changes lives is the theme of this wonderful book.

Written masterfully with just the right amounts of comedy, emotions and twists, and teeming with sarcasm characteristic of Narayan, this book takes a broad look at values and customs. For example, the long scenes wheres discussion about horoscopes and Chandran's disagreement with his mother are all so very close to life in India.

A great book, an excellent read....

All Of R K Narayans Works are Gems in World Of Literature,his works are of the days when Simplicity was the philosophy of Life,Non Complicated characters and Easy Story lines are the highlights of His work,Though I'd like to Tell Non Indian Readers That They should not Judge The India,Indian Way of Life from These works(For that Matter any of The Indian Authors),Because the Old Roads are rapidly Changing and World Is becoming smaller with every passing day,and our lives are changing into mass produced civilization like that described by Huxley in "Brave New World".How I wish The world becomes a simpler place to Stay Like Malgudi

This is a very nice book in which R.K. Narayan retells various stories and legends from India. The stories range from those of Devi to the demon king Ravana and pretty much everything in between. What makes this particularly nice is Narayan's mastery of the English language. He manages to make these stories understandable and approachable for a western audience, and in doing so has created a wonderful book. Even if you are not familar with the many epics of ancient India, I strongly recommend that you approach this book. It makes it very easy for westerners to understand and appreciate the cultural works of South Asia. Check it out.

Fantastic book from truly one of the greatest english writing authors of the 20th Century. Once you read Narayan, any other author is only second best.

R.K Narayan is perhaps one of the best known Indo Anglican writers. He is known capture the Indianness of his subject despite of writing in english. In this wonderful little book he tries to narrate some excerpts from Indian mythology. These are chosen from portions of great epics to folk lore tales. Most of these tales are usually naratted by a priest or some story teller in a villlage side temple. Having listened to some of those story telling concerts I would say Narayan's book gives you the same exhiliration and joy you would experience as you listen to a live story teller in a village.

THE PAINTER OF SIGNS IS A VERY GOOD BOOK.IT IS ABOUT A PAINTER IN THE IMAGINARY TOWN OF MALGUDI.HIS NAME IS RAMAN.HE LIVES AT HOME WITH HIS AUNT WHO TAKES CARE OF HIM.SHE TOOK CARE OF HIM FROM THE TIME HIS PARENTS DIED.SHE IS A VERY RELIGIOUS PERSON AND GEOS TO THE TEMPLE EVERYDAY.RAMAN PAINTS SIGNS FOR DIFFERENT TYPES OF PEOPLE.FOR EXAMPLE:THE BANGLE SELLER.ONE DAY HE IS ASKED TO PAINT A SIGN BY THIS LADY.RAMAN GETS ATTRACTED TO THIS LADY,DAISY,AND STARTS VISITING HER.MEANWHILE,DAISY IS PLANNING A BIRTH CONTROL CAMPAIGN.SHE IS GOING TO VISIT SOME OF THE REMOTE VILLAGES TO EXPLAIN THIS.SINCE,RAMAN HELPS HER SHE DECIDES TO TAKE RAMAN WITH HER.WHY DON'T YOU READ THIS VERY GOOD BOOK TO FIND OUT THE RESULTS OF THE CAMPAIGN AND WHAT HAPPENS TO RAMAN AFTER THIS.

This bittersweet novel is as fresh and charming today as it was when originally published in 1976. Telling the story of Raman, a conscientious sign-painter, who is trying to lead a rational life, the novel is filled with busy neighborhood life and gossip, the alternating rhythms and sounds of the city from morning till night, and the pungent smells and tantalizing flavors of home cooking, as Narayan portrays everyday life in Malgudi. The city is growing and changing, as its inhabitants try to carve out some individual successes within the juggernaut of "progress."

Raman, a college graduate, brings a sense of professionalism to his sign-painting, taking pride in his calligraphy and trying to create exactly the right sign, artistically, for each client. Living with his aged aunt, a devout, traditional woman whose days are spent running the house and tending to her nephew's needs and whose evenings are spent at the temple listening to the old stories and praying, Raman prefers a rational approach to life. Then he meets Daisy. A young woman devoted to improving the lives of women and the standard of living of the country through strict family planning, Daisy becomes his biggest customer, commissioning signs for all the family planning clinics she helps establish through the city and outlying rural areas. Ram soon finds his attraction to Daisy more powerful than this desire to remain "rational."

