In contrast to the first two novellas, Vaidehi’s transports the reader to a vivid childhood world of south Indian festivals. It is brimful of the freshness of youth. Young girls dare to go to a fair without an older chaperone; they wait excitedly as the procession of the god comes through the streets to their home. Vaidehi points out the things forbidden to girls but not to boys — for example, following the temple procession at night. Like Pande, she uses striking similes. She sees the main road of her town as a parting in the hair and the forked roads where it ends as two plaits.

BM Zuhara is described as the first Muslim woman writer of Malayalam fiction. Hers is a story of transition from childhood to marriage and the sense of loss her protagonist feels in her new role. However, the translator obscures the text by choosing to keep so many original Malayalam words that a reader unfamiliar with the language has to keep referring to the glossary.

Perhaps, the most stunning of these novellas is the last, by the Marathi writer Sanya. Her novella about a deserted wife is extraordinarily honest, true to life and convincing, especially because she tells her story with enormous restraint. Her translator, Maya Pandit, has done a remarkable job in capturing the impact of her simple vocabulary. Altogether, this is a remarkable volume.