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“... Jhumpa Lahiri’s first book is a collection of short stories. It has already won several prizes: the Pulitzer 2000 for fiction, the New Yorker for best first book and the PEN/Hemingway award. Praise from Amy Tan is quoted on the cover, as it was on the cover of Gish Jen’s Who’s lrish? Tan and Jen both write about first and second-generation Chinese Americans, and are upbeat on the whole, sometimes relentlessly so ...”

“... Jhumpa Lahiri’s first book, Interpreter of Maladies (2000), was a collection of spare short stories, whose characters, many of them Indian, exist in a sort of permanent exile, living in America but never fully belonging to it. In her sprawling first novel, The Namesake, she revisits this territory and attempts to move beyond it ...”

“... Jhumpa Lahiri​ made her name with two collections of stories – Interpreter of Maladies (1999) and Unaccustomed Earth (2008) – in which a range of characters negotiate the kinds of tension that Lahiri herself may have experienced growing up in New England as the daughter of Bengali immigrants ...”

“... then reread them,’ the hero’s father, Ashoke Ganguli, recalls his grandfather telling him in Jhumpa Lahiri’s first novel, The Namesake (2003): ‘They will never fail you.’ These wise words, spoken in West Bengal, don’t address the language problem. But ‘when Ashoke’s English was good enough’, we’re told, he took his grandfather’s ...”

“... Roth and Jonathan Franzen, or all the chroniclers of the immigrant experience from Henry Roth to Jhumpa Lahiri. Pynchon and DeLillo have had oddly few successors, even though the end of the Cold War, with the apparent triumph of American-style capitalism, only accelerated the ‘global momentum’ that, as DeLillo wrote after 9/11, ‘drives unmindfully ...”

“... and creative writing: disciplines which differ in their points of reference (Samuel Richardson v. Jhumpa Lahiri), the graduate degrees they award (Doctor of Philosophy v. Master of Fine Arts) and their perceived objects of study (‘literature’ v. ‘fiction’). Mark McGurl’s The Programme Era: Postwar Fiction and the Rise of Creative Writing, a ...”

“... Supertramp. At its most genteel, this attitude may be found in an Indian-American writer such as Jhumpa Lahiri, whose work would never embrace the subjectivity of a crass chauffeur from Bihar who smashes his employer’s head in with a whisky bottle in Dhaula Kuan while chewing betel-leaf. The other – more common – type of novel tries to represent ...”