Unlike most of Mahasweta Devi's works, which focus on Bengali tribes and the rural dispossessed, the four stories collected in Bait are located in the urban and suburban criminal underworld, and form an unusual segment of Devi's oeuvre. The first story, "Fisherman", is about a man who recovers the bodies of young boys from the village pond so that the police can pass them off as victims of drowning. "Knife", on the other hand, is a tongue-in-cheek account of the liminal cultural world of West Bengal, which borders Bangladesh. A young woman makes her own protest against an exploitative establishment as a result of abuse by a politician and his cohorts in "Body," and an unemployed middle-class youth discovers himself after his first 'test' killing in the dark story "Killer". This collection of fascinating and unsettling stories is anchored by an in-depth introductory essay by cultural historian Sumanta Banerjee, who has firsthand familiarity with the settings and situations from his crime-reporting past. Banerjee contextualizes the stories within the development of the growing criminal underworld in Bengal today.

Marriages, affairs, suicides, duplicitous relations, second chances, murder, madness, and true love - Rajmahal is a beautifully crafted tale of families brought together in an unusual Bengali house over a century of turbulent changes. Within the walls of this stately home, the melting pot of tenants, alive and dead, struggle to come to grips with the social, economic, and intellectual forces working in India as it moves from the British Raj to independence. Their intertwined fortunes and personal battles become a mirror of the struggle for possession of the country's future.

Parvathi leaves her native Ceylon for Malaya and an arranged marriage to a wealthy businessman. But her father has cheated, supplying a different girl's photograph, and Kasu Marimuthu, furious, threatens to send her home in disgrace. Gradually husband and wife reach an accommodation, and the naïve young girl learns to assume the air of sophisticated mistress of a luxurious estate. She even adopts his love child and treats Rubini as her own daughter—a generous act which is rewarded by a long-wished-for son.

But it is a life without passion, and Parvathi dreams of loving—and being loved—with complete abandon.

When the Japanese invade Malaya, in WW2, they requisition the estate. Marimuthu dies and Parvathi is forced to accept the protection of the Japanese general who has robbed her of her home. For the first time, she experiences sexual ecstasy. And gradually, her sworn enemy becomes the lover she has always yearned for.

Stretching from mid-century China to both coasts of the United States at the turn of the millennium, Beautiful as Yesterday tells the powerful and captivating story of three Chinese women from the same family. It is a penetrating exploration of what it means to belong, what it means to be a family, and the impact of history and memories on one's life.

"Speaking English is like taking a bath with my clothes on," Mary Chang admits after having lived in America for more than ten years. Under the facade of being a devoted wife, mother, churchgoer, and a hightech professional, she is tormented by adultery, her grudge toward her parents, and her despair at work. Ingrid, Mary's attractive estranged sister, prefers her bohemian friends' Latin culture to her own, though her college boyfriend's tragic death never fails to haunt her. And when their widowed mother Wang Fenglan, a state factory retiree, travels from China to America for the first time under Mary's request to explore the possibility of emigrating, she awkwardly reunites the family and unknowingly stirs up buried family tensions and secrets.

The son of lower-class goldfish sellers falls in love with the beautiful daughter of his rich patron. After he is sent away to study the science of goldfish breeding, with strict orders to return and make his patron's fortune, he vows to devote his life to producing one ideal, perfect goldfish specimen to reflect his loved-one's beauty. This poignant and deft tale is published here with another novella by Okamoto, the story of a pauper from Kyoto who teaches himself to be an accomplished chef. Together, these two novellas show the great Japanese writer at her most precise, fluent and lucid.

Kanoko Okamoto (1889-1939) was a Japanese poet, novelist, and scholar of Buddhism whose prose works examine the relationships between the classes and sexes in her contemporary Japan.

The three fates—now three Vietnamese "princesses" in France—were spirited away as little children by their powerful grandmother when Saigon fell to the communists. Now the two sisters and their cousin await the arrival of their father and uncle, still marooned in his little blue house in the old country. "Leave King Lear alone, I'd told my cousins," our principal narrator (an intellectual who has lost a hand) informs us: "They had neglected him for twenty years and now they were conspiring like a pair of Cordelias to bestow one last joy on the old monarch: he hadn't asked for it." From a luxurious home in the French countryside, his two daughters (the elder, very pregnant and restlessly cooking and eating, kept company by her long-legged and icy younger sister) plot to drag their father halfway around the world—away from his poverty and from his only friend and the grilled eels they happily devour together—to flaunt their success. Scathingly unsentimental, The Three Fates transposes Shakespearean tragedy into a contemporary idiom and a decidedly different culture. A sharply vivacious book about "the bitch of fate," The Three Fates—like a witch's pot on the boil—brews up from displaced lives a darkly funny and agitated concatenation.