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Uzma Jalaluddin’s Ayesha at Last is an interesting novel about the way Muslim social life is lived in Canada. The language used by Jalaluddin, though crisp and current is also loaded with an English literary sensibility. Shakespeare is quoted eleven times from the plays and twice from the sonnets. The blurb on the book describes it as a ‘modern day Muslim Pride and Prejudice’ nudging the reader softly to accord the novel a recognizable space in the ever expanding universe of English fiction being written across diverse cultures.

Amitav Ghosh seems to have reached a new point of eminence in his creative journey with Gun Island. In 2016, he published The Great Derangement—a book that deliberates on climate change and examines how collective denial of it is obfuscating our desire to address questions related to drastic fluctuations in the weather pattern. He emphatically concludes that art and literature of our age function in ‘modes of concealment’ and occlude everyone from ‘recognising the realities of their plight’.

All the Lives We Never Lived is to be read with great pleasure at the sheer beauty of the prose and with deep attention to the delicate emotions of the characters. A highly dramatic beginning hooks the reader’s curiosity immediately. ‘In my childhood, I was known as the boy whose mother had run off with an Englishman. The man was in fact German, but in small town India in those days, all white foreigners were largely thought of as British.’

Poetry cluttered with lists or images dressed in poetic descriptions pretending to create a lyrical experience to revel in are quite common. It is also, largely celebrated by magazine editors and flourishing winning awards. So, I was not surprised to read in the June/July issue of The London Magazine, Paul Griffin’s essay ‘How Not to Write Poetry’, discussing how the teaching of poetry is left quite wanting.