Murli Melwani

Author of

Murli bio pic
1. Ladders Against the Sky. Stories. Kaziranga Books. 2017

2.Themes in the Indian Short Story in English:An Historical and a Critical Survey.Prakash Book Depot. 2008

3.The Indian Short Story in English, 1835 -2008 E-book

       4.Stories of a Salesman. Writers Workshop, Calcutta. 1st Edition 1967. 2nd Ed 1979

      5.Deep Roots. A Play in Three Acts. Writers Workshop, Calcutta. 1970.

6.Themes in Indo-Anglian Literature. Prakash Book Depot. 1977


Murli Melwani’s recent short stories have been published in magazines in various countries, including U.S.A. He is a two-time nominee for the Pushcart Prize, in 2012 and 2013. One of his stories made the list of “storySouth Million Writers Award notable stories of 2012.”  Another was nominated for “Best of the Net 2013” prize run by Sundress Publications, USA.  A large number of his stories have found their way into anthologies. A manuscript of short stories, “Water on a Hot Plate: Stories” was shortlisted for the Flann O’Brien Award 2014. No wonder some of his friends call him, “the almost there man.”  He is the editor of a website he recently established containing reviews of Indian Short Stories Written in English.




Review by Mitra Phukan

Indian Writing in English from India’s North-East has come a long way in the past several years. It is now recognized to be a category in itself, bringing a freshness and a vibrancy that’s almost a marker.

Murli Melwani is definitely a writer who can be classified as being from India’s North-East, even though it has been decades since he has lived here. One of the earliest authors of this category, his life and writings have ranged far and wide. From Shillong, where he grew up, through many countries in the Eastern and Western hemispheres, Melwani and lived in and travelled through them all. All the while, he has observed, and created stories that reflect these milieus, refracted through the prism of his unique individuality. He has been writing for decades now, and has been published in prestigious journals worldwide.

Ladders Against the Sky, published by Kaziranga Books, is a collection of 23 stories, the genre for which he’s best known, and in which he excels. With a Foreword by Victor Banerjee, these stories are people by individuals whose actions, as they propel the action forward, make for engrossing reading. Backgrounded against diverse locales, from India’s North-East to the country’s metros to Hong Kong, Bangkok, Taiwan, the U.S., Canada and many other places, these pacy stories with diverse themes make very engrossing reading.

About half the stories in the collection centre around the Sindhis, a community of which the writer is a member. This is a community which today, after Partition, does not have a homeland. Sindhis now exist as a diaspora. Melwani’s stories, besides being excellent in their own right, are also important as a documentation of the lives of Sindhis. This includes the way arranged marriages are organized with families living in different countries and continents. They also give an insider’s view of this enterprising business community, the networks they have, often with humour. Since very little fiction has been written about this community in English, this book is also important in this regard.

The narrative in these stories is backed by the author’s moral compass which sometimes follows people using unethical practices, in business and otherwise, to their inevitable doom. Others depict a clash between civilizations, played out in the domestic sphere. The Sindhis’ preoccupation with business is balanced with the depiction of the extraordinary levels of hard work they put in, as they move from almost rags to unimaginable riches. In a way, this mirrors the history of the displaced community as well.

It is notable that the cover, beautifully designed with understanding and subtlety, by Aditi Phukan, has already won praise worldwide.

Ladders against the Sky is a wonderful collection of short stories from a master story-teller, remarkable both for their interest as sociological documents and also as interesting explorations of character, with diverse themes. Please scroll to the right and click on the Feature “Bookshelf”

Mitra Phukan is a writer, translator, columnist and classical vocalist who lives in Guwahati, Assam. Her published literary works include four children’s books, a biography, two novels, “The Collector’s Wife” and “A Monsoon of Music”, and a collection of fifty of her columns, “Guwahati Gaze”.

An Engrossing Collection of Short Stories

Review by Maina Saikia
When we look at the Brahmaputra river we see not only its beautiful surface but also become aware of the undercurrent. This is the comparison my mind made when I read Murli Melwani’ s collection of short stories. On the surface Murli Melwani’ s stories hold our attention because of the series of events, the strokes delineating character, the touches of description and the dialogue. The undercurrent is formed by the social concerns, political issues, the contrast of traditions and the ethos of the setting, all of which are suggested rather than stated.

