MY JOURNEY TO IRAN ą“øą“«ą“±ąµ ą“®ąµ» ą“¬ąµ ą“ą“±ą“¾ąµ»
ą“ą“¤ąµ ą“ąµą“µą“²ą“ ą“Æą“¾ą“¤ąµą“°ą“¾ą“µą“æą“µą“°ą“£ą“ ą“®ą“¾ą“¤ąµą“°ą“®ą“²ąµą“² ą“ą“°ąµ ą“ą“Øą“¤ą“Æąµą“ąµ ą“ą“°ą“æą“¤ąµą“°ą“¤ąµą“¤ą“æą“Øąµą“±ąµą“Æąµą“ ą“ą“¤ąµą“®ą“øą“®ąµ¼ą“Ŗąµą“Ŗą“£ą“¤ąµą“¤ą“æą“Øąµą“±ąµą“Æąµą“ ą“Ŗąµą“°ą“¾ą“ąµą“ą“¤ąµą“¤ą“æą“Øąµą“±ąµą“Æąµą“ ą“ą“„ą“ąµ¾ ą“ąµą“ą“æą“Æą“¾ą“£ą“æą“¤ąµ.
ą“ą“±ą“¾ą“Øą“æą“²ąµ ą“ą“°ą“æą“¤ąµą“°ą“µąµą“ ą“øą“ą“øąµą“ą“¾ą“°ą“µąµą“ ą“ą“°ą“æą“® ą“ą“ąµą“ąµą“ ą“ąµą“±ą“Æą“¾ą“¤ąµ ą“øą“¤ąµą“Æą“øą“Øąµą“§ą“¤ą“Æąµą“ąµą“ ą“µą“æą“µą“°ą“æą“ąµą“ą“¾ąµ» ą“ ą“Ŗąµą“øąµą“¤ą“ą“ ą“¶ąµą“°ą“®ą“æą“ąµą“ą“æą“ąµą“ąµą“£ąµą“ąµ.
ą“ą“°ąµ ą“Æą“¾ą“¤ąµą“°ą“æą“ąµ» ą“ą“¾ą““ąµą“ą“ąµ¾ ą“®ą“¾ą“¤ąµą“°ą“ ą“ą“¾ą“£ą“¾ą“¤ąµ ą“®ą“Øąµą“·ąµą“Æą“°ą“æą“²ąµą“ąµą“ąµą“ ą“
ą“µą“°ąµą“ąµ ą“ąµą“µą“æą“¤ą“ąµą“ą“³ą“æą“²ąµą“ąµą“ąµą“ ą“°ą“¾ą“·ąµą“ąµą“°ąµą“Æą“¤ąµą“¤ą“æą“²ąµą“ąµą“ąµą“ ą“ą“±ą“ąµą“ą“æą“ąµą“ąµą“²ąµą“²ąµą“£ąµą“ą“¤ąµ ą“Æą“¾ą“¤ąµą“°ą“Æąµą“ąµ ą“§ąµ¼ą“®ąµą“®ą“®ą“¾ą“£ąµ. ą“Øą“æą“¶ąµą“ą“Æą“¦ą“¾ąµ¼ą“”ąµą“Æą“®ąµą“³ąµą“³, ą“
ą“§ąµą“µą“¾ą“Øą“¶ąµą“²ą“°ą“¾ą“Æ, ą“°ą“¾ą“·ąµą“ąµą“°ąµą“Æ ą“¬ąµą“§ą“®ąµą“³ąµą“³, ą“
