Palecanda Bojamma (91), wife of late Palecanda P. Muthanna (former Advocate General of Karnataka and former President of Kodava Samaja, Bengaluru), passed away in Arizona, USA, on Apr. 22.
Originally from Madikeri town in Kodagu, Bojamma (Paruvangada) leaves behind her daughters Dechu Muthanna, Dr. Neeli Muthanna, son Poonacha Muthanna, grandsons and a host of relatives and friends.
Cremation took place at Paradise Memorial Gardens, East Shea Boulevard, Scottsdale, Arizona, USA today (Apr. 24).
source: http://www.starofmysore.com / Star of Mysore / Home> Obituary / April 24th, 2026
Rashmika Mandanna and Vijay Deverakonda’s intimate Kodagu reception goes viral, with unseen moments, a heartfelt speech, and her traditional Coorgi look stealing the spotlight.
Rashmika Mandanna and Vijay Deverakonda’s wedding reception in Kodagu. (Photo: X/Rashmikadelhifc)
Rashmika Mandanna and Vijay Deverakonda’s wedding celebrations are far from over. After tying the knot in Udaipur on February 26 and hosting a reception in Hyderabad on March 4, the couple held an intimate gathering in Kodagu on April 6.
The reception was held at the Serenity Convention Hall in Virajpet, Kodagu, a day after Rashmika celebrated her 30th birthday with close friends and family. It also marked the couple’s first visit to Coorg after their wedding.
Pictures from the ceremony show the couple walking hand-in-hand, smiling warmly as they greeted guests in an intimate setting attended only by their inner circle. In one moment, Rashmika was seen affectionately styling Vijay’s hair on stage, framed against elegant white floral décor.
Rashmika Mandanna’s father reportedly gifted her the family’s Coorg bungalow, Serenity, located in Kukloor village near Virajpet, a home tied closely to her roots.
Rashmika Mandanna embraces her heritage, Vijay Deverakonda channels retro charm
For the reception, Rashmika Mandanna embraced her heritage in a pink and olive-green silk saree draped in the traditional Kodava style. The pleats were tucked at the back, with the pallu brought over the right shoulder and secured in place, an authentic Coorgi touch.
She paired the look with layered gold jewellery, including stacked bangles, classic jhumkas, and statement necklaces. Her hair was styled in a sleek bun adorned with gajra.
Vijay Deverakonda, meanwhile, channelled retro charm in black flared trousers, a white open-collar shirt, and a blazer with silver detailing, finishing the look with white shoes.
Vijay Deverakonda’s heartfelt speech in Coorg
During the reception, Vijay Deverakonda delivered an emotional speech, talking about his growing connection with Kodagu and his personal memories tied to the region.
“Next time I come I’d like to go around and see her childhood and life here. This is the third time I am here. The first time was before I even knew her, with my school friends – Coorg was our first holiday destination. I found out later that I had stayed in one of her friend’s house (who was not there at the event),” he was quoted as saying by India Today.
Speaking fondly about the place and its people, he added, “I’ve become so fond of this place, such a beautiful place. I always thought that women from here (Kodagu) are super beautiful, even before I met her. I think coorgi women are very beautiful, and I’m married to one, and I’m very happy. Lovely meeting and seeing you all here.”
Rashmika Mandanna-Vijay Deverakonda wedding
Rashmika Mandanna and Vijay Deverakonda tied the knot on February 26 at ITC Momentos in Udaipur in a grand three-day celebration that included haldi, sangeet, and ceremonies honouring both Telugu and Kodava traditions.
They later hosted a star-studded reception in Hyderabad on March 4, followed by an intimate lunch for fans. In a unique gesture, the couple also arranged for sweets to be distributed across multiple cities, sharing their joy with people across the country.
On the work front
On the work front, Rashmika Mandanna and Vijay Deverakonda have resumed shooting for their third on-screen collaboration, Ranabaali, directed by Rahul Sankrityan, which is slated for release on September 11.
source: http://www.indianexpress.com / The Indian Express / Home> SCREEN> News> Entertainment> Telugu / by Entertainment Desk / April 07th, 2026
St. Joseph’s University, Bengaluru, won the Sachi Ponnamma Memorial Hockey Cup organised by MYCAS College in city recently.
The final match was played between Coorg Institute of Technology (CIT Team: Agni), Ponnampet and St. Joseph’s University, Bengaluru. Displaying remarkable teamwork and determination, St. Joseph’s University emerged as champions followed by CIT (second) and Cauvery College (Team: Commando), Virajpet (third position).