Stories like “Gift for the Goddess” and “The Divine Light,” set in Rajasthan, bring out the clash between traditional thinking and the scientific temper of the space age. “Shiva’s Winds” and “Teesta Holiday,” embedded in the rugged beauty of the Rothang Pass and the North Bengal Hills respectively, pit the forces of nature against the indomitable human spirit. “The Village with Gandhi’s Statue,” with the background of the tobacco growing areas of Andhra Pradesh, exposes the moral heartlessness of the influential.

It’s understandable that a large number of stories should be set in the North East since the author grew up and was educated in Shillong. “The Guerilla’s Daughter” is a story about the insurgency in Nagaland and the syncretic nature of religion. The picturesque beauty of Shillong and the Khasi Hills is an apt backdrop for some of the stories. “Sunday on a Green Lawn” is a touching love story. “Those Season of Contentment,” is about the growing up and the heartbreak of loss. “Requital” records how irony plays out in life. “The Shrine” presents a Khasi folktale as a re-mix (the current fashion in music and the arts).

Humor and satire move the narrative forward in in some of the stories. Good examples are “Hawana of the East,” which records the relaxed manner in which officialdom functions in the remote border areas, and “The Bhorwani Marriage,” which focuses on the maneuvering that takes place when expatriates fly into India to find partners for their children.

“Sunday with Mary,” set in urban Mumbai, is a picture of the sort of life led by expatriates who return to India.
There is a group of stories about Indians, particularly Sindhis, who have decided to settle overseas. The backgrounds of these stories extend from Chile to Thailand and a few countries in between. “Water on a Hot Plate” shows an NRI and an Indian-Chinese restaurateur sharing their memories of India. “The Head of a Chicken,” moving between Hong Kong and Taiwan, is the story of an unscrupulous businessman who will do anything to further his ends. “Writing a Fairy Tale” tells of the attraction between and an Indian exporter and a beautiful women trapped in an unhappy marriage with the exporter’s client. A hostess in a Thai bar, in “A Bar Girl”, helps an elderly businessman to restore his severed links with his family. “Hong Kong, Here I Come” and “The Mexican Girlfriend” are portraits of two insensitive individuals who destroy themselves and their families by their actions.

The variety of backgrounds and strong characterization form the two banks through which this mini brahmaputra of stories runs. Most of these stories were first published in journals and anthologies in the U.S., U.K., India and Hong Kong. Some of them were nominated for a number of awards.

The Foreword, by Victor Banerjee, a distinguished son of the North East, is highly perceptive. Mention must be made of designer Aditi Phukan’s unusual, eye-catching and pleasing layout.

I highly recommend Ladders Against the Sky by Murli Melwani.

Link to the review:

Uprooted from Home, Flourishing Worldwide

Review by Saaz Aggarwal

I picked up this book and started reading it as reference material for a research paper on the global Sindhi diaspora. The author is a global Sindhi businessman and I knew, in a patronising sort of way, that I was surely going to learn something interesting. Halfway through the fourth story, when I had to get something else done and it was a wrench to put the book down, I realised that I was in fact reading entranced.

These were splendid stories: good plots, lifelike characters, beautifully laid out in clean, distinctive language. What made them even more fascinating was that each one is set in a different, exotic location.

Murli Melwani is an inveterate traveller and this collection, as the jacket describes it, is a “gift of his travels”. 15 of the 23 stories are set in different parts of India and in them we encounter separatist movements, landslides, cramped urban spaces, insights into different aspects of religious devotion and various other complex situations in unexpected locales.

Murli grew up in Shillong. Between school and college, he travelled a lot and visited different parts of India. Later he worked in the English Department at Sankerdev College, then took up a Coca Cola distributorship and for a while ran a bookstore. In time, he moved to work in Taiwan and his job took him to countries around the world, doing something many Sindhis do.

