I would like to begin this entry on plant humanities and Assamese literature for the Indian Plant Humanities website with a few caveats. This is a preliminary and presentist endeavor to provide a working, albeit necessarily incomplete, bibliography for the nascent field of plant humanities in the Assamese context. I focus on post-twentieth century fiction and prose as these are my specific areas of specialty. The omission of poetry is a big gap, and I hope other scholars of Assamese literature can fill this chasm. My interest in the plant humanities hews more towards questions of ontology, phenomenology and human-plant coshapings and the texts listed here have been companions in thinking through these questions. What I am doing through this provisional exercise is to pay homage to my companions in plant-thinking in Assamese literature. I admit to the limitations in this bibliography, but sincerely hope that they can be forgiven if the generosity of my literary interlocutors are considered and contended with. Since plant humanities luxuriates and proliferates ec-statically (ecstasy implies to grow beyond current limits), this provisional bibliography can hopefully serve as a ground where new seeds of thought sprout, branch and root in multiple directions.

                   This bibliography has two parts. The first is a list of works in post-20^th century Assamese fiction and prose primarily interspersed with a few works in English. The second is a list of critical works (books and essays in English) dealing with plants, directly or indirectly, in Assam and Northeast India. If we move from the list of fiction and prose to the scholarly production on plants, works on political economy, the plantation system and the plantationocene predominate. This isn’t surprising as Assam studies, like Northeast Indian studies writ large, is dominated by the social sciences. Insights from these studies can be used productively to study earlier texts like Seuji Paator Kahini and Daawor Aru Nai and more contemporary ones like Makam and Josnar Jhitas.

                    While the focus on plantations, political economy and historical-sociological studies of plant forms like tea, jute and rice remain important pathways for the plant humanities in the context of Assam, I would like to present a different direction for this new knowledge-field here which merges with my stated interests in ontology, phenomenology, plant temporalities and human-plant coshapings. I will do this by focusing on one single text—Arupa Patangia Kalita’s novel Felanee. In my first book Contemporary Literature from Northeast India, I read this text from a human-centered standpoint considering the question of survival and resilience in a necropolitical topography. However, this human-centric reading constantly collided with the tremendous agency that the novel endowed to objects and animals. I was impelled to move in a post-humanist direction in my reading, although I resisted taking the nonhuman turn wholesale at that point. Nearly a decade after that book was published, my perspectives have changed as I plunged deeply into teaching, thinking and writing about plants in literature and cinema. This note indexes that shift.

                     It is easy, but also very reductive, to read the presence and role of nonhuman entities in Felanee through a metaphorical lens. Thus, if we read the reference to the displaced women as “poruwa” (ants), it seems condescending and dehumanizing on surface level. Why are human beings compared to what may seem like insignificant life forms? The reference to people-as-ants seems almost pejorative initially: the women “huddle together like ants, trembling with fear” (29), resemble “one massive ball of ants, ready to be washed away by floods” (29), the devastation of their homes makes it seem as though “a cyclone had hit a colony of ants as they were trying to build new anthills” (55), and they weep “huddled together like a group of ants, floating on a sea of water” (234). These references to an alter-species accentuates the portrayal of the helplessness of abandoned populations, even though there is a fleeting recognition of a form of biopolitical collectivity, epitomized by terms like “colony” and “group”.

                     However, the ant figurations polyvalently flip around later to provide glimpses of modes of collective survival in conditions of duress:

                            The market days became somewhat regular. Even if someone called a bandh, the army made sure the shops remained open. There were rumors that yet another bandh was scheduled, this time for a thousand hours. Even though the market was smaller now, people were busy trying to save money for the impending rainy days. They were like ants before the floods—hurrying and scurrying with eggs in their mouths. (251)

                      What I am suggesting here is that references to animals and animality in texts like Felanee should consider the shifting significance of nonhuman representations across the economy of representation in the text—what seems semiotic from one perspective can transmogrify into a material consideration of the survival strategies of other life-forms, much like the ants that seem to have a forewarning of impending floods and orient themselves for a future happenstance. This is not just a metaphor but a fleeting instance of a contention with another form of life that upends the economy of animal representations in the text. Hence my preference for Donna Haraway’s famous coinage: material-semiotic. What holds true for the representation of animal forms in Felanee also extends to objects as actants. In Contemporary Literature, I spent considerable time and space analyzing objects like bangles and clothes in Felanee. These objects function as repositories of memory, affective interlocutors and actants that display agency and propel action.

