A young British-Indian woman faces a moral crisis while filming a BBC documentary, in Lalwani’s follow-up to Gifted (2007).
Ray, 27, has received a plum assignment for a relative rookie: She will direct a television documentary about a noble experiment in Indian corrections—Ashwer, a prison camp in the form of a small village where the convicts live with their families and work for a living, either at day jobs on the outside or in cottage industries of their own devising. Ray’s crew—Serena, a seasoned producer, and Nathan, a parolee who did time in a conventional English prison—are difficult to manage: They have their own ideas about the direction of the film, although they grudgingly depend on Ray, a Hindi speaker, to act as interpreter and mediator for the villagers. All of the people sentenced to Ashwer are murderers whose crimes were committed under extenuating circumstances, such as self-defense against spouse abuse. After a marijuana-fueled late-night seduction attempt foiled largely by Ray’s determined virginity, Nathan gives up on her and turns to Serena. Their alliance thus strengthened, the crew rebels against Ray’s ethical scruples and attempts (with some prompting from the home office) to inject sensational elements into the film. They insist on arranging and filming an encounter between an inmate, Nandini, and her ex-husband, who had starved her while pregnant and tried to burn her. (She killed his mother while trying to escape.) Then there is the segment in which another inmate, in front of his wife, is given an instant-read HIV test on camera. Fearing that she has betrayed the trust that she has built up with the villagers, Ray must make a painful choice. The language, gorgeous and evocative, occasionally waxes florid, as overheated as the tropical atmosphere it describes. Extraneous detail about the technical aspects of TV production slows the action. And Ray, a passive character who acts impulsively if at all, lacks the courage of the author’s convictions.
A flawed gem.Pub Date: July 9, 2013
ISBN: 978-1-4000-6649-0
Page Count: 256
Publisher: Random House
Review Posted Online: May 15, 2013
Kirkus Reviews Issue: June 1, 2013
Categories: LITERARY FICTION
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Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.
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A wild child’s isolated, dirt-poor upbringing in a Southern coastal wilderness fails to shield her from heartbreak or an accusation of murder.
“The Marsh Girl,” “swamp trash”—Catherine “Kya” Clark is a figure of mystery and prejudice in the remote North Carolina coastal community of Barkley Cove in the 1950s and '60s. Abandoned by a mother no longer able to endure her drunken husband’s beatings and then by her four siblings, Kya grows up in the careless, sometimes-savage company of her father, who eventually disappears, too. Alone, virtually or actually, from age 6, Kya learns both to be self-sufficient and to find solace and company in her fertile natural surroundings. Owens (Secrets of the Savanna, 2006, etc.), the accomplished co-author of several nonfiction books on wildlife, is at her best reflecting Kya’s fascination with the birds, insects, dappled light, and shifting tides of the marshes. The girl’s collections of shells and feathers, her communion with the gulls, her exploration of the wetlands are evoked in lyrical phrasing which only occasionally tips into excess. But as the child turns teenager and is befriended by local boy Tate Walker, who teaches her to read, the novel settles into a less magical, more predictable pattern. Interspersed with Kya’s coming-of-age is the 1969 murder investigation arising from the discovery of a man’s body in the marsh. The victim is Chase Andrews, “star quarterback and town hot shot,” who was once Kya’s lover. In the eyes of a pair of semicomic local police officers, Kya will eventually become the chief suspect and must stand trial. By now the novel’s weaknesses have become apparent: the monochromatic characterization (good boy Tate, bad boy Chase) and implausibilities (Kya evolves into a polymath—a published writer, artist, and poet), yet the closing twist is perhaps its most memorable oddity.
Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.Pub Date: Aug. 14, 2018
ISBN: 978-0-7352-1909-0
Page Count: 384
Publisher: Putnam
Review Posted Online: May 15, 2018
Kirkus Reviews Issue: June 1, 2018
Categories: LITERARY FICTION
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BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
A 15-year-old girl in Colombia, doing time in a remote detention center, orchestrates a jail break and tries to get home.
"People say drugs and alcohol are the greatest and most persuasive narcotics—the elements most likely to ruin a life. They're wrong. It's love." As the U.S. recovers from the repeal of the Deferred Action for Childhood Arrivals program, from the misery of separations on the border, from both the idea and the reality of a wall around the United States, Engel's vital story of a divided Colombian family is a book we need to read. Weaving Andean myth and natural symbolism into her narrative—condors signify mating for life, jaguars revenge; the embattled Colombians are "a singed species of birds without feathers who can still fly"; children born in one country and raised in another are "repotted flowers, creatures forced to live in the wrong habitat"—she follows Talia, the youngest child, on a complex journey. Having committed a violent crime not long before she was scheduled to leave her father in Bogotá to join her mother and siblings in New Jersey, she winds up in a horrible Catholic juvie from which she must escape in order to make her plane. Hence the book's wonderful first sentence: "It was her idea to tie up the nun." Talia's cross-country journey is interwoven with the story of her parents' early romance, their migration to the United States, her father's deportation, her grandmother's death, the struggle to reunite. In the latter third of the book, surprising narrative shifts are made to include the voices of Talia's siblings, raised in the U.S. This provides interesting new perspectives, but it is a little awkward to break the fourth wall so late in the book. Attention, TV and movie people: This story is made for the screen.
The rare immigrant chronicle that is as long on hope as it is on heartbreak.Pub Date: March 2, 2021
ISBN: 978-1-982159-46-7
Page Count: 208
Publisher: Avid Reader Press
Review Posted Online: Dec. 15, 2020
Kirkus Reviews Issue: Jan. 1, 2021
Categories: LITERARY FICTION | FAMILY LIFE & FRIENDSHIP
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SEEN & HEARD
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
Categories: LITERARY FICTION
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