ą““ą“æą“®ą“¤ą“æą“ąµą“£ąµą“ąµą“ ą“ąµą“ą“°ą“ą“°ą“£ą“ ą“ąµą“£ąµą“ąµą“ ą“Ŗąµą“±ąµą“¤ą“æą“®ąµą“ąµą“ą“æą“Æą“Ŗąµą“Ŗąµąµ¾ ą“µą“æą“Ŗąµą“²ą“µą“ ą“µą“°ąµ ą“Øą“ą“¤ąµą“¤ą“æą“Æ ą“ą“°ąµ ą“ą“Øą“¤ą“Æąµ ą“Øą“®ąµą“ąµą“ąµ ą“Ŗą“°ą“æą“ą“Æą“Ŗąµą“Ŗąµą“ąµą“¤ąµą“¤ąµą“Øąµą“Øąµą“£ąµą“ąµ. ą“Ŗą“¤ą“æą“±ąµą“±ą“¾ą“£ąµą“ąµą“ą“³ą“¾ą“Æą“æ ą“¤ąµą“ą“°ąµą“Øąµą“Ø ą“ą“Ŗą“°ąµą“§ą“¤ąµą“¤ą“æą“Øąµ ą“ą“Ŗą“ą“¾ą“Ŗą“ąµą“ąµ¾ą“ąµą“ąµ ą“
ą“µą“°ąµą“ąµ ą“ą“ąµą“ą“¾ą“¶ą“ąµą“¤ą“æą“ąµą“ąµ ą“Ŗąµą“°ą“¤ą“æą“¬ą“Øąµą“§ą“ ą“Øą“æąµ½ą“ąµą“ą“¾ąµ» ą“ą““ą“æą“Æą“¾ą“¤ąµą“¤ą“¤ąµą“Øąµą“¤ąµą“ąµą“£ąµą“ą“¾ą“£ąµą“Øąµą“Øąµ ą“Ŗąµą“øąµą“¤ą“ą“ ą“Øą“®ąµą“®ą“³ąµą“ąµ ą“Ŗą“±ą“Æąµą“Øąµą“Øąµ
Octobar ithihaasam|ą“ą“ąµą“ąµą“¬ąµ¼ ą“ą“¤ą“æą“¹ą“¾ą“øą“
ą“Æą“¹ąµāą“Æą“¾ ą“øą“æąµ»ą“µą“¾ą“±ą“æą“Øąµą“Æąµą“ ą“«ą“²ą“øąµą“¤ąµąµ» ą“µą“æą“®ąµą“ą“Ø ą“Ŗąµą“°ą“¾ą“ąµą“ą“¤ąµą“¤ąµą“Æąµą“ ą“ąµą“±ą“æą“ąµą“ąµą“³ąµą“³ ą“ą“²ąµą“ą“Øą“ą“³ąµą“ ą“ą“¾ą“µą“Øą“ą“³ąµą“ ą“ąµąµ¼ą“¤ąµą“¤ą“æą“£ą“ąµą“ą“æą“Æ ą“ą“°ą“æą“¤ąµą“°ą“øąµą“®ą“°ą“£ą“Æą“¾ą“£ąµ āą“ą“ąµą“ąµą“¬ąµ¼ ą“ą“¤ą“æą“¹ą“¾ą“øą“ā.
