Unlike many who wrote mythology in dry, academic prose, Vaali wrote it like a screenwriter.

Vaali was not afraid to offend. His books of satirical poetry, often compiled under titles like Sirippu Kavithaigal (Laughing Poems) or Nakkal Kavithaigal (Sarcastic Poems), targeted:

These books are short (usually 60–80 pages) but explosive. Unlike his film songs, these verses are raw, angry, and incredibly funny.

Vaali’s most significant literary contribution outside cinema is his retelling of epics. “Kannan Vadham” (The Killing of Krishna) and “Rama Kathai” (The Story of Rama) are not mere translations of Valmiki or Vyasa; they are highly subjective, emotional reinterpretations. He successfully translates the grandeur of Sanskrit epics into accessible, lyrical Tamil prose and verse. His “Thirukkural Venpa” is a masterclass in adaptation, where he reinterprets the ancient couplets into his own venpa style, demonstrating his classical command. These books appeal to both devout readers and literary scholars.

In the landscape of Tamil literature, Kavignar Vaali (V. S. Narasimhan) stands as a colossus—not merely as a lyricist who gave voice to generations of cinema, but as a deliberate, profound man of letters. While the world knows his kavithai (poetry) through the silver screen, his books are the quiet, fertile soil from which that cinematic forest grew.

To hold a Vaali book is to hold a mirror to the Tamil psyche.

Sadly, Vaali passed away on July 18, 2013, leaving behind over 15,000 poems. At the time of his death, he was working on a book titled Kadavul Varugiraan (God is Coming). While the manuscript was found, it has yet to be officially published. Family sources suggest that legal issues with the copyright of his film lyrics are delaying its release.