(Based on publications in Hindi. 1990-2007)

The turn of the century is always a significant milestone for the entire world community, encouraging humanity to reflect on the past century and the future century, to take stock of past events and try to "look" into the future. At the same time, in each individual country, the transition from one century to another is marked in the context of the peculiarities of its historical development, its pressing problems. In India, this period coincided with two important anniversaries in the history of twentieth-century Indian society-the 50th anniversary of the founding of the Republic of India (2000) and the 60th anniversary of its independence (2007) - which largely determined the main directions of many studies in recent decades and summed up the first major stage in the country's independent development [see: Russia and India..., 1998; India: Achievements and Problems, 2002; Indian Studies..., 2007].

Today, in many works by both Indian researchers and foreign indologists, India appears to be a rapidly developing country, not only successfully mastering new areas of scientific and technological progress, but also proving that the possibilities of its intellectual and human potential are far from being used. Summing up long-term observations of the socio-political development of the country during the period of independence, the Russian indologist-political scientist F. N. Yurlov comes to the following conclusion: "India at the end of the XX-beginning of the XXI century put forward an ambitious task to become one of the world's leading powers. There is nothing surprising in this. A country with a population of more than a billion people cannot think of itself otherwise than on a large scale. For the implementation of these ideas, it has created quite powerful prerequisites. A multi-million-strong middle class, a huge army of people of intellectual labor, who received a good education, appeared. Today's India is a young, vibrant country where more than half of the population is under 30. This is a huge resource for its further development, and this is its advantage over many "aging" countries of the West and East " [Yurlov, 2007, p. 327].

Such a capacious, far-reaching and meaningful statement, I think, can not without reason be attributed to the development processes that are taking place today in the multinational, multilingual Indian literature. Here are some very characteristic moments of moving forward, highlighted in the editorial of the literary and artistic magazine "Ajkal" ("Modernity" for August 2007): "For six decades of independent development, our country has made unprecedented progress in various areas of society. In our thinking, in the very way of our life, there have been changes that deserve not only to be mentioned, but also to be carefully studied and described. In poetry and short stories, innovative experimental trends have developed in search of a more perfect artistic expression. Our judgments about literature and its various directions have become much more balanced and effective than before. In the context of new social and political trends, such issues as women's rights and freedom, or the situation of the most oppressed strata of society - Dalits-are also considered... There has been a revolutionary change in our media - we have entered the age of the Internet. All these are signs of considerable achievements" [Prasangvash, August 2007, p. 2].

Indeed, numerous magazine articles about the literary situation of recent years, interviews with writers and critics, and finally basic research and Hu himself-

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pre-fiction works indicate the growing intensity of the literary process in the country. Over the past 50 years, so many changes and events have taken place in Indian literature that they would last for a whole century, - the Indian critic and poet of the new generation Mangalesh Dabral notes in the article "The noise of the steps of extensive changes" (Mangalesh Dabral, May 2005, p.32). Such literary trends and trends as progressivism (pragativad), experimentalism (prayogvad), new poetry (nai kavita), new story (nai kahani), which rapidly follow each other, and sometimes develop in parallel, reflect not only the sharpness of ideological and aesthetic searches and struggles within literature itself. In line with these trends, a whole galaxy of young poets and prose writers, critics and playwrights is formed, who perceive the world around them in a new way, and many talented works are created in various genres, often not inferior in their artistic merits to the samples of modern European or American literature.

More and more often in Indian critical works, one can find such remarks that the latest Indian poetry, the short story genre, has long since reached the modern level required by the world literary movement. Although in the Indian literature of the second half of the XX century. a novel like Gabriel Garcia Marquez's One Hundred Years of Solitude, whose "magical realism" immediately brought Latin American literature to the level of global interest and recognition, did not appear, but it is also impossible to say about modern Indian literature that it still remains at the stage of "self-service" [Serebryany, 1990].

Of course, first of all, Indian writers who write in English receive international recognition. This is the literary fate of two prominent Indian writers-emigrants V. S. Naipaul and Salman Rushdie, who live and work outside India, but do not break ties with their historical homeland: many of their works are also clearly based on Indian issues. As for the Indian writers who write in the national languages of India (among them there are some writers who have received worldwide recognition), most of them are known only within the country, and sometimes only in their state. There are still very few literary translations of their works that reach the world's readers, and often the only readers are mostly specialists who study their work. However, today it can be argued that modern multinational Indian literature, having passed through an "accelerated" path of development during the XX century, by the end of the century put forward many writers who actually mastered all the genre and style techniques characteristic of modern literary writing. So far, Indian writers do not claim to be among the leaders of world literature. They are quite strict in judging both their achievements and weaknesses in the means of artistic expression. Not ambitious aspirations, but an ever-growing awareness of the right to equal participation in the world literary process is indeed characteristic of many Indian writers.

