Here are 100 books that The Calcutta Chromosome fans have personally recommended if you like
The Calcutta Chromosome.
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I'm a writer for kids and YA based in Pune, India and it’s been my passion to read books for this age group, from the time I was that age. Unfortunately, when I borrowed books from my library as a boy, so many kids and YA books were either not at all “story like” (moralistic or preachy) or we had to read books from abroad. Fortunately, Indian kids and YA literature has blossomed and provided us many excellent writers, some of whom are now household names. I interviewed some of them for my podcast on books Literary Gupshup. It's my desire to make readers outside India more aware of the wonderful kids’ books in India.
As a child, I loved—and still love—reading the stories of Sherlock Holmes, Agatha Christie, and the Hardy Boys.
But my favorite was Feluda, a series of mystery stories or novellas created by ace filmmaker Satyajit Ray.
Ray’s Feluda stories revolve around a fictional detective called Feluda, who travels across India’s vibrant landscapes, from the caves of Ajanta Ellora in the west, to Jaipur in the north, to Chennai in the south, to many more, and outside India too.
Ray’s detective stories are well rooted in Indian culture, very clean, and virtually without any “Adult” content, and only a bit of violence but make for interesting and gripping reading despite it.
Written originally in Bengali language, it is translated very well. It is eminently suitable for readers of all age groups.
This omnibus edition features the ever-popular adventures of Satyajit Ray's enduring creation, the professional sleuth Pradosh C. Mitter (Feluda). In his escapades, Feluda is accompanied by his cousin Topshe and the bumbling crime writer Lalmohan Ganguly (Jatayu). From Jaisalmer to Simla, from the Ellora Caves to Varanasi, the trio traverse fascinating locales to unravel one devious crime after another.
I'm a writer and journalist with an eye on South and Southeast Asia. I first visited Kolkata, or Calcutta as the city was known back then, in 1995 and fell in love with its spirit, culture, architecture, politics, and decrepitude. I have been back regularly reporting on the city’s cultural life for media like CNN and Nikkei Asia. In 2019, I was selected as artist-in-residence for the Indo-European Art Residency by the Goethe Institute and spent 10 weeks writing a crime fiction set in the Bengali capital. Kolkata is, hands down, my favorite city in the world – despite its poverty, systemic injustice, and political cruelty, there is an energy in the place that is hard to beat.
A cracking, thorough portrait of contemporary Kolkata as the Bengali capital is now known, by an Indian author who grew up in New Jersey (very much the flipside to Calcutta) and who returns to the city of his ancestors to work for a newspaper. The book is well-written, crammed with interesting anecdotes and historic trivia. Past and present are held against the light and the results are often funny. It’s as good as a book by a privileged outsider who speaks the language is likely to be. Perhaps in another decade, a non-fiction chronicle will be written by a resident non-Brahmin writer. I have a feeling the city is waiting for it. In the meantime, Choudhury’s book serves as an excellent introduction to first-time visitors.
'Witty, polished, honest and insightful, The Epic City is likely to become for Calcutta what Suketu Mehta's classic Maximum City is for Mumbai' William Dalrymple, Observer
When Kushanava Choudhury arrived in New Jersey at the age of twelve, he had already migrated halfway around the world four times.
After graduating from Princeton, he moved back to Calcutta, the city which his immigrant parents had abandoned. Taking a job at a newspaper, he found the streets of his childhood unchanged. Shouting hawkers still overran the footpaths, fish sellers squatted on bazaar floors; and politics still meant barricades and bus burnings.
The…
I'm a writer and journalist with an eye on South and Southeast Asia. I first visited Kolkata, or Calcutta as the city was known back then, in 1995 and fell in love with its spirit, culture, architecture, politics, and decrepitude. I have been back regularly reporting on the city’s cultural life for media like CNN and Nikkei Asia. In 2019, I was selected as artist-in-residence for the Indo-European Art Residency by the Goethe Institute and spent 10 weeks writing a crime fiction set in the Bengali capital. Kolkata is, hands down, my favorite city in the world – despite its poverty, systemic injustice, and political cruelty, there is an energy in the place that is hard to beat.
