Fasting, Feasting

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Uma, the plain spinster daughter of a close-knit Indian family, is trapped at home, smothered by her overbearing parents and their traditions, unlike her ambitious younger sister Aruna, who brings off a "good" marriage, and brother Arun, the disappointing son and heir who is studying in America. Across the world in Massachusetts, life with the Patton family is bewildering for Arun in the alien culture of freedom, freezers and paradoxically self-denying self-indulgence.
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Overview

Uma, the plain spinster daughter of a close-knit Indian family, is trapped at home, smothered by her overbearing parents and their traditions, unlike her ambitious younger sister Aruna, who brings off a "good" marriage, and brother Arun, the disappointing son and heir who is studying in America. Across the world in Massachusetts, life with the Patton family is bewildering for Arun in the alien culture of freedom, freezers and paradoxically self-denying self-indulgence.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Short-listed for the 1999 Booker Prize, Desai's stunning new novel (after Journey to Ithaca) looks gently but without sentimentality at an Indian family that, despite Western influence, is bound by Eastern traditions. As Desai's title implies, the novel is divided into two parts. At the heart of Part One, set in India, is Uma, the eldest of three children, the overprotected daughter who finds herself starved for a life. Plain, myopic and perhaps dim, Uma gives up school and marriage, finding herself in her 40s looking after her demanding if well-meaning parents. Uma's younger, prettier sister marries quickly to escape the same fate, but seems dissatisfied. Although the family is "quite capable of putting on a progressive, Westernized front," it's clear that privileges are still reserved for boys. When her brother, Arun, is born, Uma is expected to abandon her education at the convent school to take care of him. It is Arun, the ostensibly privileged son, smothered by his father's expectations, who is the focus of the second part of the novel. The summer after his freshman year at the University of Massachusetts, Arun stays with the Pattons, an only-too-recognizable American family. While Desai paints a nuanced and delicate portrait of Uma's family, here the writer broadens her brush strokes, starkly contrasting the Pattons' surfeit of food and material comforts with the domestic routine of the Indian household. Indeed, Desai is so adept at portraying Americans through Indian eyes that the Pattons remain as inscrutable to the reader as they are to Arun. But Arun himself, as he picks his way through a minefield of puzzling American customs, becomes a more sympathetic character, and his final act in the novel suggests both how far he has come and how much he has lost. Although Desai takes a risk in shifting from the endearing Uma to Arun, she has much to say in this graceful, supple novel about the inability of the families in either culture to nurture their children. (Jan.) Copyright 1999 Cahners Business Information.
Library Journal
Here, Booker Prize finalist Desai (writing, MIT) presents a cultural comparision of two cultures and two siblings. Uma, the eldest daughter of an Indian family, has returned to her childhood home after a failed marriage and is destined to serve as the caretaker for her elderly, cantankerous parents. Arun, the cherished and unexpected son, is studying, a world away, in America and spending the summer with the Pattons, a typical suburban family. Desai divides her narrative into two parts. The first part tells Uma's story - as her parents sabotage her every move for independence. Then, using a subtle irony, Desai moves into the second part, contrasting the sights and sounds of India with Arun's experiences in suburban America. Desai manages to present the sterotypical suburban Patton family with enough humor to make the characters real and the emotions they evoke believable. Recommended for all libraries.-Dianna Moeller, OCLC/WLN Pacific Northwest Svc. Ctr., Lacey, WA
Francine Prose
Certain novels seduce us with invitations to visit distant places and participate vicariously in the thrill of exploration. Others manage to sensitize us to some aspect of our ordinary lives that we may never have fully appreciated. Set mostly in India amid a colorful milieu of arranged marriages, bride murders and ascetic ashrams, Anita Desai's new novel, ''Fasting, Feasting'' --which was a finalist for the 1999 Booker Prize -- would seem to fit into the former category. But soon enough we realize we're mistaken. For beneath its trappings of foreign customs and cultures, the novel's claustrophobic domesticity begins to look very familiar. The blighted fate of Desai's heroine, Uma, could take place in thousands of small American towns or a Balzac novel or a Chekhov story -- any place or time in which parents refuse to see that they have suffocated whatever was most vital in their child.
The New York Times Book Review
From the Publisher
"Through the deceptively simple juxtaposition of opposites and the interweaving and repetition of themes in these two narratives, Desai builds a complex and elegant fiction." Boston Globe