A little more than half the book features this diaspora, families which originated in Sindh and now live and do business in countries around the world. “Water on a Hot Plate” is set in Toronto. Hari and Rajni are visiting their son there and in this story, they meet an Indian Chinese lady who runs a restaurant there. They converse with her in Mandarin – from their several years in Taiwan; of course they speak to her in Hindi and English too. From the Bollywood music playing in the background, Hari can tell that the India she belonged to was not the India he had left. Resh, their lunch guest, is visiting from Curacao. She speaks Dutch and English and even idiomatic Papiamentu – a Portuguese and Spanish-based Creole language – but not Sindhi.

“Writing a Fairy Tale” is a gripping love story in which we somehow journey into the rainforests of eco-versatile Chile – and also, unexpectedly, encounter the Arabic aspects of the country too. “The Mexican Girlfriend” is also a love story, and though set in a home by a lake where migratory birds flock – a real place – also a subtle metaphor – has more sinister than exotic twists.

Followed by “The Bhorwani Marriage,” a high-energy satire of Sindhi weddings, including an expose of the business opportunities offered by matchmaking in the diaspora, it appears that Sindhis don’t really do romance. Family comes overwhelmingly first; business and profits are a priority; living comfort is never going to be sacrificed for a lover.
It’s not that everyone in the community is money -minded. This book takes us beyond that stereotype, with businessmen who are polite, mature and love to read. And the skilled portrayals of many different kinds of relationships reveal the author to be an exceptionally subtle and discerning person himself. Even the businessman in “Shiva with a Garland,” lonely in his marriage, “had grown sensitive and become aware of many things. He had come to understand the right and wrong of things and the meaning and worth of happiness.”

Still, Murli is not just an observer of humans and their situation, not just a weaver of tales. He is a skilled businessman too and his stories give us practical never-fail tips on selling, exposure to business cycles, and the understanding that large investments, even the most obvious, could turn out to be ruinous. There are young employers who clone themselves, swiftly learning the trade and soon enough snatching it out from under their employer’s feet to set up as competitors. Some families have members living in other countries: the father ships out goods from a manufacturing location while the sons sell in other parts of the world, creating hugely profitable companies which run around the clock. So while Murli’s Master’s is in English Literature, this book tells all kinds of things he didn’t learn at IIM-A.

Saaz Aggarwal is the author “Sindh: Stories from a Vanished Homeland”,”Sindhworkis: A Unique Global Diaspora” and the forthcoming, ” The Amils.” She lives in Pune.
Link to the review:

Links to other reviews of the collection:


Themes in the Indian Short Story in English:An Historical and a Critical Survey


The Indian short story in English has produced abundant creative variety but limited critical appraisal. This book studies collections of short stories in this genre from 1835 to 2008 against changing social and political mores, recording how human nature reacts to as well as influences events.

The Short Story is more Expansive to the Nuances of a Multicultural, Diverse Nation.

Cover of ThemesReview by Dr. Suroopa Mukherjee
Murli Melwani’s Themes in the Indian Short Story in English is a historical overview of what he describes as the “step child of literature”, the Indian short story in English. As a genre short stories are neglected by both publishers and critics, though authors, including mainstream novelists have experimented with the form, mainly because of its brevity, and the free play it allows with themes, style and characterization. A short story can be philosophical, political, lyrical and subversive.

What Melwani suggests is striking; as a literary form it is especially suitable to deal with the wide range of Indian experiences, so that thematically it is more expansive and faithful to the nuances of a multicultural, diverse nation like India than the Indian novel in English.

At a time when the Indian novel in English is being noticed in the literary scenario, winning both awards and accolades, this seems a timely critical interjection. Melwani makes it very clear that he is not discussing individual stories, so that each chapter is period based and gives us brief pen portrait of authors and their works, ranging from established writers, to lesser known names, to those whom we discover for the first time.

