Most of what happens in Aliyyah Eniath’s debut novel will be deeply familiar to readers that have grown up up in a large joint family themselves.
An ambitious collection of stories by Manoj Kumar Panda that attempts to tell neglected but significant tales centred around death.
The loss of love is at the heart of the story that Pervin Saket would like to tell with her debut novel Urmila.
The characters in Mahesh Rao’s collection of stories are haunted by a world just beyond their reach.
Vivek Shanbhag’s novel looks hard at the nouveau rich in India and the consequences of wealth on relationships with the community, in-laws, work ethic, and morality.
Walking Towards Ourselves, Catriona Mitchell’s compilation of stories about and by Indian women, does not see the struggles of women in the country as being too privileged, specific, or personal.
Chaitanya Tamhane’s acclaimed film Court is a study in how people present themselves to the world.
In Zubaan Books’ Drawing the Line anthology, the hero is the everywoman and her contained, quiet rage against the system.
In Neeraj Ghaywan’s Masaan, sex is young and brand new; it is curiosity and desire all wound up in wires and technology and Facebook and computers. Death, in contrast, is old and ceaseless and long.
In her latest novel, Meera Syal grapples with an eye-wideningly long list of capital-I Issues.
Jokes aside, there is something to be said about this novel’s failure to work as a murder mystery.
In Janice Pariat’s debut novel Seahorse, time is tethered to love, to obsessions, to personal myths.