The book is an attempt to analyze the construction of India by five authors in their seminal works of literature. The first of the five novels is A Passage to India by E. M. Forster published in 1924. Chronologically, it is followed by Midnight’s Children, the “Booker of Bookers” for the year 1993, published in 1981 by Salman Rushdie. The third one is The Great Indian Novel , modeled on the Great Indian Epic, The Mahabharata, published in 1989 by Shashi Tharoor. The fourth one belongs to the canon of Regional Literature and is composed by Kamleshwar. The original title is Kitne Pakistan published in 2000 and the English translation Partitions came in 2006. The book makes use of the text in Hindi for reference and quoting. There are two reasons for this: first, language is not merely a medium between the text and the reader, but also something that carries a ‘voice’. The use of Hindi by Kamleshwar has a bearing on the kind of di scourse bei ng generated, as di scussed l ater. Secondl y, language acts in a cultural context and hence the impact that it carries is properly highlighted only in the original language in which the work has been composed. A translated work is, at times, not able to convey the spirit behind the words. The quotes from the text have been given in Roman script. The last one taken is Kiran Desai’s The Inheritance of Loss, published in 2006 and the winner of the “Man Booker Prize” in the same year.

This book interrogates and historicises eighteenth-century British women writers’ responses to India through the novel and travel writing to bring out the polyvalent space arising out of their complex negotiation with the colonial discourse. Though British women enjoyed their privileged racial status as the utilisers of colonial riches, they articulated their voice of dissent when they faced the politics of subordination in their own society and identified them with the marginalised status of the colonised Indians. This brings out the complicity and critique of the colonial discourse of British women writers and foregrounds their ambivalent responses to the colonial project. This book provides detailed textual analysis of the works of Phebe Gibbes, Elizabeth Hamilton, Lady Morgan, Jemima Kindersley and Eliza Fay through critical insights from the idea of the Enlightenment, postcolonial theory and feminist thought. It also foregrounds new perspectives to colonial discourse vis-à-vis the representation of India by locating the dialogic strain within the British narratives about India.

Indian writing in English is the term which denotes the original creative writings by Indians. It is the literature originally written in English by writers including the expatriate Indian writers like Salman Rushdie. India's contribution to world literature especially of the twentieth century has been mostly in the field of fiction in English. The novels reflected realistic picture of the period to which the novelist belongs.

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.

Within the pages of this book lies a captivating journey that delves into the origin and development of the English novel, the realm of Indian English Writing, and the profound literary contributions of the renowned author, Chaman Nahal. Nahal's insightful work sheds light on the rift that emerged due to the insulating attitudes of the ruling class, unravelling the impact on both sides of this colonial encounter. As the narrative unfolds, the book meticulously traces the gradual encroachment of materialism within society, leading to a gradual erosion of spirituality. The multifaceted themes explored within these pages paint a vivid tapestry of human emotions and experiences. Love, affirmation, vanity, absurdity, existential questions of life and death, and the haunting memories of a traumatic partition are intricately woven into the fabric of Nahal's narrative. Through his novels, Nahal imparts a powerful message, urging readers to embrace life in its entirety. From the joyous celebrations to the tumultuous adversities, Nahal reveals that life is worth embracing, even in the face of its most challenging moments. His words resonate with an affirmative psychological orientation, guiding readers to manage their emotions in a way that fosters a sense of dignity and forges a path filled with hope. Within the pages of this exceptional book, readers will find themselves captivated by Nahal's mastery of storytelling and his ability to craft characters that resonate deeply within the human psyche. It is a book that leaves an indelible mark on the reader's soul, a testament to the enduring power of words and their ability to illuminate the depths of the human experience.

The story of the Indian English novel is about the story of changing India. There was a time when education was a rare opportunity and speaking English was not considered necessary. The stories were already there spread all over the subcontinent in the myths, in the folklore and the umpteen languages and cultures that gossiped, conversed, laughed and cried. India has always been a land of stories.

Ecofeminism and the Indian Novel tests the theories of ecofeminism against the background of India’s often different perceptions of environmental problems, challenging the hegemony of Western culture in thinking about human problems. This book moves beyond a simple application of the concepts of ecofeminism, instead explaining the uniqueness of Indian novels as narratives of ecofeminism and how they can contribute to the development of the theory of ecofeminism. In examining a selection of novels, the author argues that Indian texts conceptualize the ecological crisis more as a human problem than as a gender problem. The book proposes that we should think of ecofeminism as ecohumanism instead, seeing human beings and nature as a part of a complex web. Novels analysed within the text include Kamala Markandaya’s Nectar in a Sieve (1954), Shivram Karanth’s Return to Earth (2002) and Na D’Souza’s Dweepa (2013). Ecofeminism and the Indian Novel will be of great interest to students and scholars of ecofeminism, ecocriticism, ecological feminism, environmental humanities, gender studies, ecological humanities, feminist studies and Indian literature.