Appropriating Shakespeare on campus: An Indian perspective.’ In Shakespeare on the University Stage Ed. Andrew James Hartley. Cambridge University Press. UK. 2015.
Making the Modern Self: Self-Fashioning and Identity Formation in Indian Writing in English.’ ‘Comparitivism, Identity, Communication. Eds. Emilia Parpala and Rimona Afana. Universtaria Craiova. 2013.
Staged Realities: Texts vis-à-vis Performances’ in ‘The Plays of Mahesh Dattani’ ed. Tutun Mukherjee. Pencraft International. New Delhi. 2012.
The Absurd in Modern European Drama’. In Modern European Drama: From Ibsen to Beckett. Ed. Swati Pal. Pencraft International. New Delhi. 2012.
with Vandana Saxena, 'Plotting Hogwarts: Situating the School Ideologically and Culturally in Literature for Our Times: Postcolonial Studies in the Twenty-First Century. Eds. Bill Ashcroft, Ranjini Mendis, Julie McGonegal and Arun Mukherjee, Rodopi, Amsterdam, New York. 2012.
'Forgiveness is the only Final Solution in ebook: Forgiveness: probing the Boundaries, edited by Geoffrey Karabin and Karolina Wigura, Inter-Disciplinary Press, Oxford. 2010. ISBN 978-1-84888-018-4.
From Black and White to Colour - the changing representation of the white man in mainstream Hindi cinema' reprinted in longer version in Perspectives on Comparative Literature and Culture in the Age of Globalisation, Eds. Suagato Bhaduri and Amar Basu, Anthem Press India, 2010.
'Interrogating the post-colonial - a reading of plays by Girish Karnad, Vijay Tendulkar and Mahesh Dattani. in Modern Indian drama: Issues and Interventions. Ed. Lakshmi Subramanyam. Srishti. New Delhi. 2008.
Games People Play - A Reading of Waiting for Godot. Penguin Study Edition. Ed. GJV Prasad. Penguin Books. New Delhi. 2006.
‘A Metro-sexual Love story’ in Vikram Seth: An Anthology of Recent Criticism, Ed. GJV Prasad. Pencraft International: New Delhi. 2004.
‘Jimmy Porter ko Gussa Kyon Aata Hai, or the ‘Motiveless’ Anger of Mr Jimmy Porter’ in The Lost Temper: Critical Essays on Look back in Anger. Ed/ GJV Prasad. Macmillan. 2004.
The Page and the Stage: The Representation of Women in two plays by Mahesh Dattani in Signifying the Self: Women and Literature. EDs. Malashri Lal, Shormishtha Panja and Sumanyu Satpathy. Macmillan. 2004.
‘Lines and their Shadows: A Reading of Gender Roles in Amitav Ghosh’s The Shadow Lines’. [Ed.] Dr Arvind Choudhary, Amitav Ghosh’s The Shadow Lines – Critical Essays, Atlantic Publishers and Distributors, New Delhi. 2002.
‘“Off-Centre” : The Displacement of Women Characters in Ghashiram Kotwal and Tara’, [Ed.] Lakshmi Subramanyam, Muffled Voices: Women in Modern Indian Theatre, Shakti Books, New Delhi. 2002.
With V. K. Karthika, ‘Performance and Reception: Moliere in New Delhi’, [Ed.] Pronoti Sinha, Twentieth Century European Drama, Visva-Bharati, Santiniketan, 1997.
From the Zoo to the Jungle: A Reading of Mulk Raj Anand’s The Untouchable and Aravind Adiga’s The White Tiger in US-China Foreign Language, Vol 10, No. 3 March 2012. David Publishing Co. U.S.A.
Inner and Outer Space in the Plays of Mahesh Dattani. JSL – Journal of the School of Language, Literature & Culture Studies, Special Issue on Theatre/Performance, Jawaharlal Nehru University. Autumn 2006.
A Conversation with Mahesh Dattani interview published in JSL – Journal of the School of Language, Literature & Culture Studies, Jawaharlal Nehru University. Autumn 2005.
Entry on Mahesh Dattani for the Indian section of the Routledge Encyclopedia of Postcolonial Literatures in English (1994). Second Edition, [Eds] Prof. C.D. Narasimhaiah & Dr. Shyamala A. Narayan, Routledge. 2005.
7. Final Solutions? JSL JSL – Journal of the School of Language, Literature & Culture Studies,
On Mahesh Dattani’s Dance Like a Man- The Politics of Production & Performance’, in Seagull Theatre Quarterly, Issue 11, September 1996.
Final Solutions - Text and Criticism . Pencraft International. New Delhi. 2009.
Critical Essays on the work of Mahesh Dattani . Pencraft International. New Delhi. 2007.
Penguin Study Edition of Thomas Hardy’s Tess of the D’Urbervilles. Penguin India. 2005.
