Written in simple prose but straining for impact, this debut is overloaded by its schematic burden. Wanting more to be a...


Passengers on a bus witnessing a tragic moment embody aspects of Indian culture.

Hobbled by its structure, Khair’s first novel struggles to gain momentum. Via very short chapters, a range of characters darts in and out of the reader’s vision, creating kaleidoscopic impressions of India. Slowly, the focus is sharpened to a particular day and a particular bus journey. In the Arthur Hailey tradition, Khair assembles a seemingly random cast although each member carries an emblematic burden: bus driver, Mangal Singh, a writer manqué and watcher of faces; Mrs. Mirchandani, voluble survivor of Partition; Parvati, the eunuch hoping to find a better life; Chottu, a thief and possible murderer; Rasmus, a Dane with an Indian father and an attaché case full of cash. Glimpses of the Indian landscape and characters’ back stories are included, adding color and fleshing out what is at best a slender narrative. This hinterland works to the tale’s strength, contributing more texture than the brief, often heavily delineated characterization. Tension is ratcheted up by an argument between Mangal Singh and the bus conductor (the two are complicit in a scam to augment their paltry wages) about a tribal woman, carrying a child, who has boarded the vehicle. But the crisis, when it comes, is not so much the predictable disaster, more a symbolic tableau. Mangal Singh realizes that the tribal woman’s baby is in fact dead. The mother is not easily persuaded of this, but once she is, the passengers bury the body and absorb the events, as they move on to their individual destinations. Parvati, haunted by the tribal woman, will actively pursue a romantic fate involving Mrs. Mirchandani’s son. For Rasmus, the episode is a quintessential subcontinent experience: “Where else but in India,” he thinks toward the end.

Written in simple prose but straining for impact, this debut is overloaded by its schematic burden. Wanting more to be a screenplay than a novel.

Pub Date: Oct. 15, 2005

ISBN: 0-330-41921-8

Page Count: 200

Publisher: Picador UK/Trafalgar

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 2005

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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The phrase “tour de force” could have been invented for this audacious novel.

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Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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