Winners were awarded a cash prize of Rs. 15,000 while 1st runners-up received Rs.10,000 and 2nd runners-up Rs. 5,000 along with medals and certificates.
Best Player of the Tournament was awarded to Nanamanda Sathvik from CIT and Best Goalkeeper to Koothanda Gyan from St. Joseph University.
Mukkatira Karthik Nachappa, Director of Hockey Mysore, witnessed the tournament held under the guidance of Harshith Gowda and MYCAS Sports Wing. Dr. G. Ramacharan, Director (Operations), UG College Principal Dr. J. Thekkade Ramya, PU College Principal C. Archana, teaching and non-teaching staff were present at the valedictory event.
source: http://www.starofmysore.com / Star of Mysore / Home> Sports / March 24th, 2026
In the early days, says Muddaya, several dignitaries visited Cauvery Handicrafts Emporium and were hosted by Chimy—from Prime Minister Jawaharlal Nehru to Sri Lankan premier Sirimavo Bandaranaike, and even a young Queen Elizabeth.
Chimy Nanjappa’s passion for Karnataka’s textiles and crafts lives on at the Vimor Museum of Living Textiles in Bengaluru.
When one speaks of textiles and fine crafts in Karnataka, the Cauvery Handicrafts Emporium on MG Road in Bengaluru is one of the first places that comes to mind. The shelves of the state-owned emporium are packed with a vast array of the traditional crafts of Karnataka—from intricate silver-based Bidriware items to charming Channapatna toys. However, this wasn’t always so. And one of the people who painstakingly worked to transform the emporium into a showcase of the state’s finest creations was the late Chimy Nanjappa.
Chimy was selected to head the emporium in the late 1950s—then known as Mysore Arts and Crafts Emporium—by its governing board, which included many women, including Sudha Reddy, a proponent of Indian handicrafts.
“It was not a cakewalk for her. In those days, women did not work and close up a place as huge as Cauvery and then walk home at 8 pm,” Chimy’s daughter, Pavithra Muddaya, recalls.
Born in 1928 in Madikeri, Chimy did not have an easy childhood as she lost both parents by the age of nine. She went on to pursue higher education in Chennai, securing a BCom degree, and later settled in Bengaluru after marrying advocate A C Nanjappa. With the family facing financial difficulties in the early days, she began working as an assistant manager at Cauvery Handicrafts Emporium, before being promoted to manager.
“She had nothing by way of a background in the field and had previously done accounts work…but life forces you to take up opportunities,” says Muddaya, adding that her mother always said that women need to work and be financially independent. She also credits her father’s role in encouraging and supporting Chimy, recalling him as a person who held views that would be considered progressive even today.
In the early days, says Muddaya, several dignitaries visited Cauvery Handicrafts Emporium and were hosted by Chimy—from Prime Minister Jawaharlal Nehru to Sri Lankan premier Sirimavo Bandaranaike, and even a young Queen Elizabeth.
In 1963, cultural activist and author Pupul Jayakar, a major mover in the revival of traditional crafts and culture, recruited Chimy to represent Indian textiles at the New York World Fair the next year. It turned out to be a success, says Muddaya, recounting what an IAS officer familiar with the event told her. “Good lord, nobody could go past her without buying something!”
Later, Chimy was offered an opportunity to head an outlet anywhere in the world under the Handicrafts and Handlooms Export Corporation, but declined, refusing to be a “second-class citizen” in a foreign country.
After A C Nanjappa passed away in 1974, Chimy went on to start the Vimor Handlooms, a home store specialising in handloom sarees and textiles. Muddaya remembers, “No one who came to her for help was sent away…she would give weavers’ addresses to people. Freedom fighter and social reformer Kamala Devi Chattopadhyay would say that anyone coming to the Regional Design Centre (on Church Street) without a recommendation could ask my mother for one.” Vimor would go on to revive many traditional sari styles, such as one dubbed the ‘Cubbonpete’ sari.
Those interested in Chimy Nanjappa’s legacy in textiles may visit Vimor Museum of Living Textiles after making an appointment. The exhibits on display include saris up to a century old, in styles that are not often seen today.
source: http://www.indianexpress.com / The Indian Express / Home> News> Cities> Bangalore / by Express News Service / March 13th, 2026
I was recently invited to Kaveri Ponnapa’s book launch that I had been looking forward to.
