National Book Critics Circle, Fiction, 2007
Man Booker Prize, Fiction, 2007
At the foot of Mount Kanchenjunga in the Himalayas lives an embittered old judge who wants nothing more than to retire in peace. But this is far from easy with the arrival of his orphaned granddaughter Sai, come to live with him and his chatty cook. Biju, the cook's son, is trying to make his way in the US, flitting between a succession of grubby kitchen jobs to stay one step ahead of the immigration services.Unbeknown to any of them, a Nepalese insurgency threatens Kalimpong, impacting Sai's blossoming romance, and causing the judge to revisit his past and his role in this grasping world of conflicting desires.
©2006 Kiran Desai; (P)2007 Penguin Audio, a member of Penguin Group (USA) Inc. All rights reserved.
"Briskly paced and sumptuously written." (The New Yorker)
"Desai imaginatively dramatizes the wonders and tragedies of Himalayan life and, by extension, the fragility of peace and elusiveness of justice, albeit with her own powerful blend of tenderness and wit." (Booklist)
"In this alternately comical and contemplative novel, Desai deftly shuttles between first and third worlds, illuminating the pain of exile, the ambiguities of post-colonialism and the blinding desire for a 'better life', when one person's wealth means another's poverty." (Publishers Weekly)
I really wanted to like this book. However, I found the narration very tedious. The characters were not likeable or sympathetic and the author seems overly-concerned with describing bowel movements and other bodily functions. Just not for me.
Tell us about yourself!
Although admittedly the writing was well done, I have never read a book that could find so little good in the human race. This was a depressing view of India in a time of turmoil, but without the redeeming human spirit. I kept waiting and hoping some optimism would rise from the ashes of this missive, but it never came. Recommended by me? to no one.
What a strange book, about a time and place I was not aware of. It is very good, and very well written. However I hated it. It was far too dire and depressing. I understand that was the point and the themes this book explores are well worth exploring,I just wish there was some levity in there. But even though I hated it I hated it for the depression that encases the entire story, not the skill of the writer.
I think the stories she told were very intriguing and her depth into each character shows her ability to relate to many different types of people. Her imagery and diction were appreciated many times but other times, very distracting. I felt myself hoping she would just get to the point instead of laboring at describing an emotion or setting.
She is a truly talented author but I could only take so much in each sitting.
A gorgeously written story, alternatively tragic and hilarious. The reader, Meera Simhan, is extraordinary -- she performs a range of accents and characters to perfection. A great pleasure to listen to.
I could not get through this story and wish I had the option to return.
In a text version, I could have imagined the accents that I knew as I read dialogue, and would have "silent-read" accents that I didn't. My own ignorance of specific accents would have been made irrelevant. In this audio version, the inappropriate accents for the characters were grating.
Descriptions of the travails of Biju, an illegal migrant worker in NewYork.
The performer Ms. Simhan is great in reproducing two of the needed accents: (1) the "convent-school" Indian English accent, and (2) the general expatriate "British"-ized Indian accent.Ms. Simhan is wildly inappropriate as she portrays other regional Indian accents. It seems quite inappropriate to use the educated and uneducated versions of the English accent as spoken by primary Tamil (bordering on Malayalam) speakers. When the dialogue is about Bengali-, Punjabi- and Hindi-speakers demonstrating petty regional arrogance and peeves, their regional accents for speaking English are appropriate for performance. For example in this story that happens with the Gorkha insurgency in the background, one of the characters peevishly complains about the insurgents insisting on the pronunciation "Gorkha" rather than "Gurkha". "Gurkha" is the word used by most non-Gorkha Indians, often pejoratively. The peevish statement needs to be pronounced with accuracy: to portray the mispronunciation in one regional Indian accent of another regional Indian word!There is some dialogue in Hindi - short sentences and exclamations. These are important in creating the atmosphere. Fragmentary Hindi is the Indian cosmopolitan official's partial condescension from English, never stooping to the local language. It is also the lingua franca of the non-English-fluent cosmopolitan Indian. The performer's Hindi pronunciations are either Tamil-Malayalam accented (that would be barely acceptable, if I imagined that the official was a transplant from the South) or sometimes just incorrect. The performer mispronounces Indian language words that are part of the narration (not the dialogue). I do not think that this is excusable. The Gorhka knife spelled "kukri" in English is better pronounced cook-ree and not cuck-ree.Some time ago I heard Rohinton Mistry's "Family Matters" performed by Martin Jarvis of Canada. I did not like it for the same reasons. I consoled myself that even in Canada, it may be difficult to get accent coaches. So that author could not perform a dialogue with Parsis and Marathis being dismissive of each other. I was hoping that Ms. Simhan, who is a person of Indian origin may have been able to draw on a deeper circle of Indian-origin acquaintances and get the many regional accents right. Not so. She only studied the accents of Tamil and/or Malayalam speakers.Never again. I will restrict my audible.com enjoyment to stories set in the US, Canada, Australia, and Britain. I will get audiobooks of stories set in India only if recorded by native Indian performers.
I will reserve judgment till I read the book in text.
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