Today, Indian writers know world literature not only from translations, but also from primary sources. Many of them have traveled all over the world, interned, taught, and lived for several years in one country or another. That is why their judgments and understanding of contemporary issues are conditioned by a completely different historical context than during the years of colonial dependence. They see and interpret what is happening in India not only in the context of their own history, but also in a deep relationship with events outside the country. In the context of ever-expanding globalization, the penetration of often alien influences into the cultural and spiritual life of a particular country, many "eternal" issues of historical, cultural and social existence, which were raised long before the present time, reach a completely different level of consideration and analysis. The Indian problem is not only the problem of India itself, it also concerns other countries, including the modern Russian reality.

* * *

Having outlined a number of preliminary comments necessary for inclusion in this review, I will turn directly to those publications in the Hindi language that are really of great interest for studying the literary situation in India today. These books are:" Another History of Hindi Literature " by Bachchan Sinha," A History of the Hindi Novel " by Gopal Rai," New Age and Literature: Questions, Dreams, Creativity "by Devendra Issar," Dreams and

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reality: Half a century of independence "by Puranchandra Joshi, " Twenty-first Century" by Manoharshyam Joshi," One's Own Land - One's Own People "by Ramvilas Sharma," They are Not gods..." Rajendra Yadav," How Many Pakistanis " by Kamaleshwar," Still Remains " by Mahip Singh, etc.

Representing various types of literary activity (critical articles, fundamental literary studies, sociological essays, cultural notes, autobiographical memoirs, diaries and, most importantly, works of art) - these books, of course, indicate the genre diversity of literary creativity. But there is also something very important that unites the authors of these books and gives their works of fiction, journalism and scientific research a special value for future writers - a keen sense of ownership and responsibility for everything that happens in the country. And this is not accidental. The authors of these books belong to the generation of Indian writers born in the first third of the 20th century. Their personal destinies were marked by important historical events for India (the liberation of the country from colonial slavery and the division of a single country), which, of course, could not but affect the formation of their creative biography, the development of a firm civic position in them, independent of their political and ideological views. From the first steps of his literary career (1950s - 1960s). these writers and critics felt themselves as fighters for the construction of a new life, the creation of a new literature that protects and expresses the interests of the common people first of all. It is clear that not all the changes that took place in the country already during the period of independent development were perceived and considered exclusively in a positive way by them. Writers and researchers of this generation have always tried to give an objective picture of both achievements and negative phenomena in their works.

What problems do the authors of these books particularly care about in their reflections on the present and future of Indian literature and the life of society as a whole?

In the book" Another History of Hindi Literature", a prominent theorist, critic and literary critic Prof. Bachchan Singh emphasizes that over the years of independent development, Indian literature has been significantly enriched with both new works of art and research. Many new literary monographs and articles have come into scientific use, without taking into account and analyzing them, it is no longer possible to write the history of modern literature. At the same time, Bachchan Singh also notes the alarming symptoms that appeared: in the 1980s and 1990s, the pressure of highly developed countries, especially the United States, on the culture of "third world" states, including India, began to be felt more and more strongly. Figuratively speaking, he writes: "The culture of the" third world "countries becomes a kind of" drive-out "for the culture of the"first world" countries. Years after achieving independence, we are gradually falling back into a new spiritual dependence. What Macaulay was unable to do at the time is now being done by multinational corporations and companies that spread various foreign concepts of a new lifestyle " [Bachchan Singh, 1996, p. VIII].

The new "lifestyle" (Jeevan shaili), or rather the Americanized way of life, which is already quite firmly established in certain strata of the new elite Indian society, where the English language and often the way of life reigns, is built on the English, rather on the American model. Bachchan Singh mentions the name of the English historian T. B. Macaulay (1800 - 1856), the Minister of education during the British colonial rule in India, who believed that it was not necessary to try to educate the masses, but to make every effort to create a stratum that could serve as an intermediary between the British and the millions of natives under their control. the power class, Indian in blood and skin color, but English in tastes, views and mindset.