Many in Mysuru may not recognise her name, but anyone who has even a passing interest in Coorg or the culture of small, distinct communities of this land would certainly know her remarkable work, ‘The Vanishing Kodavas.’
Just like her previous book, which was rich with history, culture and stunning imagery, her latest work, ‘Coorg: The Cookbook — Recipes and Stories from a Golden Land,’ is both beautiful to look at and deeply satisfying to read.
This book nourishes not just the appetite but jogs the memory, too.
‘Coorg: The Cookbook’ has been in the making since 2012 and the patience shows. It is thoughtfully structured into sections such as rice-based dishes, meats, seafood, vegetarian dishes, foraged foods, pickles, sweets and beverages.
Each section opens with a gentle historical introduction explaining how and why these foods became part of the Coorg dining table. It tells us why it is not just about how to cook, but also about understanding why Kodavas cook the way they do.
The book also includes sections on foundational pantry ingredients and the spices and herbs that define Coorg cuisine. For readers unfamiliar with some ingredients, the author thoughtfully offers alternatives.
There is even a section explaining how to use the book, making it as accessible to an outsider who may not be familiar with Coorg cuisine at all. That said, even a Kodava like me had some surprise discoveries.
The first surprise I encountered in the book was that while modern Coorg is synonymous with coffee plantations, it was earlier primarily a land of paddy farmers.
No wonder rice sits at the centre of not only Kodava cuisine but also culture. Appropriately, the first dish the book introduces is the humble yet iconic ‘Akki Otti’ or rice roti.
Another delightful revelation is the long-held myth that Coorg cuisine is dominated by pork. Yes, Coorg is famous for its pork dishes, but the book reminds us that Coorg food is far more diverse.
Of the 132 recipes in the book, just 36 are non-vegetarian dishes and only 6 of them are pork! The remaining dishes feature chicken, mutton, fish and crab.
Meanwhile, there are 45 vegetarian recipes! which include an array of ‘pallyas’ & ‘chutneys.’
So, the notion that Coorg cuisine is dominated by the hog is hogwash.
What also struck me personally were the dishes I had never heard of before. There are recipes such as ‘Miniature Jackfruit Pancakes’ (Coorg name: ‘Chatti Puttu’) and the intriguingly named ‘Steamed Rice Parcels with Hitchhiker Elephant Ear Leaves’! (Coorg name: ‘Mara Kembe Puttu’).
But what truly elevates this book beyond the realm of a cookbook are the stories quietly interwoven along with the recipes. Food, after all, is rarely just about taste; it is about people, places and memories.
Reading about the ‘Nende Kari’ or the ‘Crab Curry,’ transported me back to my childhood in Coorg. I remembered being sent to the paddy fields with my cousin to catch crabs for dinner. We would return with a small mug full, often with bleeding fingers. Crabs can put up quite a fight.
While our grandmother prepared the ‘Nende Kari’ (Crab Curry), we sat near the fireplace listening to her tell stories of elephants straying into plantations, of wild boar hunts and town gossip, all while the aroma of spices slowly filled the kitchen.
This is the kind of book that eventually becomes an heirloom, something to be preserved, treasured and passed down through generations. Kaveri Ponnapa herself writes, “Recipes are cultural inheritances.”
This is why ‘Coorg: The Cookbook’ feels more than just pages of recipes. It takes you on a journey down memory lane.
For many Kodavas living far from their homeland, the book may well feel like a bridge back to traditions that are slowly fading. That alone is reason enough to own a copy.
In many ways, to use a culinary euphemism, this book pairs beautifully with Kaveri’s earlier work, ‘The Vanishing Kodavas.’
One documents the culture, the other documents the cuisine. Culture and cuisine, the two pillars that define every community.
Kaveri Ponnapa observed that “Kodavas are vanishing,” but with her books, she has made sure they will not be forgotten.
Madan Mandanna, father of Rashmika Mandanna, has stayed away from the spotlight but has always supported her. Here’s everything you need to know about her father and the role he played in her journey.
Image Credit : Instagram
A Pillar of Support
Madan Mandanna, father of actress Rashmika Mandanna, has mostly stayed away from the public eye, but he has been a strong support for his daughter throughout her journey. Born in a Kodava Hindu family in Virajpet, Kodagu, Karnataka, he played a key role in shaping Rashmika’s values and career.
