Fine Balance (Mistry)

A Fine Balance
Rohinton Mistry, 1995
Random House
624 pp.
ISBN-13: 9781400030651

Summary 
Winner: L.A. Times Prize in Fiction, Commonwealth Writers Best Book of the Year, and Giller Prize.

At 600 pages, Mistry's stunning second novel looks intimidating, yet this moving tale of four people caught up in India's 1975 state of emergency—when Prime Minister Indira Gandhi suspended the constitution in order to hold on to power following a scandal—is an incredibly detailed, compelling read that sweeps you along from the opening pages and is over far too soon.

Though it takes place in a time of political upheaval and chaos, A Fine Balance is not a political diatribe. Instead, it is a beautiful and compassionate portrait of the resiliency of the human spirit when faced with death, despair, and unconscionable suffering.

Set in an unnamed city by the sea, it is the story of four disenfranchised strangers—a widow, a young student, and two tailors—who are forced by their impoverished circumstances to share a cramped apartment. Initially distrustful of one another, Dina, Maneck, Ishvar, and Om gradually build loving, familial bonds and learn together "to maintain a fine balance between hope and despair" in a society suddenly turned inhumanly cruel and corrupt. (From the publisher.)

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Author Bio
• Birth—1952
• Where—Bombay, India
• Education—B. S., University of Bombay; B.A., University of Toronto, 1983
• Awards—Governor General's Award; Commonwealth Writers Prize (twice); Giller Prize
• Currently—lives in Toronto, Canada

Rohinton Mistry was born in Bombay and now lives near Toronto. His first novel, Such a Long Journey, was shortlisted for the Booker Prize and received, among other awards, the Governor General's Award and the Commonwealth Writers Prize for Best Book of the Year. A Fine Balance is his second novel, winner of the Los Angeles Times Book Prize in Fiction, the Giller Prize, and the Commonwealth Writers Prize as well as a Booker Prize finalist. Mistry is also the author of Swimming Lessons: And Other Stories from Firozsha Baag, a collection of short stories.

Four years after publishing Swimming Lessons in 1987, Mistry released his first novel. Such a Long Journey, which follows a bank clerk’s unwitting descent into corrupt political dealings in 1971 Bombay, was short-listed for the Booker prize and won Canada’s Governor General’s Award. Next came A Fine Balance, Mistry’s sweeping story of four strangers forced into sharing an apartment in 1975 Bombay. Again the Booker short list, and top Canadian honor the Giller Prize.

The selection of A Fine Balance for Oprah’s Book Club in 2001 changed the nature of Mistry’s career, as it has for many authors. While already respected, he had now earned a recognition with a new readership in the hundreds of thousands—a readership that was by and large unlikely to pick up a sprawling book set in 1970s India. Mistry told the show, “[India] remains my focus and makes it all worthwhile because of the people...their capacity for laughter, their capacity to endure.... Perhaps my main intention in writing this novel was to look at history from the bottom up.”

As a result of the Oprah publicity, a greater weight of expectation may have rested on Mistry’s third novel than it might have otherwise; this is true not only because of the increased pairs of eyes on Mistry’s work, but because he is a writer who is clearly still evolving. His earlier books encountered some criticism for heavyhandedness, particularly where the injection of political and social commentary were concerned.

In 2002’s Family Matters, Mistry moves away from a charged national backdrop and focuses more on family politics, though his keen observance of Indian culture remains a strong element. Charting the effects of one partriarch’s physical decline on his extended family, Family Matters moves forward in Bombay time to the mid-1990s and uses the Vakeel clan as a lens through which the author views (critically) religious fundamentalism.

Mistry’s consistent performance as a novelist, and ever growing awareness of his talents among American readers, promises a long and fruitful career. One Atlantic reviewer, beginning a review of Family Matters, put it this way: “[Mistry] has long been recognized as one of the best Indian writers; he ought to be considered simply one of the best writers, Indian or otherwise, now alive.”

Extras
• Mistry has not lived in his native India for many years; but like many expatriate writers, he continues a relationship with his country in his writings and has enriched his readers’ understanding of it. In his first two novels, Such a Long Journey and A Fine Balance, Mistry set his humorous, heartrending, Dickensian view of Bombay under the shadow of tumult under Indira Ghandi’s rule in the 1970s.