ą“øą“æąµ»ą“µą“¾ą“±ą“æą“Øąµą“±ąµ ą“ąµą“µą“æą“¤ą“¤ąµą“¤ą“æąµ½ ą“ą“ąµą“ąµą“¬ąµ¼ ą“ą“°ąµ ą“®ą“¾ą“øą“®ą“²ąµą“²; ą“¤ąµ»ąµą“±ąµ ą“ą“Øą“Øą“¤ąµą“¤ą“æą“Øąµą“ ą“øą“®ą“°ą“¤ąµą“¤ą“æą“Øąµą“ ą“°ą“ąµą“¤ą“øą“¾ą“ąµą“·ą“æą“¤ąµą“µą“¤ąµą“¤ą“æą“Øąµą“ ą“ą“°ąµą“Ŗąµą“²ąµ ą“øą“¾ą“ąµą“·ąµą“Æą“ ą“µą“¹ą“æą“ąµą“ ą“µą“æą“§ą“æą“Æąµą“ąµ ą“øą“®ą“Æą“°ąµą“ą“Æą“¾ą“£ąµ; ą“ą“°ą“æą“¤ąµą“°ą“¤ąµą“¤ą“æąµ»ąµą“±ąµ ą“µą““ą“æą“Æą“ą“³ą“µąµą“. ą“¤ą“Øąµą“±ąµ ą“Øąµą“¤ąµą“¤ąµą“µą“¤ąµą“¤ą“æąµ½ ą“ą“øąµą“°ą“Æąµą“²ą“æą“Øąµ ą“Ŗą“æą“ą“æą“ąµą“ąµą“²ą“ąµą“ ą“¤ąµą“µąµą“«ą“¾ą“Øąµąµ½ ą“
ą“ąµą“øą“Æą“æą“²ąµą“ąµ ą“
ą“§ą“æą“Øą“æą“µąµą“¶ą“¤ąµą“¤ą“æą“Øąµą“±ąµ ą“
ą“ą“Æąµą“Æą“¤ ą“¤ą“ą“°ąµą“ą“Æąµą“ ą“«ą“²ą“øąµą“¤ąµąµ» ą“²ąµą“ą“¤ąµą“¤ą“æą“Øąµą“±ąµ ą“Øąµą“¤ą“æą“ ą“®ą“Øą“øąµą“øą“¾ą“ąµą“·ą“æą“Æą“æąµ½ ą“µąµą“£ąµą“ąµą“ ą“®ąµą“¦ąµą“°ą“£ą“ ą“ąµą“Æąµą“Æą“Ŗąµą“Ŗąµą“ąµą“ąµ ą“ą“ąµą“ąµą“¾ą“¬ą“±ą“æą“²ąµą“ąµ.
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ą“ąµą“ą“£ ą“ą“°ąµ ą“®ą“Øąµą“·ąµą“Æą“Øąµą“±ąµ ą“ąµą“µą“æą“¤ą“ ą“ą“µą“æą“ąµ ą“ą“°ąµ ą“ą“Øą“¤ą“Æąµą“ąµ ą“ą“°ą“æą“¤ąµą“°ą“®ą“¾ą“Æą“æ ą“®ą“¾ą“±ąµą“Øąµą“Øąµ.
ą“Ŗąµą“°ą“¤ą“æą“°ąµą“§ą“ ą“ą“°ąµ ą“°ą“¾ą“·ąµą“ąµą“°ąµą“Æ ą“Øą“æą“²ą“Ŗą“¾ą“ąµ ą“®ą“¾ą“¤ąµą“°ą“®ą“²ąµą“², ą“øąµą“µą“¾ą“¤ą“Øąµą“¤ąµą“°ąµą“Æą“¤ąµą“¤ą“æą“Øąµą“±ąµ ą“Ŗąµą“°ą“ąµą“Æą“¾ą“Ŗą“Øą“µąµą“ ą“Øą“¾ą“ą“°ąµą“ą“¤ą“Æąµą“ąµ ą“µąµą“£ąµą“ąµą“ąµą“Ŗąµą“Ŗą“æą“Øąµą“³ąµą“³ ą“µą““ą“æą“Æąµą“®ą“¾ą“£ąµą“Øąµą“Øąµ ą“øą“æąµ»ą“µą“¾ąµ¼ ą“ąµ¼ą“®ą“æą“Ŗąµą“Ŗą“æą“ąµą“ąµ ą“ąµą“£ąµą“ąµą“Æą“æą“°ąµą“Øąµą“Øąµ.
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Sahodaran Ayyappan
Towards a democratic future life and Select Works
He was a journalist,a pamphleteer,an essayist,a story writer,and a poet,Sekhar seems him as one of the maker of MODERN MALAYALEE.but even more as a public intellectua who worked towards democratisising and rationalising the civic life of KERALA and India
GAIL OMVEDT
True change genuinity,anti castle velues, could only emerge from an 'outside or an extra space" from which a genuine and anti castle discourse could be launched against Hinduism. Sahodaran Ayyappan belonged to this rare genre of discourse that captured the revelutionery nature ofthe "extra element" created by modernity and he turned it against hinduism and its new political form, nationalism.
