The In-Between World of Vikram Lall

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"Kenya, 1953: The British colony celebrates Queen Elizabeth's coronation, just as the Mau Mau guerrilla war begins to gain strength. In the midst of a violent and fearful climate of racist attitudes and calls for freedom, a diverse group of children meet and become friends in a small upcountry town. Eight-year-old Vic and his younger sister, Deepa, of Indian descent, Njoroge, an African boy; and British siblings Annie and Bill play all sorts of make-believe games reflecting the surrounding reality. When one day their innocent games are brought to ...
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Overview

"Kenya, 1953: The British colony celebrates Queen Elizabeth's coronation, just as the Mau Mau guerrilla war begins to gain strength. In the midst of a violent and fearful climate of racist attitudes and calls for freedom, a diverse group of children meet and become friends in a small upcountry town. Eight-year-old Vic and his younger sister, Deepa, of Indian descent, Njoroge, an African boy; and British siblings Annie and Bill play all sorts of make-believe games reflecting the surrounding reality. When one day their innocent games are brought to a brutal conclusion, their world tumbles around them." "Against the backdrop of a chaotic and changing Kenya, we follow Vic into an adulthood still shrouded by the fear in which his childhood ended. He is an "in-between man." An Asian, he stands between the white colonials and the black Africans; his homeland is Kenya, but in the 1960s - in the early, heady years of independence and of Jomo Kenyatta's presidency - he feels unimportant and irrelevant to the new nation. He is a man who learns early not to take too strong a stand but to simply remain in-between and go along." When Vic takes a job in civil service, he becomes an in-between man of another sort: a conduit for influence brokers. And as the hopefulness of the 1960s gives way to the pervasive corruption and repression of the 1970s and 1980s, Vic is drawn deeper and deeper into the official orbit of graft and power-brokering - pocketing ever-larger bribes, buying protection from Kenyatta himself - finally earning "the distinction of having been numbered one of Africa's most corrupt men, a cheat of monstrous and reptilian cunning." At the same time, we see how Njoroge lives through the remnants of his youthful idealism, taking hold of unexpected opportunities - as a Kikuyu, he is a member of Kenyatta's ruling class - and reigniting in adulthood the abiding love for Deepa that began when they were children. But neither Njoroge's idealism nor Vic's cynicism will be
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Editorial Reviews

From Barnes & Noble
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Indian children living in Kenya, Vic and his sister, Deepa, play outside their parents' store, along with an African boy, Njoroge, and two English children who live nearby. These are happy days, but they are not to last. The fate of this handful of friends sets the stage for Vassanji's richly descriptive, unforgettable novel about innocence, loss, and national identity.

Its the 1950s, and as African rebels unleash a wave of violence upon the British colonials, Kenya struggles toward independence. It is a time of betrayal, and the psyches of the children are branded in this troubled period as their trusted servants, friends, and relatives are involved in unspeakable crimes. Vassanji follows his characters through subsequent decades, as Vic and Deepa find their way in newly independent Kenya. Tethered to the unwanted shadows cast by their ethnicity, convention renders them unable to marry those they desire. They exist "on an unstable, narrow rope bridge that could twist and tangle and throw the unwary into the deep chasm below."

An older Vic narrates from his place of exile in Canada, recalling his refusal to take the advice of a trusted friend to "Stay away from politics." This decision has grave consequences, but Vassanji's brilliantly assured writing refuses to capitulate to moralization, choosing instead a deft portrayal of the difficulty of forging a good life in a time of political upheaval. (Holiday 2004 Selection)