To that extent there is nothing predictable in the choice of works and the way they have been placed in the historical, socio-political context. The analysis never palls because each author, and the list is comprehensive and wide ranging, is accompanied by sharp, insightful comments on different aspects of writing and reading. Normally this sort of capsule presentation of a particular period, covering a decade, can give a sense of sampling rather than providing an in-depth literary analysis; it is to Melwani’s credit that he is both astute and incisive in his commentary, however brief they might be.

murlimelwani_3d2At times why he includes a writer can be a trifle whimsical, but his individual author analysis is rarely sketchy. Thus we get an interesting analysis of why Melwani feels Ruth Pawar Jhabvala is a better short story writer than a novelist. Sometimes he provides startling juxtapositions such as Jhabvala’s use of satire as compared to Kushwant Singh’s satirical writing. We also get to know about Keki Daruwala’s short stories, a lesser known aspect of the poet. The space that is given to authors can vary. So Anita Desai gets as much space as Hamdi Bey or Jug Suraiya. Some authors are barely mentioned in a catalogue style, which can be frustrating and can take away from the flow of the argument.

At times one gets the sense that key themes such as the politics of Indian writing in English is given too little space, though here again the analysis is sharp and insightful. Melwani’s contention is that the question of Indian writing in English is asked 2 decades later, so that when Ruskin Bond and Bunny Rueben are writing short stories in English the question of authenticity is no longer a key issue.

However it is in the postmodern tales that Melwani becomes a little too predictable, and one begins to feel the absence of a more contemporary treatment of modern literature in relation to complex times. Many a time the analysis becomes too cursory, almost superficial, and the book ends up endorsing what it had claimed to challenge.

In the final analysis it would seem that the step motherly treatment given to short stories is   key writers, mostly novelists and poets, merely experiment with short stories so that it remains a side activity. A pity that a neglected literary form with enormous potential, which Melwani suggests in a way that is often tantalizing and intriguing, can only arouse lukewarm interest in the reader. The portrait gallery suggests mediocrity rather than real genius. This aspect has been brought into the argument but only with reference to individual writing rather than as a matter of critical contention. However Melwani successfully draws our attention to works that are less known, and to authors whom we tend to neglect. I for one would be tempted to pick up the works of Attia Hosain and Padma Hejmadi.

Reviewed by Dr Suroopa Mukherjee,  in World Literature Today, Oklahoma, Sept-Oct 2008 issue


“All things considered, then, the chief attraction of Melwani’s work remains the portfolio of writers and their short stories that his collection complies. This aspect of the collection is both wide-ranging and painstaking, bringing to notice, among others, several obscure, forgotten or little-known works. In the process, it does enough to spotlight the short story genre as an extant and expanding archive deserving serious research. Ultimately, it is for this, that his book win recommendation.

Where Melwani’s distinction is clearing a trail on a road less travelled in Indian literary studies, the challenge for Nation in Imagination is quite the opposite.

Review in Wasafiri,The Magazine of International Contemporary Writing, London, Vol 24. No 2, June 2009.

Links to other reviews—A-Survey&id=3746619




Stories of a Salesman

Stories of a Salesman 2nd Edition1979
2nd Edition 1979.

Summary:,( the inner blurb actually):

Tea is a Very Good Drink : a young man, disappointed in love, discovers the virtues of the cup that cheers, in an ironical, touching cameo.  The Electric Saw : U Sibmon Roy, pumpkin-faced tinpot saw owner, faces the truth that not only workers, but industrial machines, have personalities.  A Ghost comes to the somnolent hill town of H.  and starts a to-do that brings out all the dirty Linen in the open, in a sharp, drily satirical story.  All Our Yesterdays — And Tomorrows : the husband-wife-and -lover motif presented with extraordinary restraint and compelling pathos, Shiva with a Garland : a visit to a prostitute brings to the man memories that are suggested with a haunting tangential economy of effect.  Del Wilpo is A Remarkable Woman, “of reserved virtue, “ who provides a public utility service in the style of Mamie Strovert but with characteristic Indian touches.  Brother and Sister are street performers, resolving bitterness and tension in a posed photograph showing both holding hands.  In An Upset Stomach Seth Mangaldas dresses himself in a brief public authority to compensate his hen-peckedness.  The Shrine re-tells an Assamese legend of two lovers.  Those Two are mother and son, and son and seductress — and the point is : who will possess who? The Mask hides Mrs. Gian Chand’s private grief — but very briefly.  The Kite-Flying Season is also one of maternal heart-break.  Dark Diwali Night sketches a coal-miner’s dilemma.  At the Ghats of Varanasi an agnostic comes to grips with the meaning of life.  The Doctor’s Fees are paid, and no questions asked, in a story reminiscent of the theme of Measure for Measure.  Eight Rupees, received with thanks — in a story with a twist ending.  In A Boy and a dog, the Indian pariah is poignantly celebrated.


