[9][2][10] According to Raksha Kumar, writing for The Hindu in 2013, "Kitaabnama tries to showcase the multilingual diversity of Indian literature by inviting laureates from different languages to talk about their work.

[14] She is also the co-founder-director of Yatra Books, established in 2005 with Neeta Gupta, a multilingual publishing company specialising in creative writing and translations in English, Hindi and Indian regional languages.

"[9] In 1998, Nalini Ganguly writes for India Today, "All of her work seems to be stuck with her personality as a Kumaoni Brahmin girl," and quotes Gokhale, "My way of looking at the world remains trapped in that primary identity; once you start loving the hills they hold on to you.

"[3] In 2010, Nita Sathyendran writes for The Hindu, "The author is also "deeply fascinated" by Indian mythology, with a lot of her books inspired by its tales and characters.

"[8] According to Harmony Magazine, Gokhale "burst upon the literary scene in 1984 with a rather unconventional but sparkling social satire, Paro: Dreams of Passion, which swirled around the cocktail circuit of Delhi, capturing the shenanigans of Page 3 celebs, long before the term was even coined.

"[2] Somak Ghoshal, writing for Mint in 2014, described the novel as "A chronicle of the debauched existence of the rich and famous in Bombay (now Mumbai) and Delhi," that "invoked horror and outrage when it first appeared in India.

Few seemed to have got its uproarious humour," and "If Indian parents forbade their children to touch the book, the reaction in the West was quite the opposite, where it was received as a work of literary, rather than pulp, fiction.

[24] Shahnaz Siganporia writes for Vogue India, "Veteran publisher, prolific author, founder-director of the Jaipur Literary Festival and advisor to Mountain Echoes in Bhutan—Namita Gokhale's latest novel is considered her most ambitious yet.

"[26] In a review by Ravi Shankar Etteth of The New Indian Express, Gokhale is described as writing with "chutzpah, imagination and leaps of faith taken in the ordinary pursuit of the extraordinary.

"[27] Shreya Roy Chowdhury writes for The Times of India that the novel is the "third in a series set in the Kumaon hills between 1840 and 1912," and that the "experiences of Gokhale's own family, especially its women members, have informed her stories.

"[28] In a review for Kitaab, Dr. Pallavi Narayan writes, "the author seems to be pointing to the patriarchal functioning of much of society—documenting the histories of men while conveniently absenting the women, or portraying them as shadow figures.

"[31] In a review published in The News Lens, Omair Ahmad writes, "These histories have largely been forgotten in favor of the lines drawn on the map by the British Empire and its successors, but they have re-emerged, and have to be understood, if we are to understand the complex political geography of the region.