                     I was guilty, however, of reading plants metaphorically; plants, for me at that time, functioned as pale mirrors for signifying human resilience and modes of survival. The singularity of plants at ontological and phenomenological levels wasn’t on my interpretive horizon. Maybe that is where my “plant blindness,” a term coined by James Wandersee and Elizabeth Schlusser, revealed itself, although I distance myself from the abilist connotations of that term. Plants are everywhere in Felanee: the bathou plant that signifies hardening boundaries between self and other (bathou worship is central for Bodo nationalism) and the famous scene with the kanhi reeds at the end immediately come to mind. Let’s focus on this concluding scene from the novel as an example of how to re-read seemingly metaphorical passages otherwise from the standpoints offered by the plant humanities:

“The reeds are getting wet,” she (Felanee) cried out to Jon’s mother. “So what?” she answered. “They’ll rot, won’t they? “Spread them out in the sun to dry.” “What if there is no sun?” “What nonsense! There can’t be many wet days in winter.” “If this lot rots then come back and cut some more.” “You can’t finish an ocean of reeds, can you?” “The seeds have wings, remember?” “They come floating in the river.” “They fly.” “When they hit barren soil they germinate.” (311-12)

Here’s how I read this passage in Contemporary Literature:

As an organism, the inconspicuous, yet luxurious, growth of kanhi grass, like the polyvalent figurations of poruwa…function as figurations of survival. The reeds are cut, die and rot; but they also defeat any attempt at extinction through their sheer multiplicity. Similarly, the poruwa-like women suffer from deluges, but survive to sustain potentialities of life and living. Kellert says that insects often function as signs of absolute difference from humans because “the extraordinary ‘multiplicity’ of the invertebrate world seems to threaten the human concern for individual identity and selfhood”…In this case though, the collectivity of poruwa-like women is a manifestation of the potentialities of a form of swarm intelligence. Contiguously, the seeds of the kanhi fly elsewhere and regenerate. This is…the setting into play of a cyclical movement where death becomes the constant generator of new life. As an organic metaphor, the kanhi grass powerfully captures the predicaments of working-class women who are dislocated repeatedly, supposedly condemned to states of living death, but find the wherewithal and capacity to survive and live on. (198-99)

                 Note how quickly I tried to explain the singularity of plants in terms of something else: the “poruwa-like women,” “swarm intelligence.” The plant-form itself flitted in and out of view—I was aware that I was dealing with a form of alterity, but the hermeneutics I adopted read the reeds in terms of something else that seemed more mobile and motile, more redolent of life and movement: the insect.

                How would I re-read this passage otherwise with a critical gaze informed and educated by the plant humanities? As I was rethinking this passage, I was concurrently reading Ursula LeGuin’s classic text The Word for World is Forest with two of my graduate students. There is a resonant, lyrical passage at the beginning of the second chapter of this sf classic:

Into wind, water, sunlight, starlight, there always entered leaf and branch, bole and root, the shadowy, the complex. Little paths ran under the branches, around the boles, over the roots, they did not grow straight, but yielded to every obstacle, devious as nerves. The ground was not dry and solid but damp and rather springy, product of the collaboration of living things with the long, elaborate death of leaves and trees; and from that rich graveyard grew ninety-foot trees and tiny mushrooms that sprouted in circles half an inch across. (35)

                 Read side by side, the ontological heft of the two passages from Patangia Kalita and LeGuin lie in the fact that they rethink the boundaries between life and death as one of circulation and exchange. Botanical futurity, the literary critic Jon Pitt reminds us, is predicated on cycles of “many births, many deaths and many rebirths”—they do not follow the “straightforward, linear time of the human” (139). Cut reeds may rot, they may be thrown away (To be thrown away, felanee—that is the meaning of the word which is used as a proper name in the text). But even if we cut a lot, an “ocean” of reeds remains. The reeds luxuriate in their collectivity. Furthermore, the rotten reeds could be the locus of renewed life, much akin to the “rich graveyard” that is the forest floor. Plants also bring to the fore cross-species and trans-elemental assemblages. This is signified by the word “collaboration” in LeGuin—”living things” and the “elaborate death of leaves and trees” collaborate with mycelium and soil to sustain the rhizomatic networks that predicate one of the central nodes of botanical futurity. Contiguously the “seeds” of the kanhi grass form assemblages with the elements—air, water and earth—to proliferate ec-statically both in space and in time.