Murli Image (208)
1st edition 1967


Sharp Vignettes of the Daily Round of Average  People.

Review by William H. Archer

“ Murli Das Melwani is a young East Indian businessman who writes as a hobby. Well educated, he has edited a magazine. As he is by his own admission “ very much a bachelor”, he may be unusually well qualified to write about the intrigues of the marriage market of his country, which cannot be too different, beneath the surface, from our own. It is anyway a topic that is touched on in the Stories of a Salesman, which are not stories with complex plots so much as sketches after the manner of Lafacadio Hearn, sharp vignettes of the daily round of average East Indian people. Let us hope that this promising writer may resurrect his partly finished novel of Indian life from the ashes of the fire that destroyed the manuscript” – William H. Archer, Tennesse Weslyan College, in Books Abroad, July 1968 issue University of Oklahoma Press, Norman, Oklahoma.

Reviews also appeared in The Journal of Indian Writing in English, Thought, The Statesman, Hindusthan Times.



Deep Roots. A Play in Three Acts


The play portrays the dilemma of a young man educated in a missionary school, who cannot adjust to the family business outlook, symbolized by his father, or the licentious habits of young men of his class. It ends with a ritualistic, boozy, sarcastic mass “prayer”.Deep Roots


Alienation of Various Kinds

Review by Eunice D’Souza

DEEP ROOTS is a play about alienation of various kinds. Arvind, the hero has been to a missionary school, barely knows his own language or anything about Hinduism, and doesn’t agree with his father about arranged marriages. In addition he has had “no home life.” His father is the kind of Indian parent who feels that his duty begins and ends with making money for his family and providing it with material comforts. Consequently he has no time for Arvind as an individual with aspirations of his own. Arvind is repelled by him yet drawn by the “poetry” of traditional gestures such as touching one’s father’s feet, even though for him at least it is an empty gesture.

In other words, we have every reason to sympathize with Arvind’s predicament. And yet, somehow, we don’t. The reason is not that Melwani doesn’t really know the society he is talking about. The character of the father and his relationship to his writer son whose work he doesn’t read but hears about from others is recognizable as is Arvind’s situation — the educated son of a successful businessman who has planned his life for him.

But the knowledge is not really translated successfully into dramatic terms. The first fact shows us Arvind in the company of other sons of the nouveau riche for whom being sophisticated and Westernized means going to cabarets and clubs, drinking heavily and talking vulgarly about women. Their conversation proceeds as follows for eighteen pages:

(Enter Popsy from inner room, with two empty glasses …)

Ahmed: How’s the bitch? Cooperative?

Popsy: Hasn’t hotted up as yet. I say fill us up. Extra strong for her.

Popsy: The bitch was behaving like a bride (mimics her) ‘Oh don’t touch me’. ‘I get excited so quickly.’ … Shut up, I said. And my hand began its geophysical explorations.

The point of all this during the course of the scene, is to show that Arvind is alienated even from the Westernized section to which he supposedly belongs, But the young men depicted are the dregs of any society, Westernized or otherwise, and all one can say about them is that the more alienated one is from them the better. For dramatic purposes, they are just sitting ducks.

