Without him I could never have known what it is like to be Indian."—Graham GreeneOffering rare insight into the complexities of Indian middle-class society, R. K. Narayan traces life in the fictional town of Malgudi. The Dark Room is a searching look at a difficult marriage and a woman who eventually rebels against the demands of being a good and obedient wife. In Mr. Sampath, a newspaper man tries to keep his paper afloat in the face of social and economic changes sweeping India. Narayan writes of youth and young adulthood in the semiautobiographical Swami and Friends and The Bachelor of Arts. Although the ordinary tensions of maturing are heightened by the particular circumstances of pre-partition India, Narayan provides a universal vision of childhood, early love and grief."The experience of reading one of his novels is . . . comparable to one's first reaction to the great Russian novels: the fresh realization of the common humanity of all peoples, underlain by a simultaneous sense of strangeness—like one's own reflection seen in a green twilight."—Margaret Parton, New York Herald Tribune"The novels of R.K. Narayan are the best I have read in any language for a long time. . . . His work gives the conviction that it is possible to capture in English, a language not born of India, the distinctive characteristics of Indian family life."—Amit Roy, Daily Telegraph

    By the time the monsoon broke, almost a million of them were dead, and all of northern India was in arms, in terror, or in hiding. The only remaining oases of peace were a scatter of little villages lost in the remote reaches of the frontier. One of these villages was Mano Majra.”It is a place, Khushwant Singh goes on to tell us at the beginning of this classic novel, where Sikhs and Muslims have lived together in peace for hundreds of years. Then one day, at the end of the summer, the “ghost train” arrives, a silent, incredible funeral train loaded with the bodies of thousands of refugees, bringing the village its first taste of the horrors of the civil war. Train to Pakistan is the story of this isolated village that is plunged into the abyss of religious hate. It is also the story of a Sikh boy and a Muslim girl whose love endured and transcends the ravages of war.Introduction by Arthur Lall

    All signs being auspicious, the villagers triumphantly assured Sampath's proud parents that their son was destined for greatness. Twenty years of failure later, that unfortunately does not appear to be the case. A sullen government worker, Sampath is inspired only when in search of a quiet place to take his nap. "But the world is round," his grandmother says. "Wait and see Even if it appears he is going downhill, he will come up the other side. Yes, on top of the world. He is just taking a longer route." No one believes her until, one day, Sampath climbs into a guava tree and becomes unintentionally famous as a holy man, setting off a series of events that spin increasingly out of control. A delightfully sweet comic novel that ends in a raucous bang, Hullabaloo in the Guava Orchard is as surprising and entertaining as it is beautifully wrought.

    A hard-working bank clerk, Gustad Noble is a devoted family man who gradually sees his modest life unravelling. His young daughter falls ill; his promising son defies his father’s ambitions for him. He is the one reasonable voice amidst the ongoing dramas of his neighbours. One day, he receives a letter from an old friend, asking him to help in what at first seems like an heroic mission. But he soon finds himself unwittingly drawn into a dangerous network of deception. Compassionate, and rich in details of character and place, this unforgettable novel charts the journey of a moral heart in a turbulent world of change.From the Trade Paperback edition.

    As they move from a cramped, ant-infested shack to a larger house on the other side of Bangalore, and try to adjust to a new way of life, the family dynamic begins to shift. Allegiances realign; marriages are arranged and begin to falter; and conflict brews ominously in the background. Things become “ghachar ghochar”—a nonsense phrase uttered by one meaning something tangled beyond repair, a knot that can't be untied. Elegantly written and punctuated by moments of unexpected warmth and humor, Ghachar Ghochar is a quietly enthralling, deeply unsettling novel about the shifting meanings—and consequences—of financial gain in contemporary India.

    Piya Roy, a young American marine biologist of Indian descent, arrives in this lush, treacherous landscape in search of a rare species of river dolphin and enlists the aid of a local fisherman and a translator. Together the three of them launch into the elaborate backwaters, drawn unawares into the powerful political undercurrents of this isolated corner of the world that exact a personal toll as fierce as the tides.

