100 Books Like Nine Nights of Power

This is my favorite book on Indian/Hindu goddesses. Even after all these years, I believe it to be the erudite and accessible book that portrays the complexity of goddesses and their relationships with devotees. Each time I re-read the book, I glean additional insights into India, Hinduism, and the ways that the sacred feminine shapes the lives of people in the Northeast region of India. 

This book served as my entry point to Indian goddess traditions. It examines a millennia-old tradition alongside the modern concept of feminism. What emerges is a nuanced and complicated set of essays that challenges my understanding of goddesses and their relation to women and men. At the end of the day, I walk away with a greater appreciation for both goddesses and feminism.

This book takes an interesting approach to regional goddesses in India by looking at the seeds of their cults and how they grow and flower into powerful traditions in lived and literary traditions. I particularly love this approach because it not only spans the different regions of India, but it also spans the scope of time connecting ancient and medieval traditions with pan-Indian and local understandings of the goddess. 

This book is not only a deep scholarly engagement with the world of art collection and Hindu goddesses, but it also reads like a mystery novel. Kaimal took me on a journey from India, the home of the images/works of art under discussion, through their disparate journeys in the shadowy world of international art collecting and sales. It made me understand how the modern museum is stocked with images taken from active sites of religious practice. 

I absolutely adore stories where a seemingly innocuous vacation turns on its heels into a gripping, out-of-this-world adventure. And this book is exactly that! When Ash (Ashoka) Mistry, an Indian mythology geek who lives in England, visits his aunt and uncle in Varanasi, the holy city of the Ganges in India, strange occurrences begin to happen, and Ash discovers that heroes and monsters of Indian myths have come back to life. Top that up with one character wanting to bring back Ravana, the demon king with ten heads and the ultimate essence of evil, and you have an adventure that’s got you at the edge of your seat!

Bhog’s Sehgal saga takes you to the world of India’s mega-rich. Kabier Sehgal returns to India to take over the running of Sehgal Systems from his grandfather, Janak Sehgal. Janak is a loveable grandfather figure, who keeps a close eye on his grandchildren and is a mentor to many of their friends too. Keya Karia is one of the trio known as Janak’s Angels, the other being Sheena Sehgal and Raashi Dewan. In this enemy-to-lover romance, Kabier suspects Keya of selling company secrets, but their instant chemistry plays havoc with their lives. As Sheena’s wedding nears, they admit their feelings. Bhog’s books take you to the world of found families and the joy of lifelong friendships and to the world of crazy rich South Asians.

Set in South India in the 1950s, this is a story of Meera, Manuel, and Shankar—three conflicted souls, each with secrets that can destroy the other. It is a beautiful novel showing how one can become a prisoner of one's secrets and live compromised lives. The descriptions are so hauntingly vivid that they will remain etched in my mind forever. I loved the narration and the poetic language, and the bittersweet ending was like icing on the cake.

Although I contributed to this volume, I am recommending it not because of that but because it has a couple of excellent chapters on Gandhi. Best known is Shahid Amin’s, "Gandhi as Mahatma: Gorakhpur District, Eastern UP, 1921-2". In this, he examines Gandhi’s fleeting visit in February 1921 to Gorakhpur District, a largely rural area close to the border with Nepal – showing how this visit was understood by the local peasantry. Many tales circulated, many of which involved the idea that Gandhi had the power of rewarding those who accepted his message and punishing those who did not in supernatural ways. The chapter provides a superb analysis of the ways in which his message was filtered and changed in ways that Gandhi himself not only had no part in, but which he – when brought to his notice – repudiated. The chapter by Partha Chatterjee, "Gandhi and the Critique… show more.

Reading Guha was an eye-opening experience for me for at least two reasons. One, he was the founding figure of subaltern historiography; and two, abandoning the colonial knowledge project, he introduced a whole new horizon of South Asian studies to his readers. First by acknowledging and then by understanding the consciousness and politics of the colonial marginal, Guha explored peasant insurgency in a new light.

In his battle against colonialist and nationalist historiographies, Guha also distanced himself from his Marxist colleagues in history. 

During my student days in the early 1970s, I travelled throughout North India by train and country bus, often staying in the countryside in former colonial rest houses from days of British rule in India. I tried to imagine what it was like for the British East India Company officials before 1857, and then for the British colonial officials who replaced the company officers after the Indian Sepoy Mutiny. The Siege of Krishnapur vividly recreates the 1857 mutiny from the perspective of British company officials and their families trapped by the local soldiers they had employed. 

Farrell used a diary and letters from those besieged in the real city of Lucknow to illustrate the horrors of hunger, impending rape, torture, and eventual death that many of the British faced. The scenes are graphic, and the portrayals of the relationships among those trapped have stayed with me for years. The novel… show more.