The problem re-occurs in the second act which is an extended conversation act which is an extended conversation between Arvind and his father. The father “big fat … with a fatness that suggests grossness” is another sitting duck. He says “I don’t understand” to virtually everything the son says and the moment he opens that conversation about the marriage he has arranged for Arvind, we know what is going to follows. The effect is that of recitation of a set piece, and the whole act has a remote, static and undramatic quality because the incidents from Arvind’s traumatic childhood and the subsequent ambivalence are recalled, talked about, analyzed rather than enacted in meaningful terms.

This reporting of events is one of the major flaws of the play. Arvind tells us in the third act that he married Neena, a Christian girl to spite his father. Ahmed tells us he married a lame girl for her dowry and a job as director in her father’s factory. But we would like to know more about these people who are mentioned in passing. What did the lame girl feel about the whole thing? Did she by any chance have the kind of personality to transform this sordid transaction into something more human?

In the end Arvind decides to go to England where he expects to “find himself.” But nothing in the play has prepared us to believe that he is going to find himself in England more than anywhere else. The end product for the reader is that he decides that Arvind is in the last analysis perhaps more adolescent than alienated. A precious, slightly pompous, often fatuous adolescent who can without batting an eyelid make statements like these:

“Speech was given to conceal thought; to the Indian it serves its primary purpose — to express though.”

We’re hardly surprised when his father doesn’t understand him. I’m not sure the reader will either. Which is a pity because it means that the playwright hasn’t quite achieved what he set out to do.

The review appeared in The Times of India, 6 December 1970.

Another reviewer’s comment

“The first act is brilliant, electrifying, theatrical. If ever there was a well-made one-act play, this is it…..It was surprising that the following two acts turned out to be completely without yeast.”

Paul Jacob in Enact,# 46, Oct 1970.

Other Reviews

In JS. Nov 14, 1970

By Subhas Chandra Saha in Thought, June 13, 1970

In Hindusthan Standard, Nov 8, 1970

By Ramen Majumdar in The Century, Nov 23, 1970


Themes in Indo Anglian Literature

Summary:Themes in indo Anglian Literature

A number of essays on trends in Indio Anglian literature, novels, short stories, drama, poetry and  literary criticism

Review:Intention to Arouse Interest in the Practical Problems facing the Indo Anglian Writer

By Dr. Amaresh Datta, Professor and Head of the Department of English, Gauhati University( as it known then)

Indo-Anglian literature, whatever be its status in the country of its origin in the present political context, has grown both in bulk and quality over the years.  This growth has been fostered by the attention paid to it by the western scholars and though much of this attention has been rather patronizing there has been, here and there, a genuine recognition of merit which speaks a lot about its intrinsic worth.  Here in India also we have now started giving Indo-Anglian literature, at least in the academic world, some kind of respectability by introducing it as a subject of study and examination at the university level, by holding seminars and symposia on its various aspects and also by allowing students to prepare and submit doctoral theses on it.  Scholarly books (which are not really very few in number) apart, studies of its socio-economic milieu, its political background, of its past, present and future have appeared and are still being written.  To all these Dr. Murli Das Melwani now adds a collection of his essays mainly on Indo-Anglian literature.  But it is gratifying to note that the interesting survey that these essays present is not a rehash of the usual stuff.  In fact this series of essays suggests a point of view that is as refreshing as it is helpful.  Dr. Melwani is not only a knowledgeable critic of the subject but also a practicing Indo-Anglian writer.  And the fact of his being one has helped him to see the problems of the Indo-Anglian writer with perspicacity and analyse the existing situation with understanding and insight.  On his own admission he is concerned with the practical aspects of criticism (he is prepared even to describe his criticism as journalistic) and his analysis and assessment have been, on the whole, penetrating and judicious, but he need not have been hard on what he calls ‘the luxury of academic criticism’.