"Desai is more than smart; she's an undeniable genius." The Washington Post

"What a pleasure! She is really one of the most accomplished novelists writing today—the book flows like water, it comes like a gift to the parched. Heart-rending, yes of course, being about how rescue never comes, but so alive in its appreciation of life's consolations as to be quite magical."—Fay Weldon

"Short-listed for the 1999 Booker Prize, Desai's stunning new novel...looks gently but without sentimentality at an Indian family...she has much to say in this graceful, supple novel about the inability of the families in either culture to nurture their children." Publishers Weekly, Starred

"Anita Desai is considered one of the foremost Indian authors writing in English. Her novels convey the tangled complexities of Indian tradition, with an economy of language that is clean, simple and elegantly straightforward." The Denver Post

"It is Desai's great accomplishment to portray the worlds of the brother and sister as not simply opposites (as the title might suggest), but as sharing similar forces of family pressure, parental expectation and sibling rivalry. Desai's characters are wonderfully, fallibly human as they wend their way through the maze of everyday domestic tensions." The San Francisco Chronicle

"Anita Desai is a wonderfully subtle writer who acheives her powerful and poignant effects by stealth rather than direct action." Salon

"Fasting, Feasting posits food as a metaphoer for emotional sustenance. Everything centers around food. Desai, who teaches writing at the Massachusetts Institute of Technology, tells the story with lapidary prose, creating intimate scenes as detailed as Indian miniature paintings. An accumulation of small details as steady and fine as drops of small rain create and eventual flood that drowns the happiness and the hopes of both Arun and Uma." The Seattle Times

"The Indian-born novelist and MIT writing instructor (Desai) deftly conveys the comic horror of escaping the constraints of family and navigating an alien culture, in this case, ours." Boston Magazine

"The peerless chronicler . . . [of] a world which is already disappearing." The Independent

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Product Details

  • ISBN-13: 9780099284727
  • Publisher: Random House of Canada, Limited
  • Publication date: 8/1/2000
  • Format: Mass Market Paperback

Meet the Author

ANITA DESAI is the author of Fasting , Feasting , Baumgartner’s Bombay , Clear Light of Day , and Diamond Dust , among other works. Three of her books have been shortlisted for the Booker Prize. Desai was born and educated in India and now lives in the New York City area.

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Read an Excerpt



Chapter One


On the veranda overlooking the garden, the drive and the gate, they sit together on the creaking sofa-swing, suspended from its iron frame, dangling their legs so that the slippers on their feet hang loose. Before them, a low round table is covered with a faded cloth, embroidered in the centre with flowers. Behind them, a pedestal fan blows warm air at the backs of their heads and necks.

    The cane mats, which hang from the arches of the veranda to keep out the sun and dust, are rolled up now. Pigeons sit upon the rolls, conversing tenderly, picking at ticks, fluttering. Pigeon droppings splatter the stone tiles below and feathers float torpidly through the air.

    The parents sit, rhythmically swinging, back and forth. They could be asleep, dozing -- their eyes are hooded -- but sometimes they speak.

    `We are having fritters for tea today. Will that be enough? Or do you want sweets as well?'

    `Yes, yes, yes -- there must be sweets -- must be sweets, too. Tell cook. Tell cook at once.'

    `Uma! Umal!'

    `Uma must tell cook --'

    `E, Uma!'

    Uma comes to the door where she stands fretting. `Why are you shouting?'

    `Go and tell cook --'

    `But you told me to do up the parcel so it's ready when Justice Dutt's son comes to take it. I'm tying it up now.'

    `Yes, yes, yes, make up the parcel -- must be ready, must be ready when Justice Dutt's son comes. What are we sending Arun? What are we sending him?'

    `Tea. Shawl --'

    `Shawl? Shawl?'

    `Yes, the shawl Mama bought --'

    `Mama bought? Mama bought?'

    Uma twists her shoulders in impatience. `That brown shawl Mama bought in Kashmir Emporium for Arun, Papa.'

    `Brown shawl from Kashmir Emporium?'

