Writer and musician Amit Chaudhuri’s elegant debut novel, in which an Indian ten-year-old experiences the entirely distinct experiences of life in Bombay, where his family lives, and Calcutta, where he visits relatives during his summer vacation. Ten-year-old Sandeep lives in a high-rise in Bombay, where his father has an important job that keeps him busy all the time. Come summer, Sandeep and his mother travel to Calcutta to spend time with his aunt, his self-absorbed and improvident uncle, and Abhi, his favorite cousin. His relatives’ house is shadowy and rambling; the vast city around it ramshackle and alluring. They fascinate curious, observant Sandeep. Days pass; the heat grows; the rains come; the visit ends. In the winter, Sandeep and his family return to Calcutta—and encounter an unexpected turn of events. But Sandeep has arrived at a new sense of things, an understanding of how the marvelous inheres in the mundane, that will be his, we feel, for good. At once delicate and incisive, A Strange and Sublime Address succeeds in both immersing us in a boy’s inner world and depicting that boy and his world from outside. It was Amit Chaudhuri’s first book, the work of a novelist whose striking originality of conception would subsequently become ever more clear. The three decades since the publication of A Strange and Sublime Address have only confirmed its appeal and poetry.

Winner of the UK’s Encore Award for best second novel, a lyrical story of a Bengali student at Oxford University who is caught in the complications of a love triangle. Afternoon Raag is a book of branching and overlapping stories, a book that like memory moves unpredictably in time. In it, a nameless first-person narrator looks back at his student days in Oxford, a period of loneliness and discovery when his affections were torn between two women, and to the summer vacations that took him from England to Bombay, where his parents lived, and later to Calcutta, where he was born. Descriptions of Oxford’s green lawns and drab dorms, of friends and classes and the relentless drizzle, sit beside Bombay street scenes and recollections of the teacher, now dead, from whom the narrator and his mother learned music. Afternoon Raag is a book about the uncertainty of youth and the strange inevitability of growing up. Its images are wonderfully vivid; its rhythms elastic and entrancing. Throughout it is haunted by the spirit of the music teacher, the master singer who gives shape to the elusive and annihilating passage of time.

Offers an exploration of what it means to be a modern Indian in relation to the West. This work features essays about Indian popular culture and high culture, travel and location in Paris, Bombay, Dublin, Calcutta and Berlin, empire and nationalism, Indian and Western cinema, music, art and literature, politics, race, and cosmopolitanism.

An intensely personal novel about childhood, memory, and history by one of today's most celebrated authors, now available in the US for the first time. Friend of My Youth begins with the novelist Amit Chaudhuri returning to Bombay, the city in which he grew up, to give a reading. Ramu, the friend of his youth, with whom he likes to get together when he comes back, is not there: after years of disabling drug addiction, Ramu has signed up for an intensive rehab program. But Amit Chaudhuri has errands to run in Bombay for his mother and wife, which take him back to the Taj Mahal Hotel, the site, not that long before, of a brutal terrorist attack. Amit Chaudhuri writes novels the way an extraordinary instrumentalist makes music, stating and restating his themes, trying them out in different keys and to various effect, developing and dropping them, only to pick them up again and turn them completely around. He engages both our minds and our hearts. He makes us marvel. Friend of My Youth, his deceptively casual and continually observant and inventive new novel, makes us see and feel the great city of Bombay while bringing us into the quizzical, tender, rueful, and reflective sensibility of its central character, Amit Chaudhuri, not to be confused, we are told, with the novelist who wrote this book. Friend of My Youth reflects on the nature of identity, the passage of time, the experience of friendship, the indignities of youth and middle age, the lives of parents and children, and, for all the humor that seasons its pages, terror, the terror that can strike from nowhere, the terror that is a fact of daily life. Friend of My Youth is fearfully and wonderfully made.

In this haunting and noirish novel by a leading author and critic, an Indian writer travels to Berlin and soon finds himself slipping into a fragmented, fuguelike state. An Indian writer has come to Berlin as a visiting professor. This is his second sojourn in the city, which seems strange, and also strangely familiar, to him. He is disoriented by its names, its immensity, and its history; he is worried that something may happen to him there. Faqrul, a friendly Bangladeshi poet living in exile, takes him up—then disappears. The visiting writer is increasingly adrift in a city that not long ago was two cities, each cut off from the other, much as the new unified city is cut off from the divided one of the past. It is the fall of 2005; every day it grows colder. The visitor is beginning to feel his middle age. To him, the new world of the twenty-first century, with its endless commodities from all over the place and no prospect of any sort of historical transformation, appears to exist in a state of amnesiac suspense. He gets involved with a woman, Birgit. He begins to miss his classes. He blacks out in the street. People are worried. “I’ve lost my bearings—not in the city; in its history,” he thinks. “The less sure I become of it, the more I know my way.” But does he? Amit Chaudhuri’s Sojourn is a dramatic and disconcerting work of fiction, a book about the present as it slips into the past, a picture of a city and of a troubled mind, a historical novel about an ostensibly post-historical time, a story of haunting. Here, as in his earlier work, Chaudhuri pries open fictional form to explore questions of public and private life in ways that are both bold and subtle.