Image Credit : Instagram
Entrepreneurial Roots
Madan is a successful businessman who runs a coffee estate and owns a function hall called Serenity in Virajpet. His work shows the family’s entrepreneurial spirit, long before Rashmika became a household name in films.
image credit : X
Family First
Though he avoids the limelight, Rashmika often credits her father for teaching her important life lessons like hard work, humility, and determination. These values have helped her navigate the challenges of the entertainment industry successfully.
image credit : Instagram
Close-Knit Family
Madan is married to Suman Mandanna, a homemaker. Together, they raised Rashmika and her much younger sister, Shiman Mandanna. Rashmika occasionally shares glimpses of her parents on social media, showing the love and close bond in their family.
From Humble Beginnings to Stardom
Despite her fame as a pan-India actress, Rashmika often reflects on her modest upbringing. Her family faced financial struggles, but Madan’s guidance and support were crucial in helping her rise from Virajpet to becoming one of India’s most popular and loved stars.
source: http://www.newsable.asianetnews.com / Asianet News / Home> English> Entertainment / by Nancy Tiwari / March 05th, 2026
Inside Vijay Deverakonda and Rashmika Mandanna’s Kodava wedding: traditional Coorgi outfits to groom’s ritual shave and bath and bride’s ‘bale iduva’ ceremony.
Rashmika Mandanna and Vijay Deverakonda’s second wedding ceremony was all about traditional Coorgi rituals. (Couple in a still from Dear Comrade)
Following a morning ceremony steeped in Telugu traditions, actors Rashmika Mandanna and Vijay Deverakonda chose to celebrate the second leg of their wedding on February 26 by honouring Rashmika’s heritage with a traditional Kodava wedding.
While the morning belonged to the groom’s culture, the afternoon and evening shifted to the lush wedding traditions of Coorg (Kodagu). Distinct from typical Hindu ceremonies, a Kodava wedding is a unique cultural experience centred around ancestors, nature, and community rather than Vedic rituals or a priest.
The preparation: Oorkuduvo
As per Kodavaclan.com’s blog, the festivities begin with the Oorkuduvo, where both families gather to prepare the wedding venue. This involves the ritualistic cutting of vegetables and pork — a staple of Kodava feasts — and the construction of the five-legged pandhaal (pendal). Interestingly, one pillar of this structure must come from a ‘milk-producing tree’, topped with jackfruit leaves and adorned with mango leaf swags. This structure remains standing for several days following the nuptials as a symbol of the new union.
Wedding attire of Coorgi ceremony
The couple look striking in traditional Coorgi garb: the groom dons a white kupya (a long tunic-style coat), cinched with a red-and-gold silk chele (waistband). He carries the peeche kathi (traditional dagger) and wears a peta (turban). The bride wears a vibrant silk saree, draped in the famous Kodava style — pleats tucked at the back and the vastra (headscarf) elegantly tied at the nape of her neck.
Key rituals: From bales to baale kethuvadh
The ceremony features several deeply symbolic rituals that define the warrior-tribe heritage of the Kodava
1. Before the main event, the groom undergoes a ritual shave where milk is applied to his face using blades of grass. Following this, he is given a ritual bath by his mother and two married women, symbolising purification.
2. The bride participates in the bale iduva, where a traditional bangle seller places coloured glass bangles on her wrists. Per custom, at least one pair of black bangles is included to ward off the evil eye.
3. In one of the most spirited displays of the day, the maternal uncles of the couple perform the baale kethuvadh. This involves cutting through nine banana stems with a single stroke of the odikathi (warrior knife), followed by a joyful dance to the beats of the valaga (traditional music).
The main wedding ceremony
The core of the wedding, the dampathi muhurtha, takes place on a decorated dais. Unlike most Indian weddings, there is no agni (fire) or pheras. Instead the couple sit on mukkalis (three-legged stools). Elders and family members shower them with rice and blessings. The groom offers his bride a sip of milk and presents her with cheela pana (a bag of coins). The ceremony concludes with the exchange of garlands and the groom helping his bride to her feet.
The final rituals
The celebration isn’t without a bit of drama and humour. During the batte thadpo, the bride’s cousin playfully blocks the couple’s path, jokingly claiming the groom should have married her. They can pass only after the groom’s side offers a gold coin as a guarantee of her well-being.
