With a rare combination of skill and sensitivity, Shamsie generates pathos for outsiders and the displaced.
An epic tale of two families whose lives are intertwined by conflict.
As a young woman, Hiroko Tanaka survives the bombing of Nagasaki, which takes the life of her first love, German-born Konrad Weiss. Physically and mentally scarred, Hiroko flees to Konrad’s sister Elizabeth, who lives with her English husband James Burton in Delhi. Sajjad Ashraf, who frequents the Burton household, gives Urdu lessons to Hiroko, and they fall in love. But arranged marriages are traditional in his Muslim family, so the couple elopes and flees to Istanbul. Later, after Partition ends Sajjad’s hopes of returning to Delhi, they move to Karachi. There Hiroko bears a son, Raza, who grows into a precocious youth with a passion for languages. With the appearance at their door of James and Elizabeth’s son Harry, the lines of the two families cross once more. Raza flubs a final exam and deviates from his college-bound path to befriend a young Afghani smuggler, with whom he attempts to join the mujahideen. Shamsie (Broken Verses, 2005, etc.) builds vivid contemporary scenes on a rich and sometimes sordid history; the modern characters’ struggles attain tragic, even mythic resonance as parents’ ordeals are visited on their children. Wit, formidable imagination and intricate, well-worked characterizations distinguish the twisty narrative. Raza experiences mixed emotions as he travels through the blasted hinterlands with Afghani arms smugglers. In a world fraught with duplicity and inside deals among militant tribesmen, military contractors and CIA operatives, he learns that morality is anything but straightforward. But the struggles of zealots and mercenaries are dwarfed by Hiroko’s titanic journey. Having survived and suffered so much, she finds herself sitting with a crossword puzzle in a West Village bistro, contemplating the grand and hellish pattern of her loved ones’ lives as she considers with horror the threat of nuclear proliferation between India and Pakistan.
With a rare combination of skill and sensitivity, Shamsie generates pathos for outsiders and the displaced.Pub Date: May 4, 2009
ISBN: 978-0-312-55187-2
Page Count: 368
Publisher: Picador
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2009
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
PROFILES
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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