I started this website in June 2001 with a specific purpose, that is to introduce our Telugu culture and customs to non-Telugu audience. After I arrived in America in 1973, I noticed two things: First, there are plenty of misconceptions in each country–both in America and India-about the other country-. Second, there is a plenty of interest among Americans to learn about our culture. Several of my friends encouraged, spurred, motivated me to embark on this journey. It is my pious hope that these stories render a clearer picture of India a little at least.

Translations of Telugu stories are designed to serve that purpose. Thus the selection for translations is based, not on the literary standing of the writers but on the stories that reflect, explain, elaborate on our culture and customs. In a way, this eliminates stories describing current day stories, since modern day Andhra Pradesh is Westernized and do not reflect our culture and customers. Also, this site is exclusively dedicated to Telugu fiction. Stories from other stories are not entertained.

Over the years, close to 120 stories have been translated and published. About 20 articles on various writers/topics of interest in Telugu literature have been published. Some of these stories are compiled into 3 anthologies and published by reputable publishers. The site has been quoted as useful source for researchers in some universities across the globe.

Writers interested in submitting translations and articles may keep in mind my goals mentioned above and select stories suitable for this site. Authors/translators are requested to follow our guidelines. For details, click on Guidelines for translations.
For additional notes for translations, click here

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Malathi Nidadavolu

About Nidadavolu Malathi on en.wikipedia.org.

August 25, 2022


  1. Malathi garu,
    I chanced to read (and view on YouTube) your interview given to Neccheli web magazine.
    I am really impressed by your plain, straight to the point, and honest replies without any pretensions to superior judgement (even though you are really qualified and competent to do, in my opinion). There is a lot to learn from you.
    I sent an attachment to your mail id: malathi99@outlook.com on 13th Sept.
    I just want to make sure that you have received it.
    with regards
    NS Murty

    1. Thank you for your kind comment. I have not received your email. If it is a submission for this site, please click on the ID given on the Guidelines page and attach your submission. In general, private messages on any other ID are not accepted.

  2. Jampala Chowdari garu informed me that Sri Ramanamurthy checked the archives and came up with the finding. It is CSRao’s story, later renamed kamalamma kamatham and made into a movie. Thanks everybody!

  3. Dear Malathi,

    How can I get in touch with you? This is regarding Dr P. Sridevi and her works.

    I have a deep interest in this matter and I would be very gratful if you could provide me your email id.

    I apprciate your cooperation, please.

  4. తూలిక పత్రిక సంపాదకులకు నమస్కారం. నా పేరు ఆనంద్ నేను హైదరాబాద్ కేంద్రీయ విశ్వవిద్యాలయంలో M.phil చేస్తున్నాను. నా పరిశోధన అంశం.అంతర్జాల పత్రికలను గూర్చి. కావున మీ పత్రిక గురించి కొంత సమాచారం కావాలి. కాబట్టి. ఈ మెయిల్ అడ్రస్ కు మీ పత్రిక గురించి ప్రాథమిక సమాచారం పంపిస్తారని ఆశిస్తున్నాను.

  5. ‘ద్రష్ట – చూచేవాడు. శ్రోత వినేవాడు. అందుకనే రసము సామాజికనిష్టము అన్నాడు. నటనిష్టము కాదు. ఏదైతే కవిత్వాన్నుంచొ నాట్యం నుంచో వచ్చే ఆనందంవుందే, రసం – అది సామాజికనిష్టము. నటనిష్టము కాదు. …నటనిష్టము కూడా కొంత అవుతుంది. కాని ప్రధానంగా సామాజికనిష్టము.’ Excerpt from: http://eemaata.com, Sep2012 విశ్వనాథగారితో వేదాంత చర్చ.
    Viswanadhagaru explained this Rasa theory(Anandavardhana’s Dhvani theory) using the characters from Sakuntala and Dushyantha play.
    I think suggestive power of the story is very crucial to any understanding/commentary.The writer may not be aware of the impact on the reader. Ultimately the meaning a discerning reader gets is valid for him/her. A writing has as many interpretations as there are readers.
    In this story, RaaRaa is saying: Peddamma is trapped in a ‘gesture’ life, cut off from real emotional connections. He is an astute critical thinker and must be aware that this is the situation/tragedy of a woman in patriarchal society. Our lives are not really ours, are mostly shaped by the ruling social organization, ప్రధానంగా సామాజికనిష్టము. I think that is the point of the story. Being a woman, the narrator’s wife glimpses it. The narrator does not. The ending is the heart of the story. The author must have structured it knowingly. Otherwise the ending is superfluous. I have not seen RaaRaa’s essay on structure.
    I am glad you are trying to create some serious conversation in our apathetic literary climate.
    R.Vasundhara Devi

    1. R. Vasundhara Devi garu, thanks so much for your valuable input. I appreciate it. I also would like you to know that thulika.net has a page on Facebook, hosting lively discussions are happening. If you have a Facebook account or plan to open one, you can join the group, thulika.net, and participate in the discussions.

  6. How to make the submissions to the site pl? Do you publish the original English stories and articles too?

    1. PVV Suryanarayana, Thanks for your interest in Thulika.net.
      Original English articles are welcome. I have not yet thought about original stories in English, but I might consider provided they fall within the purview of policies of this site. In either case, please note that the core aim of this site is to introduce Telugu culture and traditional values to non-Telugu speaking audience, particularly foreign audience. In that sense, articles and stories depicting Telugu culture and traditions in detail will be accepted for consideration.

  7. Could thulika net provide me the contact address of RS Sudarsanam or R Vasundhara Devi – either mail id or phone no to contact on his story in telugu?

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