    `Yes, Papa, yes. In case Arun is cold in America. Let me go and finish packing it now or it won't be ready when Justice Dutt's son comes for it. Then we'll have to send it by post.'

    `Post? Post? No, no, no. Very costly, too costly. No point in that if Justice Dutt's son is going to America. Get the parcel ready for him to take. Get it ready, Uma.'

    `First go and tell cook, Uma. Tell cook fritters will not be enough. Papa wants sweets.'

    `Sweets also?'

    `Yes, must be sweets. Then come back and take dictation. Take down a letter for Arun. Justice Dutt's son can take it with him. When is he leaving for America?'

    `Now you want me to write a letter? When I am busy packing a parcel for Arun?'

    `Oh, oh, oh, parcel for Arun. Yes, yes, make up the parcel. Must be ready. Ready for Justice Dutt's son.'

    Uma flounces off, her grey hair frazzled, her myopic eyes glaring behind her spectacles, muttering under her breath. The parents, momentarily agitated upon their swing by the sudden invasion of ideas -- sweets, parcel, letter, sweets -- settle back to their slow, rhythmic swinging. They look out upon the shimmering heat of the afternoon as if the tray with tea, with sweets, with fritters, will materialise and come swimming out of it -- to their rescue. With increasing impatience, they swing and swing.


* * *


MamandPapa. MamaPapa. PapaMama. It was hard to believe they had ever had separate existences, that they had been separate entities and not MamaPapa in one breath. Yet Mama had been born to a merchant family in the city of Kanpur and lived in the bosom of her enormous family till at sixteen she married Papa. Papa, in Patna, the son of a tax inspector with one burning ambition, to give his son the best available education, had won prizes at school meanwhile, played tennis as a young man, trained for the bar and eventually built up a solid practice. This much the children learnt chiefly from old photographs, framed certificates, tarnished medals and the conversation of visiting relatives. MamaPapa themselves rarely spoke of a time when they were not one. The few anecdotes they related separately acquired great significance because of their rarity, their singularity.

    Mama said, `In my day, girls in the family were not given sweets, nuts, good things to eat. If something special had been bought in the market, like sweets or nuts, it was given to the boys in the family. But ours was not such an orthodox home that our mother and aunts did not slip us something on the sly.' She laughed, remembering that -- sweets, sly.

    Papa said, `We did not have electricity when we were children. If we wanted to study, we were sent out to sit under the streetlight with our books. During the examinations, there would be a circle of students sitting and reciting their lessons aloud. It would be difficult to concentrate on law because others were reciting theorems or Sanskrit slokas or dates from British history. But we did it -- we passed our exams.'

    Papa said, `The best student in my year studied day and night, day and night. We found out how he could study so much. During the exams, he cut off his eyelashes. Then, whenever his eyes shut, they would prick him and he would wake up so he could study more.'

    Papa's stories tended to be painful. Mama's had to do with food -- mostly sweets -- and family. But the stories were few, and brief. That could have been tantalising -- so much unsaid, left to be imagined -- but the children did not give the past that much thought because MamaPapa seemed sufficient in themselves. Having fused into one, they had gained so much in substance, in stature, in authority, that they loomed large enough as it was; they did not need separate histories and backgrounds to make them even more immense.

    Sometimes one caught a glimpse of what they had been like before they were joined together in their Siamese twin existence on the veranda swing. At times Uma was astonished, even embarrassed by such a glimpse -- for instance, of Mama playing a game of rummy with her friends which she did surreptitiously because Papa had a highminded disapproval of all forms of gambling. When Mama went across to the neighbours' for a morning game, she did not quite lift her sari to her knees and jump over the hedge but somehow gave the impression of doing so. Her manner -- along with the curious patter that went with the game -- became flirtatious, girlish. Her cheeks filled out plumply as she stuffed in the betel nuts and leaves she was offered -- another indulgence frowned upon by Papa -- her eyes gleamed with mischief as she tossed back her head and laughed apparently without any thought of propriety. She clasped the cards to her chest and fluttered her lashes coquettishly. If Uma hung over her shoulders to look or Aruna edged closer to see why she seemed so delighted with her hand of cards, she swatted at her daughters as if they were a pair of troublesome flies. `Go. Go play with your friends.'

