A moving, melancholy story about history, hatred, and the never-ending battle between tolerance and bigotry.
Mitra’s sprawling debut novel set in 1989 tells of a Hindu priest who tries to re-establish a temple in conflict-ridden Kashmir and of some of his Muslim neighbors.
“A few memories stay as silent shadows in our lives to haunt us for generations,” this book begins. Indeed, the past weighs on Aditya, a young Hindu priest from Benares, India, as well as on three Kashmiri Muslims: Anwar; his sister, Zeba; and his friend Javed. Aditya is an advocate for the rights of outcasts, although his father tells him that people from the untouchable caste don’t “have feelings and won’t understand gratitude.” As a young man, he’s persuaded by his mentor to go to Kashmir to reopen a Hindu temple that was destroyed by Muslims centuries earlier. Anwar, the son of the imam of a mosque next to the temple ruins, is growing increasingly militant despite his father’s and Javed’s calls for peace and tolerance. But Aditya’s arrival sets the plot in motion; his restoration of the temple angers local Muslims and also irritates the local police, who must keep order. When Zeba develops an obvious crush on Aditya, anger turns to fury, and as a tide of ethnic cleansing rises, the temple is burned and an injured Aditya must flee. Anwar comes to regret his role in the violence, which soon turns on fellow Muslims who aren’t considered radical enough. The accounts of brutality, though not gratuitous, are often difficult to read. But as Mitra unsparingly depicts the crimes committed by Kashmiri Muslims against Hindus, he effectively argues against radicalism in all religions. The characters are sympathetic, and their depictions convey many intricacies of a culture that will likely be unfamiliar to many Americans; that said, a little more background information might have been helpful. As the plot moves toward its conclusion, readers will likely agree with Aditya when he says that “Memory is our only tool against the falsification of history.” Despite all the terrible events depicted in this story, its ending is still faintly hopeful.
A moving, melancholy story about history, hatred, and the never-ending battle between tolerance and bigotry.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Dog Ear Publisher
Review Posted Online: Feb. 17, 2017
Kirkus Reviews Issue: April 1, 2017
Review Program: Kirkus Indie
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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