I read The River Woman and Other Poems slowly, the way one reads something that does not want to be rushed. A few poems at night. One in the quiet between two tasks. Sometimes just a single page, because the lines had a way of lingering—like the aftersound of water moving past stones long after the river itself has slipped out of view.   Renu Roy’s poetry does not announce itself loudly. It arrives softly, almost tentatively, and then stays. This is a collection that lives in

Some books announce themselves with a thesis. This one arrived like humidity on skin—quiet, unavoidable, already inside the room before I knew it. I was reading, but I was also standing on a riverbank at night, ash cooling, water moving, the world refusing to pause for grief. That opening feeling never really left me. Dhara doesn’t ask for attention. It assumes you will eventually slow down enough to listen.   Bal Krishna Thakur’s Dhara: A Journey of Grief, Continuity, and In

Meri Aankhon Ka Mehtaab doesn’t ask to be read; it allows itself to be discovered, the way calm finds you only after exhaustion has done its work. I came to it out of habit, a few spare minutes, no particular expectation. And then something unfamiliar happened—the noise inside me softened. The world slowed its grip. A gentle warmth settled in, the kind you don’t notice immediately, only realize later that it stayed long after you did.   Neelam Saxena Chandra’s reputation prec

I began this book late one evening, telling myself I’d read a chapter or two and return to the world of notifications and half-finished thoughts. Instead, I found myself sitting still, the room unusually quiet, as if the desert itself had stretched into my living space. Whispers in the Cursed Desert: Inked in Blood doesn’t announce itself with noise. It draws you in with hush. With breath. With the feeling that something old is watching you closely, waiting to see if you’re r

I noticed my breathing before I noticed the quiet.   Not the dramatic kind of silence that announces itself, but the softer one — the kind that slips in when the mind stops reaching for the next thing. I was sitting by the window. Late afternoon light. The book closed without ceremony. And for a few seconds, I didn’t feel the need to move.   That is how Fragrances Unseen stayed with me — not as a volume of poems, but as a lingering presence. Like something you smell after som

I didn’t read Shukriya Boganviliya in one sitting. Not because it was difficult—but because it kept asking me to stop. A poem would end, and instead of turning the page, I would sit there, feeling oddly addressed. As if someone had spoken my name softly and walked away.   Written by Nitya Shukla, Shukriya Boganviliya is a Hindi poetry collection that doesn’t ask for attention. It earns it quietly. Published by Highbrow Scribes Publications, this book carries an unassuming con