A neat concept that goes inert in the execution.
First novel by a South African–born Indian now in the US: a would-be witty comedy of love and manners chronicling a courtship and marriage inspired by the author’s own immigrant grandparents.
There is a promising premise to the story, one that goes back to Shakespeare: The shrewish woman who, forced by family to marry, eventually falls in love with her masterful spouse. Coovadia begins well, describing how Ismet Nassain, traveling through rural India by train in the late 1800s, is touched by an angel. The angel makes him fall in love with a young villager, Khateja Jhaveri, who is standing on the platform as the train pulls in. Nassain is compelled to track down the woman and propose marriage. Though Khateja’s family at first pretends to resist the proposal, they are secretly delighted to find a suitor for a daughter who has always been strong-willed and cantankerous. Threatened with marriage to the village idiot unless she marries Nassain, she reluctantly agrees but is determined to free herself as soon as she can. She fiercely resists Nassain’s well-intentioned blandishments but, smitten, he is patient and tolerant. Their relationship gets worse when they move in with Nassian’s mother, Rashida, who disapproves of Khateja. When their mutual dislike becomes literally inflammatory—Khateja causes a fire—Nassain decides the couple should immigrate to South Africa, where an Indian community is establishing itself in Durban. As Coovadia meticulously details the squalls of the still-unconsummated married life, the story groans into a tired riff on Khateja’s recalcitrance and Nassain’s suffering that’s barely enlivened by copious descriptions of ethnic food. Things aren’t helped by a sluggish pace, anachronisms (a polyester handkerchief, a radio in the early 1900s, etc.), or the ending—meant to be tender and affirming but really just a perfunctory wrap-up—in which Khateja finally, and bathetically, capitulates.
A neat concept that goes inert in the execution.Pub Date: Nov. 1, 2001
ISBN: 0-312-27219-7
Page Count: 288
Publisher: Picador
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Aug. 1, 2001
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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