In this award-winning novel, Tharoor has masterfully recast the two-thousand-year-old epic, The Mahabharata, with fictional but highly recognizable events and characters from twentieth-century Indian politics. Nothing is sacred in this deliciously irreverent, witty, and deeply intelligent retelling of modern Indian history and the ancient Indian epic The Mahabharata. Alternately outrageous and instructive, hilarious and moving, it is a dazzling tapestry of prose and verse that satirically, but also poignantly, chronicles the struggle for Indian freedom and independence.

Asking what Indian readers chose to read and why, In Another Country shows how readers of the English novel transformed the literary and cultural influences of empire. She further demonstrates how Indian novelists writing in English, from Krupa Satthianadhan to Salman Rushdie, took an alien form in an alien language and used it to address local needs. Taken together in this manner, reading and writing reveal the complex ways in which culture is continually translated and transformed in a colonial and postcolonial context.

A History of the Indian Novel in English traces the development of the Indian novel from its beginnings in the late nineteenth century up until the present day. Beginning with an extensive introduction that charts important theoretical contributions to the field, this History includes extensive essays that shed light on the legacy of English in Indian writing. Organized thematically, these essays examine how English was "made Indian" by writers who used the language to address specifically Indian concerns. Such concerns revolved around the question of what it means to be modern as well as how the novel could be used for anti-colonial activism. By the 1980s, the Indian novel in English was a global phenomenon, and India is now the third largest publisher of English-language books. Written by a host of leading scholars, this History invites readers to question conventional accounts of India's literary history.

Rajmohan’s Wife and Sultana’s Dream (1864/1908) features the debut novel of Indian writer Bankim Chandra Chatterjee and a story by Bengali writer, feminist, and educator Rokeya Sakhawat Hossain. Rajmohan’s Wife, Chattopadhyay’s only work in English, launched his career as a leading Bengali intellectual and political figure. Written in English, Sultana’s Dream originated as a way of passing time for its young author while her husband was away on work. Initially published in The Indian Ladies Magazine, Sultana’s Dream helped establish Rokeya’s reputation as a leading figure in Bengali arts and culture. Rajmohan’s Wife is the story of Matangini, a beautiful woman married to a violent, jealous man. Unable to marry the man she loves—who happens to be her own sister’s husband—she settles for the villainous Rajmohan, an abusive man who rules his middle-class Bengali household with an iron fist. With the help of her friend Kanak, Matangini does her best to avoid her husband’s wrath, illuminating the importance of solidarity among women faced with oppression. Vindictive and cruel, Rajmohan secretly enacts a plan to rob Madhav, his brother-in-law, in order to obtain and invalidate a will. Sultana’s Dream is set in Ladyland is a feminist utopia ruled by women, a perfect civilization with no need for men, who remain secluded and without power. Free to develop their own society, women have invented flying cars, perfected farming to the point where no one must work, and harnessed the energy of the sun. With men under control, there is no longer fear, crime, or violence. Ultimately, Ladyland is a world made to mirror our own, a satirical exploration of the absolute power wielded by men over women, and a political critique of Bengali society at large. Sultana’s Dream is more than a science fiction story; it is an act of resistance made by a woman who would shape the lives of her people through advocacy, education, and activism for generations to come. With a beautifully designed cover and professionally typeset manuscript, this edition of Bankim Chandra Chatterjee and Rokeya Sakhawat Hossain’s Rajmohan’s Wife and Sultana’s Dream is a classic of Bengali literature and utopian science fiction reimagined for modern readers.

THE TOP 5 SUNDAY TIMES BESTSELLER ONE OF BARACK OBAMA'S BEST BOOKS OF 2019 THE TIMES HISTORY BOOK OF THE YEAR FINALIST FOR THE CUNDILL HISTORY PRIZE 2020 LONGLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION 2019 A FINANCIAL TIMES, OBSERVER, DAILY TELEGRAPH, WALL STREET JOURNAL AND TIMES BOOK OF THE YEAR 'Dalrymple is a superb historian with a visceral understanding of India ... A book of beauty' – Gerard DeGroot, The Times In August 1765 the East India Company defeated the young Mughal emperor and forced him to establish a new administration in his richest provinces. Run by English merchants who collected taxes using a ruthless private army, this new regime saw the East India Company transform itself from an international trading corporation into something much more unusual: an aggressive colonial power in the guise of a multinational business. William Dalrymple tells the remarkable story of the East India Company as it has never been told before, unfolding a timely cautionary tale of the first global corporate power.