                     From a phenomenological standpoint, the putative sessility of plant forms disguise a tremendous vitality and capacity for movement. As Edward Casey and his one-time student and now-collaborator, Michael Marder, write in Plants in Place, plants grow, move and proliferate both in place and out of place. To invoke Haraway again, in this “multipartner muddance” between living things and the long, elaborate death of vegetal and organic matter, new plant forms proliferate both towards the light while simultaneously rooting themselves in the earth. These vertical growths above and below are movements in place. Anthropomorphic and zoomorphic allusions in both passages reveal the “devious” intelligence, plasticity and morphic abilities of plants (Lorraine Daston and Gregg Mitman focus more on the “morphos” rather than the “anthropos” in anthropomorphism. Focusing on and foregrounding the anthropos risks reducing the other into a version of the same; focusing on the morphos, as in the morphos in metamorphosis, may assist in a contention with alterity. This is a lesson I have taken to heart). When plants encounter an obstacle, they reveal their “devious” intelligence—they seemingly “yield” to what lies in front of them, don’t grow straight, but twist and turn “like nerves.” They seem to wait, almost inhumanly, before reappearing in the horizon of vision, a classic narrateme in plant horror texts like The Day of the Triffids. Allying with the wind and the water, seeds grow “wings,” and fly and float as pure potentialities only to actualize themselves as reborn beings when they “germinate” on a patch of barren ground. What seemed like barren ground becomes the locus for the sprouting of new life—that is the magic and mystery of plants as they both grow and expand in place but proliferate and luxuriate out of place. Plant humanities facilitate renewed encounters with such magic and mystery. This knowledge-field offers a new form of theoria in its root sense: looking at a scene. In that light, I invite you to look at the plant scenes that Assamese literature offers anew.

Works Cited:

Baishya, Amit R. Contemporary Literature from Northeast India: Deathworlds, Terror and Survival. Routledge, 2018.

Casey, Edward and Michael Marder. Plants in Place: A Phenomenology of the Vegetal. Columbia University Press, 2023.

Daston, Lorraine and Gregg Mitman. Editors. Thinking with Animals: New Perspectives on Anthropomorphism. Columbia University Press, 2005.

Haraway, Donna. When Species Meet. University of Minnesota Press, 2007.

LeGuin, Ursula K. The Word for World is Forest. Tor, 2010.

Pitt, Jon L, Botanical Imagination: Rethinking Plants in Modern Japan. Cornell University Press, 2025.

Kalita, Arupa Patangia. Felanee. Translated Deepika Phukan. Zubaan, 2011.

Wandersee, James and Elizabeth Schussler. “Preventing Plant Blindness.” The American Biology Teacher, 61.2 (1999), pp. 84-6.

Wyndham, John. The Day of the Triffids. Modern Library, 2003.

Bibliography on Plant Humanities and Assamese Literature:

Fiction and Prose:

Acharya, Debendranath. Jangam. Assam Prakashan Parishad, 2008.

Anand, Mulk Raj. Two Leaves and a Bud. Liberty Press, 1954.

Barkataki, Dipak Kumar. Upatyakar Pora Upatyakaloi. Jyoti Prakashan, 2002.

Barua, Gautam Kumar. Kaziranga. Banalata, 2014.

Barua, Kanchan. Aseemot Jar Heral Seema. Jyoti Prakashan, 2017.

Barua, Navakanta. Kopiliporia Sadhu. Lawyer’s, 2014.

Barua, Rasna. Seuji Paator Kahini. Journal Emporium, 2011.

Bezbaruah, Lakshminath. Sadhukotha aru Sajkatha. Edited Homen Borgohain and Areendom Barkataki. Student’s Stores, 2013.

Bora, Dhrubajyoti. Aranyak. Anwesha, 2011.

—.Upanyas Somogro (Vols 1-6). Aak Baak, 2023.

Bora, Mahim. “Dofola Kait.” Galpa Somogro. Edited Hiren Gohain. Banalata, 2012, pp. 345-50.

Bora, Jayanta Madhab. Sirish Gacher Saya. Assam Publishing Company, 2013.

Bordoloi, Nirmal Prabha Aamar Lagotiyal Gos-Gosoni. National Book Trust, 1984.

Bormudoi, Purabi. Baghxal, Baghjal aru Manuh. Banalata, 2011.

—.Eta Alibator Itikatha. Banalata, 2010.

—Gajaraj, Prem aru Banditya. Jyoti Prakashan, 1999.