The award-winning author Amit Chaudhuri has been widely praised for the beauty and subtle power of his writing and for the ways in which he makes “place” as complex a character as his men and women. Now he brings these gifts to a spellbinding amalgam of memoir, reportage, and history in this intimate, luminous portrait of Calcutta. Chaudhuri guides us through the city where he was born, the home he loved as a child, the setting of his acclaimed novels—a place he now finds captivating for all the ways it has, and, perhaps more powerfully, has not, changed. He shows us a city relatively untouched by the currents of globalization but possessed of a “self-renewing way of seeing, of inhabiting space, of apprehending life.” He takes us along vibrant avenues and derelict alleyways; introduces us to intellectuals, Marxists, members of the declining haute bourgeoisie, street vendors, domestic workers; brings to life the city’s sounds and smells, its architecture, its traditional shops and restaurants, new malls and hotels. And, using the historic elections of 2011 as a fulcrum, Chaudhuri looks back to the nineteenth century, when the city burst with a new vitality, and toward the politics of the present, finding a city “still not recovered from history” yet possessed of a singular modernity. Chaudhuri observes and writes about Calcutta with rare candor and clarity, making graspable the complex, ultimately ineluctable reasons for his passionate attachment to the place and its people.

Writer and musician Amit Chaudhuri’s elegant debut novel, in which an Indian ten-year-old experiences the entirely distinct experiences of life in Bombay, where his family lives, and Calcutta, where he visits relatives during his summer vacation. Ten-year-old Sandeep lives in a high-rise in Bombay, where his father has an important job that keeps him busy all the time. Come summer, Sandeep and his mother travel to Calcutta to spend time with his aunt, his self-absorbed and improvident uncle, and Abhi, his favorite cousin. His relatives’ house is shadowy and rambling; the vast city around it ramshackle and alluring. They fascinate curious, observant Sandeep. Days pass; the heat grows; the rains come; the visit ends. In the winter, Sandeep and his family return to Calcutta—and encounter an unexpected turn of events. But Sandeep has arrived at a new sense of things, an understanding of how the marvelous inheres in the mundane, that will be his, we feel, for good. At once delicate and incisive, A Strange and Sublime Address succeeds in both immersing us in a boy’s inner world and depicting that boy and his world from outside. It was Amit Chaudhuri’s first book, the work of a novelist whose striking originality of conception would subsequently become ever more clear. The three decades since the publication of A Strange and Sublime Address have only confirmed its appeal and poetry.

Winner of the Los Angeles Times Book Prize for Fiction, a graceful depiction of middle-class Calcutta, seen through the lives of two interlinked families living in the city during the 1990s. Freedom Song is a novel about family life and city life at an uneasy moment in time. Set in Calcutta in 1993, the book begins by introducing us to Khuku, whose husband Shib is a retired executive and whose son has gone to live in America. Khuku’s old friend Mini, a teacher suffering from a bad case of arthritis, is paying a visit, which gives the two women a chance to gossip and reminisce and see the town. Khuku’s brother, Bhola, lives nearby with his wife and two grown children. Everyone is concerned about his son, Bhaskar, who has recently joined the Communist Party. He sells the party newspaper on the streets. He engages in street theater, and while no longer in his first youth, he remains unmarried. Freedom Song circles around this small upper-middle-class world, with its customs, memories, pleasures, and worries, but also ventures out into the wider world, in which the destruction of the venerable Babri Masjid by Hindu fundamentalists has started a cycle of sectarian violence. A novel of ordinary life, of work and love, shadowed by larger uncertainty, Freedom Song is a transfixing performance, deeply humane and winningly humorous, by one of the subtlest and sharpest writers of our time. A world of insight and feeling emerges from Amit Chaudhuri’s wonderfully expansive sentences, and style is revealed as nothing less than a form of knowledge.

Winner of the James Tait Black Prize for Biography An autobiographical exploration of the role and meaning of music in our world by one of India's greatest living authors, himself a vocalist and performer. Amit Chaudhuri, novelist, critic, and essayist, is also a musician, trained in the Indian classical vocal tradition but equally fluent as a guitarist and singer in the American folk music style, who has recorded his experimental compositions extensively and performed around the world. A turning point in his life took place when, as a lonely teenager living in a high-rise in Bombay, far from his family’s native Calcutta, he began, contrary to all his prior inclinations, to study Indian classical music. Finding the Raga chronicles that transformation and how it has continued to affect and transform not only how Chaudhuri listens to and makes music but how he listens to and thinks about the world at large. Offering a highly personal introduction to Indian music, the book is also a meditation on the differences between Indian and Western music and art-making as well as the ways they converge in a modernism that Chaudhuri reframes not as a twentieth-century Western art movement but as a fundamental mode of aesthetic response, at once immemorial and extraterritorial. Finding the Raga combines memoir, practical and cultural criticism, and philosophical reflection with the same individuality and flair that Chaudhuri demonstrates throughout a uniquely wide-ranging, challenging, and enthralling body of work.

Arguing that the two traditions comprised not only painterly but literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers.