Odinja Chirakukal|ą“ą“ą“æą“ąµą“ ą“ą“æą“±ą“ąµą“ąµ¾
ą“ą“ą“æą“ąµą“ ą“ą“æą“±ą“ąµą“ąµ¾
ā ą“
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ą“¤ąµ ą“Øą“®ąµą“®ąµą“ąµ ą“ą“£ąµą“£ąµą“°ą“æą“²ąµą“ ą“ą“ą“²ą“æą“²ąµą“ ą“ą“²ąµ¼ą“Øąµą“Øą“æą“°ą“æą“ąµą“ąµą“Øąµą“Øąµā
ā ą“ą“²ąµąµ½ ą“ą“æą“¬ąµą“°ą“¾ąµ»
ą“Ŗą“°ą“æą“ą“¾ą“· : ą“
ą“ą“æą“¤ąµą“ąµą“®ą“¾ąµ¼
OLIVES IN THE ASHES
In a world numbed by headlines, OLIVES IN THE ASHES restores the human voice behind the statistics. This poetry collection confronts genocide, displacement, and global silence with raw honesty and emotional depth.
This is written with courage and compassion, transforming pain into protest and memory into resistance. These poems are not meant to be read passively; they demand reflection, empathy, and accountability.
Pranayakaalam| ą“Ŗąµą“°ą“£ą“Æą“ą“¾ą“²ą“
ą“µą“¾ą“ąµą“ąµą“ą“³ą“æąµ½ ą“¦ą“¾ąµ¼ą“¶ą“Øą“æą“ą“¤ą“Æąµą“ ą“ą“¾ą“²ąµą“Ŗą“Øą“æą“ą“¤ą“Æąµą“ ą“µą“æą“Ŗąµą“²ą“µą“µąµą“ ą“øąµą“Øąµą“¦ą“°ąµą“Æą“µąµą“ ą“ą“¤ąµą“®ąµą“Æą“¤ą“Æąµą“ ą“Øą“æą“±ą“ąµą“ ą“ą“æą“¬ąµą“°ą“¾ą“Øąµą“±ąµ ą“Ŗąµą“°ą“£ą“Æą“¾ą“Øąµą“ą“µą“ąµą“ą“³ąµą“ąµ ą“
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PRANAYATHURAM|ą“Ŗąµą“°ą“£ą“¾ą“Æą“¾ą“¤ąµą“°ą“
ą“Ŗąµą“°ą“£ą“Æą“¾ą“¤ąµą“°ą“
ą“Ŗą“°ą“æą“ą“¾ą“· : ą“”ąµ. ą“
ą“øąµą“øąµ ą“¤ą“°ąµą“µą“£
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ą“Ŗąµąµ¼ą“µąµą“µ ą“øąµą“Øąµą“¦ą“°ą“®ą“¾ą“Æą“æ ą“Ŗą“±ą“ąµą“, ą“
ą“Øą“¶ąµą“µą“° ą“ą“µą“æ ą“ą“²ąµąµ½ ą“ą“æą“¬ąµą“°ą“¾ą“Øąµą“±ąµ ą“ąµą“¤ą“æą“ą“³ą“æąµ½ ą“Øą“æą“Øąµą“Øąµ ą“¤ąµą“°ą“ąµą“ąµą“ąµą“¤ąµą“¤ ą“®ąµą““ą“æą“®ąµą“¤ąµą“¤ąµą“ą“³ąµą“ąµ ą“ą“Ŗąµąµ¼ą“µąµą“µ ą“øą“®ą“¾ą“¹ą“¾ą“°ą“.
āą“ą“°ą“Æąµą“µą“¾ą“Øą“¾ą“ą“¾ą“¤ąµą“¤ ą“ąµą“ą“¾ą“Øą“¤ąµą“¤ą“æąµ½ ą“Øą“æą“Øąµą“Øąµą“ ą“Ŗąµą“ąµą“ą“æą“ąµą“ą“æą“°ą“æą“ąµą“ąµą“µą“¾ą“Øą“¾ą“ą“¾ą“¤ąµą“¤ ą“¤ą“¤ąµą“µą“¦ąµ¼ą“¶ą“Øą“ąµą“ą“³ą“æąµ½ ą“Øą“æą“Øąµą“Øąµą“ ą“ą“°ąµ ą“ąµą“ąµą“ą“æą“Øąµą“±ąµ ą“®ąµąµ»ą“Ŗą“æąµ½ ą“¤ą“² ą“ąµą“Øą“æą“ąµą“ąµą“µą“¾ąµ» ą“®ą“ą“æą“ąµą“ąµą“Øąµą“Ø ą“