    The novel sweeps across India, from an island, to a valley, a city, and a snow desert to tell a love story of epic proportions. We follow a scientist who studies trees and a clairvoyant who speaks to them; a geologist working to end futile wars over a glacier; octogenarian lovers; a mother struggling to free her revolutionary son; a yeti who seeks human companionship; a turtle who transforms first into a boat and then a woman; and the ghost of an evaporated ocean as restless as the continents. Binding them all together is a vision of life as vast as the universe itself. A young writer awarded one of the most prestigious prizes in India for this novel, Shubhangi Swarup is a storyteller of extraordinary talent and insight. Richly imaginative and wryly perceptive, Latitudes of Longing offers a soaring view of humanity: our beauty and ugliness, our capacity to harm and love each other, and our mysterious and sacred relationship with nature.

    It's on India's southwestern coast, bounded by the Arabian Sea to the west and the Kaliamma River to the south and east. It's blessed with rich soil and scenic beauty, and it's been around for centuries. Of its 193,432 residents, only 89 declare themselves to be without religion or caste. And if the characters in Between the Assassinations are any indication, Kittur is an extraordinary crossroads of the brightest minds and the poorest morals, the up-and-coming and the downtrodden, and the poets and the prophets of an India that modern literature has rarely addressed. A twelve-year-old boy named Ziauddin, a gofer at a tea shop near the railway station, is enticed into wrongdoing because a fair-skinned stranger treats him with dignity and warmth. George D'Souza, a mosquito-repellent sprayer, elevates himself to gardener and then chauffeur to the lovely, young Mrs. Gomes, and then loses it all when he attempts to be something more. A little girl's first act of love for her father is to beg on the street for money to support his drug habit. A factory owner is forced to choose between buying into underworld economics and blinding his staff or closing up shop. A privileged schoolboy, using his own ties to the Kittur underworld, sets off an explosive in a Jesuit-school classroom in protest against casteism. A childless couple takes refuge in a rapidly diminishing forest on the outskirts of town, feeding a group of "intimates" who visit only to mock them. And the loneliest member of the Marxist-Maoist Party of India falls in love with the one young woman, in the poorest part of town, whom he cannot afford to wed. Between the Assassinations showcases the most beloved aspects of Adiga's writing to brilliant effect: the class struggle rendered personal; the fury of the underdog and the fire of the iconoclast; and the prodigiously ambitious narrative talent that has earned Adiga acclaim around the world and comparisons to Gogol, Ellison, Kipling, and Palahniuk. In the words of The Guardian (London), "Between the Assassinations shows that Adiga...is one of the most important voices to emerge from India in recent years." A blinding, brilliant, and brave mosaic of Indian life as it is lived in a place called Kittur, Between the Assassinations, with all the humor, sympathy, and unflinching candor of The White Tiger, enlarges our understanding of the world we live in today.

    As the action spirals up through the floors of the building, the dramas of the residents' lives unfold: Mr. Jalal's obsessive search for higher meaning; Vinod Taneja's longing for the wife he has lost; the comic elopement of Kavita Asrani, who fancies herself the heroine of a Hindi movie.Suffused with Hindu mythology, this story of one apartment building becomes a metaphor for the social and religious division of contemporary India, and Vishnu's ascent of the staircase parallels the sours progress through the various stages of existence. As Vishnu closes in on the riddle of his own mortality, he begins to wonder whether he might not be the god Vishnu, guardian not only of the fate of the building and its occupants, but of the entire universe.

    Between Em, the mother, driven frequently to hospital after her failed suicide attempts, and The Big Hoom, the father, trying to hold things together as best he could, they tried to be a family.

