"No Country" delves into the world of working-class literature, taking a global and comparative approach. It highlights the works of writers from the global South and brings to light the lesser-known traditions and counter-narratives within the realm of working-class writing.

The crux of the argument is that working-class literature cannot be understood merely by looking at the class background of the authors or through the celebrated stories of labor histories and revolutions in the global North. Instead, it should be viewed through the lens of shared sociologies of form, narrative disruptions, and socialist ethics ideologies that bind working-class writing across different languages, nations, and regions.

Working-class writing often features a "serial interrupted form" - narratives that are broken, filled with gaps, interpolations, and heteroglossia. These interruptions symbolize the challenge of portraying class as a stable identity or a fixed entity. Class is a relationship, not an object. This ephemerality and dispersal of class are vividly portrayed through the literary forms in working-class writing.

Criticism is directed towards the frameworks that define working-class writing solely through famous histories like the English industrial revolution or the US proletarian fiction of the 1930s. These approaches tend to overlook colonial and postcolonial perspectives. Similarly, literary histories that focus solely on autonomous form often disregard the political engagements of working-class writing.

The book delves into the analysis of working-class novels and stories from Indian, Sri Lankan, and southern African writers like Mulk Raj Anand, Ambalavaner Sivanandan, and Bessie Head. It incorporates perspectives from subaltern studies and postcolonialism to broaden the Eurocentric approaches prevalent in labor history and Marxist literary criticism.

A significant argument made is that working-class writing should be viewed through the lens of ethics as well as politics.