—. Nirbasita Golpo. Banalata, 2008.

—Rupowali Noir Sonawali Ghat. Banalata, 2011.

—Santanukulanandan. Banalata, 2010.

Bruce, Charles Alexander. An Account of the Manufacture of the Black Tea as now Practiced at Suddeya in Upper Assam (1838). Kessinger Publication, 2010.

Buragohain, Nirupama. Sei Nodi Nirobodhi. Assam Publishing Company, 2016.

Chandan, Dilip. Kazirangar Ballad. Jyoti Prakashan, 2015.

Chowdhury, Rita. Makam. Jyoti Prakashan, 2010.

Dai, Lummer. Lummer Dair Rachanabali. Assam Prakashan Parishad, 2020.

Das, Jogesh. Dawar Aru Nai. Brahmaputra Prakashan, 2005.

Das, Sanam Sanki. Maajherchar. Bandhav 2023.

Das Medhi, Manorama. Sopunor Sonaru. Banalata, 2003.

Debi, Dhanada. Subansirir Sopun Mathi. Aakhor Prakash, 2015.

Deka, Pranavjyoti. Srestha Golpo. Bandhab, 2023.

Dutta, Dilip Kumar. Bhupen Hazarikar Geet Aru Jiwan Rath. Banalata, 2011.

Gogoi, Akhil. Morubhumi Ahe Lahe Lahe. Aakhor Prakash, 2002.

Gogoi, Lila. Noi Boi Jai. Banalata, 2020.

Gohain, Punyalata. Axomor Janagosthiya Laupani. Bina Library, 2015.

Goswami, Dinesh Chandra. Axomiya Kalpabigyan: Eti Adhyayan. Banalata, 2016.

—Swanirbasito Golpo. National Book Trust, 2010.

Goswami, Indira. Datal Haatir Une Khuwa Howdah. Bani Prakash, 2010.

—.Tez aru Dhulire Dhuxorito Pristha. Chandra Prakash, 2011.

Goswami, Prabhat. Sukola Haatir Khoj. Banalata, 2012.

Hossein, Ismail. Axomor Sar-Saporir Lok Sahitya. Banalata, 2002.

Hussain, Imran. Hudumdeo Aru Ananyo Golpo. Sahitya Academy, 2003.

Hussain, Jehirul. Jehirul Hussain Rachanabali. Natun Sahitya Parishad, 2010.

Kalita, Arupa Patangia. Alekjan Banur Jaan. Lawyer’s, 2005.

—.Felanee. Jyoti Prakashan, 2003.

—.Joshnar Jhitas. Chandra Prakash, 2022.

—.Maple Habir Rong. Chandra Prakash, 1989.

—.Pahar, Nodi, Saagor aru Manuh. Chandra Prakash, 2010.

—Ranga Maatir Pahartu. Chandra Prakash, 2010.

—Tokora Bahor Sunor Beji. Lawyer’s Book Stall, 2014.

Kandali, Mousumi. “Baah Gosor Sikmikoni—Eta Gaanor Kahini.” Mockdrill. Banalata, 2010, pp. 145- 59.

—.Frameor Bahiror Jonaki Poruwabur. Bandhav, 2022.

Khataniar, Bipul. Gharialdangar Katha. Jamini Prakashan, 2016.

Khaund, Gobin Kumar. Rumyang. Banalata, 2016.

Mahanta, Anurag. Aulingar Jui. The Pangea House, 2015.

—.Kangliyanar Maat. The Pangea House, 2015.

Malik, Syed Abdul. Surajmukhir Sopun. Student’s Stores, 2016.

Medhi, Pankaj Gobinda. Sorai Suburi. Banalata, 2016.

Mipun, Jatin. Mipak Magbo. Bishal Prakashan, 2001.

—.Tani Agom. Bishal Prakashan, 2001.

Narah, Jiban. Suwa Pitambar Shambaran Megh Ure. Aak Baak, 2011.

Saikia, Ankush. The Forest Beneath the Mountains. Speaking Tiger, 2021.

Shah, Imran. Imran Shah Rachanabali (1). Katha, 2011.

Sharma, Ananta Kumar. Thangfai. Student’s Stores, 2016.

Sharma, Arun. Axirbador Rong. Journal Emporium, 2010.

Sharma, Mridul. Tejimolar Maakor Sadhu. Aak Baak, 2011.

Sharma, Raktim. Boranga Yan. Cambridge Publishers, 2006.