It seems that the problem of educating the masses remains relevant even today. Times have changed, the political map of the world has changed, and new independent states have emerged from former colonies. But once again, neo-colonialist tendencies are emerging, which now emanate from the highly developed civilized countries of Europe and America. Under the guise of new concepts of the cultural, social, economic and political world order of the late XX - early XXI centuries, such theories and concepts as "third world" (tisra duniya), "globalization" (vaishvikarana), "big village" (bara ganv), "open market" (Khula bazaar), " postmodernism "(Uttar Adhuniktavad), "market culture" (Sanskriti bazaars), in the sphere of influence of which many countries are drawn, and not only from the former Soviet Union.

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colonies. I specifically list a number of new socio-political concepts and terms that are currently used in some aspect or context in fiction, especially in critical and journalistic articles and research (for example, "Another History of Hindi Literature").

One of the oldest Indian sociologists and cultural scientists, Puranchandra Joshi (born 1928), puts the problem of the responsibility of the creative intelligentsia for the development of a truly national culture, language and literature very sharply in his book "Dreams and Reality: Half a century of Independence" [Puranchandra Joshi, 2002]. It is no coincidence that the problem of the relationship between English and Hindi (which is extremely relevant today for Indian society as a whole) is one of the central topics of this study. Puranchandra Joshi cites a number of important statements by M. K. Gandhi, published in the 1930s and 1940s, about the importance of English and Hindi for India: "I do not object to our young men and women learning the languages of other countries... But I expect that they will give all the achievements of their knowledge to their compatriots and the world, as Jagdish Chandra Bose, Rammohan Rai and Rabindranath Tagore did. I will never accept the fact that even one Indian will consciously show indifference to his native language, considering that he will not be able to think and express high thoughts in it." Gandhi understands that knowledge of English is essential for getting an education, studying literature, exploring the world, conducting a dialogue with the rulers, etc., but believes that English can never become the national language for Indians. "The language that we would choose as the state language depends on the precise definition of the nature of our self-government (swaraj)... If it is carried out for tens of millions of starving and illiterate people, then the only official language for them can only be Hindi " [cit. by: Puranchandra Joshi, 2002, pp. XIII-XIV].

Of course, today Hindi has reached a different level, but Puranchandra Joshi believes that such national and state figures as K. M. Gandhi, and after him Jawaharlal Nehru understood the need to use English as a state language, but never belittled the importance of Hindi, but, on the contrary, contributed in every possible way to its development in various spheres social and cultural life of the country. It was during the national liberation struggle that Hindi literature rose rapidly and became one of the leading national literatures in India. Unfortunately, such people, the researcher states, who in the days of the national awakening considered it their duty to develop their native language and literature as an inexhaustible source of originality and uniqueness of our culture, are becoming less and less today.

Puranchandra Joshi sees the reason for this trend, on the one hand, in the ever-expanding influence of globalization, on the other - in the social and spiritual stratification of Indian society. Many of the modern intellectuals, representatives of the educated strata, mainly the "new rich" (nava Dhandhya), the new middle class, have lost the sense of patriotism inherent in the Indian intelligentsia of the period of the struggle for independence. Among them, English has taken such an important place that Hindi has clearly receded into the background as a language, in their opinion, used mainly in communication with close friends, relatives, and servants. This gave rise to the idea that "good literature" can be considered primarily those works that are written in English or translated into it and have received recognition in the West.

The American way of life is getting deeper and deeper into the elite and affluent strata of Indian society. It is no coincidence that Puranchandra Joshi cites the very symptomatic remark of the American scientist Noam Chomsky that the" new rich " Indians, who enjoy all the benefits of modern civilization, essentially live like in America. However, the Indian scientist concludes, this limited, narrow, prosperous world of the" new rich " is opposed by the world of the majority of the country's population struggling with poverty and want. It is clear why in modern Indian literature in recent years, the motif of the confrontation between the "two Indies" - the poor and the rich-has increasingly emerged.

The famous writer and journalist Manoharshyam Joshi (1933 - 2006) also addresses the problems of social stratification of Indian society and the influence of the "market culture" of the Western "consumer society" on its spiritual life in one of his last books, "The Twenty - first Century" (Manoharshyam Joshi, 2003). It includes articles, notes and observations on various aspects of the life of Indian society in the context of broad inter-cultural relations.-