    Then she would come back to lunch, picking her way through a gap in the hedge, her daughters trailing after her, and by the time she arrived at the veranda, her manner had become the familiar one of guarded restraint, censure and a tired decorum.

    When Papa, back from his office, asked what they had done with themselves all morning, she drooped, sighing, and fanned herself, saying, `It was so-o hot, what can one do? Nothing.'


As for Papa, he never became less like himself, only more so. Calling for the driver to bring the car round in the morning, he got in with an air of urgency that suggested any delay could cause an explosion. If they ever had occasion to go to the office to fetch him, he would be sitting at an immense desk like the satrap of some small provinciality, mopping his neck with a large handkerchief, giving curt orders to his secretary, his typist and his clients, every gesture and grimace adding to the carapace of his authority till it encased him in its dully glinting lead.

    Mama would carefully pack his tennis kit and send it across to him with the office peon who had come for it on his bicycle. Pinning the bag under a metal clamp, he would pedal away. Mama would watch him turn out of the gate, onto the road, deep in thought.

    Uma wondered if she pictured Papa changing into it in his office, behind the green oilcloth screen that stood across one corner. She put her fingers to her mouth to suppress a giggle.

    Then Mama would sit herself down on the veranda swing, alone, to wait for him, keeping a cursory eye on the little girls as they played in the dry patch of grass where they were laying out a garden of pebbles, leaves, twigs and marigold petals. She intervened irritably when they quarrelled too loudly.

    Afternoon dwindled to hazy evening and finally the car drove up. Papa jumped out and came up the steps to the veranda with a bound, swinging his racquet. He was dressed in the white cotton shorts Mama had sent him, their wide legs flapping about his thin shanks. The metal buckles had made rust marks at the waist. She often scolded the washerman for bringing back the shorts with rust marks from the wash. She also scolded him for breaking the large white buttons that she then had to replace, spectacles on her nose, thin-lipped with concentration. Papa also wore a short-sleeved white shirt with a green or blue trim. He gleamed with effort and achievement and perspiration. `Beat Shankar six-five, six-two,' he reported as he strode past them on his way to his dressing room, his cotton socks collapsing, exhausted, round his ankles. They heard him throw down his racquet with a pleased groan.

    None of them spoke on the veranda. Mama sat as if stunned by his success, his prowess. Then they heard a bucket clanking, water sloshing. A stream of soapy water crept out of a drain in the side of the house and pushed past dry leaves and dust to end in a pool of slime under the basil and jasmine bushes. The girls stared.

    Rousing herself, Mama called, `Uma! Uma! Tell cook to bring Papa his lemonade!'

    Uma ran.


There were social occasions of course -- Papa's career required a large number of them -- and some were witnessed by his children. At them, Papa was pleased to indulge himself in a little whisky and water. When he had done so, he began to make what they considered rather frightening attempts at jocularity. His jokes were always directed against others, and they were quite ferocious under cover of the geniality that seemed proper to the ambience of a dinner party or a reception at the club. Having made some junior magistrate squirm uncomfortably with his sallies, or reminded a senior judge of an incident best forgotten and drawing only a sour twist of the lips in response, he himself would laugh heartily. The success of his joke was measured according to the amount of discomfort it caused others. It was his way of scoring, and he threw back his head and laughed in triumph, seemed physically to gain in stature (which was on the negligible side). One could be fooled into thinking Papa was in good spirits. But the family was not fooled: they knew he was actually rattled, shaken by what he saw as a possible challenge to his status. They were relieved when he returned to what was normal for him -- taciturnity -- with his authority unchallenged and unshaken.

    One could be forgiven for thinking Papa's chosen role was scowling, Mama's scolding. Since every adult had to have a role, and these were their parents', the children did not question their choice. At least, not during their childhood.

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Reading Group Guide

1. Fasting, Feasting, a novel built around the contrasts between Indian and American family life, seems to present a negative view of both modern societies. How do you respond to this critical portrayal?

2. The novel is comprised of two self-contained narratives. What, if anything, does this structure add to the enjoyment of the novel? Do you think it works as a narrative device?

3. Food is a central theme of this novel, why is this and what does the food represent? Discuss how Desai uses food to comment on cultural identity.

