Uzma Jalaluddin’s ‘Hana Khan Carries On’ is a mindful peek into the triumphs and tribulations of a second-generation immigrant.

‘The House in the Cerulean Sea’ is a rare novel that anyone from nine to ninety (and beyond) can enjoy.

Qian Julie Wang’s memoir ‘Beautiful Country’ is all that a girl’s childhood should not be.

The Blind Matriarch’ by Namita Gokhale captures a picture of middle-class life battling the pandemic.

Marjan Kamali’s ‘The Stationery Shop’ doesn’t offer anything innovative yet it is comforting, soothing, and welcoming, like a warm embrace.

From femininity to motherhood, Mieko Kawakami’s latest novel Breasts and Eggs is an intense, personal story about the phases of a woman’s life.

Neel Patel's If You See Me, Don't Say Hi is uncomfortable in its honesty and vulnerability, and thus relatable in its plethora of everyday agonies.

Have you ever been so angry with all the gendered injustices that you wanted to note down every aberration in a saga? Cho Nam-Joo has somehow managed to do this.

In Frances Cha’s If I Had Your Face the truths of the country are revealed thick and fast, and reiterated through characters and tropes.

The new Dorota Maslowska novel is a ruthless critique and clever parody of the world within and around us.

In searing, malleable prose that forms the strength of the novel, Tayari Jones’s An American Marriage presents the complexities, dissolution and fragility of relationships.

Nadeem Zaman’s stories have relatable portrayals of Bangladesh here and there, but they do not bring out the true essence of a people and its culture.

Despite its promises, Jaipur Journals is a sad and lonely work, layered with contempt and spite.

Keshava Guha’s debut novel, Accidental Magic, attempts to delve into the murky ground between the virtual and the real, literary and literal, the mind in solitude and its transformation within a clique.

‘The Tattooist of Auschwitz’ tells a story of love, in the most dire circumstance, but betrays history in doing so.