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relations with the outside world, especially with the United States. In Indian criticism, Manoharshyam Joshi is regarded mainly as one of the few followers of postmodernism. I think that he can be considered a postmodernist only from the point of view of his use of artistic writing techniques peculiar to this direction, in particular a parody-ironic style in depicting the absurdity of the mores of the bohemian life of the artistic elite from the world of Indian cinema and art. In his novels and articles, the writer shows how destructive a society has on the moral state of a person, in which spiritual values are turned into goods and go for sale, where in the name of "enjoying the flesh" a person is ready to go to any lengths. Manoharshyam Joshi is deeply convinced that the" market system " of modern capitalism, in fact, turns women into a kind of commodity that brings considerable income. Fashion, the industry of toilet articles, clothing, luxury goods - all light industry and advertising are aimed at making a woman primarily an object of sexual desire of a man. Previously, in traditional society, only prostitutes presented themselves so openly sexually, but today this behavior is often perceived and considered as the emancipation of a modern woman. This is especially noticeable, the writer emphasizes, for publications in glamorous magazines, which are tracing papers from the American magazines "Life", "Time" and others.

Manoharshyam Joshi is most concerned about the moral and ethical side of the influence of American culture on the life of a modern Indian family. If we take into account that in the last third of the 20th century, the flow of Indians traveling to the United States in search of work or study increases (this mainly concerns the urban middle class), then the question of the influence of the American way of life on the behavior and spiritual needs of these Indians will not seem secondary. Today, Indian fiction shows quite widely and convincingly what dramatic collisions arise in the relationships between people of the older and new generations, husband and wife, parents and children (problems of raising children) as a result of the clash of different cultures.

It should be noted that with all due respect, perhaps even admiration for the United States as the richest and most powerful country in the world, Manoharshyam Joshi rather sharply criticizes the aggressiveness of American culture, which imposes its life priorities on other countries. The modern (American) system of global capitalism, which has proclaimed money as the highest value of society, and the market as the main tool for the development of society, has the most disastrous effect on the moral image of a person: "The' free market 'forms a ' free personality', prone to extreme egocentrism and individualism." It is these traits of character, the writer believes, that contribute to the deepening of the gap between rich and poor. For some ,the "free market" becomes a source of wealth and prosperity; for others, it creates dependence, contributes to the loss of self-esteem, and sometimes even a tragic outcome. In the final article of the book, Manoharshyam Joshi expresses the fear that such powerful postulates of consumer culture as unlimited "free trade" (mukt vyapar), greed, greed of accumulation, will not become even more aggressive in the XXI century. Moreover, the main principle of the consumer philosophy of life-earn money and indulge in pleasure - is now rapidly spreading around the world, which is fraught with a social explosion [Manoharshyam Joshi, 2003, p.332, 334, 337].

Throughout the XX century. in the history of the formation and development of modern Indian literature, the classics of world Western European literature played a very important role. In different decades, the works of English and French writers, then writers of Russian classical and Soviet literature prevailed. Literary trends and various methodologies of literary studies also had a strong impact. Thus, in the 1940s and 1950s, the work of Indian writers and critics was greatly influenced by the Marxist methodology of studying literature. In the 60s and 70s of the 20th century, many Indian writers were attracted to European existentialism, and such famous writers and thinkers as F. A. Shishkin became interested in it. Kafka, J.-P. Sartre, A. Camus became a kind of masters of the minds and moods of the Indian intelligentsia. The image of the hero of a work of art has also changed: a doubting and searching person has replaced the man-fighter in literature. Writers began to pay more and more attention to depicting the inner state of the soul and experiences, rather than external circumstances, although they were present.

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Since the early 1980s, postmodern trends have gradually begun to permeate Indian literature, but it is not yet possible to say that they have had the same strong influence on it as Marxism and even existentialism did in their time. Interest in postmodernism is still evident in a rather narrow circle of Indian writers and critics. Thus, Manoharshyam Joshi called himself a postmodernist, a fan of the artistic features of the writing of G. Marquez and other famous Latin American writers.

Among those who are interested in postmodernism is the authoritative critic Devendra Issar (born 1928), author of the book "The New Age and Literature: Questions, Dreams, Creativity" (2000), in which he examines in some detail some of the crisis phenomena in world culture and literature and their impact on Indian literature. The beginning of the book is characteristic: "The twentieth century created such a crisis, chaos in thoughts, ideas, and relations between cultures, religions, and countries that it felt as if the "source" of reconciliation of various kinds of disagreements, clashes, and misunderstandings had dried up... the "soil" has turned into a "desert", and it continues to advance. Our task in the twenty-first century is to overcome this general crisis, the disintegration of values, and only then will we be able to predict and create the future "[Devendra Issar, 2000, pp. 9-10].

