The quality of Ms. Roy’s narration is so extraordinary—at once so morally strenuous and so imaginatively supple—that the reader remains enthralled all the way through.
New York Times Book Review
With sensuous prose, a dreamlike style infused with breathtakingly beautiful images and keen insight into human nature, Roy's debut novel charts fresh territory in the genre of magical, prismatic literature. Set in Kerala, India, during the late 1960s when Communism rattled the age-old caste system, the story begins with the funeral of young Sophie Mol, the cousin of the novel's protagonists, Rahel and her fraternal twin brother, Estha. In a circuitous and suspenseful narrative, Roy reveals the family tensions that led to the twins' behavior on the fateful night that Sophie drowned. Beneath the drama of a family tragedy lies a background of local politics, social taboos and the tide of history all of which come together in a slip of fate, after which a family is irreparably shattered. Roy captures the children's candid observations but clouded understanding of adults' complex emotional lives. Rahel notices that "at times like these, only the Small Things are ever said. The Big Things lurk unsaid inside." Plangent with a sad wisdom, the children's view is never oversimplified, and the adult characters reveal their frailties and in one case, a repulsively evil powerin subtle and complex ways. While Roy's powers of description are formidable, she sometimes succumbs to overwriting, forcing every minute detail to symbolize something bigger, and the pace of the story slows. But these lapses are few, and her powers coalesce magnificently in the book's second half. Roy's clarity of vision is remarkable, her voice original, her story beautifully constructed and masterfully told.
This piercing study of childhood innocence lost mirrors the growing pains of modern India. Twin sister and brother Rahel and Estha are at the center of a family in crisis and at the heart of this "moving and compactly written book.
It's easier to talk about small things because the big things in life are far too complex and painful. But even small things can loom large, and everything can change, radically, in a day, a moment. These are the sort of big things first-time novelist Roy ponders in this highly original and exquisitely crafted tale.... Roy's intricate, enchanting, and often wry tale is positively mythical in its cosmic inevitability, evocative circularity, and paradoxical wisdom. —Donna Seaman
A brilliantly constructed first novel that untangles an intricate web of sexual and caste conflict in a vivid style reminiscent of Salman Rushdie's early work. The major characters are Estha and Rahel, the fraternal twin son and daughter of a wealthy family living in the province of Kerala. The family's prosperity is derived from a pickle factory and rubber estate, and their prideful Anglophilia essentially estranges them from their country's drift toward Communism and their "inferiors" hunger for independence and equality. The events of a crucial December day in 1969—including an accidental death that may have been no accident and the violent consequences that afflict an illicit couple who have broken "the Love Law"—are the moral and narrative center around which the episodes of the novel repeatedly circle. Shifting backward and forward in time with effortless grace, Roy fashions a compelling nexus of personalities that influence the twins' "eerie stealth" and furtive interdependence. These include their beautiful and mysteriously remote mother Ammu; her battling "Mammachi" (who runs the pickle factory) and "Pappachi" (an insufficiently renowned entomologist); their Oxford-educated Marxist Uncle Chacko and their wily "grandaunt" Baby Kochamma; and the volatile laborite "Untouchable" Velutha, whose relationship with the twins' family will prove his undoing. Roy conveys their explosive commingling in a vigorous prose dominated by odd syntactical and verbal combinations and coinages (a bad dream experience during midday nap-time is an "aftermare") reminiscent of Gerard Manly Hopkins's "sprung rhythm," incantatory repetitions, striking metaphors (Velutha is seen "standing in the shade of the rubber trees with coins of sunshine dancing on his body") and sensuous descriptive passages ("The sky was orange, and the coconut trees were sea anemones waving their tentacles, hoping to trap and eat an unsuspecting cloud"). In part a perfectly paced mystery story, in part an Indian Wuthering Heights: a gorgeous and seductive fever dream of a novel, and a truly spectacular debut.
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