Sharma, Rudrani. Kahibunor Malita. Purbayon Publication, 2019.

Sharma, Umakanta. Ejak Manuh Ekhon Aranya. Bani Prakash, 2016.

Sharma Pujari, Anuradha. Iyat Ekhan Aranya Asil. Banalata, 2018.

Tamuli, Santanu. Axomiya Bigyan Kahini. Pragya, Granthamela Smritigandha, 1995.

—.(ed.) Axomiya Kalpabigyan Galpa Sankalan. Sahitya Akademi, 2017.

Terang, Rong Bong. Golpo Somogro. Banalata, 2012.

—.Mirbin. Banalata, 2012.

—Rongmilir Hanhi. Assam Prakashan Parishad, 2011.

Thongchi, Yeshe Dorje. Baah Phulor Gundho. Banalata, 2012.

—.Mouna Outh Mukhor Hriday. Banalata, 2015.

—.Sonam. Banalata, 2010.

Ward, Francis Kingdon. Plant Hunting on the Edge of the World: Travels of a Naturalist in Assam and Upper Burma. Minerva, 1974.

Scholarly Sources:

Baishya, Amit R. Attunement to Others: Multispecies Cohabitation in the Anthropocene. Cambridge University Press, 2026.

—.Contemporary Literature from Northeast India: Deathworlds, Terror and Survival. Routledge, 2018.

—.“Looking East: Melodramatic Narrative, Ecotheater and the Forgotten Long March in ‘Jangam’.” Revisiting India’s Partition: New Essays on Memory, Culture and Politics. Edited Amritjit Singh, Nalini Iyer and Rahul K. Gairola. Lexington, 2015, pp. 177-93.

—.“Northeast Indian Stories in Planetary Time: Creation Myths, Zones of Extraction and Anthropocene Heterotemporality in Kynpham Sing Nongkynrih’s Works.” Modernism/modernity (Print Plus). V Volume 10, Cycle 3, 14 January 2026. https://modernismmodernity.org/forums/posts/biashya- northeast-indian-literature-planetary-time-nongkynrih

—.“Rhizomatic Entanglements: Nonhuman Entanglements in Yeshe Dorje Thongchi’s ‘Baah Phulor Gundho’,” Oxford Handbook of Modern Indian Literatures. Ed. Ulka Anjaria and Anjal Nerlekar. London: OUP, 2024, pp. 111-25.

—.“Riddles of Sand: Storied Matter and Local Planetarity in Jatin Mipun’s ‘Tarun Peguk Agom’,” Routledge Companion to Postcolonial and Decolonial Literature. Ed. Praseeda Gopinath and Laura Brueck. Routledge 2024, pp. 91-104.

Barman, Rini. “Arum Stories from Assam.” BLink.com, 04 November 2017.

Barua, Maan. Plantation Worlds. Duke University Press, 2024.

Behal, Rana P. One Hundred Years of Servitude: Political Economy of Tea Plantations in Colonial Assam. Tulika Books, 2014.

Bender, Mark. 2021. “Treading Poetic Borders in Southwest China and Northeast India.” Prism 18 (2): 431-55.

Barbora, Sanjoy and Sarat Phukan. “Mines, Plantations, and Militarisation: Environmental Conflicts in Tinsukia, Assam.” Environment and Planning E: Nature and Space, 2022. DOI: 10.1177/ 25148486221089820

Besky, Sarah. “Tea.” The Routledge Companion to Northeast India. Edited Tanka Subba and Jelle J.P. Wouters. Routledge, 2022, pp. 429-33.

Cederlof, Gunnel. Founding an Empire in India’s North-Eastern Frontiers, 1790-1840: Climate, Commerce, Polity. OUP, 2014.

Choudhury, Anwaruddin. A Naturalist in Karbi Anglong. Gibbon Books, 1993.

Das, Bhargabi. “Narratives from a Fluvial World: Poetics of Charland Dwelling in a Neocolonial Assam,” Environmental Humanities in the New Himalayas: Symbiotic Indigeneity, Commoning, Sustainability. Edited Dan Smyer Yu and Erik de Maaker. Routledge, 2021, pp. 83-98.

Datta, Birendranath, Nabin Chandra Sarma and Prabin Chandra Das. A Handbook of Folklore Material of Northeast India. ABILAC, 1994.

