By Amrita Mukherjee
The poems in Rhythms in Solitude are exactly that. It could be written about a far-flung place you have never been to, about a temptress you have never seen or about a love that you have never experienced, but you feel like you are there sitting next to the author as he sees a drop of dew dislodge itself from the leaves of a tree, as he experiences the flurry in his heart when he writes about falling in love for the first time.
By Kamalini Natesan
Eleanor reminding us repeatedly through her plain-as-day, in-your-face wisdom how we live after all. She’s full and yet she’s broken, and devises a way of living through daily machinations with unerring regularity: timing herself, feeding herself with the exact same food, and drinking Vodka, plenty of it.
By Sankha Ghosh
In his latest venture, Abhirup takes you through different arrays of emotion and characters with each of his story varying widely in its genre and shade. Throughout the book, you come across perfectly white collars to the crusty sleeves, piety to impiety and an angel to a grievous angel. You have it all.
By Mohan Ramanan
Tharoor’s Hinduism is both a result of a particular practice and an understanding of its tenets mainly from English translations. Many of us English educated people (I count myself among them) like Tharoor also got to know our Hinduism from a reading of translations of the Vedas, Upanishads and The Gita, and the writings of Sri Aurobindo, Swami Vivekananada, and Radhakrishnan.
By Mosarrap H Khan
Ashok’s poems work best when the depiction of violence is etched in minimal language, disembodied, like a hand across the shoulder, as if with the deft touch of a painter’s single brush-stroke.
By Namrata Pathak
Strangers No More: New Narratives from India’s Northeast is a sequel to Sanjoy Hazarika’s polemical and densely packed, Strangers of the Mist, a book that is remarkably different on the ground that it projects the insider’s brush with the North-East of India, a patch of land that is enveloped in a mist, a hazy blanket of half-truths, impenetrable and insular.
By Fahad Hashmi
Besides using Wikipedia contents, the book borrows from Orientalist scholars like Bernard Lewis, Daniel Pipe, and Gilles Kepel. The author has also quoted some Indian journalists including Praveen Swami. The ideological orientation of these scholars and journalists is an open secret. In the end, the book turns out to be contradicting its own arguments.
By Partha Sarathi Mukherjee
Scream and other Urbane Legends is a genre-bending collection of short stories – a powerful, unique, memorable, and original collection. Ampat Koshy can be called one of India’s genuinely experimental writers, carving out an uncharted road in these times.
By Jagari Mukherjee
As I reached the end of the trilogy, I seemed to have woken up from a beautiful dream-like trance. Yet, the memory of the dream clung to me like the fragrance of a rose. I re-read my favorite bits from the book time and again.
By Bina Biswas
In Nineteen Seventy One and Other Stories, Askari’s fictional aesthetic focuses on the exploration of characters, their motive, and psychology. His privileging of psychology over plot, characters’ interiority over external action frees his stories from the generic conventions of popular fiction. In the true modernist vein, the stories bring together psychological realism and physicality.
By Maulana Abul Kalam Azad
I am proud of being an Indian. I am a part of the indivisible unity that is Indian nationality. I am indispensable to this noble edifice and without me this splendid structure of India is incomplete. I am an essential element which has gone to build India. I can never surrender this claim.
By Lalima Chakraverty
Countdown is a critique of the Indian nuclear programme. The author’s aim is to understand and evaluate the image of a modern man dealing with an anti-human weapons system and anti-civilization nuclear armaments. The book assesses the current economic development of the country carried forward by war machines.