Upadhyay's plain prose makes the political crisis all the more affecting.



Familial responsibility butts up against personal desires in these finely crafted stories.

Novelist and short story writer Upadhyay (The Guru of Love, 2003) assembles another fine collection of complex, haunting pieces set in Nepal. The title story juxtaposes the shocking news that Crown Prince Dipendra has shot himself after killing the entire royal family, with the relationship of taxi driver Ganga, who belatedly realizes that his brother Dharma is homosexual. In “The Wedding Hero,” a friendship between three bank workers is strained when two of the trio realize they're both attracted to the lovely Gauri; things backfire when Umesh decides to arrange and finance a coworker's wedding, in an attempt to impress Gauri. In “The Third Stage,” a retired film actor agrees to take part in a feature film to placate his wife and daughter—and realizes that the fantasy world of film is akin to the earthly, illusory world. The importance of family—and the heartbreak that can be found within—is described in “Father, Daughter,” in which a daughter's willful actions challenge a father's notions of caste. In “The Weight of a Gun,” the divorced mother of a grown schizophrenic son unexpectedly finds herself raising her ex-husband's newborn. And a junior accountant comes to realize that spectacular good looks are not necessarily the only thing to look for in a bride, in “Chintamani's Women.” Characters not only maneuver their way through the intricacies of love, but also navigate against the backdrop of Nepal's Maoist guerrillas, fighters who have been orchestrating a nearly decade-long civil war.

Upadhyay's plain prose makes the political crisis all the more affecting.

Pub Date: Feb. 9, 2006

ISBN: 0-618-51749-9

Page Count: 224

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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It's being called a novel, but it is more a hybrid: short-stories/essays/confessions about the Vietnam War—the subject that O'Brien reasonably comes back to with every book. Some of these stories/memoirs are very good in their starkness and factualness: the title piece, about what a foot soldier actually has on him (weights included) at any given time, lends a palpability that makes the emotional freight (fear, horror, guilt) correspond superbly. Maybe the most moving piece here is "On The Rainy River," about a draftee's ambivalence about going, and how he decided to go: "I would go to war—I would kill and maybe die—because I was embarrassed not to." But so much else is so structurally coy that real effects are muted and disadvantaged: O'Brien is writing a book more about earnestness than about war, and the peekaboos of this isn't really me but of course it truly is serve no true purpose. They make this an annoyingly arty book, hiding more than not behind Hemingwayesque time-signatures and puerile repetitions about war (and memory and everything else, for that matter) being hell and heaven both. A disappointment.

Pub Date: March 28, 1990

ISBN: 0618706410

Page Count: 256

Publisher: Houghton Mifflin

Review Posted Online: Oct. 2, 2011

Kirkus Reviews Issue: Feb. 15, 1990

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Old-fashioned short fiction: honest, probing and moving.


One of America’s great novelists (Lost Memory of Skin, 2011, etc.) also writes excellent stories, as his sixth collection reminds readers.

Don’t expect atmospheric mood poems or avant-garde stylistic games in these dozen tales. Banks is a traditionalist, interested in narrative and character development; his simple, flexible prose doesn’t call attention to itself as it serves those aims. The intricate, not necessarily permanent bonds of family are a central concern. The bleak, stoic “Former Marine” depicts an aging father driven to extremes because he’s too proud to admit to his adult sons that he can no longer take care of himself. In the heartbreaking title story, the death of a beloved dog signals the final rupture in a family already rent by divorce. Fraught marriages in all their variety are unsparingly scrutinized in “Christmas Party,” Big Dog” and “The Outer Banks." But as the collection moves along, interactions with strangers begin to occupy center stage. The protagonist of “The Invisible Parrot” transcends the anxieties of his hard-pressed life through an impromptu act of generosity to a junkie. A man waiting in an airport bar is the uneasy recipient of confidences about “Searching for Veronica” from a woman whose truthfulness and motives he begins to suspect, until he flees since “the only safe response is to quarantine yourself.” Lurking menace that erupts into violence features in many Banks novels, and here, it provides jarring climaxes to two otherwise solid stories, “Blue” and “The Green Door.” Yet Banks quietly conveys compassion for even the darkest of his characters. Many of them (like their author) are older, at a point in life where options narrow and the future is uncomfortably close at hand—which is why widowed Isabel’s fearless shucking of her confining past is so exhilarating in “SnowBirds,” albeit counterbalanced by her friend Jane’s bleak acceptance of her own limited prospects.

Old-fashioned short fiction: honest, probing and moving.

Pub Date: Nov. 12, 2013

ISBN: 978-0-06-185765-2

Page Count: 304

Publisher: Ecco/HarperCollins

Review Posted Online: Sept. 1, 2013

Kirkus Reviews Issue: Sept. 15, 2013

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