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Heart Lamp is a collection of twelve short stories by Banu Mushtaq, translated from Kannada by Deepa Bhasthi. Its portraits of girls and women in Muslim communities in southern India give force to an interpretation of the book as charged by women’s anger: anger at the obedience demanded of women and the cruelty that can follow. The International Booker Prize named Heart Lamp its 2025 winner; the longlist was an earlier stage in that prize cycle.
Why women’s anger is a useful way to read Heart Lamp
Anger is not a label Mushtaq applies to every story, nor a claim that the collection has only one emotional register. It is a way to describe the pressure that runs through her stated subject: the harm caused when women are expected to submit to authority without question. In a Booker Prize interview, Mushtaq said: “My stories are about women – how religion, society, and politics demand unquestioning obedience from them, and in doing so, inflict inhumane cruelty upon them, turning them into mere subordinates.”
That account makes anger more than a mood. It is a response to systems that make subordination seem ordinary or justified. The stories approach those pressures through women’s lives within families and communities, rather than treating religion, society, or politics as abstract themes. The Booker judges’ guide describes the collection as “Stories on the chaos of encroaching modernity and contemporary life, as told through the lives of Muslim women in southern India.”
Stories shaped by experience and a changing setting
The twelve stories included in the English-language collection were written between 1990 and 2023, a span of 33 years, according to the Booker reading guide. In an interview published by the prize, Mushtaq said the selection was made from around 50 stories in six collections she wrote from 1990 onward. The roughly 50 stories considered and the twelve published in Heart Lamp are different counts.
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Mushtaq has said that daily incidents reported in the media and her own experiences inspired her writing. “I do not engage in extensive research; my heart itself is my field of study,” she said in the same interview. This is her description of her approach, not a claim that the stories document every woman’s experience or represent every Muslim community in India.
The collection’s setting matters to its social tensions. Mushtaq is a writer, activist, and lawyer in Karnataka, in southern India. The Booker describes the stories as portraying girls and women in Muslim communities in the region. Its judges praised the work’s engagement with caste, class, religion, corruption, oppression, injustice, and violence, as well as its characters, dialogue, and emotional and socio-political weight. Those are the judges’ assessments, not a promise that each theme or effect appears in every story.
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What the translation adds
Deepa Bhasthi translated the stories from Kannada into English. She has described her method as “translating with an accent,” retaining an inflection that signals the work’s cultural setting without making that setting exotic. As she put it in the Booker Prize announcement: “I call it translating with an accent, which reminds the reader that they are reading a work set in another culture, without exoticising it, of course.” This is Bhasthi’s stated approach, not a neutral formula for all translation.
The Booker’s discussion of the book also notes attention to Kannada, Urdu, and Arabic words and to the vividness of the women’s domestic spaces. The collection is Mushtaq’s first book-length English translation; the Booker announcement notes that her work has also been translated into Urdu, Hindi, Tamil, and Malayalam.
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From the 2025 longlist to the prize
The supplied title’s longlist phrasing refers to an earlier point in the 2025 International Booker Prize cycle. The longlist included 13 books selected from 154 publisher submissions. The prize later named Heart Lamp the 2025 winner. Calling it simply “longlisted” now leaves out that result; the accurate description includes both stages.
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Readers interested in other translated works named in the Booker reading guide can consider Tomb of Sand by Geetanjali Shree, translated by Daisy Rockwell, or Pyre by Perumal Murugan, translated by Aniruddhan Vasudevan. These offer points of comparison, not substitutes for Heart Lamp: the books differ in original language, translation choices, form, regional and social setting, and the ways they represent women’s lives.
Read about Heart Lamp on The Booker Prizes website. For the author’s account of her writing, see Banu Mushtaq’s Booker Prize interview; the prize announcement and longlist details are in the International Booker Prize announcement.
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