Stunning and relentless.
Rao’s debut story collection illuminates how the division of India and Pakistan into two countries violently disrupted the lives of the region's citizens for years.
The characters in these 12 stories are connected by the effects of Partition in August 1947, as the Radcliffe Line divides the former British colony into two countries and forces a mass migration of Hindus, Muslims, and Sikhs. With a sophisticated sense of pacing and patience, the stories build on one another by focusing on how the actions of those in power affect vulnerable women and children on both sides of the divide. The stories are paired, an interesting variation on linked stories, as there are six sets in which a character introduced in the first story also appears in the next. In “An Unrestored Woman,” a 13-year-old widow, Neela, faces the continuation of her loveless marriage after her husband, erroneously reported dead, comes back to claim her from a refugee camp. In the next story, “The Merchant’s Mistress,” Neela’s friend from the camp, Renu, becomes the servant and lover to both a diamond merchant and his wife, until an opportunity presents itself for her to escape. Other featured characters include a gay British officer facing the loss of his career after an uprising during Partition kills the Sikh officer he was attracted to; a Hindu cartographer who moves the proposed boundaries of the Radcliffe Line in the hope of personal gain; and a Hindu woman and a young Muslim boy who work to escape from a train under attack in Pakistan. The stories span more than a century, and Rao never idealizes the time of colonial rule prior to Partition or neglects the later difficulty of being an immigrant in the United States and Britain but instead focuses on how the choices the characters make reverberate for years and across generations. Rao’s language is particularly good at reflecting the interior lives of her characters. Her sentences are beautiful but never lapse into sentimentality: “The water was cold, silken, and when she dipped her head under it, it passed over her scalp with the thickness and the strength of a hand”; “that’s what she had thought while traveling on the train: that to journey through such emptiness was to invite it inside.” Though the characters are meticulously developed within each story, the collection as a whole examines how little power a person might have over his or her own destiny when confronted with war and international disputes.
Stunning and relentless.Pub Date: March 15, 2016
ISBN: 978-1-250-07382-2
Page Count: 256
Publisher: Flatiron Books
Review Posted Online: Jan. 9, 2016
Kirkus Reviews Issue: Jan. 15, 2016
BOOK REVIEW
BOOK REVIEW
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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