LOVE AND LONGING IN BOMBAY

STORIES

Five ingeniously linked long stories by the young Indian-born author whose impressive fictional debut was the magical-realist Red Earth and Pouring Rain (1995). These stories, which are uniformly full-bodied and richly detailed, are told by a convivial yet enigmatic civil servant, Subramaniam, to his attentive cronies in a bar called the Fisherman's Rest. Each recounts a quest of some kind, and all are distinguished by unusually detailed and persuasive characterizations. ``Dharma'' tells of a stoical combat veteran who experiences ``phantom pain'' in his amputated leg and consequently a ghostly visitation that brings equally painful memories of his childhood. ``Shakti'' is an amusing tale of rivalry between two socially ambitious women that is resolved by an unexpected alliance. In ``Kama,'' the investigation of an apparently open-and- shut robbery and murder uncovers a morass of sexual and political misdoing and the complicated personal life of Sartaj, the police detective who learns as much about himself as about the killer he pursues. ``Artha'' and ``Shanti,'' respectively, describe a gay computer programmer's dangerous search for information about his disappeared lover, and a twin bereft of his brother and in love with a beautiful married woman who travels ceaselessly looking for the truth about her long-lost husband, a soldier reported missing in action. ``Love and longing'' indeed are thus, in various ways, the motive forces behind these pieces—and in the last, the tale- teller Subramaniam is himself an important presence, and we realize how the preceding stories have also expressed aspects of his own loves and longings. A brilliant work, equally effective in its radiant separate parts and as a pleasingly complex and highly original construction.

Pub Date: March 5, 1997

ISBN: 0-316-13307-8

Page Count: 272

Publisher: Little, Brown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 1, 1997

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THE THINGS THEY CARRIED

It's being called a novel, but it is more a hybrid: short-stories/essays/confessions about the Vietnam War—the subject that O'Brien reasonably comes back to with every book. Some of these stories/memoirs are very good in their starkness and factualness: the title piece, about what a foot soldier actually has on him (weights included) at any given time, lends a palpability that makes the emotional freight (fear, horror, guilt) correspond superbly. Maybe the most moving piece here is "On The Rainy River," about a draftee's ambivalence about going, and how he decided to go: "I would go to war—I would kill and maybe die—because I was embarrassed not to." But so much else is so structurally coy that real effects are muted and disadvantaged: O'Brien is writing a book more about earnestness than about war, and the peekaboos of this isn't really me but of course it truly is serve no true purpose. They make this an annoyingly arty book, hiding more than not behind Hemingwayesque time-signatures and puerile repetitions about war (and memory and everything else, for that matter) being hell and heaven both. A disappointment.

Pub Date: March 28, 1990

ISBN: 0618706410

Page Count: 256

Publisher: Houghton Mifflin

Review Posted Online: Oct. 2, 2011

Kirkus Reviews Issue: Feb. 15, 1990

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HOW THE GARCIA GIRLS LOST THEIR ACCENTS

Told through the points of view of the four Garcia sisters- Carla, Sandi, Yolanda and Sofia-this perceptive first novel by poet Alvarez tells of a wealthy family exiled from the Dominican Republic after a failed coup, and how the daughters come of age, weathering the cultural and class transitions from privileged Dominicans to New York Hispanic immigrants. Brought up under strict social mores, the move to the States provides the girls a welcome escape from the pampered, overbearingly protective society in which they were raised, although subjecting them to other types of discrimination. Each rises to the challenge in her own way, as do their parents, Mami (Laura) and Papi (Carlos). The novel unfolds back through time, a complete picture accruing gradually as a series of stories recounts various incidents, beginning with ``Antojos'' (roughly translated ``cravings''), about Yolanda's return to the island after an absence of five years. Against the advice of her relatives, who fear for the safety of a young woman traveling the countryside alone, Yolanda heads out in a borrowed car in pursuit of some guavas and returns with a renewed understanding of stringent class differences. ``The Kiss,'' one of Sofia's stories, tells how she, married against her father's wishes, tries to keep family ties open by visiting yearly on her father's birthday with her young son. And in ``Trespass,'' Carla finds herself the victim of ignorance and prejudice a year after the Garcias have arrived in America, culminating with a pervert trying to lure her into his car. In perhaps one of the most deft and magical stories, ``Still Lives,'' young Sandi has an extraordinary first art lesson and becomes the inspiration for a statue of the Virgin: ``Dona Charito took the lot of us native children in hand Saturday mornings nine to twelve to put Art into us like Jesus into the heathen.'' The tradition and safety of the Old World are just part of the tradeoff that comes with the freedom and choice in the New. Alvarez manages to bring to attention many of the issues-serious and light-that immigrant families face, portraying them with sensitivity and, at times, an enjoyable, mischievous sense.

Pub Date: May 1, 1991

ISBN: 0-945575-57-2

Page Count: 308

Publisher: Algonquin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 1991

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