J REGHU
Sahodaran Ayyappan is making a comeback in the public sphere of Kerala through debates, radical re-reading and innovative explorations. This happens at a time when the excluded and marginalised sections of the society such as women, Dalits and other contested groups are actively intervening in the cultural politics and producing representatives. This book explores the pluralistic and dialogic legacies of Sahodaran and questions the realities of the multi-faceted intellectual through a critical re-reading of his life and works.
Savanih| ą“øą“µą“¾ą“Øą“æą“¹ąµ
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ą“¹ąµą“®ą“¦ąµ ą“ą“øą“¾ą“²ą“æą“Æąµą“ąµ ą“µą“¾ą“ąµą“ąµą“ą“³ą“æąµ½ ą“¦ąµą“µą“ ą“Ŗąµą“°ą“£ą“Æą“ą“¾ą“ą“Øą“®ą“¾ą“ąµą“Øąµą“Øąµ. ą“Ŗąµą“°ą“£ąµą“¤ą“¾ą“µąµą“ ą“Ŗąµą“°ą“£ą“Æą“µąµą“ ą“Ŗąµą“°ąµą“Æą“øą“æą“Æąµą“ ą“ą“Øąµą“Øą“¾ą“ąµą“Øąµą“Ø ą“
ą“µą“¾ą“ąµą“Æą“®ą“¾ą“Æ ą“øąµą“«ą“æ ą“øąµą“Øąµą“¦ą“°ąµą“Æą“¦ąµ¼ą“¶ą“Øą“¤ąµą“¤ąµ ą“ą“µą“æą“·ąµą“ą“°ą“æą“ąµą“ą“¾ąµ» ą“¶ąµą“°ą“®ą“æą“ąµą“ ą“ąµą“²ą“¾ą“øą“æą“ąµą“ąµą“ą“³ą“æąµ½ ą“ąµ½ą“ąµą“·ąµą“ą“®ą“¾ą“£ąµ ą“øą“µą“¾ą“Øą“æą“¹ąµ. ą“Ŗąµą“°ą“£ą“Æą“¤ąµą“¤ą“æą“Øąµą“±ąµ ą“
ą“¤ą“æą“ąµą“¤ą“æą“ą“®ą“¾ą“Æ ą“
ą“µą“øąµą“„ą“ą“³ąµą“ ą“Ŗąµą“°ą“£ąµą“¤ą“¾ą“µą“æą“Øąµą“±ąµ ą“®ą“¾ą“Øą“øą“æą“ą“Øą“æą“²ą“ą“³ąµą“ ą“øąµą“Øąµą“¹ą“ą“¾ą“ą“Øą“¤ąµą“¤ą“æą“Øąµą“±ąµ ą“ąµą“£ą“ą“£ą“ąµą“ą“³ąµą“ ą“ą“¾ą“µąµą“Æą“¾ą“¤ąµą“®ą“ą“ą“¾ą“·ą“Æą“æąµ½ ą“
ą“¹ąµą“®ą“¦ąµ ą“ą“øą“¾ą“²ą“æ ą“µąµ¼ą“£ą“æą“ąµą“ąµą“Øąµą“Øąµ. ą“Ŗąµą“°ą“£ą“Æą“°ą“¹ą“øąµą“Æą“ąµą“ą“³ąµ ą“¦ą“æą“µąµą“Æą“®ą“¾ą“Æ ą“ąµ¾ą“ąµą“ą“¾ą““ąµą“ą“Æąµą“ąµ ą“ąµą“°ąµą“³ą““ą“æą“ąµą“ąµą“Øąµą“Ø ą“ą“¦ąµą“¬ąµą“§ą“Øą“ąµą“ą“³ąµą“ ą“øą“ąµą“ąµąµ¼ą“¤ąµą“¤ą“Øą“ąµą“ą“³ąµą“®ą“¾ą“£ąµ ą“øą“µą“¾ą“Øą“æą“¹ąµ.