As a result of the chaos in the artistic, philosophical and literary perception of this multi-sided universal crisis, a postmodern trend has emerged, which Devendra Issar is trying to analyze. The book testifies to the great erudition of the critic. In it, he examines, to varying degrees, the works of almost all the leading masters of postmodernism, such as J. R. R. Tolkien. Derrida, R. Barth, F. Fukuyama, M. Foucault and others who have proclaimed "the end of the author", "the end of literature", "the end of history", etc., list the names of many outstanding European and American writers writing in the postmodern style, primarily the name of the talented Italian writer and theorist Umberto Eco. Devendra Issar comes to the conclusion that many talented postmodern writers bring some new valuable and interesting stylistic details to literature, without which it is sometimes difficult and even impossible to portray the virtual reality of our days, but certain theoretical messages of postmodern literary critics cause doubts and distrust. It is believed that postmodernism removed literature from the sphere of ideology, but this is not so - postmodernism has an ideology. And again the questions arise: what is literature? who does the writer write for? etc.

Devendra Issar's book is polemical in nature, which already indicates a high level of critical perception and thinking of the author. Many of the questions he considers on the methodology of studying works of art, vocabulary and concepts of Western discourse ("world as text"," consciousness as text"," text - pleasure"," text - pleasure"), put forward by R. Barth, J. Derrida and other postmodern theorists, cause the author's rejection rather than rejection. consent. It seems that Devendra Issar shares the position of those Indian writers and critics who believe that philosophers and theorists of postmodernism clearly seek to reduce the mental and spiritual potential of a person, and replace the study of a real problem with pseudo-research, especially when they operate with such an indefinite and vast concept as "text".

The works of one of the most famous scholars on the problems of Western concepts of orientalism-postcolonial studies Edward V. Said (1935-2003) - are much closer, understandable in spirit and content for Indian writers and critics. His famous books are " Orientalism. Western Concepts of the East "(1978, Russian translation 2006) and "Culture and Imperialism" (1993) - today in the Indian critical and journalistic literature are not only the most frequently cited, but also are a kind of source of inspiration. Thus, Puranchandra Joshi cites as an epigraph to one of the chapters of her book the statement of Edward V. Said about the aggressiveness of American culture [Puranchandra Joshi, 2000, p. 97], refers to his works and Devendra Issar [Devendra Issar, 2000, p. 134], etc.

It is significant that Devendra Issar concludes his book not with excerpts from postmodern treatises, but with a wish that readers once again carefully read the works of such outstanding Indian writers of the XX century as Premchand, Kurrat Ul-Ain Haidar, Dharmavir Bharati and Saadat Hasan Manto (writers of Hindi and Urdu literature, to whom the final articles of the book are devoted). think about why their work is not outdated and continues to excite today.

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The significant achievements of Indian fiction (in this article on the example of Hindi literature) can be judged by another study of recent years-the book by Prof. Gopala Rai (born 1932)" The Story of a Hindi Novel " [Gopal Rai, 2002]. The author has devoted more than forty years of his teaching and research activities to the study of this genre. Today, he is one of the chief editors of the literary magazine Samiksha (Criticism), published in Delhi.

In the system of prose genres of modern Indian literature, the modern novel is one of the youngest, but nevertheless it has a leading and defining place in the development of the literary process in India of the XX century. Gopal Rai's book convincingly captures the dynamics of the rapidly growing importance of this genre, especially after independence. As the researcher notes, "the novel is the most important witness of its time", and not a single significant event in the life of society, in the destinies of the life of the people does not escape the attention of the novelist. The history of the Hindi novel is organically linked to the history of society. According to the researcher, "the Hindi novel really becomes an artistic expression of the national aspirations and aspirations of the multi-million people of the Hindi-speaking area" (Gopal Rai, 2002, p. 66).

It is no coincidence that Gopal Rai compositionally builds sections of his book based on the most important events in the life of society, trends and moods experienced by the creative intelligentsia, as well as the people as a whole in a particular time period: for example, " New Voices of Reality (1918-1947)", " In the center - the peasants (1918-1936)", "In search of new directions (1937-1947)", " Horizons of New research (1948-1980)", " Observations of Recent Years (1980-2000)", etc. In terms of the scope of the research material (from the origins of the modern Hindi novel to the present day), this book is probably one of the most voluminous in terms of the number of works and authors included in it, and, of course, is of great interest primarily for the indologist-literary critic as a reference material. The book analyzes or mentions the novels of many writers of different generations, trends, expressing different ideological and aesthetic positions. But, taking into account all these points, the researcher still attaches primary importance mainly to the creative personality of the writer, the ability of his artistic vision and perception(vijan aur samvedana), as well as the expressiveness, clarity of language and style of his works. Many novels are characterized as a document novel (dastavez) or a novel-study (vimarsh, vivechan, adhyan), which is justified by the very problems of the works under consideration.

