SHOW BUSINESS

Hindi movies are the metaphor for all that ails the subcontinent in this satirical tale from Tharoor (The Great Indian Novel, 1991), all about life in India's own Tinseltown— ``Bollywood,'' Bombay. Cutting and splicing monologues, lengthy synopses of movies, and excerpts from ``Bollywood's'' sharp-clawed Show Biz columnist, the Cheetah, Tharoor relates the rise, fall, and apotheosis of handsome Ashok Banjara—eldest son of a prominent politician, a connection that helps him get his first role. Ashok's rise to megastardom in the Hindi movie industry—which churns out films with simplistic plots and plaintive theme songs to please the rural masses—is swift. The quintessential movie star, Ashok lives as if life were a movie starring him, along with a supporting cast of beautiful women and servile men. He marries a costar but cheats on her; becomes a Member of Parliament—just another starring role, he assumes—but is framed in a tax-evasion scheme and must resign; in disgrace, he accepts the lead in a low-budget movie, then in a terrible accident on the set is mortally injured. Apotheosis is assured as throngs of loyal fans keep vigil outside while he lies dying. As entertaining and diverting as this sashay through glitzy ``Bollywood'' is, characters like Ashok's father and brother, and a fellow actor who always played the villain, offer more serious commentary. For them, the politicians and films are the same: ``We are both involved in pretense, [and] politics is an end in itself, just like the Hindi film,'' the father says to his dying son. Corruption and illusion are rife; politicians behave like movie villains; and shallow movie stars are heroes of the people. Nothing is real. Tharoor is one of those rare writers who felicitously combines gentle satire with an urgent concern for society's ills. Another eloquent—and entertaining—commentary on contemporary India.

Pub Date: June 26, 1992

ISBN: 1-55970-181-1

Page Count: 304

Publisher: Arcade

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1992

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A promising debut that’s awake to emotional, political, and cultural tensions across time and continents.

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HOMEGOING

A novel of sharply drawn character studies immersed in more than 250 hard, transformative years in the African-American diaspora.

Gyasi’s debut novel opens in the mid-1700s in what is now Ghana, as tribal rivalries are exploited by British and Dutch colonists and slave traders. The daughter of one tribal leader marries a British man for financial expediency, then learns that the “castle” he governs is a holding dungeon for slaves. (When she asks what’s held there, she’s told “cargo.”) The narrative soon alternates chapters between the Ghanans and their American descendants up through the present day. On either side of the Atlantic, the tale is often one of racism, degradation, and loss: a slave on an Alabama plantation is whipped “until the blood on the ground is high enough to bathe a baby”; a freedman in Baltimore fears being sent back South with the passage of the Fugitive Slave Act; a Ghanan woman is driven mad from the abuse of a missionary and her husband’s injury in a tribal war; a woman in Harlem is increasingly distanced from (and then humiliated by) her husband, who passes as white. Gyasi is a deeply empathetic writer, and each of the novel’s 14 chapters is a savvy character portrait that reveals the impact of racism from multiple perspectives. It lacks the sweep that its premise implies, though: while the characters share a bloodline, and a gold-flecked stone appears throughout the book as a symbolic connector, the novel is more a well-made linked story collection than a complex epic. Yet Gyasi plainly has the talent to pull that off: “I will be my own nation,” one woman tells a British suitor early on, and the author understands both the necessity of that defiance and how hard it is to follow through on it.

A promising debut that’s awake to emotional, political, and cultural tensions across time and continents.

Pub Date: June 7, 2016

ISBN: 978-1-101-94713-5

Page Count: 320

Publisher: Knopf

Review Posted Online: March 2, 2016

Kirkus Reviews Issue: March 15, 2016

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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