Jeet Thayil's definitive selection covers 55 years of Indian poetry in English. It is the first anthology to represent not just the major poets of the past half-century - the canonical writers who have dominated Indian poetry and publishing since the 1950s - but also the different kinds of poetry written by an extraordinary range of younger poets who live in many countries as well as in India. It is a groundbreaking global anthology of 70 poets writing in a common language responding to shared traditions, different cultures and contrasting lives in the changing modern world.Thayil's starting-point is Nissim Ezekiel, the first important modern Indian poet after Tagore, who published his first collection in London in 1952. Aiming for "verticality" rather than chronology, Thayil's anthology charts a poetry of astonishing volume and quality. It pays homage to major influences, including Ezekiel, Dom Moraes and Arun Kolatkar, who died within months of each other in 2004. It rediscovers forgotten figures such as Lawrence Bantleman and Gopal Honnalgere, and it serves as an introduction to the poets of the future.The book also shows that many Indian poets were mining the rich vein of 'chutnified' (Salman Rushdie's word) Indian English long before novelists like Rushdie and Upamanyu Chatterjee started using it in their fiction. It explains why Pankaj Mishra and Amit Chaudhuri have said that Indian poetry in English has a longer, more distinguished tradition than Indian fiction in English. The Indian poet now lives and works in New York, New Delhi, London, Itanagar, Bangalore, Berkeley, Goa, Sheffield, Lonavala, Montana, Aarhus, Allahabad, Hongkong, Montreal, Melbourne, Calcutta, Connecticut, Cuttack and various other global corridors. While some may have little in common in terms of culture (a number of the poets have never lived in India), this anthology shows how they are all bound by the intimate histories of a shared English language.

A meditation on grief, These Errors are Correct is Jeet Thayil's most intimate work to date. In poems of tenderness and rage, time blurs into a continuous present visited by Billy the Kid, the Buddha, Lata Mangeshkar, Jesus and Beethoven, by unnamed protagonists for whom faith and addiction are interchangeable, and by a remote god-like figure who will 'lick / your wound with his infected tongue'. A range of fixed and invented forms--rhymed syllabics, terza rima, ghazals, sonnets, the sestina, the canzone, stealth rhymes--make for a virtuosic, haunting collection. Originally published in 2008, the book has been out of print since 2010. With illustrations by the author, this new edition returns to the reader an essential and timeless book of poems. These Errors are Correct won the 2013 Sahitya Akademi Award.

Arun Kolatkar (1931-2004) was one of India's greatest modern poets. He wrote prolifically, in both Marathi and English, publishing in magazines and anthologies from 1955, but did not bring out a book of poems until he was 44. Jejuri (1976) won him the Commonwealth Poetry Prize, and was later published in the US in the NYRB Classics series (2005). His third Marathi publication, Bhijki Vahi, won a Sahitya Akademi Award in 2004. Always hesitant about publishing his work, Kolatkar waited until 2004, when he knew he was dying from cancer, before bringing out two further books, Kala Ghoda Poems and Sarpa Satra. A posthumous selection, The Boatride and Other Poems (2008), edited by Arvind Krishna Mehrotra, contained his previous uncollected English poems as well as translations of his Marathi poems; among the book's surprises were his translations of bhakti poetry, song lyrics, and a long love poem, the only one he wrote, cleverly disguised as light verse. This first Collected Poems in English brings together work from all those volumes. Jejuri offers a rich description of India while at the same time performing a complex act of devotion, discovering the divine trace in a degenerate world. Salman Rushdie called it 'sprightly, clear-sighted, deeply felt...;a modern classic'. For Arvind Krishna Mehrotra, it was 'among the finest single poems written in India in the last forty years...;it surprises by revealing the familiar, the hidden that is always before us'. Jeet Thayil attributed its popularity in India to 'the Kolatkarean voice: unhurried, lit with whimsy, unpretentious even when making learned literary or mythological allusions. And whatever the poet's eye alights on - particularly the odd, the misshapen, and the famished - receives the gift of close attention.'

Shortlisted for the Man Booker Prize Written in poetic and affecting prose, Jeet Thayil's luminous debut novel charts the evolution of a great and broken metropolis across three decades. A rich, hallucinatory dream that captures Bombay in all its compelling squalor, Narcopolis completely subverts and challenges the literary traditions for which the Indian novel is celebrated. It is a book about drugs, sex, death, perversion, addiction, love, and God and has more in common in its subject matter with the work of William S. Burroughs or Baudelaire than with that of the subcontinent's familiar literary lights. Above all, it is a fantastical portrait of a beautiful and damned generation in a nation about to sell its soul.

In this study, ten independent critical essays and a coda explore the English-language poetry of South Asians in terms of time, place, themes and poetic methodologies. The transnational perspective taken establishes connections between colonial and postcolonial South Asian poetry in English as well as the poetry of the old and new diaspora and the Subcontinent. The poetry analysis covers the relevance of historical allusions as well as underlying concerns of gender, ethnicity and class. Comparisons are offered between poets of different places and time periods, yielding numerous sociopolitical paradigms that surface in the poetry.

Ullis went to the bathroom and carefully unfolded the business card and placed it on the sink. Then he rolled up a note and snorted the last of his wife's ashes. Following the death of his wife, Dominic Ullis escapes to Bombay in search of oblivion and a dangerous new drug, Meow Meow. So begins a glorious weekend of misadventure as he tours the teeming, kaleidoscopic city from its sleek eyries of high-capital to the piss-stained streets, encountering a cast with their own stories to tell, but none of whom Ullis - his faculties ever distorted - is quite sure he can trust. Heady, heartbroken and heartfelt, Low is a blazing joyride through the darklands of grief towards obliteration - and, perhaps, epiphany. 'Jeet Thayil delights not just in pushing the bounds of possibility, but in smashing them to smithereens.' John Burnside