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The problem with reading an awesome novel by a particular author is the high expectations one has with the other novels and when that doesn’t happen,you feel heartbroken for both yourself and the author. And that’s exactly what happened with ‘Hullabaloo In The Guava Orchard‘ written by Kiran Desai. Having read her other, more famous, Booker prize winning novel, ‘The Inheritance Of Loss,’ which is quite splendid weaving strands of varying themes into a beautiful story, I built up many sky high praises for Kiran Desai. But, unfortunately, her debut novel doesn’t come close to her 2nd one. ‘Hullabaloo In The Guava Orchard,’ is a good read nonetheless, yet lacks the brilliance that lights up the storyline of ‘The Inheritnace of Loss.’
The plot of ‘Hullabaloo In The Guava Orchard‘ begins with the birth of Sampath in an apparently middle class family living in a village named Shahkot. Then the novel does an Indian soap opera kind of leap and we see Sampath twenty years later, quite dull, and doomed as a failure by his father. Only his mother, Kulfi, has faith that her son will be able to be something in life. And ho! what do you know, he does manage to do just that. But not before getting fired from his clerk job in the post office and running away from Shahkot to be away from the misery of life. He then comes across a guava orchard and decides to climb on a guava tree and interestingly finds peace and solace over there. He feels uncluttered and unfettered on that tree. With a quirk of fate, he gets mistaken by a holy man atop a tree and his father gets a brilliant idea to juice out money from this venture. People flock to listen to his wise words and seek his advice and blessings! Sampath thus from being a good for nothing fellow becomes a famous Monkey Baba revered by one and all. Apart from Sampath, we get to see the rest of his peculiar family like his mother who relishes food and whipping up quite grand and glorious dishes. Then his sister, Pinky who falls in love with an ice cream seller, Hungry Hop.
The one word for this novel is eccentric. ‘Hullabaloo In The Guava Orchard‘ reminds one of the bumbling comedies staged during Elizabethan Age that had similar comic situations with myriad quirky characters. The book gives a satirical take on rural/town India and its obsession with godly figures. It highlights the dishonesty that prevails among the fake babas that spring up in all nooks and corners. Of course, Sampath never intended to become a Monkey Baba. He in fact wanted to run away from all things pretentious. So perhaps Desai is trying to bring out how holy men should be in their heart and soul? Well, one can interpret it in anyway one wants. The characters are also well fleshed out particularly Kulfi whose love for food has been highlighted since page 1.
While the comic ans satirical part of the book is perfect, its the Bollywoodish touch and the simple, immature writing and the weak climax that make the book rather disappointing. Its quite entertaining and funny in its ludicrous situations but not really a must read, though a fun read!
Well, you could either go for it and enjoy the fun or avoid it completely. Take your pick!
Short stories are usually good,easy read proffering an anecdote,a glimpse into someone’s life, drawing you in that story and leaving you satisfied of having dabbled in their life. ‘Window Seat‘ by Janhavi Acharekar is a collection of short stories that have the same effect on the reader. There are 30 short stories-each revealing a different side of human nature, emotions, of India, of Mumbai and each is well crafted, well written and always ending with a concrete resolution-absent in many other short stories that often mar the story’s charm. But not Acharekar-she is one brilliant writer, way better than the popular Chetan Bhagat or any other IIT/IIM students turned writers we see today in India.
Each of her short story explores a new idea, divulges the good, the bad and the ugly of Mumbai city. And none are cliched. They are simple, realistic, displaying the daily lives of many common folks of the city-their struggles, their fights, their dreams, their feelings, their worries, their happiness-almost everything under the sun. It is this portrayal of the daily, everyday, mundane aspect of people’s lives polished with Acharekar’s fine, creative imagination, that makes each story is distinctive and unique. The readers will connect to atleast one short story because Janhavi Acharekar covers everything-from the slum life, to the middle class worries to the high class celebrity to the party life-everything that together comprises the reader’s perception of Mumbai.
The stories have varied themes, ranging from a couple searching for the perfect flat/home in Mumbai, a freedom fighter’s popularity in his Girgaum neighbourhood, a unique event at Mumbai Central Station, the cause of a riot, a teacher’s wistful memories of her old school days, a cyberspace love relationship, an art preview, four women’s lives in Mumbai’s lifeline-the local train and so many more. Giving a full detailed description of each story would kill the joy of reading it on one’s own.
Now you might ask, why would one want to read about the daily life of Mumbaikars? Simply because, one can connect with them and also because, the writer plainly, economically, straightforwardly puts her story across, accessing our hearts and moving us too!
The book, ‘Window Seat‘ is divided into 2 parts. While the first part has unconnected stories, the second part is further subdivided into 3 parts and the stories in each of the 3 parts are connected to each other in terms of their setting and characters and not necessarily continuity.
There are a few disheartening aspects of the book as well. Firstly, some stories go back in time, see Mumbai nostalgically and not con temporarily which is good in a few stories but not always. Also, some stories are not even set in the 21st century. They have an old world charm to it which again is not necessarily a bad thing but a more contemporary setting would do better with many newcomers to the city and other too. Besides there are far too many Mumbai novels that nostalgically always stay in a bygone Mumbai that will definitely never come back again. So why bother writing pages and pages if so much has already been written about it? Secondly, some stories tilt only towards South Mumbai not bothering to explore North and Navi Mumbai. Thirdly,the title, ‘Window Seat‘ is also misleading suggesting that the book has stories set in the Mumbai locals, when in fact there are myriad settings to each story.
Besides those few points, ‘Window Seat‘ is a marvellous novel the keeps you wanting for more. Acharekar’s lucid writing, her non-romanticized notions of Mumbai and her brilliant story telling ability make the book worth reading it. Wish she writes more such books and hopes she becomes more popular and widely read because a good writer like her definitely deserves it!
Here’s a toast to good contemporary Indian English writing!