• Although he left India in 1975 and does not often go back, Mistry told a British magazine that he feels no hindrance in writing about his home country. "So far I have had no difficulty writing about it, even though I have been away for so long," he said. "All fiction relies on the real world in the sense that we all take in the world through our five senses and we accumulate details, consciously or subconsciously. This accumulation of detail can be drawn on when you write fiction..."

• After emigrating to Toronto in 1975, Mistry got a job as a bank clerk and ascended to the supervisor of customer service after a few years. His dissatisfaction in the job led to his taking classes in English, first at York College, and ultimately pursuing a degree part-time at the University of Toronto.

• Mistry had no ambitions to be a writer until he got to Canada and began taking classes in literature at the University of Toronto. Encouraged by his wife, he set out to win a university literary contest by writing his first short story. He called in sick from work, devoted several days to the story, entered it, and won the contest. (From Barnes & Noble.)

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Book Reviews
Those who continue to harp on the decline of the novel...ought to consider Rohinton Mistry. He needs no infusion of magic realism to vivify the real. The real world, through his eyes, is magical.
The New York Times

Astonishing.... A rich and varied spectacle, full of wisdom and laughter and the touches of the unexpectedly familiar through which literature illuminates life.
Wall Street Journal

Monumental.... Few have caught the real sorrow and inexplicable strength of India, the unaccountable crookedness and sweetness, as well as Mistry.
Time

In mid-1970s urban India—a chaos of wretchedness on the streets and slogans in the offices—a chain of circumstances tosses four varied individuals together in one small flat. Stubbornly independent Dina, widowed early, takes in Maneck, the college-aged son of a more prosperous childhood friend and, more reluctantly, Ishvar and Om, uncle and nephew tailors fleeing low-caste origins and astonishing hardships. The reader first learns the characters' separate, compelling histories of brief joys and abiding sorrows, then watches as barriers of class, suspicion, and politeness are gradually dissolved. Even more affecting than Mistry's depictions of squalor and grotesque injustice is his study of friendships emerging unexpectedly, naturally. The novel's coda is cruel and heart-wrenching but deeply honest. This unforgettable book from the author of Such a Long Journey is highly recommended.
Library Journal

From the Toronto-based Mistry (Such a Long Journey, 1991), a splendid tale of contemporary India that, in chronicling the sufferings of outcasts and innocents trying to survive in the "State of Internal Emergency" of the 1970s, grapples with the great question of how to live in the face of death and despair. Though Mistry is too fine a writer to indulge in polemics, this second novel is also a quietly passionate indictment of a corrupt and ineluctably cruel society. India under Indira Gandhi has become a country ruled by thugs who maim and kill for money and power. The four protagonists (all victims of the times) are: Dina, 40-ish, poor and widowed after only three years of marriage; Maneck, the son of an old school friend of Dina's; and two tailors, Ishvar and his nephew Om, members of the Untouchable caste. For a few months, this unlikely quartet share a tranquil happiness in a nameless city—a city of squalid streets teeming with beggars, where politicians, in the name of progress, abuse the poor and the powerless. Dina, whose dreams of attending college ended when her father died, is now trying to support herself with seamstress work; Maneck, a tenderhearted boy, has been sent to college because the family business is failing; and the two tailors find work with Dina. Though the four survive encounters with various thugs and are saved from disaster by a quirky character known as the Beggarmaster, the times are not propitious for happiness. On a visit back home, Om and Ishvar are forcibly sterilized; Maneck, devastated by the murder of an activist classmate, goes abroad. But Dina and the tailors, who have learned "to maintain a fine balance between hope and despair," keep going. A sweeping story, in a thoroughly Indian setting, that combines Dickens's vivid sympathy for the poor with Solzhenitsyn's controlled outrage, celebrating both the resilience of the human spirit and the searing heartbreak of failed dreams.
Kirkus Reviews

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Discussion Questions 
1. Why has Mistry chosen not to name the Prime Minister or the City by the Sea, when they are easily recognizable? Does recognition of these elements make any difference in your attitude toward the story?

2. Is Nusswan presented entirely as a villain, or does he have redeeming features? What are his real feelings toward Dina?

3. How does Dina's position within her family reflect the position of women in her culture and social class? Is the status of Om's sisters the same as Dina's, or different? What sorts of comparisons can you make between the roles and functions of women in India (as represented in this novel) and in America?