Narayan is a master of domestic scenes, presenting the major and minor conflicts of family life through the different points of view of the participants. Respect for his characters and a good-humored (and often humorous) presentation of their issues give warmth to his scenes and allow the reader to feel real empathy with the characters. Raman's belief in his own rational enlightenment and his simultaneous vulnerability to Daisy's manipulations provide the author with unlimited opportunities for dramatic irony. Scenes between Ram and his devout, elderly aunt provide a glimpse of the conflicts between old and new India, in addition to the generational conflicts every family faces between its young and its old. Scenes between Ram and Daisy reflect the changes in the role of women in society, as women become more assertive and liberated. Though he is presented as a unique, individualized character, Ram, the painter of signs, is, in a sense, Everyman, facing his coming-of-age as all men before him have done in cultures around the world. Only the details (and the sights, and sounds, and smells) are different. Mary Whipple

One of Narayan's most imaginative works; it speaks of human agency and feminism. Its aimless male protagonist becomes infatuated with a visionary career woman; she alone infuses meaning into his tepid life. The novel is short and easy to read by design (perhaps)- it leaves its reader unsatisfied and begging for more. My favorite Narayan novel so far.

I was so overcome by this book. This is the first works I have read by Narayan and I was thoroughly pleased. What makes it so well written is the reality with which Narayan captures the culture of India and defines the roles that governed marriages in the 1930's. I must admit he is not too far off base in depicting marriage arrangements and the struggles of women in the 21st century. At times I was disappointed with its realism, the speech, the actions of the characters. It was all too familiar. A powerful and honest portrayal of how husbands and wives act in marriage.

In Malgudi, Ramani and Savitri live with their children Babu, Kamala and Sumati. This is not a happy family - Ramani rules the home with a rod of iron, his wife and children are subject to his unpredictable temperament. The arrival of the attractive Shanta Bai at Ramani's workplace puts temptation in his way, and brings familial relations to boiling point.

"The Dark Room" is a superb examination of a patriarchal society and the injustices such a society causes to its women and children. Ramani is all for women's rights if they apply to Shanta Bai, but is oblivious to such rights for his wife or other women. Even the old priest who appears later in the novel adheres to the view of women as men's servants. Narayan uses the novel both to unpick male hypocrisy and to detail the traumas endured by Indian women.

An impressive, controlled novel, moving and hard-hitting. The best I've read of Narayan so far.

G Rodgers

A well-dressed but enigmatic stranger claiming to be from Timbuctoo takes advantage of a small-town journalist in this short novel set in the fictional town of Malgudi, India, that R. K. Narayan has brought to life in an entire series of books. The journalist (and well-known busybody) is our narrator for the story of Dr. Rann, who is ostensibly preparing a report for the U.N. on 'futurology', although he seems to do little enough work. Dr. Rann drifts into this quiet little backwater of a town and quickly makes himself at home, helping himself to what few amenities are available. Our journalist begins to feel somewhat taken advantage of, until the good doctor's wife shows up. But not to worry, things work out well enough in the end, (with some clever manipulation), and if any parties are less than thrilled with the outcome, at least no one is seriously worse off than they were before.

The brevity of this novel (116 pages) is such that Narayan addresses it himself in a postscript, but to say that this book is too short would be a mistake. It struck this reviewer that by cropping the early and middle sections still further, one could have made a very creditable novella with this material without losing much. As it is the middle section does seem to drag a bit. The best feature of this book is Narayan's delicate touch with characterization, sketching familiar types with just a few lines: the old librarian and his wife, their granddaughter Girija, the distraught station master, the old porter, Varma (who owns The Boardless Hotel), the Deputy Minister, and even the President of the Lotus Club. The locale almost stands as a character itself, constantly intervening with its all-too-familiar small town inquisitiveness and morality, but still adding an exotic touch to the story. While not a real thigh-slapper, Narayan's upbeat tale is written in a pleasant, easy-to-read style that is as accessible to teens as adults. There's nothing really special going on here, but if you'd like a quiet, relaxing vacation in South Asia but just can't get away, Malgudi may be just the place for you.

