The contradictions of colonialism permeate a story that, like the best historical fiction, envelops you in its world. Ghosh...
Solid, old-fashioned historical fiction that careens through the century, embracing a cast of characters whose lives unfold so gracefully that before you know it you’ve also witnessed the tragic tale of modern Burma, a country destroyed by colonialism and its aftermath.
The Indian-born Ghosh (The Calcutta Chromosome, 1997, etc.) is too subtle a writer to simply rage against Empire, which, as the British constantly remind everyone here, brings modernity to the subcontinent. But this lyrical and focused narrative finds its origins in a simpler time: an 11-year-old Indian boy in Mandalay first glimpses a young beauty, a servant in the palace of the Burmese king. A resilient and determined orphan, Rajkumar apprentices himself to a wise and friendly Asian teak dealer, who helps him develop the fortune that will reunite Rajkumar with his beloved Dolly, who follows the Royal Family into exile in India after the 1885 British invasion. History plays out against this grand passion, rather than the other way around: Rajkumar grows wealthy from his investments in Malaysian rubber during WWI; Dolly’s friend Uma becomes a leader in the radical Indian Independence Union; the Burmese riot against the Indians, complicating the various intermarriages; and, most importantly, WWII pits everyone against the invading Japanese, and, later, family against family, when the mutinous Indians fight the British loyalists. The novel is no history lesson, though, since Ghosh integrates his research with immense skill, making real events have consequences for his invented characters. And there is always the pulse of human life: the births and deaths, the loves and betrayals, the rises and falls—all spread over generations of Rajkumar’s family, and even connecting to the present state of affairs in Myanmar.
The contradictions of colonialism permeate a story that, like the best historical fiction, envelops you in its world. Ghosh seamlessly blends ideas about the power of the photographic image with unforgettable descriptions of nature—in a thoroughly enjoyable, intelligent epic that’s bound to win him a wide and grateful readership.Pub Date: Feb. 9, 2001
ISBN: 0-375-50148-7
Page Count: 512
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2000
If the elusive Pynchon regularly cranked out novels, then this latest addition to his semi-classic oeuvre would be considered an excellent, if flawed, fiction, not as demanding and complex as Gravity's Rainbow, nor as neat and clever as The Crying of Lot 49 and V. As it is, coming 17 years since the last book, it's something of a disappointment.
Yes, it's compulsively funny, full of virtuoso riffs, and trenchant in its anarcho-libertarian social commentary. But there's a missing dimension in this tale of post-Sixties malaise—a sense of characters being more than an accumulation of goofy allusions and weird behavior. And all of its winding, conspiratorially digressive plot adds up to a final moment of apparently unintentional kitsch—a limp scene reuniting a girl and her dog. Built on flashbacks to the 60's, the story reenacts in 1984 the struggles that refuse to disappear. Not politics really, but the sense of solidarity and betrayal that marks both periods for the numerous characters that wander into this fictional vortex. At the center is Frenesi (Free and Easy) Gates, who's anything but. A red-diaper baby and radical film-maker during the rebellion-charged 60's, Frenesi sold her soul to a man in uniform, the quintessential Nixon-Reagan fascist, Brock Vond, a fed whose manic pursuit of lefties and dopers finds him abusing civil rights over three decades. He's motivated not just by innate evil, but by his obsession with Frenesi, whom he sets up as a sting-operation expert protected under the Witness Protection Program. Meanwhile, the venomous Vond sees to it that Frenesi's hippie husband, Zoyd Wheeler, and her daughter, Prairie, are "disappeared" to Vineland, the northern California town where L.A. counterculturalists lick their collective wounds among the redwoods, and bemoan "the heartless power of the scabland garrison state the green free America of their childhoods even then was turning into." Brilliant digressions on Californian left-wing history, the saga of The People's Republic of Rock and Roll, a Mob wedding, and the living dead known as the Thanatoids all come bathed in the clarity of Pynchon's eye-popping language.
Pynchon's latest should prove to the legions of contemporary scribbler-fakers that it isn't enough to reproduce pop-schlock on the page, it needs to be siphoned through the kind of imaginative genius on display everywhere here.
Pub Date: Feb. 1, 1990
ISBN: 0141180633
Page Count: 385
Publisher: Little, Brown
Review Posted Online: Oct. 4, 2011
Kirkus Reviews Issue: Jan. 15, 1990
PERSPECTIVES
The battle scenes are riveting, the human drama flat.
Brooks combines her penchant for historical fiction (Year of Wonders, 2001, etc.) with the literary-reinvention genre as she imagines the Civil War from the viewpoint of Little Women’s Mr. March (a stand-in for Bronson Alcott).
In 1861, John March, a Union chaplain, writes to his family from Virginia, where he finds himself at an estate he remembers from his much earlier life. He’d come there as a young peddler and become a guest of the master, Mr. Clement, whom he initially admired for his culture and love of books. Then Clement discovered that March, with help from the light-skinned, lovely, and surprisingly educated house slave Grace, was teaching a slave child to read. The seeds of abolitionism were planted as March watched his would-be mentor beat Grace with cold mercilessness. When March’s unit makes camp in the now ruined estate, he finds Grace still there, nursing Clement, who is revealed to be, gasp, her father. Although drawn to Grace, March is true to his wife Marmee, and the story flashes back to their life together in Concord. Friends of Emerson and Thoreau, the pair became active in the Underground Railroad and raised their four daughters in wealth until March lost all his money in a scheme of John Brown’s. Now in the war-torn South, March finds himself embroiled in another scheme doomed to financial failure when his superiors order him to minister to the “contraband”: freed slaves working as employees for a northerner who has leased a liberated cotton plantation. The morally gray complications of this endeavor are the novel’s greatest strength. After many setbacks, the crop comes in, but the new plantation-owner is killed by marauders and his “employees” taken back into slavery. March, deathly ill, ends up in a Washington, DC, hospital, where Marmee visits and meets Grace, now a nurse. Readers of Little Women know the ending.
The battle scenes are riveting, the human drama flat.Pub Date: March 7, 2005
ISBN: 0-670-03335-9
Page Count: 288
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
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