Deka, Dixita, Joel Rodrigues, Dolly Kikon, Bengt G. Karlsson, Sanjoy Barbora and Meenal Tula. Edited. Seeds and Food Sovereignty: Eastern Himalayan Experiences. Northeastern Social Research Centre, 2023.

Dey, Arnab. Tea Environments and Plantation Culture: Imperial Disarray in Eastern India. Cambridge University Press, 2019.

Didur, Jill. “Reimagining the Platantion(ocene): Mulk Raj Anand’s Two Leaves and a Bud,” Postcolonial Studies, Vol. 25, Issue 3, 2022, pp. 340-60.

Dutta, Anwesha. “Forest Becomes Frontline: Conservation and Counterinsurgency in a Space of Violent Conflict in Assam, India.” Political Geography 77 (2020), pp. 1-10.

Dutta, Anwesha and Bert Suykens. “Constellations of Power and Authority in the Political Economy of Illegal Timber Extraction in BTAD, Assam,” Alternatives: Global, Local, Political, 42(3), 2017, pp. 146-65.

Guha, Amalendu. Planter Raj to Swaraj: Freedom Struggle and Electoral Politics in Assam. Tulika Books, 2014.

Hazarika, Manjil. Prehistory and Archeology of Northeast India: Multidisciplinary Investigation in an Archeological Terra Incognita. OUP, 2017.

—.“Understanding the Process of Plants and Animal Domestication in Northeast India: A Hypothetical Approach.” Asian Agri-History, 10(3), 2006, pp. 203–12.

Kar, Bodhisattva. “Historia Elastica: A Note on the Rubber Hunt in the North-Eastern Frontier of British India.” Indian Historical Review. Vol. 36, Issue 1, 2009, https://doi.org/10.1177/037698360903600108

Karlsson, Bengt G. “Life and Death in the Plantation: Tea and the Travel of Seeds, Plants and Science Across the Indian Ocean.” Seedways: The Circulation, Control and Care of Plants in a Warming World. Editors Bengt G. Karlsson and A. Rabo. Royal Academy of Letters, History and Antiquities, 2021, pp. 121–44.

—.“The Imperial Weight of Tea: On the Politics of Plants, Plantations and Science.” Geoforum, 130(4), DOI:10.1016/j.geoforum.2021.07.017

—.Unruly Hills: A Political Ecology of India’s Northeast. Berghahn, 2011.

Kaur, Kawaldeep. A History of Intoxication: Opium in Assam, 1800-1959. Manohar, 2019.

Kikon, Dolly. “Bamboo Shoot in our Blood: Fermenting Flavors and Identities in Northeast India.” Current Anthropology. Vol. 62, Supplement 24, 2021, pp. 376-87.

—.“Jackfruit Seeds from Jharkhand: Being Adivasi in Assam.” Contributions to Indian Sociology, 51(3), 2017, pp. 313-37.

Kikon, Dolly and Sanjay Borbora. “The Rehabilitation Zone: Living with Lemons and Elephants in Assam.” Environment and Planning E: Nature and Space, Vol. 4, Issue 3, 2020. https://doi.org/10.1177/2514848620946973

McClure, F.A. The Bamboos: A Fresh Perspective. Harvard UP, 1966.

Misra, Tilottama. “Thoughts on a River”. Studies in Humanities and Social Science 5, no. 1 (August 24, 2020), pp. 179–183.

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Pachuau, Joy L.K. and Willem van Schendel. Entangled Lives: Human-Animal-Plant Histories of the Eastern Himalayan Triangle. Cambridge University Press, 2022.

Rajkhowa, Benudhar. Assamese Popular Superstitions and Assamese Demonology. Guwahati University, 1970.

Rahman, Mirza Zulfiqur. “The Many Names of Rain in the Eastern Himalayas.” India Climate Dialogue. November 21, 2020. https://indiaclimatedialogue.net/2020/11/21/the-many-names-of-rain-in- eastern-himalayas/

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—.Forests and Ecological History of Assam. OUP, 2011.

—.“Jute in the Brahmaputra Valley: The Making of Flood Control in Twentieth-Century Assam.” Modern Asian Studies, Vol 49, Issue 5, 2015, pp. 1405-41.

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Sharma, T.C. “The Prehistoric Background of Shifting Cultivation.” Shifting Cultivation in Northeast India. Edited D.N. Majumdar. Osmos Publications, 1990, pp. 1–5.

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van Schendel, Willem. Reviving a Rural Industry: Silk Producers and Officials in India and Bangladesh: 1880-1980. University Press, 1995.

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