The setting of the stories is India in the 10th and 11th centuries, when the country was made of many small kingdoms and fiefdoms. There was a profusion of monarchs with dynastic ambitions and a desire for territorial aggrandisement. The king was usually advised by an intelligent and devoted Brahman minister. The heir apparent, the crown prince, had a circle of friends, mostly sons of the king’s ministers, who would be incorporated into the cabinet when the prince would become king. Dynastic intrigue was rife, and matrimonial alliances were often a strategy to expand the kingdom, together with befriending tribal communities to win their support. The kings were invariably polygamous and maintained large harems. The Brihatkatha, or Lord Shiva’s narrative to his wife Parvati, is presumed to confer the power of the celestial Vidyadharas to its readers, ridding them of all their sins and assuring them a place in heaven. The roller-coaster variety of telescoped stories form a complex garland from one narrative to another, with the possibility of losing touch with the main thread. Each story is gripping, quaint, and carries a moral or a message for the reader, who may, instead of reading the book from cover to cover, read the chapters randomly. The book is a treasure chest, a work of art, with its own secret internal geometry as well as myriad fascinating and often amusing stories.

The 'Brihakatha', or Lord Shiva's narrative to his wife Parvati, is featured in Gunadhya's epic composition 'Katha Sarita Sagara' in Sanskrit. Somadeva's adaptation retains the storyline, with Lord Shiva substituting for Lord Kubera, the God of Wealth. C H Tawney, blending pure Hindu mythology with Buddhist and tantric beliefs, translated the story into English as The Ocean of a Story, which runs 12 volumes and includes footnotes. Shiva's Own Story is a condensed version of Tawney's work. The setting of the stories is India in the 10th and 11th centuries, when the country was composed of many small kingdoms and fiefdoms. There was no dearth of monarchs with dynastic ambitions. The king was usually advised by an intelligent and devoted Brahman minister. The heir apparent, the crown prince, had a circle of friends, mostly sons of the king's ministers, who became part of the cabinet when the prince became king. Intrigue was rife and matrimonial alliances were often a strategy to expand the kingdom. In a country where illiteracy is still formidable, storytelling is a means of promoting and propagating religious and moral culture.

The aim of Bhamaha was to bring into existence a theoretical treatise on rhetoric as to facilitate a critical study of the subject with a view to serve as a practical handbook in the art and poetical composition. This work is not only to the advantage of the reader but also constitutes a legitimate act of homage to the first great rhetorician Bhamaha. It also includes a translation and notes of the original text.

Vol. 1-new ser., v. 7 include the society's Proceedings for 1841-1929 (title varies)

Critiquing the politics and dynamics of the transcultural poetics of reading literature, this book demonstrates an ambitious understanding of the concept of the poet across a wide range of traditions – Anglo-American, German, French, Arabic, Chinese, Sanskrit, Bengali, Urdu – and philosophies of creativity that are rarely studied side by side. Ghosh carves out unexplored spaces of negotiation and intersections between literature, aesthetics and philosophy. The book demonstrates an original method of ‘global comparison’ that displaces the relatively staid and historicist categories that have underpinned comparative literature approaches so far, since they rarely dare stray beyond issues of influence and schools, or new 'world literature' approaches that affirm cosmopolitanism and transnationalism as overarching themes. Going beyond comparatism and reformulating the chronological patterns of reading, this bold book introduces new methodologies of reading literature to configure the concept of the poet from Philip Sidney to T. S Eliot, reading the notion of the poet through completely new theoretical and epistemic triggers. Commonly known texts and sometimes well-circulated ideas are subjected to refreshing reading in what the author calls the ‘transcultural now’ and (in)fusionised transpoetical matrices. By moving between theories of poetry and literature that come from widely separated times, contexts, and cultures, this book shows the relevance of canonical texts to a theory of the future as marked by post-global concerns.