Having read all his books, this one is the one that stays with me longest. The prose is as excellent as ever and the story is extremely interesting.

Narayan was a great writer. I like best ths story titled "anamalai", "Breath of Lucifer" and of course "Under the banyan tree" itself. Some of those short stories are so easy to understand, some are so deep, so i have to read it carefully to get the skillfully written rethorics. It's a classics, worth buying and kept for lifetime.

This book is in the same mold as "Malgudi Days". Some stories ,like the title story & "Dodu" are pure gems. I read and re-read this book and still found them as fresh.The characters ,the situations are so real that one wonders whether the author picked them out of his own experiences.

Srinivas's ambition is to set up and run a weekly journal called "The Banner". After various mishaps, he engages the printer Mr Sampath to produce "The Banner" - thereafter Srinivas is drawn into a chaotic world of small-town Indian film making.

I thought that this was an enjoyable, essentially comic novel, satirising the Indian film industry of the time. It has more to it that merely than that however: I thought that Narayan was also interested in male obsessiveness - or single-mindedness if you will - in which the pursuit of single dreams are often carried out at the expense of cultivating relationships with loved ones/the family.

As ever, Narayan's prose is crisp, sharp and very easy to read. His eye for comedy is good, and the satire is gentle rather than bitter. And enjoyable for all that.

G Rodgers

I bought this in Madras and that same night Chandra brought up Narayan in conversation -- raised in Mysore, brother to RK Laxman. Malgudi is not Mysore, though, but smaller, provincial, in the orbit of Madras -- perhaps some place like Chenglepat, Seshadri's birthplace. This book has a loose, whimsical mood to it. The twin protagonists, the unworldly editor and the worldly yet also idealistic printer, are wonderful. But the story isn't very tight. Short as it is, it reads as if written in installments. Interesting that it was published in London several years before India. I think that this book influenced Naipaul's House for Mr. Biswas -- Naipaul recognized his own father in Narayan's thwarted editor.

Narayan's writing has immense natural charm and elegance: it is never less than an absolute delight. He often, I think, relies too much on these qualities, and skates over some of the more profound themes. But that is not the case here. The themes are dark indeed: grinding poverty, exploitation, primitive superstitions - indeed, human suffering in general. What can one do when surrounded on all sides by such horrors? Become indifferent to it - assume a philosophy that claims that such things are so, and must be so, as they are part of the eternal equilibrium. And meanwhile, the suffering continues.

All this makes the book sound tremendously heavy: it isn't. It is wonderfully witty and charming; at times, it is uproariously funny. I do not know of any other writer who can do justice to such serious themes with so light a touch. This seems to me one of the great underrated novels of this century.

I enjoyed this book so much that I read it in less than a day. Set in India in the 1940s, it's a love story, but not only that, it also reflects the birth pangs of a new nation.

Young Sriram, who has led a somewhat sheltered life under the care of his grandmother, meets Bharati, an activist in Mahatma Gandhi's Satyagraha movement. Through his pursuit of Bharati, Sriram is drawn into the independence movement, and we see through his eyes how various parts of Indian society were dealing with the prospect of independence. Some were disturbed by likelihood of change (ranging from those with a big stake in the Imperial status quo, to those who disliked British rule but nonetheless viewed its demise with deep distrust - for example one powerful person is shocked at Gandhi's inclusive attitude towards untouchables). Others of course sat on the fence or were just not bothered about politics - who was in charge was a matter of utter indifference to them.

Sriram is drawn closer to Indian nationalists who were prepared to take a more violent attitude to protest, such as his friend Jagadish. But Narayan contrasts their position with that of a British person who has lived in India for over thirty years, employed many Indians and regarded himself as an Indian: Sriram's intolerance turns to embarrassment during a conversation with that character.

Narayan weaves these themes into the main plot with great skill - big issues are reflected, illuminated, and put into context by everyday events. At times people and events appear to be comic, at other times tragic, but always they carry a resonance.