4. In both sections of the book, it is ultimately the women who suffer. What is Desai saying about cultural misconceptions of happiness and gender?

5. 'Contemporary Indian fiction writers are among the finest in the world' -- Irish Times. What are the defining characteristics of this school of Indian writing, as purveyed by writers such as Salman Rushdie and Vikram Seth? Does Desai depart from this school of Indian writing?

6. During Arun's stay with the Patton family, their perceptions of each other are consistently proven to be false. Do you think that by the end of the novel either Mrs. Patton or Arun reach a greater/truer understanding of the other's culture?

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Customer Reviews

Average Rating 3
( 9 )
Rating Distribution

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(2)

4 Star

(1)

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(3)

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Sort by: Showing all of 9 Customer Reviews
  • Posted January 5, 2012

    Really wonderful!

    A daughter who never leaves PapaMama in India and a son who is sent to America with PapaMama's highest hopes and expectations: these are the main ingrediens of a delicious tale of contrasts. I found this an absorbing and compelling read.

    1 out of 1 people found this review helpful.

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  • Posted February 26, 2011

    A Treat To Savor!

    Nothing could compare the beautiful portrayal of Uma's life. she is enigmatic, stiff and an exceptional character to live your life with. the writing is poetic. a pen would deeply like to fall in Anita Desai's hands, becasue it knows that it would render masterful sentences. AN elegant and rich in culture book that deserves every praise and gratification. A must read!

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 20, 2006

    Fasting, Feasting

    This was a really boring book. Didn't go into the details of anything, gave only an overview of each person's life. It starts with Uma's life and ends with Arun. It kind of makes the reader think, what's going on.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 13, 2006

    Fasting, Feasting

    If you want a mindless read, then this is the book for you. The reason why I can it 3 stars is that, while it's not a bad book to read, it leaves everything unresolved. You adventure into Uma's life, only to later go into Arun's life. While you feel the unfairness in Uma's life, nothing is resolved. You never learn what happens to her, or you never learn what happens to Arun. To me, it was a mediocre book.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 11, 2002

    A Window to Culture

    Literature often seeks to define the human condition. Anita Desai boldly epitomizes this phrase in her work depicting the effects of tradition on individuals in two totally different cultures. Her stark contrast between two worlds in Fasting, Feasting, invokes a much needed realization of various flaws in society. From the traditional home in a small village in India to the typical American home in Massachusetts, Desai flawlessly paints a picture of difference between an under-privileged Indian girl and her much-loved brother, laden with countless privileges. Uma, timid and considered only capable of household chores is forced to give up her dream of obtaining a much valued education while Arun, burdened with family expectations is sent away for a better education -- an all too familiar story in many parts of India. However, Arun¿s shocking experience in the US is entertaining to readers due to the strong contrast from life in India. Desai¿s meticulous and fluent description of the American and Indian culture are painfully realistic but unfortunately provides a much too stereotypical point of view. Nonetheless, Desai makes the two extremes intriguing which hooks the reader to a disappointing end that fails to make a satisfying connection between the two differently oriented parts of the book but overall, Fasting, Feasting is a good read. On a lighter note, this book is highly recommended as a remedy for those suffering from culture shock since it creates a medium for tolerance¿

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted July 5, 2014

    The characters in Anita Desai's latest book one dimensional.  It

    The characters in Anita Desai's latest book one dimensional.  It is difficult for the reader to even care about them.  I was left wondering if the writer had ever met an American, the characters were so shallow and full of easy cliches.   The first book by Desai  I read was Clear Light  of  Day,  but her books seem to be getting worse, hitting bottom with this one.
    I felt angry ready this book, angry at the falseness of the characters and doubt I will pick up another of her books.   She is creating a series of books with characters who seem to be from nowhere and could be from anywhere.  All we know is that they have no will and drag us on to the end of the books with no sign of growth, change or point.

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  • Anonymous

    Posted October 25, 2013

    Great

    This is a Nook\
    purchase. it was received. what more can I say

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  • Anonymous

    Posted May 26, 2010

    No text was provided for this review.

  • Anonymous

    Posted January 6, 2011

    No text was provided for this review.

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