Dr. Melwani regrets the absence of more pieces on Indo-Anglian poetry.  But despite the fact that this absence leaves the account incomplete, of which he is conscious, his study of the Indo-Anglian literary scene remains in a way straight and adequate.  For he has seen and discussed the problems which are fundamental to all the branches of Indo-Anglian literature.  The writing on Indo-Anglian poetry has been on the increase and on Indo-Anglian fiction quite appreciable in recent years.  Dr. Melwani has been wise in confining his attention to the Indo-Anglian drama, the short story and the newer writers.  I wish he had added an essay on the Indo-Anglian non-fictional prose – a region still to be explored.  But as it is, his study of the drama and the short story in particular should prove valuable and stimulating both to the general and specialized reader.  He has not only tried to be up to-date but has also commented very intelligently on the difficulties, short comings and achievement of the Indo-Anglian writers in these fields.  The serious students of Indo-Anglian literature may, however, be a little surprised at the exclusion of Sri Aurobindo’s dramatic efforts from the survey.  Whatever may have been the quality of his dramas, the fact that he wrote a few ought to have been at least mentioned.  Some critical observations on their merit or the lack of it would also have been welcome.  After all Sri Aurobindo was the only Indian writer to hold the view that the language of future poetry would be English.

It is ironical that Indo-Anglian literature which was looked upon as a hothouse plant when English was fully accepted and studied with passionate devotion, has now become the natural mode of creative expression for a section of the people.  It seems that polarization is not confined only to politics and that the search for linguistic identity is intensifying also in the sphere of culture.  Dr. Melwani mentions the groups including the transition-generation- who form this category.  But the real point is shat, in the existing situation, can be the inspiration behind Indo-Anglian literature.  Drama being more directly connected with the people the Indo-Anglian dramatist has to face the problem of communication with a greater sense of immediacy.  All experiments with the grafting of foreign techniques on the plays written in English on Indian theme or experience or with Indianization of western modes and methods are bound to prove artificial and therefore ineffective and Dr. Melwani has shown with a wealth of detailed evidence that it has been so in most such cases.  On the other hand it may be profitable to note that similar experiments in the regional languages have yielded better results and helped create an environment for the appreciation of the new drama.

The Indo-Anglian writer cannot perhaps afford to forget that what will ultimately alienate him is not the foreign medium of his literary expression but, his imitation of the foreign models, his superior exclusiveness, his snobbery and his dissociation from the various urges of the nascent national life.  Dr. Melwani shows, I think very convincingly in his essay on the Ceylon Literary Scene how some of these causes led.  Ceylonese writing in English to a dead end.  In a period of awakening among the people the writer should feel called upon to write on shared or at least sharable experience.  If the Indo-Anglian writer can keep the western reader out of his mind (in which case he might be more attractive to the discerning western critic) and does not distort or exaggerate the picture for commercial gains and easy applause, if he can come closer to the larger life of the nation and acquire a sense of belonging and participation and above all if he can resist the lure of undated universality he may still feel habilitated.  When Michael Madhusudan Dutt came back to his mother tongue to write his great epic after having failed to achieve any success as an Indo-Anglian poet his language was not even a selection of language actually spoken by men but he felt accepted and that feeling sustained him in his great and pioneering literary efforts.  The Indo-Anglian writer has to learn the art of being accepted.

Dr. Melwani’s collection also contains essays on the Ceylon literary scene, some book reviews and letters on controversial literary problems.  His critical vision is clear and writing competent and he knows very well what he is talking about.  His criticism of individual works may be sketchy and sometimes even casual but the overall impression is one of a systematic, factual and useful study of contemporary literary scenes.  If the author’s intention was to arouse serious interest in the practical problems particularly of the Indo-Anglian writer this intention has been considerably fulfilled by this collection.

The book was reviewed also by Prof E.M. Sohklet on All India Radio, Shillong on 29 Aug 1977. Also in The Hindusthan Times 3 July 1977, Deccan Herald, 27 Mar 1977 and in the July 77 issue of The Journal of Indian Writing in English


Links to Short Stories in the Public Domain

( not yet collected in book form as yet)

“Hawana of the East” was nominated for the  2012 Pushcart Prize 2012( It was a finalist in the 2012 Enizagam Literary Awards in Poetry and Fiction:

“Teesta Holiday” in the bi-annual Mount Hope Magazine published by Roger Williams University: Reprinted in BR International (Hong Kong).

Freezing Time appeared in Asiancha, Hong Kong ”“Freezing Time” made the storySouth Million Writers Award notable stories of 2012 list.