The New Yorker
In this novel set among Kenya’s Indian diaspora, two ill-fated loves—Vikram Lall’s for a young English girl, his sister’s for a young African man—symbolize their family’s tenuous social position as neither privileged oppressor nor righteous oppressed. Vikram, now in exile in Canada, recounts Kenya’s painful process of decolonization and his own role laundering money for government officials, an activity that he justifies as the survival tactic of one considered “inherently disloyal” because of his race. Vikram’s chilly amorality pervades this tautly written novel somewhat to its detriment. Although the narrative builds to the thawing of Vikram’s frozen conscience, his professions of remorse are pro forma, and his return to Kenya in search of redemption feels forced. Still, the book admirably captures the tenor of the postcolonial period: the predicament of the Asian minority, the corruption that marred Kenya’s fledgling independence, and the individual tragedies that were the cost of revolution.
Publishers Weekly
As an Indian child growing up in 1950s Kenya, Vikram Lall is at the center of two warring worlds-one of childhood innocence, the other "a colonial world of repressive, undignified subjecthood" in which the innocent often meet with the cruelest of fates. He passes his early days in Nakuru playing with his sister, Deepa, their neighborhood friend Njoroge, and English expatriates Annie and Bill Bruce. Though Vic is third-generation African, he understands that Njo is somehow more Kenyan than he or his family will ever be. Police regularly raid Nakuru looking for Mau Mau rebels, who are terrorists in the eyes of Europeans, but freedom fighters to native Kenyans; one day tragedy strikes the Lall family's English friends. Haunted by a grisly description of the crime scene, the Lalls eventually pick up and move to Nairobi. Fast-forward to 1965, when Kenya has achieved independence and Mau Mau sympathizer Jomo Kenyatta is now the president of the nation. Njo, who worshipped Jomo from an early age, is a rising star in the new government. He tracks down the Lalls in Nairobi and begins an innocent courtship of Deepa, much to her parents' chagrin. Meanwhile, Vic continues to allow his memory of young Annie to define his life and, as a result, makes some morally ambiguous judgments when he lands a position in the new government. Telling his story from Canada, where he fled after getting top billing on Kenya's "List of Shame" as one of the most financially corrupt men in his country, Vic is a voice for all those who wonder about the price of the struggle for freedom. Vassanji, who was the 2003 winner of Canada's Giller Prize, explores a conflict of epic proportions from the perspective of a man trapped in "the perilous in-between," writing with a deftness and evenhandedness that distinguish him as a diligent student of political and historical complexities and a riveting storyteller. Agent, Bruce Westwood. 3-city author tour. (Sept. 19) Copyright 2004 Reed Business Information.
Library Journal
This 2003 Giller Prize-winning novel tracks the life of Vikram Lall, who is of Indian descent, from a childhood in 1950s Kenya during the Mau Mau uprising through service with African friend Njoroge in an increasingly corrupt postindependence government. Copyright 2004 Reed Business Information.
Kirkus Reviews
Born and raised in East Africa, Indian Vassanji describes in spare but resonant prose the depressing realities of post-colonial Africa in telling the story of a man whose life is blighted by the times. Having fled Kenya and now living in Canada, where he's been accused of bribery, Vikram poignantly recalls the past and his childhood home, even though as an Indian he was never fully accepted by Africans. In 1953, Vikram is an eight-year-old living contentedly with his family in a Kenyan village where his father runs a general store. Vikram, like his younger sister Deepa, is a third-generation African-Indian-their grandfather came from India to build the railroad in the late 1800s-and Kenya indeed is home. The siblings are close friends of the white Bruce children, as well as of Kikuyu Njoroge, whom Vikram's mother calls her son. But the times are not propitious for interracial harmony: the famous "winds of change" are blowing through Africa, promising an end to British rule. The Mau Mau, the notorious Kikuya freedom fighters, brutally kill the entire Bruce family, and when Njoroge's grandfather is arrested as a suspect, Njoroge has to go away to school. With Independence, the Lalls move to Nairobi, where, initially, they prosper. Like Njoroge, whom he meets up with again, Vikram admires President Kenyatta, but their early optimism sours as politicians demand bribes and Indians are increasingly threatened by violence unless they hand over their businesses. Njoroge, in love with Deepa, who loves him in return even though her family insists she marry an Indian, is soon involved in dangerous opposition politics. Though Vikram flourishes, it's at a price-friends are murdered, families emigrate,and no one can be trusted. Yet the cost of exile is even higher. His past thus revisited, Vikram decides now to clear his name, even if so doing endangers his life. A bleak but affecting portrait of loss by a master writer (Amerika, 2001, etc.) come fully into his own. (N.B.: This is Vassanji's fifth novel and second Giller Prize winner.)Agent: Bruce Westwood
From the Publisher
"Gorgeous and heart-rending. . . . Vassanji explores [love and loss] with all the tact of a true literary power." —Chicago Tribune“Brilliantly written and deeply felt, it is a resonant family novel that is also a brutally honest portrayal of the last half century of tumultuous Kenyan history. . . . Vassanji displays his great gifts; this beautiful novel, which unfolds with intimacy and an inexorable sense of destiny, is proof that fictional truth can illuminate an epoch in history like nothing else.”–The Boston Globe“Tautly written. . . . Admirably captures the tenor of the postcolonial period: the predicament of the Asian minority, the corruption that marred Kenya’s fledgling independence, and the individual tragedies that were the cost of the revolution.”–The New Yorker“A novel of elegant gesture, complex understanding, bright passion, and historical pain.”–O, The Oprah Magazine“Finely drawn . . . an ambitious and enthralling work.”–The Times Literary Supplement
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Product Details

