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It is difficult for certain writers to outgrow the reputation associated with their first novel. They go back to their first tale in each of their subsequent tales and write newer versions of the same. Some of them do it in pursuit of a quest — spiritual or literary. Some others perhaps end up doing so as they do not wish to grow out of their earlier image. A reading of Namita Gokhale’s Shakuntala raises a strong suspicion that the writer has Sanskritized Paro and named her Shakuntala.

The publishing industry in India these days is exhibiting a remarkable interest in publishing translated texts and there is every reason to be happy about the attention they are bestowing on regional language literatures. Though there is no doubt that the translation is always between one Indian language and English, at least the urge to translate into another language (which happens to rule the world!) certainly exhibits the pressure from below.

Both these books are fresh presentations of famous Sanskrit works for the English-reading public. The two writers, distinguished academics who are also husband and wife, had in the past jointly authored abridged translations of the Vedas and selected Upanishads and Puranas. Drawing further from the ancient language’s treasure trove, they have now dealt separately with the best known of its scriptures and some classics from its literature.

Delivering the Presidential Address at the First Progressive Writers’ Conference in Lucknow on 9 April 1936, Premchand said, “There have been many definitions of literature, but in my opinion the best definition of it is – ‘the criticism of life’. Whether in the form of an essay or a poem, literature should criticise and explain life.”

Geetanjali Shree breaks new ground with her novel Khali Jagah or The Empty Space. And not only in the context of her own writing that has over the years traversed much terrain, finding paths adventurous and often surprising. There is little, yet, in Hindi writing that has dealt with the shadow that looms over our modern lives, the fear of bombs and all that they bring in tow; the pain, the confusion, the fracturing of lived reality,

Eunice de Souza concludes her remarks in the introduction to Early Indian Poetry in English with a telling comment taken from a letter written by the Canadian novelist, Shauna Singh Baldwin. In the letter, the writer recounts being given, as a punishment for some misdemeanour, a long poem by Michael Madhusudan Dutt on Alexander to memorize and recite.