The day concludes with the Ganga pooje (Neer Edpo). The bride carries pots of water from a well while balancing on a thombuda (head-rest), taking small, rhythmic steps as the groom’s family dance around her. This symbolises her integration into her new household and her strength in managing her future responsibilities.The double-ceremony day ends with the kombarek kootuvo, where the groom officially welcomes the bride to their private quarters, gifts her a gold wedding band, and the two seek final blessings as a wedded couple.
Note to readers: This report is based on user-generated content. HT.com has not independently verified the claims and does not endorse them.
This article is for informational purposes only.
source: http://www.hindustantimes.com / Hindustan Times / Home / by Sanya Panwar / February 26th, 2026
Inclusion of Kodava language in the Eighth Schedule will provide legal, cultural, and educational benefits to the Kodava community.
CNC members stage a protest in front of the deputy commissioner’s office in Madikeri on Saturday. / Credit: DH Photo
Madikeri:
Marking International Mother Language Day, leaders of the Codava National Council (CNC) staged a protest in front of the Deputy Commissioner’s office here on Saturday, demanding that Kodava language be included in the Eighth Schedule of the Constitution.
CNC President N U Nachappa placed several demands, including the inclusion of Kodava Thakk in the Eighth Schedule as recommended in the report of the Commission headed by noted linguist Pandit Dr Sitakant Mahapatra.
He urged that on the lines of Konkani language model and similar to the proposal for Tulu, Kodava be declared an official language of the state under Articles 345 and 347 of the Constitution, and implemented in administration and education under Article 350.
Inclusion of Kodava language in the Eighth Schedule will provide legal, cultural, and educational benefits to the Kodava community. Official recognition by the Central government will enhance the language’s prestige and prevent it from being treated merely as a dialect. It would also facilitate the introduction of Kodava as a medium of instruction in school curricula.
He also alleged that the names of local Kodava folk villages, hamlets, and even festivals have been altered into Kannada, distorting them. This, he said, reflects disregard for Kodava heritage and uniqueness and amounts to a violation of human rights.
A memorandum was submitted to the government through DC S J Somashekar on the occasion.
source: http://www.deccanherald.com / Deccan Herald / Home> India> Karnataka / by DHNS / February 22nd, 2026
Kodava Samaja, Mysuru, along with the Field Marshal Kodandera M. Cariappa Fans’ Association, Mysuru, celebrated the 127th birth anniversary of Field Marshal K.M. Cariappa.
The programme was organised in front of the statue of Field Marshal Cariappa at the Field Marshal K.M. Cariappa Circle (Metropole Circle) on Vinoba Road this morning.
Former MP Prathap Simha offered floral tributes to the statue and said that celebrating the 127th birth anniversary of Field Marshal Cariappa is a matter of great pride for society. His contributions and valour have earned him immense respect across the nation. Kodagu’s contribution to the country is unparalleled.
He added that no other land could produce patriots and warriors like those from Kodagu. “Patriotism has grown there as a tradition. Though the Kodava community is small, its service to the Armed Forces is immense. It is a privilege for our land to cherish the memory of a leader like Field Marshal Cariappa, born in such a tradition,” he said.
World War II, freedom struggle
Field Marshal Cariappa’s service during World War II and the freedom struggle was exemplary to the world. The rank of Field Marshal is the highest in the Indian Army and it is a matter of pride not only for the Kodava community but also for Karnataka.
“He may not have received the Bharat Ratna, but he was honoured with the rank of Field Marshal,” Simha remarked. He further noted that Cariappa, along with General Kodandera S. Thimayya, gave democratic India a strong shape and direction.
“Even today, the Kodava community has contributed more than 30 Lieutenant Colonels to the Indian Army, five captains to Indian hockey and over 60 players to the sport. “For this, the community must feel proud and continue to grow. As the community grows, so will the nation and patriotism,” he said.
Former MLA L. Nagendra noted that it was Field Marshal Cariappa who made the entire world turn its attention towards India.
“He must be remembered every single day. When his statue was to be installed at Metropole Circle, many obstacles arose, but all were overcome and today the statue stands tall, and this is a matter of immense pride. In the coming years, thousands from the community should gather together to celebrate Cariappa’s birth anniversary on a grand scale,” Nagendra said.