The true hero of the novel, of course, is Gandhi. Narayan depicts him as a saint-like figure (he even uses that term). Whether or not this will grate upon readers with a greater knowledge of Gandhi and his place in Indian history than mine, I don't know. It is true to say that the novel is sentimental in places. Perhaps that approach was right for the time the novel was written, and it might not hang together so well if it was written in a different, more critical way. I was prepared to overlook that and just enjoy the read.

A truly Indian experience. As told by R.K. Narayan this story evolves from a dreamy pace to a fevered pitch. Sriram is a child growing up in his own world. A world of security, comfort and laziness. What is it that drives this youth to seek change? The entrance of a romance in his life, the natural process of growing up or is it the Mahatma? Narayan uses his narrative style and rustic observation to enrich this tale and capture the spirit of rural India coming to terms with its liberation. What does this liberty mean? Our hero's life has changed for good. Driven by the spirit of the events unfolding around him Sriram is involved in the fight for freedom. But Sriram's motives are suspect. And has his life really changed? Yet Sriram is still capable of selfless action. His love for Bharathi and his devotion to her vindicate his motives. With his characteristic charm Narayan has recreated the common life amidst a historic perspective. For lovers of Narayan this is a must read. Enjoy.

Sriram, a 20-year old lad with lots of money, a loving grandmother and all the time in the world (to waste) meets Bharati, a beautiful woman. And as it always happens, falls in love instantly. But Bharati is involved in the Indian freedom struggle, and is a disciple of Mahatma Gandhi, the father of the independence movement. She is a serious-minded woman and will think of nothing other than the task on hand. Sriram realises that the only way to win her hand is by immersing himself in the freedom movement.

Thus he embarks on a life of struggles - he deserts his grandmother and all the money. At times, Sriram thinks if he should ever have altered the course of his life. Did he not enjoy life before? But love transcends everything. And for that one woman in his life, he will undergo any tribulation. He is waiting for her, but will she? The ending of the story is quite excellent, and will have you spellbound.

Set in the 1940s, this book wonderfully narrates the freedom struggle through the eyes of Sriram and Bharati. To me, it is the most important work of R.K. Narayan and ranks alongside his classic debut novel, Swami and Friends.

This is a charming book, depicting 1930s India as seen through the eyes of the schoolboy Swami. All the trials and tribulations of children's daily lives are there: strained relationships with adults (including of course teachers), and falling in and out of friendships with other children. Nothing remarkable or original in this subject matter, but of course there's the British Raj to add to life's complications: the strangeness of having Bible lessons in Indian schools, increasing political tensions and violence, and last but not least, cricket.

American readers who are not familiar with cricket have nothing to fear about the frequent references to it in the book - it's sufficient to know that cricket is a sport which was (and is) hugely popular in India - an added irony as its was adopted after the British brought it with them. However, it may help to know that Swami's nickname of "Tate" is after the famous England international cricketer, Maurice Tate (1895-1956), who was particularly famous in the 1920s and 1930s.

The book is generally well-written, but I found problems with the author's style. Swami's views of the world and the way he expresses himself are not consistently convincing - at times it reads more like the auther stating his own mature views rather than those that would be expressed by a ten year old boy. And, churlish though it may be, I couln't help a small laugh at a line like:

"The teacher came in and stood aghast. He could do little more than look on and ejaculate."

Though this probably says more about the state of my mind and sense of humor than about Narayan's writing.

"Swami and Friends" has a great deal of appeal, but many faults too. However, one must take into account that it was a first novel, and it certainly hasn't put me off reading more of Narayan.

I bought this book based on my memory of the wonderful Indian series "Swami". while the stories from the series are not part of the book, I found the book to be absolutely fascinating. R.K.Narayan is surely one of the giants of Indian fiction!

This Great book form R K Narayan made me remember my childhood and school days and those innocent years. Especially Swami's Grand mother, his friend Rajam and mani's characters touched the heart. This book has got lot of practical humor. Definately this book will keep you at a lighter mood and will make you to remember the stories for ever. Any guy born and brought up in India can find paralles between him and Swamy.