ą“¹ą“ą“ą“¾ą“µą“¤ąµą“¤ą“æąµ½ ą“Øą“æą“Øąµą“Øąµą“ ą“ą“Øąµą“Øąµ ą“Øąµ ą“°ą“ąµą“·ą“æą“ąµą“ąµą“.ā
ā ą“ą“²ąµąµ½ ą“ą“æą“¬ąµą“°ą“¾ąµ»
PREMALU
2024-ą“²ąµ ą“ą“±ąµą“±ą“µąµą“ ą“µą“²ą“æą“Æ ą“µą“æą“ą“Æ ą“ą“æą“¤ąµą“°ą“ąµą“ą“³ą“æąµ½ ą“ą“Øąµą“Øą“¾ą“Æ ą“Ŗąµą“°ąµą“®ą“²ąµ ą“øą“æą“Øą“æą“®ą“Æąµą“ąµ ą“¤ą“æą“°ą“ąµą“ą“„. ą“¹ąµą“¦ąµą“°ą“¬ą“¾ą“¦ąµ ą“Øą“ą“°ą“¤ąµą“¤ą“æą“Øąµą“±ąµ ą“Ŗą“¶ąµą“ą“¾ą“¤ąµą“¤ą“²ą“¤ąµą“¤ą“æąµ½ ą“ą“„ ą“Ŗą“±ą“Æąµą“Øąµą“Ø ą“±ąµą“®ą“¾ą“Øąµą“±ą“æą“ąµ - ą“ąµą“®ą“”ą“æ ą“µą“æą“ą“¾ą“ą“¤ąµą“¤ą“æąµ½ ą“ąµ¾ą“Ŗąµą“Ŗąµą“ąµą“Øąµą“Ø ą“ą“æą“¤ąµą“°ą“¤ąµą“¤ą“æą“Øąµ ą“ą“²ąµą“²ą“¾ ą“µą“æą“ą“¾ą“ą“ ą“Ŗąµą“°ąµą“ąµą“·ą“ą“°ąµą“ąµą“Æąµą“ ą“¶ąµą“°ą“¦ąµą“§ą“Æą“¾ą“ąµ¼ą“·ą“æą“ąµą“ą“¾ąµ» ą“ą““ą“æą“ąµą“ąµ.
PUZHAYORATHE VELLARAM KANNUKAL | ą“Ŗąµą““ą“Æąµą“°ą“¤ąµą“¤ąµ ą“µąµą“³ąµą“³ą“¾ą“°ą“ ą“ą“£ąµą“£ąµą“ąµ¾
ą“ ą“Øąµą“µąµ½ ą“Øą“æą“ąµą“ą“³ą“æą“²ąµ ą“Øą“æą“ąµą“ą“³ą“¾ą“£ąµ. ą“Øą“æą“ąµą“ą“³ąµą“ąµ ą“ą“°ąµą“ ą“ą“¾ą“£ą“¾ą“¤ąµą“¤ ą“®ąµą“ą“ąµą“ą“³ą“¾ą“£ąµ. ą“ą“Øąµą“Øą“Øąµą“µąµą“·ą“£ą“ ą“Øą“ą“¤ąµą“¤ą“æ ą“Øąµą“ąµą“ą“æą“Æą“¾ąµ½ ą“ą“Øąµą“Øąµ ą“Øą“æą“ąµą“ąµ¾ ą“ąµ¼ą“ąµą“ąµą“ ą“Ŗąµą“²ąµą“ ą“ąµą“Æąµą“Æą“¾ą“¤ąµą“¤ ą“µą“æą“øąµą“®ąµą“¤ą“æą“Æąµą“ąµ ą“ą““ą“æą“Æą“æą“²ąµą“ąµą“ąµ ą“ą“£ąµą“ąµą“Ŗąµą“Æ ą“Øą“æą“ąµą“ą“³ąµą“ąµ ą“Ŗą“² ą“¤ą“®ą“¾ą“¶ą“ą“³ąµą“ ą“ą“°ąµą“ąµą“Æąµą“ąµą“ąµą“Æąµ ą“ą“æą“°ą“æą“ąµ¾ ą“ą“Øąµą“Øą“Øąµą“Øąµą“ąµą“ąµą“®ą“¾ą“Æą“æ ą“ą“ą“ąµą“ąµą“ą“³ą“ąµą“ ą“ąµą“°ąµą“°ą“¤ą“ą“³ą“¾ą“£ąµ. ą“ą“æą“²ą“Ŗąµą“Ŗąµą““ąµą“ąµą“ą“æą“²ąµą“ ą“ą“„ą“¾ą“Øą“¾ą“Æą“ą“Øąµ ą“¶ą“Ŗą“æą“ąµą“ąµą“, ą“ą“°ąµą“ ą“ąµąµ¾ą“ąµą“ą“¾ą“¤ąµ ą“¤ąµą“±ą“æ ą“µą“æą“³ą“æą“ąµą“ąµą“, ą“ą“ąµą“ąµą“ą“ ą“ą“„ą“¾ą“Øąµą“¤ąµą“Æą“¤ąµą“¤ą“æąµ½ ą“Ŗąµą“°ąµą“·ą“µąµ¼ą“ąµą“ą“¤ąµą“¤ąµ ą“®ąµą““ąµą“µąµ» ą“µąµą“±ąµą“¤ąµą“¤ąµą“ ą“µą“¾ą“Æą“æą“ąµą“ąµ ą“¤ąµąµ¼ą“ąµą“ąµą“£ąµą“ą“æ ą“µą“Øąµą“Øąµą“ąµą“ą“¾ą“µąµą“Øąµą“Øąµą“°ąµ ą“Øąµą“µąµ½.