ą“ą“¤ąµą“®ąµą“Æ ą“µą“°ąµ¾ą“ąµą“ą“Æą“Øąµą“ą“µą“æą“ąµą“ąµą“Øąµą“Øą“µąµ¼ ą“ ą“ąµą“¤ą“æą“Æą“æą“²ąµą“ąµ ą“¦ąµą“µą“øą“¾ą“®ąµą“Ŗąµą“Æą“ ą“Ŗąµą“°ą“¾ą“Ŗą“æą“ąµą“ąµą“ą“Æąµą“, ą“®ą“¾ą“Øąµą“·ą“æą“ą“µąµą“ ą“¦ąµą“µą“æą“ą“µąµą“®ą“¾ą“Æ ą“
ą“Øąµą“°ą“¾ą“ą“®ąµąµ¼ą“ąµą“ ą“
ą“±ą“æą“Æąµą“ą“Æąµą“, ą“¦ąµą“µą“¤ąµą“¤ą“æąµ½ ą“µą“æą“²ą“Æą“Øą“ ą“øą“¾ą“§ąµą“Æą“®ą“¾ą“ąµą“ąµą“ą“Æąµą“ ą“ąµą“Æąµą“Æąµą“Øąµą“Øąµ.
SHADOW ACROSS THE DISTANCE
Aditya, a lively and outgoing woman from Kerala, never expected to fall for Vivek, a calm and reserved man from Mumbai. Their connection at a birthday party led to a beautiful long-distance relationship filled with laughter, late-night video calls, and surprise visits that keep their love alive. When Aditya decides to surprise Vivek in Mumbai, she envisions a perfect reunion. Instead, she stumbles upon a heartbreaking moment that leaves her shocked and devastated, questioning everything she thought she knew about Vivek. As emotions run high and misunderstandings grow, both must decide if their love can withstand the pain of a broken trust. Will they find their way back to each other, or is this the end of their story
SHAIKHUL ISLAM MOULANA ASSAYYID HUSAIN AHMAD MADANI RAHMATHULLAHI ALAIHI|ą“¶ąµą“ąµąµ½ ą“ą“øąµāą“²ą“¾ą“ ą“®ąµą“²ą“¾ą“Øą“¾ ą“ ą“øąµą“øą“Æąµą“Æą“æą“¦ąµ ą“¹ąµą“øąµąµ» ą“ ą“¹ąµ ą“®ą“¦ąµ ą“®ą“¦ą“Øą“æ (ą“±ą“¹ąµ)
ą“¶ąµą“ąµąµ½ ą“ą“øąµāą“²ą“¾ą“ ą“®ąµą“²ą“¾ą“Øą“¾ ą“
ą“øąµą“øą“Æąµą“Æą“æą“¦ąµ ą“¹ąµą“øąµąµ» ą“
ą“¹ąµāą“®ą“¦ąµ ą“®ą“¦ą“Øą“æ: ą“µą“æą“ąµą“ą“¾ą“Øą“¤ąµą“¤ą“æą“Øąµą“±ąµą“Æąµą“ ą“µą“æą“Ŗąµą“²ą“µą“¤ąµą“¤ą“æą“Øąµą“±ąµą“Æąµą“ ą“ą“¤ą“æą“¹ą“¾ą“øą“
ą“®ą“¦ąµą“Øą“Æą“æą“²ąµ ą“Ŗą“°ą“æą“¶ąµą“¦ąµą“§ ą“®ą“øąµą“ą“æą“¦ąµą“Øąµą“Øą“¬ą“µą“æą“Æąµą“ąµ ą“¤ą“æą“°ąµą“®ąµą“±ąµą“±ą“¤ąµą“¤ąµ ą“µą“æą“ąµą“ą“¾ą“Øą“¤ąµą“¤ą“æą“Øąµą“±ąµ ą“Ŗąµą“°ą“ą“¾ą“¶ą“ ą“Ŗą“°ą“¤ąµą“¤ą“æą“Æ ą“Ŗą“£ąµą“”ą“æą“¤ ą“ąµą“Æąµą“¤ą“æą“øąµą“øąµ... ą“ą“¤ąµą“®ąµą“Æą“¤ą“Æąµą“ąµ ą“Øą“¾ą“²ąµ ą“®ą“¹ą“¾ą“§ą“¾ą“°ą“ą“³ąµ (ą“ą“¾ą“¦ą“æą“°ą“æą“Æąµą“Æ, ą“ą“æą“¶ąµą“¤ą“æą“Æąµą“Æ, ą“Øą“ąµāą“¶ą“¬ą“Øąµą“¦ą“æą“Æąµą“Æ, ą“øąµą“¹ąµāą“±ą“µąµ¼ą“¦ą“æą“Æąµą“Æ) ą“ą“³ąµą“³ą“æą“²ąµą“¤ąµą“ąµą“ą“æą“Æ ą“ą“¤ąµą“®ąµą“Æ ą“ąµą“°ąµ... ą“®ą“¾ąµ¾ą“ąµą“ą“Æą“æą“²ąµ ą“¤ą“ą“µą“±ą“ą“³ą“æąµ½ ą“¬ąµą“°ą“æą“ąµą“ąµą“·ąµ ą“øą“¾ą“®ąµą“°ą“¾ą“ąµą“Æą“¤ąµą“µą“¤ąµą“¤ą“æą“Øąµ ą“®ąµą“Øąµą“Øą“æąµ½ ą“Ŗą“¤ą“±ą“¾ą“¤ąµ ą“Øą“æą“Øąµą“Ø ą“Ŗąµą“°ą“¾ą“³ą“æ... ą“®ąµą“²ą“¾ą“Øą“¾ ą“¹ąµą“øąµąµ» ą“