  • ISBN-13: 9780385659918
  • Publisher: Doubleday Canada
  • Publication date: 9/14/2004
  • Pages: 416
  • Product dimensions: 5.01 (w) x 8.01 (h) x 1.06 (d)

Meet the Author

M.G. Vassanji was born in Kenya, and raised in Tanzania. He took a doctorate in physics at M.I.T. and came to Canada in 1978. While working as a research associate and lecturer at the University of Toronto in the 1980s he began to dedicate himself seriously to a longstanding passion: writing.His first novel, The Gunny Sack, won a regional Commonwealth Writers Prize, and he was invited to be writer-in-residence at the University of Iowa. The novel’s success was a spur, Vassanji has commented: “It was translated into several languages. I was confident that this was what I could do, that writing was not just wishful thinking. In 1989 I quit my full-time job and began researching The Book of Secrets.” That celebrated, bestselling novel won the inaugural Giller Prize, in 1994.Vassanji’s other books include the acclaimed novels No New Land (1991) and Amriika (1999), and Uhuru Street (1991), a collection of stories. His unique place in Canadian literature comes from his elegant, classical style, his narrative reach, and his interest in characters trying to reconcile different worlds within themselves. The subtle relations of the past and present are also constants in his writing: “When someone asks you where you are from or who you are, there is a whole resume of who you are. I know very few people who do not have a past to explain. That awareness is part of my work.”M.G. Vassanji was awarded the Harbourfront Festival Prize in 1994 in recognition of his achievement in and contribution to the world of letters, and was in the same year chosen as one of twelve Canadians on Maclean’s Honour Roll. He lives in Toronto with his wife and two sons.

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Read an Excerpt

M. G. Vassanji, author of The Book of Secrets, winner of the first Giller prize, brings us a novel that is rich in sensuous detail and political insight, and brilliantly captures the tyranny of history and memory, and questions one’s role and responsibility in lawless times.
Born in colonial Kenya, Vikram Lall comes of age at the same moment as the colony, which in 1953 is celebrating the coronation of Queen Elizabeth II even as the Mau Mau independence movement is challenging British rule. But while Kenya is being torn apart by idealism, doubt and violent political upheaval, Vic and his sister Deepa begin to search for their place in the world. Neither colonists nor African, neither white nor black, the Indian brother and sister find themselves somewhere in between in their band of playmates: Bill and Annie, British children, and Njoroge, an African boy. These are the friendships that will haunt the rest of their lives.
We follow Vic from a changing Africa in the fifties, to the sixties -- a time of immense promise. But when that hope is betrayed by the corruption and fear of the seventies and eighties, Vic finds himself drawn into the Kenyatta government’s orbit of graft and power-brokering. Njoroge, on the other hand, can abandon neither the idealism of his youth nor his love for Deepa, coerced into marrying within her Indian community. But neither the cynicism of the one nor the idealism of the other can avert the tragedies that await.
Acute and bittersweet, The In-between World of Vikram Lall is told in the voice of the exiled Vic as he contemplates from the shores of Lake Ontario the tides that have brought him so far from home and thepossibility that even as history was shaping him, he has had a hand in altering its course.