4. Post-Independence India has seen much religious and ethnic violence: for instance, the mutual slaughter of Hindus and Muslims after Partition (1947), during which Ishvar and Narayan saved Ashraf and his family, and the hunting down and killing of Sikhs after the Prime Minister's murder, witnessed by Maneck. How does the behavior of the characters in the novel, ordinary Hindus, Parsis, and Muslims, contrast with the hatred that inspired these terrible acts? How much of this hatred seems to be fomented by political leaders? Dukhi observes bitterly "that at least his Muslim friend treated him better than his Hindu brothers" [p. 115]. What does this say about ethnic and religious loyalties, as opposed to personal ones?

5. After Rustom's death, Dina's primary goal is self-reliance. But as the novel progresses and she makes new friends, she begins to change her ideas. "We'll see how independent you are when the goondas come back and break your head open, " Dina says to Maneck [p. 433]. Does she find in the end thatreal self-reliance is possible, or even desirable? Does she change her definition of self-reliance?

6. Most people seem indifferent or hostile to the Prime Minister and her Emergency policies, but a few characters, like Mrs. Gupta and Nusswan, support her. What does the endorsement of such people indicate about the Prime Minister? Can you compare the Prime Minister and her supporters with other political leaders and parties in today's world?

7. Why does Avinash's chess set become so important to Maneck, who comes to see chess as the game of life? "The rules should always allow someone to win, " says Om, while Maneck replies, "Sometimes, no one wins" [p. 410]. How do the events of the novel resemble the various moves and positions in chess?

8. Dina distances herself from the political ferment of the period: "Government problemsÑgames played by people in power, " she tells Ishvar. "It doesn't affect ordinary people like us" [p. 75]. But in the end it does affect all of them, drastically. Why do some, like Dina and Maneck, refuse to involve themselves in politics while others, like Narayan and Avinash, eagerly do so? Which position is the better or wiser one?

9. When Ishvar and Om are incarcerated in the labor camp, Ishvar asks what crime they have committed. "It's not a question of crime and punishment—it's problem and solution, " says the foreman [p. 338]. If it is true that there is a problem—the vast number of homeless people and beggars on city streetsÑwhat would a proper and humane solution be?

10. People at the bottom of the economic heap frequently blame so-called middlemen: people like Dina, who makes her living through other people's labor, or like Ibrahim the rent collector. Do such middlemen strike you as making money immorally? Who are the real villains?

11. How would you sum up Beggarmaster: Is he ruthless, kind, or a bit of both? Does he redeem himself by his thoughtful acts, the seriousness with which he takes his responsibilities toward his dependents? In a world this cruel, are such simple categories as "good" and "bad" even applicable?

12. When Beggarmaster draws Shankar, Shankar's mother, and himself, he represents himself as a freak just like the other two. What does this vision he has of himself tell us about him?

13. The government's birth control program is enforced with violence and cruelty, with sterilization quotas and forced vasectomies. But is birth control policy in itself a bad thing? Dina tells Om, for example, "Two children only. At the most, three. Haven't you been listening to the family planning people?" [p. 466]. How might family planning be implemented in a humane fashion?

14. After Dina's father dies, her family life is blighted until she marries Rustom. In later years, she chooses to withdraw from her natural family; it is not until her year with the tailors and Maneck that she again comes to know what a family might be. What constitutes a family? What other examples of unconventional "families" do you find in the novel?

15. Why do Ishvar, Om, and Dina survive, in their diminished ways, while Maneck finally gives up? Is it due to something in their pasts, their childhoods, their families, their characters?

16. "People forget how vulnerable they are despite their shirts and shoes and briefcases, " says Beggarmaster, "how this hungry and cruel world could strip them, put them in the same position as my beggars" [p. 493]. Does A Fine Balance show people's vulnerability, or their fortitude?

17. What effect is achieved by the novel's mildly comic ending, with Om and Ishvar clowning around at Dina's door? Is the ending appropriate, or off-balance?

18. The novel gives us a vivid picture of life for members of the untouchable caste in remote villages. Why might such an apparently anachronistic system have survived into the late twentieth century? Does it resemble any other social systems with which you are acquainted? Why do so few of its victims fight the system, as Narayan does? Why do so few leave the village: is it from necessity, social conservatism, respect for tradition?
(Questions issued by publisher.)

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