ą“¹ąµāą“®ą“¦ąµ ą“®ą“¦ą“Øą“æ (ą“±) ą“ą“Øąµą“Ø ą“Øą“¾ą“®ą“ ą“ą“°ą“æą“¤ąµą“°ą“¤ąµą“¤ą“æąµ½ ą“
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TAHRID – AHLIL IMAN ALA JIHADI ABDATI SULBAN
Tahrid ahlil Iman ala Jihadi Abdati Sulban was written by Sheikh Zainuddin 1, the grandfather of Sheikh zainuddin, author of Tuhfat al Mujahidin, arguably the first written history about Kerala. Written in the context of the Portuguese Invasion of Malabar, Tahrid is a poetic outburst of rancor at the event of colonialism couched in eschatological reference and expressing the tone and concern of a pamphleteer. The event of colonialism lies at the background of the book.
āāthe book will be much used, and valued, by Historians of Kerala, along with those studying the local reaction to the activities of the Portuguese in the sixteenth century, and those concerned with the Muslim diaspora spread all along the shores of the Indian Ocean. -Michael N Pearson.
The Book Of Truthfulness
Truthfulness
Abu Saāid al-Kharraz is a less-known Baghdadi mystic whose Kitab al-Sidq is a widely-known Sufi treatise popularised in the English speaking world chiefly through the translation of Arthur John Arberry titled āBook of Truthfulness.ā The importance of this treatise lies in the fact that it is the earliest systematic presentation of the theory of Sufi experience, written by a practising Sufi.
THE SHADOWFIRE PROPHESY
āTwenty generations after Prince Ali harnessed the power of the Keystone to bring peace to the land, his descendant Eira sets out on a perilous quest to uncover the truth about the ancient relic. As she navigates treacherous landscapes and confronts formidable foes, Eira must face her own destiny and the legacy of her ancestor. With the Keystoneās power waiting to be unleashed once more, Eira must prove herself worthy of Prince Aliās legacy and claim her rightful place as the guardian of the Keystone."