    But through a series of exhilarating tales Ram explains to his lawyer how episodes in his life gave him the answer to each question.Ram takes us on an amazing review of his own history - from the day he was found as a baby in the clothes donation box of a Delhi church to his employment by a faded Bollywood star to his adventure with a security-crazed Australian army colonel to his career as an overly creative tour guide at the Taj Mahal.Vikas Swarup's Q & A is a beguiling blend of high comedy, drama, and romance that reveals how we know what we know - not just about trivia, but about life itself. Cutting across humanity in all its squalor and glory, Vikas Swarup presents a kaleidoscopic vision of the struggle between good and evil - and what happens when one boy has no other choice in life but to survive.

    At the heart of this “wonderful” novel are the moving relationships between the estranged members of the Das family (Washington Post Book World). Bimla is a dissatisfied but ambitious teacher at a women’s college who lives in her childhood home, where she cares for her mentally challenged brother, Baba. Tara is her younger, unambitious sister, married and with children of her own. Raja is their popular, brilliant, and successful brother. When Tara returns for a visit with Bimla and Baba, old memories and tensions resurface, blending into a domestic drama that leads to beautiful and profound moments of self-understanding.Set in the vividly portrayed environs of Old Delhi, “Clear Light of Day does what only the very best novels can do: it totally submerges us. It also takes us so deeply into another world that we almost fear we won’t be able to climb out again” (New York Times Book Review).“Passages must be read and reread so that you savor their imagery, their language, and their wisdom.” ??—?? Washington Post Book World“[A] thoroughly universal tale of unhealable family hurts . . . Distinctively shaded with enticing glimpses of India’s Hindu middle-class in shabby decline.” ??—?? Kirkus Reviews, starred review

    Despite being in a loving and sexually satisfying relationship, they are relentlessly hounded by the taunts and insinuations of the people around them. Ultimately, all their hopes and apprehensions come to converge on the chariot festival in the temple of the half-female god Ardhanareeswara and the revelry surrounding it. Everything hinges on the one night when rules are relaxed and consensual union between any man and woman is sanctioned. This night could end the couple’s suffering and humiliation. But it will also put their marriage to the ultimate test. Acutely observed, One Part Woman lays bare with unsparing clarity a relationship caught between the dictates of social convention and the tug of personal anxieties, vividly conjuring an intimate and unsettling portrait of marriage, love and sex.

    Combining Indian myths, epic history, and the story of three college kids in search of America, a narrative includes the monkey's story of an Indian poet and warrior and an American road novel of college students driving cross-country.

    In the state of Kerala, on the southernmost tip of India, a skyblue Plymouth with chrome tailfins is stranded on the highway amid a Marxist workers' demonstration. Inside the car sit two-egg twins Rahel and Esthappen, and so begins their tale. . . .Armed only with the invincible innocence of children, they fashion a childhood for themselves in the shade of the wreck that is their family—their lonely, lovely mother, Ammu (who loves by night the man her children love by day), their blind grandmother, Mammachi (who plays Handel on her violin), their beloved uncle Chacko (Rhodes scholar, pickle baron, radical Marxist, bottom-pincher), their enemy, Baby Kochamma (ex-nun and incumbent grandaunt), and the ghost of an imperial entomologist's moth (with unusually dense dorsal tufts).When their English cousin, Sophie Mol, and her mother, Margaret Kochamma, arrive on a Christmas visit, Esthappen and Rahel learn that Things Can Change in a Day. That lives can twist into new, ugly shapes, even cease forever, beside their river "graygreen." With fish in it. With the sky and trees in it. And at night, the broken yellow moon in it.The brilliantly plotted story uncoils with an agonizing sense of foreboding and inevitability. Yet nothing prepares you for what lies at the heart of it.The God of Small Things takes on the Big Themes—Love. Madness. Hope. Infinite Joy. Here is a writer who dares to break the rules. To dislocate received rhythms and create the language she requires, a language that is at once classical and unprecedented. Arundhati Roy has given us a book that is anchored to anguish, but fueled by wit and magic.