Author Archives: Thebookreviewindia

The language of the novel is deeply evocative, with vivid descriptions and a reflective tone that captures the emotional and psychological depth of the characters. Mishra employs a narrative technique that interweaves dreams, memories, and present experiences

Written in the form of a letter addressed to God, the narrator’s experience of her traumatic train journey and her narration of the events unfolding after that constitute the plot of Vampire. Like many modernist novels, there is the depiction of the inner world of the main character and the use of dream sequences, nightmares, and foreshadowing of events in the narrative.

Sood wants to make it extremely clear to his readers that the global networks of war, money, arms, oil are stronger than ever. Even as he highlights the proliferation of conspiracy theories and subterfuge advertising, Sood hints at the need to cultivate discernment among a country’s citizens.

History comes alive in the narrative as the chants of ‘Simon, Go Back’ fill the air, or when we see the call for Salt Satyagraha at Dandi reverberating in Garhpura in Bihar when everyone in the village joins the march to make salt.

The book features a long, rambling interview that references important themes such as Hindustaniyat, the Partition and its resonances, his formative days with the Progressive Writers Association, the Punjabi Sahitya Sabha, and reminiscences of working with nearly the entire pantheon of filmmakers, music directors, and actors in India over about fifty years.

Mani’s autobiography insightfully spells out traits of the politicians and authors and points out, ‘There are some writers whose subconscious is filled with politics and when they actively pursue literature, they juxtapose organization, leadership

Nadeem Khan’s translation is excellent. In times when we have serious debates on the political and subjective agency of the translator, Khan seems to be a follower of the classical school: not displaying any inclination towards transcreation and the dubious freedom it brings.

The tenderness towards the land that this farmer holds, however, is vastly different from the entitlement towards ancestral property that a corporate urban software professional aims to eke out in ‘Mom’s Home’.

Prakash observes, ‘Without a lamp at their heart, the lanterns looked innocent and helpless against the rain.’ In ‘Childbirth in Diamond Circus’, trapeze artist Dumpy and ringmaster, Shafi, cement their private family life in the communal circus with secret home-made bhajiyas.

As events come to a close, the DO’s family threatens Kamala, she is humiliated by all in the presence of her parents. Further disaster is averted only because the DO’s retirement is round the corner. Kamala never speaks for the major portion of this narrative. When she does speak up it is to acknowledge strategization: ‘He tortured me tirelessly.

‘Shadow Crow’ has a masterful narration. The meeting of Narayana Guru with Buddhist monks and the ensuing conversation is a delight to read. The author’s voice on mental health in the story ‘Brother’s Shadow’ is not so complex. They may be informed by his life experiences with a set of professionals.

The story begins not with Krishna’s birth but when Krishna’s life is drawing to a close. Jara, the hunter, accidentally discharges the arrow that pierces Krishna’s leg. When the hunter rushes to see from where the cry is emanating

Elsewhere, Roy turns to a speculation on literature and history as she reminiscences on the pronouncements of tourist guides in cities marked, particularly since the 1970s

Again, the naming word’s evocative powers are affirmed: Mrinal Sen’s city was Calcutta of a certain taste and flavour. The third sign is the opening sentence of the first chapter: ‘My earliest memories do not prominently feature my father.’ A memoirist’s truth comes twinkling on tiny steps; the sentence lets you know, and overruns convention.

‘Strangers in the Park’ unveils the story of fifty-something Sudha, widowed for a decade, who befriends a stranger on her evening walks in the Lodhi Gardens, and much to the consternation of her large joint family—a mother-in-law, a daughter-in-law and sundry aunts of her late husband—decides to go for a holiday to Europe with this new-met friend! And no, he didn’t ask her to marry him.

Maya Nagari is a celebration of Mumbai’s vibrancy and resilience. The anthology captures the city’s unique ability to embrace and transform those who come to it. Each story is a testament to the indomitable spirit of Mumbai, a city that continues to thrive despite its challenges.

The LGBTQIA movement in Assam has taught people to think about gender and sexuality in a new way. It is through this movement that people within this spectrum have gained the courage to live fearless and dignified lives. Editor Banamallika gives people of all genders the opportunity to share all kinds of personal experiences (painful or hopeful).

Suryabala, just like her name, is described as both bright like the sun and with a childlike innocence that refuses to be controlled and corrupted by the social norms imposed on her by her family, misleading lovers, and exploitative men in power.

Further, set at the turn of the twentieth century, the novel also captures well the many questions and anxieties that haunt the middle-class consciousness of the country in the contemporary period of economic and social restructurings.

Comprising as does Subramaniam’s anthology of the voices of 56 women saints, the question then is whether they all speak in like manner, like a chorus of women saints? Rather, breaking all expectations of homogeneity that labels tend to entail, Arundhati’s compilation showcases the diversity inherent under the label ‘saint’ thereby prodding the reader gently to not experience life through accustomed wisdom but rather live for herself as a seeker after her own truth making herself the architect of her own path, with her own body, and in this material world.