Another nonfiction similar in scope and outlook to Kushanava Choudhury’s The Epic City, this title dispenses with the personal narrative and offers a highly structured rundown of the main attractions/points of history/social and cultural issues, etc of the Bengali capital. Not quite a guidebook, Calcutta offers short texts on particular aspects of life in the city, then and now. Well written, the book suffers from the same issue as all other recent books on Kolkata – the British get away with way too much and the post-independence period is seen through the eyes of Calcutta’s privileged elite. That said, this title does well at dissecting cultural currents, and the section on artistic Kolkata is especially rewarding. A great, practical introduction for the first-time visitor.
I'm a writer and journalist with an eye on South and Southeast Asia. I first visited Kolkata, or Calcutta as the city was known back then, in 1995 and fell in love with its spirit, culture, architecture, politics, and decrepitude. I have been back regularly reporting on the city’s cultural life for media like CNN and Nikkei Asia. In 2019, I was selected as artist-in-residence for the Indo-European Art Residency by the Goethe Institute and spent 10 weeks writing a crime fiction set in the Bengali capital. Kolkata is, hands down, my favorite city in the world – despite its poverty, systemic injustice, and political cruelty, there is an energy in the place that is hard to beat.
The Middleman was first published in 1973. The book recounts the story of Somnath, a young poet who is unemployed despite being middle-class and well-qualified. Frustrated by a fruitless search for a job and expected to become something by his family, Somnath becomes a middleman, a corrupt businessman, and a pimp. His dreams as well as his morality are crushed by the harsh rules of survival in Kolkata. Grim, relentless, and uncompromising, The Middleman discusses India’s too-much-of-everything and in some ways remains as pertinent to life in Indian metros today as it was then.
Unable to find a job despite his qualifications, Somnath decides to go into the order - supply business as a middleman. His ambition drives him to prostitute an innocent girl for a contract that will secure the future of Somnath Enterprises. As Somnath grows from an idealistic young man into a corrupt businessman, the novel becomes a terrifying portrait of the price the city extracts from its youth. Sankar's The Middleman is the moving story of a man torn between who he is and what he wants to be. Stark and disquieting, the novel deftly exposes the decaying values and…
About thirty years ago, I spent three months on an Indo-American Fellowship in Varanasi taking notes on daily life in this holy city where my novel Sister India is set. That winter felt like a separate life within my life, a bonus. Because all there was so new to me, and it was unmediated by cars, television, or computers, I felt while I was there so much more in touch with the physical world, what in any given moment I could see, hear, smell…. It was the way I had felt as a child, knowing close-up particular trees and shrubs, the pattern of cracks in a sidewalk.
Days and Nights in Calcutta is a fascinating dual view of the same time and place by a husband and wife, both highly esteemed writers. The couple has returned to her family home in the famously complex and crowded Indian city and this is the account-in-two-voices of their year there. His feels full of wonder and surprise; it has a sunlit quality. Hers feels full of intensity and concern; it is tightly wrought. The book shows me not just India, a place I love to see and feel, but the importance of everyone’s story and view.
I love mythological creatures! I grew up gravitating toward fantasy books but because I have a narcissistic parent, I got teased for reading them. To avoid the teasing, I ended up reading a lot of mythology because that was a “safe” fantasy option; reading mythology was “educational” rather than “silly.” When I got older, I discovered that there’s a whole category of fantasy books that retell myths from alternative points of view. This subgenre opened new doors of understanding and empathy for me. Reading old stories from new perspectives opens my eyes to a myriad of different types of people and broadens my view of the world. And I’ve been reading them ever since.
In Kolkata, India, a college professor agrees to transcribe a stranger’s collection of notebooks, old parchments, and scribbles on human skins.
Through his translations, the reader learns about a race of werewolf-like creatures that eat humans and absorb their memories and souls in the process. One such creature, Fenrir, fathers a child by a human woman out of a desire to create life instead of destroying it.
This book contains a lot of violence but through the eyes of the shapeshifters, the reader gets a sharp look at gender fluidity and relationships between sexes. What I remember most from the book is Fenrir’s point of view being both unnerving and thought-provoking. He’s devoured the knowledge of many humans yet he can’t differentiate between love and hate.
The cold day never ends. With nothing but time on his hands, Jake was on a simple drive to visit his brother until he was attacked by a strange convict. Now, he doubts his sanity at every turn as he finds himself decades off course and caged in, with an ancient American evil.
