100 Books Like Indian Architecture

I am a professional historian who came to the Indian world years ago through studies of epic, mythology, and gender. When I read the Mahabharata, I was surprised that its internal coherence was not apparent. I connected with authors such as Alf Hiltebeite, who saw things in the same way. By then, I found evidence that its author used different materials, including Greco-Roman. And that his work was set at the time—around the turn of the era—when Afro-Eurasia was united in a very intense network of relations, exchanging merchandise, ideas, and many other things (including viruses). I have been trying to find out things about this brilliant author since.

I am a professional historian who came to the Indian world years ago through studies of epic, mythology, and gender. When I read the Mahabharata, I was surprised that its internal coherence was not apparent. I connected with authors such as Alf Hiltebeite, who saw things in the same way. By then, I found evidence that its author used different materials, including Greco-Roman. And that his work was set at the time—around the turn of the era—when Afro-Eurasia was united in a very intense network of relations, exchanging merchandise, ideas, and many other things (including viruses). I have been trying to find out things about this brilliant author since.

I am a professional historian who came to the Indian world years ago through studies of epic, mythology, and gender. When I read the Mahabharata, I was surprised that its internal coherence was not apparent. I connected with authors such as Alf Hiltebeite, who saw things in the same way. By then, I found evidence that its author used different materials, including Greco-Roman. And that his work was set at the time—around the turn of the era—when Afro-Eurasia was united in a very intense network of relations, exchanging merchandise, ideas, and many other things (including viruses). I have been trying to find out things about this brilliant author since.

I am a professional historian who came to the Indian world years ago through studies of epic, mythology, and gender. When I read the Mahabharata, I was surprised that its internal coherence was not apparent. I connected with authors such as Alf Hiltebeite, who saw things in the same way. By then, I found evidence that its author used different materials, including Greco-Roman. And that his work was set at the time—around the turn of the era—when Afro-Eurasia was united in a very intense network of relations, exchanging merchandise, ideas, and many other things (including viruses). I have been trying to find out things about this brilliant author since.

I am an art historian and have been engaged with India for over 40 years. Among other topics, I write about the Rajput courts in Rajasthan – especially Jaipur and Jodhpur – and about the Mughal cities of Delhi and Agra. I taught courses on these subjects at the University of London (at SOAS) in the 1990s. Since 2004 I have been living in India, where I work with museum trusts and with travel companies. Before the pandemic, I lectured regularly to tour groups visiting sites like the Taj Mahal, my aim being to bring the insights provided by expert research to a wider audience. 

As an Indian writer of contemporary fiction revolving around family, relationships, emotions, and hope, I am constantly on the lookout for similar novels to take inspiration from them and learn how to build beautiful, well-etched characters and portray heart-wrenching emotions. I love books that make me cry as they give me a fulfillment like nothing else. I love characters that are likable and make me feel a strong connection with them. And I like to write similar characters in my books as well. The readers of my novel The Fragile Thread of Hope have corroborated the same. I live in Gangtok, a hill station in northeast India.

I have had an affinity for nature since my childhood, but I did not train as an ecologist. An increasing concern about the environment, and the people more adversely affected by ecological degradation, made me switch careers early. I have worked on issues around conservation, land and forest rights of indigenous communities, and on the importance of nature in cities. Today I am an educator with a responsibility to communicate not only about environmental issues, but why it is a priority for communities in India. I am proud to be a part of the community of women writers on the environment in India whose voices and experiences need to be heard.

I've been studying yoga in various forms since my first trip to India in the 1990s. I began as a curious tourist, attending the world's biggest human gathering (the Kumbh Mela). After working as a foreign correspondent—initially for Reuters then The New York Times—I returned to university, earning a master's degree in Traditions of Yoga and Meditation. I've since taught courses at the Oxford Centre for Hindu Studies, on yoga teacher trainings, and via my website. The Truth of Yoga is the book I wish I'd found when I started exploring.

I want to make the world a better place. After many failed attempts to achieve this goal, I realized that I didn’t understand the world well enough to make a positive impact. Serendipitously, I started working with Farnam Street, a company that is dedicated to mastering the best of what other people have figured out. One of our most significant projects is The Great Mental Models book series, which consists of four volumes of fundamentals about the world. Learning and using the models to co-write this book series is how I found all the books on this list. I plan to give a set to each of my children to give them a jump start on living effectively. 

I started writing fiction and writing about fiction at about the same time. My novels and stories tend to be about solitary characters pulled into the maelstrom that is contemporary Indian urban life and trying to make sense of it. I’ve always believed that to be an effective observer of your society you need to stay in tune with what your peers are doing and the last two decades in which I’ve been writing and publishing have been some of the most exciting for Indian fiction in general.