This type of research novels includes the most well-known and widely read works of recent years, among which Kamaleshwar's novel "How Many Pakistanis" (1932 - 2007) occupies a special place [Kamaleshwar, 2000]. Despite the fact that perhaps hundreds of books have been written and published on the topic of religious and communal discord, this topic remains one of the most acute and topical in modern Indian literature. For many Indian writers, it is quite obvious that the main reason for the ongoing religious and communal discord is that it serves as a good "fuel" in the self-serving economic and political struggle for power of the "powerful of this world", and the victim in this struggle is mostly a simple person. Written on the basis of his own life experience, as well as the study of a huge layer of fiction and non-fiction, Kamaleshwar's book with extreme clarity and clarity reveals the main causes of religious discord and intolerance on the example of not only India, but also many other countries of the world. The novel aroused unprecedented interest among readers (by 2007). the 11th edition of the novel was published), has been translated into many Indian languages and English, and it is hoped that a Russian translation will eventually appear. According to the unanimous opinion of many readers and critics, as well as writers, the novel was recognized as a phenomenon worthy of world literature [For details, see: Gavryushina, 2006].

From the point of view of style and genre searches, Indian literature is becoming more and more diverse. Thus, in the late 1900s and early 2000s, fiction and nonfiction became very widespread, which corresponds to certain trends in the development of the world literary movement of the present time. It includes the autobiographical trilogy of Ramvilas Sharma "One's Own Land - one's own people" [Ramvilas Sharma, 1996], one of the outstanding researchers and critics, who during his lifetime earned the honorary title "man of the century" [for more information, see: Gavryushina, 2000]; the book-essay about contemporary writers of Rajendra Yadav " They not the gods... " [Rajendra Yadav, 2000]; deeply personal

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Mahip Singh's problematic novel-study "Still Remains" - is imbued with empathy for its characters [Mahip Singh, 2004]. Each of these books is a kind of summing up not only their own creative life, but also detailed portraits and characteristics of their colleagues in the pen, as well as a lively and heartfelt documentary narrative about their time.

In conclusion, I would like to emphasize that over 60 years of development under the conditions of independence, the democratic tradition in Indian literature has not lost its position and will definitely continue in the XXI century, as evidenced by many works in various genres of recent years.

list of literature

Bachchan Singh. Hindi sahitya ka dusra itihas (Another History of Hindi Literature). Delhi, 1996.

Gavryushina N. D. Premchand and the Hindi novel of the XX century. Moscow, 2006.

Gavryushina N. D. Ramvilas Shapma-scholar, critic, publicist / / In the seven languages of Hindustan, Moscow, 2002.
Gopal Rai. Hindi upanyas ka itihas. (Hindi Novel story). Delhi, 2002.

Devendra Issar. Pai sadi aur sahitya: prashn, swapna, srijan (New Age and Literature: Questions, Dreams, Creativity). Delhi, 2000.

Indian Studies in the CIS countries, Moscow, 2007.
India: Achievements and Problems, Moscow, 2002.
Kamaleshwar. Kitne Pakistan (How Many Pakistanis There Are). Delhi, 2002.

Mangalesh Dabral. Vyapak badlao ke padchap. (Noise of footsteps of extensive changes) / / Ajkal. Delhi. May 2005.

Manoharshyam Joshi. Ikkiswin sadi (Twenty-first century). Delhi, 2003.

Maheep Singh. Abhi shesh he (Still remains). Delhi, 2004.

Prasangvash (editorial article) / / Ajkal. Delhi. August 2007.

Puranchandra Joshi. Swapna aur yatharth: Azadi ki adhi sadi (Dreams and Reality: Half a Century of Independence). Delhi, 2000.

Rajendra Yadav. Ve devata nahin... (They are not gods...). Delhi, 2000.

Ramvilas Sharma. Apni dharti - apne log. (Own land - own people). Delhi, 1996.

Russia and India on the threshold of the Third millennium, Moscow: IV RAS, 1998.
Serebryany S. D. Indiya bez prikras (predvisovie) [India without embellishment (foreword)]. Modern Indian Story, Moscow, 1990.
Yurlov F. N. Indiya: opyt modernizma [India: the experience of modernism]. Proceedings of the Scientific Conference, Moscow, 2007.

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