Ever since T.B. Macaulay leveled the accusation in 1835 that 'a single shelf of a good European library was worth the whole native literature of India,' South Asian literature has served as the imagined battleground between local linguistic multiplicity and a rapidly globalizing English. In response to this endless polemic, Indian and Pakistani writers set out in another direction altogether. They made an unexpected journey to Latin America. The cohort of authors that moved between these regions include Latin-American Nobel laureates Pablo Neruda and Octavio Paz; Booker Prize notables Salman Rushdie, Anita Desai, Mohammed Hanif, and Mohsin Hamid. In their explorations of this new geographic connection, Roanne Kantor claims that they formed the vanguard of a new, multilingual world literary order. Their encounters with Latin America fundamentally shaped the way in which literature written in English from South Asia exploded into popularity from the 1980s until the mid-2000s, enabling its global visibility.

This Collection Of Essays Is Meant To Be A Survey Of The Novel In Twelve Major Indian Languages During The Period 1950 To 1980. While Seeking To Bring Into Focus The Major Trends And Tendencies That Characterise The Growth Of The Novel In These Languages, The Book Atempts To Explore The Traditions Being Established In Indian Novel Today And The New Directions The Novel Is Likely To Take In Our Languages. Gobinda Prasad Sarma Convincingly Shows How The Assamese Novel Reflects The Assamese Society And How Experimentation With New Techniques Has Widened The Horizons Of Assamese Novel: And K. Sivathamby, Through A Brilliant Analysis Of The Interconnection Between The Societal Factors And Development Of The Novel, Portrays The Rise Of The Tamil Novel To New Heights During The Period. While I. K. Sharma Shows How Hindi Novel Has Passed Imperceptibly From The Wonderland Of Fancy To The Hinterland Of Society And The Borderland Of Psyche , Shyamala A. Narayan Predicts A Bright Future For Indian English Novel On The Basis Of Her Assessment Of Such Writers As Mulk Raj Anand, R. K. Narayan, Raja Rao, Manohar Malgonkar, Anita Desai And Arun Joshi. Jatindra Kumar Nayak Brings Out The Tension In Post-Independent Oriya Novel Between The Idealism Of The Freedom Struggle And The Values Of A Commercial Society; K. M. Tharakan Describes The Rich Complexity Hints At The Possibility Of A Blend Of Post-Modernist And Leftist Trends: And Ila Pathak Shows How In Gujrati The Traditional Novel And The Experimental Novel Are Growing Side By Side. To Lila Ray, Who Traces The Diverse Trends In Bengali Novel, The Most Remarkable Change Is In The Political Novel; But To Prabhakar Rao, Who Describes The Wide Range Of Exploration In Telugu Novel, The Telugu Novelist Appears Unable To Rise Above The Mediocre . Narinder Singh Sees Punjabi Novel At The Take -Off Stage But Gives A Word Of Caution Against The Increasing Use Of Colloquial Dialect By The Novelists; Seshagiri Rao Traces The Traditions Established In Kannada Novel By The Writers Of The Navodaya Period, Navya Period And The Progressive Movement. Finally, Balachandra Nemade, In His Inimitable Style, Anatomizes The Positive And Negative Trends In The Growth Of Marathi Novel And Gives A Passionate Call To Revolutionise Criticism And Cure Marathi Of Its Present Poverty Of Taste . This Book Is A Gateway To The Edifice Of Contemporary Indian Novel.

Early twentieth-century Indian novels often depict the harsh material conditions of life under British colonial rule. Even so, these 'realist' novels are profoundly imaginative. In this study, Ulka Anjaria challenges the distinction between early twentieth-century social realism and modern-day magical realism, arguing that realism in the colony functioned as a mode of experimentation and aesthetic innovation – not merely as mimesis of the 'real world'. By examining novels from the 1930s across several Indian languages, Anjaria reveals how Indian authors used realist techniques to imagine alternate worlds, to invent new subjectivities and relationships with the Indian nation and to question some of the most entrenched values of modernity. Addressing issues of colonialism, Indian nationalism, the rise of Gandhi, religion and politics, and the role of literature in society, Anjaria's careful analysis will complement graduate study and research in English literature, South Asian studies and postcolonial studies.

Indian writers of English such as G. V. Desani, Salman Rushdie, Amit Chaudhuri, Amitav Ghosh, Vikram Seth, Allan Sealy, Shashi Tharoor, Arundhati Roy, Vikram Chandra and Jhumpa Lahiri have taken the potentialities of the novel form to new heights. Against the background of the genre’s macro-history, this study attempts to explain the stunning vitality, colourful diversity, and the outstanding but sometimes controversial success of postcolonial Indian novels in the light of ongoing debates in postcolonial studies. It analyses the warp and woof of the novelistic text through a cross-sectional scrutiny of the issues of democracy, the poetics of space, the times of empire, nation and globalization, self-writing in the auto/meta/docu-fictional modes, the musical, pictorial, cinematic and culinary intertextualities that run through this hyperpalimpsestic practice and the politics of gender, caste and language that gives it an inimitable stamp. This concise and readable survey gives us intimations of a truly world literature as imagined by Francophone writers because the postcolonial Indian novel is a concrete illustration of how “language liberated from its exclusive pact with the nation can enter into a dialogue with a vast polyphonic ensemble.”