The event was attended by former Mayors M.J. Ravikumar & H.N. Srikantaiah, former Corporators Pramila Bharath & Maletira U. Subbaiah, Mysuru Kodava Samaja President Ponjanda A. Ganapathy, Kodava Samaja Cultural and Sports Club President Mukkatira C. Ashok and Field Marshal K.M. Cariappa Fans’ Association President Nayakanda Thimmaiah among others.
source: http://www.starofmysore.com / Star of Mysore / Home> News / January 28th, 2026
The hamlet of Kesarugattu is evoked with tender fidelity: dusty lanes, temple bells, the drawing of water from wells, gossip thick as humidity, and the invisible yet unbreakable lines of caste that arrange bodies and destinies.
Rising Sons
There is something compelling about Indian fiction that returns to the soil — its memory, its violence, and its stubborn hierarchies — placing ordinary lives against the tremors of national transformation. When such fiction is also shaped by a supple, idiomatic use of language, as in Kavery Nambisan, the result is especially resonant: “No fighting the British. We must ask them gently-gently to leave.” “If a robber enters your home, and you request him to leave, by gently-gently leading him to the door, will he go, leaving behind the bag he just filled with your provisions?” The prose carries the cadence and rhythm of Indian speech, anchoring the novel firmly in its linguistic and cultural terrain.
Kavery Nambisan’s Rising Sons, set in a small village near Mysuru between the 1920s and 1940s, is a quiet yet searing account of the making of modern India — not through the grand speeches of history, but through the fragile interiors of a family trapped between caste, patriarchy, shame, and awakening. At the centre is Devaraya, a Brahmin patriarch whose pursuit of wealth and respectability masks deep fragility. His carefully curated identity begins to fissure from the opening line, when he announces — half-proud, half-playful — that he has “two sons and one-and-a-half daughters.” The “half” is Chinni, the adopted daughter whose presence inside a caste-sanctified household is both an affront to orthodoxy and a reminder that affection in such worlds is always conditional. Nambisan builds her narrative on this foundational crack.
The hamlet of Kesarugattu is evoked with tender fidelity: dusty lanes, temple bells, the drawing of water from wells, gossip thick as humidity, and the invisible yet unbreakable lines of caste that arrange bodies and destinies. Colonial rule hums in the background, but the more immediate and intimate oppressor is caste itself. Ancestral dominance and the fear of social humiliation govern every gesture inside and outside Devaraya’s house. Working in a bank as a peon in Mysuru while running a modest money-lending shop back home, Devaraya embodies the dangerous intersection of caste pride and capitalist ambition. His public face projects ritual purity; his private life is riddled with moral compromise. In a paraphrased confrontation, his younger son Anna articulates the novel’s central fracture: you speak of purity, but conceal your own stains — what kind of honour demands lies? It is a quiet but devastating rebellion, marking the first collapse of the old order.
The revelation of Devaraya’s hidden past — one that undermines the very caste purity he venerates — shatters the world he has built. The family collapses under the weight of shame; one son disappears; Devaraya is disgraced and imprisoned; the village that once deferred to him turns away with vindictive satisfaction. Inside the house, silence becomes a weapon. In another paraphrased exchange, Gowru, his long-suffering wife, speaks with restrained fury accumulated over decades: a home built on fear cannot survive a single gust of truth. The line is quiet on the page but detonates through the moral architecture of the novel.
From the family’s ruins, a new consciousness emerges. Anna is drawn into the freedom struggle. His rebellion is both political and personal — a rejection of shame as a mechanism of control. In a moment that captures the novel’s fusion of private and national liberation, Anna tells his father that if the nation must free itself, individuals must first confront older chains than those imposed by the British. Chinni, meanwhile, becomes the emotional heart of the story. Experiencing progressive hearing loss, dismissed by society and bound by deep affection to Anna, she embodies the resilience of the marginalised. Her silence is not weakness; it is resistance.
One of the novel’s notable achievements is its portrayal of how colonial capitalism intersects with caste hierarchy. In a sharply staged scene, a village priest — the former custodian of ritual prestige — visits the lending shop to deposit his money, bargaining for interest with head bowed. Devaraya’s paraphrased reflection is telling: even gods have begun to bow before Mammon. With this, Nambisan captures an India shifting uneasily from spiritual hierarchy to monetary hierarchy, neither offering dignity to the powerless.
Nambisan writes with felicity and restraint. Some readers may find the pace measured, but the emotional intelligence and historical density more than compensate. At a time when conversations around caste are often flattened into slogans or denial, Rising Sons insists on remembering.
source: http://www.deccanherald.com / Deccan Herald / Home> Features> Books / by Gurucharan Gollerkeri / January 18th, 2026
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