Freezing Time appeared as“Water on a Hot Plate” in Drunken Boat.(USA): with a voiceover (narration) by William Bruce McFadden  so that the story can be read and heard at the same time.

Also in Muse India: Reprinted in Kalfa International (India) and BR International (Hong Kong). Included  in New Asian Writing Anthology 2014. Shortlisted for the Flann O’Brien Award 2014.

Urban Reading is a site that welcomes a visitor to a city/town by providing a link to a short story relating to that place on his/her handheld device

“The Inner Light” in Marco Polo International Literary Magazine (USA) . Subsequently included in New Asian Writing Anthology 2013.

“The Bhorwani Marriage” has been anthologized in Stories from Asia: Major Writers from India, Pakistan and Bangladesh (Longman Imprint Books, U.K). Also translated into Italian and published in an anthology called RACCONTI dall’ INDIA. (Oscar Narrativa).It has been included in another anthology, Contemporary Indian English Stories (Sterling Publishers, New Delhi) that became a recommended text for schools in North India.

“The Guerrilla’s Daughter” in South Asian Review, Creative Writing Issue (South Asian Literary Association, Lexington, VA). It was reprinted in MuseIndia.

“The Mexican Girlfriend” in eFiction Magazine

“Writing a Fairy Tale” in Yuan Yang , A Journal of Hong Kong and International Writing(Published by Hong Kong University in the Centenary issue).

“Gift for the Goddess” in OutofPrint Magazine

“A Bar Girl” in Marco Polo Arts Magazine(USA)

 “Sunday with Mary” in Contemporary Literary Review of India. This story made the long list of nominations to the “ Best of the Net2013” prize run by Sundress Publications,USA

“Hong Kong, Here I Come” Writers Asylum:

“The Village with Gandhi’s Statuein Cigale Literary Magazine: l

“The Head of a Chicken” in Prick of the Spindle.Nominated for the Pushcart Prize 2013.

“Those Seasons of Contentment” in Open Road Review with a voiceover (narration) by William Bruce McFadden .

“Sunday with Mary” in Contemporary Literary Review of India. This story made the long list of nominations to the “ Best of the Net2013” prize run by Sundress Publications,USA

The Shrine”

Sunday on a Green Lawn

Waiting for Leander Paes, Sania Mirza or Somdev Devvarman:


Links to Articles

Articles in The Dallas Morning News

Report on Victor Banerjee meeting Bro Curran:

Similarities between Guru Purnima and Thanksgiving.

Remember Father and being a father at the same time.

Reprint of above

Tribute to my mother.

Tribute to my father.

Home remedies trumphed surgery when I had knee problems.–only-doesnt-cut-it.ece

Money and love. Is there anything else that defines man.

Indian innovate in the U.S; why don’t they do it in India?

Medical tourism.

Also medical tourism.

The Pain of Parting with Books

Shillong – A Nursery of Literary Culture

How my father overcame Calamity.

How Taiwan helped me Spiritually.

The Writer Reader Partnership.

I took 27 Years to Write My Book of Criticism

I can write Indonesian. Scroll down the page and see the name of the author

In praise of Taiwan

Annual show case of Asian cultures in Plano TX

Shillong has produced many Literary Personalities. The article needs updating. Murli Das Melwani Reference to Ruskin Bond

I was humbled and honored when in 2014 my seventies article, “In Defence of Pulp Literature” was included in The Best of Quest.

Best of the Quest – Google Books Result

Laeeq Futehally, ‎Arshia Sattar – 2011 – ‎Drama

… can he hope to abridge their alienation and marginality and exorcise the ghost of assassination. In Defence of Pulp Literature Murli Das Melwani (Quest 100:

“The Best of Quest is, as the title suggests, the best of all that was ever published in Quest, India’s leading intellectual magazine in the 20-year period of its existence,1954-74.”-BookAdda



Extracted from page 144 of The Irish Legacy: A Story of the Irish Contribution to Education in India. Published by The Embassy of Ireland, New Delhi, 2012