I'm a writer for kids and YA based in Pune, India and it’s been my passion to read books for this age group, from the time I was that age. Unfortunately, when I borrowed books from my library as a boy, so many kids and YA books were either not at all “story like” (moralistic or preachy) or we had to read books from abroad. Fortunately, Indian kids and YA literature has blossomed and provided us many excellent writers, some of whom are now household names. I interviewed some of them for my podcast on books Literary Gupshup. It's my desire to make readers outside India more aware of the wonderful kids’ books in India.
Just a Train Ride Awayis a wonderful, simply written book, a very quick and profound read, and it carries a lot of lucid and clear language.
Kids and adults alike will enjoy the book.
The plot is full of deep insights and comments on Indian society. The plot is straightforward: A boy, Santosh, travels by train, from Mumbai to Kolkata to meet his father.
What happens on the way, and conversations he has, leaves an indelible impression on him.
"Two tickets to ride!" Most people get only one life.... and on only one coast. This book is an overview of an era 1948-2020 of cultural shifts and expectations for "girls". At seventeen I left my family and NYC for college, a commune, and then art school on the West coast.Visual artist, woman, mother, and descendant, Joan describes the lifetime challenges that she has met with creativity, humor, and resilience. Two NW cities, two marriages, and two sons born 23 years apart inspire many of her stories.
Rummer Godden’s autobiography A Time to Dance, No Time to Weep offers the stories, context, and sense of place for many of her novels. I so enjoyed her ability to write like a bright child thinks about the world, as well as how she is feeling. It is laugh-out-loud funny in spots, despite describing the dislocation of war.
I grew up in a large family that initially didn’t include my mother or father. My mother made the sacrifice of leaving our island of Trinidad to make a home for us in Canada. She was separated from us for years while my grandparents raised me and my brothers. I think that type of upbringing triggered my curiosity about what a family can be. When I became a father at 18, the question of what kind of family I would build became the central theme of my life. It still is today, which is why stories that revolve around family are so captivating for me.
The mother. The mother, the mother, the mother. I just couldn’t get over the decisions the mother made in this story. They were right for her but completely wrong at the same time.
Even thinking back on this novel now, I feel so conflicted. Like, do I even like this character? But that’s the thing, isn’t it? You get so caught up in a novel and feel like it’s somehow a reflection of your personal life and values.
To be completely honest, so much of this novel mimicked what I was going through in my real life. It resonated in ways I can’t even explain.
SHORTLISTED FOR THE MAN BOOKER PRIZE 2013.
From Subhash's earliest memories, at every point, his brother was there. In the suburban streets of Calcutta where they wandered before dusk and in the hyacinth-strewn ponds where they played for hours on end, Udayan was always in his older brother's sight.
So close in age, they were inseparable in childhood and yet, as the years pass - as U.S tanks roll into Vietnam and riots sweep across India - their brotherly bond can do nothing to forestall the tragedy that will upend their lives. Udayan - charismatic and impulsive - finds himself…
My mom was an anthropologist, and when I was two, she took me to Sri Lanka, the island off the tip of India. After years of insisting that I wanted nothing to do with any social science, let alone anthropology, I ended up in graduate school studying… anthropology. Long story. Having taken up the family mantel, I returned to the village where I lived as a child and asked what had changed in the intervening years. Since then, my Sri Lankan interlocutors have suggested book topics that include labor migration, the use and abuse of alcohol, the aftermath of the Indian Ocean Tsunami, and the challenges of aging.
This ethnographic work delves into the lives of elders in Calcutta, India, including those who age in place with family nearby, those whose children have migrated abroad, and those who follow their family members to the US. I particularly love the way the author roots the work in traditional South Asian concepts of age and family relationships while dealing simultaneously with social changes such as India’s urbanization and economic liberalization, the out-migration of skilled tech workers, and the introduction of old folks’ homes in urban areas. The sensitive portrayal of life histories made me both laugh and cry.
The proliferation of old age homes and increasing numbers of elderly living alone are startling new phenomena in India. These trends are related to extensive overseas migration and the transnational dispersal of families. In this moving and insightful account, Sarah Lamb shows that older persons are innovative agents in the processes of social-cultural change. Lamb's study probes debates and cultural assumptions in both India and the United States regarding how best to age; the proper social-moral relationship among individuals, genders, families, the market, and the state; and ways of finding meaning in the human life course.
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