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THE YEAR OF THE RUNAWAYS

Name: THE YEAR OF THE RUNAWAYS
Author: Sunjeev Sahota
ISBN: 978-1-101-94610-7

by Sunjeev Sahota ‧ RELEASE DATE: March 31, 2016

When the place you’ve left is burning and the one you’re in doesn’t want you, how do you find your way home?

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The intertwined lives of four Indian immigrants in England reveal broad truths through heartbreaking details.

It seems like a common enough premise at first: several young people from struggling families flee their native country to find a better life—or better work, at least. But as Sahota (Ours Are the Streets, 2011) demonstrates in his rough-around-the-edges second novel, every immigrant story is wholly individual, no matter how familiar it feels. Weaving back and forth through chronologies and perspectives, he traces the origin stories of Randeep, Avtar, and Tochi as they make their ways from India to Sheffield, an industrial city in the north of England, in the early 2000s. Lonely Randeep must support his “visa wife,” a religious Sikh and fellow immigrant named Narinder, who sought the role out of a sense of service, leaving an arranged engagement, a violent brother, and a disappointed father behind. When Randeep’s sense of obligation toward her turns to affection, Narinder folds further inward until she meets fiery Tochi, who belongs to the destitute Dalit (“untouchable”) caste. He squats in the apartment below hers, and they gradually connect through their shared alienation from the parts they’re supposed to be playing—but it’s an impossible pairing, of course. Piety and fury don’t get happy endings. Neither does delicate Avtar, who winds up working a series of filthy, treacherous jobs despite his student visa. England is rarely kind to this quartet, thwarting their efforts at betterment with police raids, poverty, and other trials. Sahota peppers these scenes with a riot of minor characters that can be overwhelming, but his observations of our broken social system are razor-sharp.<

When the place you’ve left is burning and the one you’re in doesn’t want you, how do you find your way home?

Pub Date: March 31, 2016

ISBN: 978-1-101-94610-7

Page Count: 480

Publisher: Knopf

Review Posted Online: Jan. 9, 2016

Kirkus Reviews Issue: Jan. 15, 2016

Categories:

LITERARY FICTION

- BOOK REVIEW
THE SPOILED HEART
by Sunjeev Sahota

- BOOK REVIEW
CHINA ROOM
by Sunjeev Sahota

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.

Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.

Pub Date: March 6, 2000

ISBN: 0-375-70376-4

Page Count: 704

Publisher: Pantheon

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2000

Categories:

LITERARY FICTION

- BOOK REVIEW
THE LITTLE BLUE KITE
by Mark Z. Danielewski

- BOOK REVIEW
HADES
by Mark Z. Danielewski

- BOOK REVIEW
HONEYSUCKLE & PAIN
by Mark Z. Danielewski

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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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.