Seven stories and a novella by a Nepali author who explores universal themes of envy, racism, political power, and disappointment in love with subtle and persuasive power.
The opening story introduces us to Shalini, a woman who edits Fast Forward (also the name of the story), a journal investigating political corruption in Nepal. She’s courageous and defiant in the face of denunciations by Minister Gujrel, whose security forces she has accused of murder. This political drama plays out against the personal drama of Shalini and two of her friends, one of whom is suicidal. “Beggar Boy” explores class and privilege as Ramesh, from a well-to-do family, has fantasies about robbing a bank. He also begins to develop a fascination, almost an obsession, with the poor, to the extent that he gets some old clothes and “practices” being poor. By the end of the story he has indulged both fantasies, with unexpected results. Upadhyay’s novella, Dreaming of Ghana, is a mature piece that allows him more freedom to explore the vagaries of character he excels at. Aakash works at a tourist magazine, a job he hates. He begins to have dreams of Ghana, which is odd because beyond “Africa” he doesn’t even know where the country is. Then something bizarre happens that conflates dream with reality—Aakash rescues a dark-skinned girl from a mob. She seems to be mute, and this allows him to make her a blank slate on which he can write a fantasy. He names her “Ghana” and begins to fall in love with her. The final story, “America the Great Equalizer,” is the only one that takes place in the United States, though the focus is on a Nepali graduate student studying political science at Northern Illinois University. When a long-distance relationship with a woman back in Nepal goes sour, he drops out of school, takes a dead-end job, and winds up in a street demonstration in Ferguson, Missouri, acting out his continuing preoccupation with race.
Brilliant but accessible gems of short fiction.Pub Date: April 18, 2017
ISBN: 978-1-61695-796-4
Page Count: 304
Publisher: Soho
Review Posted Online: Feb. 6, 2017
Kirkus Reviews Issue: Feb. 15, 2017
Categories: LITERARY FICTION | SHORT STORIES
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Miller makes Homer pertinent to women facing 21st-century monsters.
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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. 23, 2018
Kirkus Reviews Issue: Feb. 1, 2018
Categories: LITERARY FICTION | HISTORICAL FICTION
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PROFILES
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: July 1, 1992
Categories: LITERARY FICTION
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