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THE SNAKE CHARMER

Name: THE SNAKE CHARMER
Author: Sanjay Nigam
ISBN: 0-688-15809-9

by Sanjay Nigam ‧ RELEASE DATE: June 9, 1998

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In a beautifully rendered but slight debut novel about the getting of wisdom, an Indian snake charmer struggles to find meaning after he impetuously destroys what he loves most. While Sonalal, the snake charmer, is a fully realized creation, his story may have been better suited for a novella, for it doesn—t, good as it is, quite fill out the more ample contours of a novel. Author Nigam, though, does lyrically evoke the place, Delhi, and the mood—arising from the consuming need to atone and understand—as he tells this story of the most talented snake charmer and musician in all of India. Middle-aged Sonalal is one of the many street artists and beggars who gather at Hamayun’s Tomb in Delhi to entertain or fleece the tourists. One day, to revive a tired Raju, his snake, who had been performing all day, Sonalal plays music that, had it been recorded, might have guaranteed him immortality. Raju responds, but when Sonalal goes on to play a note wrong, the snake stops dancing, and the humiliated musician picks him up and bites him in two. The act makes Sonalal a celebrity and temporarily wealthy, but he’s heartbroken and horrified by what he’s done to his beloved Raju. His wife is a shrew, his children despise him, and only Raju, he believes, understood him. Grieving, despairing of his life, he becomes impotent; he also fears that Raju’s mate is pursuing him. As he searches for answers, Sonalal consults doctors, magicians, and fellow charmers. Then his impotence is cured by Reena, a prostitute whom he loves, and he acquires another snake—even though he never attains with him that moment of godlike perfection he’d shared with Raju. A narrowly averted disaster helps him finally understand that the perfection he had briefly known (—the ether that smelled like a freshly cut mango—) still exists but is hard to attain. A small gem of a story that entertains, moves—and, naturally, charms.

Pub Date: June 9, 1998

ISBN: 0-688-15809-9

Page Count: 224

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 15, 1998

Categories:

GENERAL FICTION

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SUMMER ISLAND

by Kristin Hannah ‧ RELEASE DATE: March 1, 2001

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

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Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Categories:

GENERAL FICTION

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LAST ORDERS

by Graham Swift ‧ RELEASE DATE: April 5, 1996

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Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.