Author Biography: M.G. Vassanji was born in Kenya and raised in Tanzania. Before coming to Canada in 1978, he attended M.I.T., and later was writer in residence at the University of Iowa. Vassanji is the author of four acclaimed novels: The Gunny Sack (1989), which won a regional Commonwealth Prize; No New Land (1991); The Book of Secrets (1994), which won the very first Giller Prize; and Amriika (1999). He was awarded the Harbourfront Festival Prize in 1994 in recognition of his achievement in and contribution to the world of letters, and was in the same year chosen as one of twelve Canadians on Maclean’s Honour Roll.

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First Chapter

"Who is the third who walks always beside you?" -- T.S. Eliot, The Waste Land

"Neti, neti." (Not this, not that.) -- Brihadaranyaka Upanishad

"Po pote niendapo anifuata." (Wherever I go he follows me.) -- Swahili riddle; answer: shadow


My name is Vikram Lall. I have the distinction of having been numbered one of Africa's most corrupt men, a cheat of monstrous and reptilian cunning. To me has been attributed the emptying of a large part of my troubled country's treasury in recent years. I head my country's List of Shame. These and other descriptions actually flatter my intelligence, if not my moral sensibility. But I do not intend here to defend myself or even seek redemption through confession; I simply crave to tell my story. In this clement retreat to which I have withdrawn myself, away from the torrid current temper of my country, I find myself with all the time and seclusion I may ever need for my purpose. I have even come upon a small revelation -- and as I proceed daily to recall and reflect, and lay out on the page, it is with an increasing conviction of its truth, that if more of us told our stories to each other, where I come from, we would be a far happier and less nervous people.

I am quite an ordinary man, as you will discover, and moderate almost to a fault. How I came upon my career and my distinction is a surprise even to me. But my times were exceptional and they would leave no one unscathed.


Part 1 -- The Year of Our Loves and Friendships

One
Njoroge who was also called William loved my sister Deepa; I was infatuated with another whose name I cannot utter yet, whose brother wasanother William; we called him Bill. We had all become playmates recently. It was 1953, the coronation year of our new monarch who looked upon us from afar, a cold England of pastel, watery shades, and I was eight years old.

I call forth for you here my beginning, the world of my childhood, in that fateful year of our friendships. It was a world of innocence and play, under a guileless constant sun; as well, of barbarous cruelty and terror lurking in darkest night; a colonial world of repressive, undignified subjecthood, as also of seductive order and security -- so that long afterwards we would be tempted to wonder if we did not hurry forth too fast straight into the morass that is now our malformed freedom.

Imagine an outdoor mall, the type we still call a shopping centre there, a plain stubby strip of shops on open land, with unpaved parking in front. It was accessible from a side road that left the highway, less than a mile away, at the railway station. Far out in the distance, the farthest that you could see through the haze over the flat yellow plains, rose the steep green slopes of the great Rift Valley, down which both the railway and the highway descended to reach us at the floor. Behind us lay most of the rest of Nakuru, the principal town of our province.

My family ran a provision store at this Valley Shopping Centre, which was ten minutes' walk from the Asian development where we lived. We sold Ovaltine and Milo and Waterbury's Compound and Horlicks -- how they roll past memory's roadblocks, these trademarks of a childhood -- and macaroni and marmalade, cheeses and olives, and other such items that the Europeans and the rich Indians who emulated them were used to. Beside us was a small bakery-café run by a Greek woman, Mrs. Arnauti, for the Europeans -- as all the whites were called -- who trundled down from their farms in their dust-draped vans and pickups to stop by for tea or coffee and colourful iced cakes and neat white sandwiches. Next to it was Alidina Greengrocers. On Saturday mornings, with the schools closed, my sister and I went down to the shop with our parents. Sun-drenched Saturdays is how I think of those days, what memory's trapped for me: days of play. Though it could get cold at times, and in the morning the ground might be covered in frost. At the other end of the mall from us, Lakshmi Sweets was always bustling at midmorning, Indian families having stopped over in their cars for bhajias, samosas, dhokras, bhel-puri, and tea, which they consumed noisily and with gusto. By comparison our end was sedate, orderly: a few vehicles parked, a few rickety white tables outside Arnauti's occupied by Europeans on a good day. My father and mother always ordered tea and snacks from Lakshmi, and my sister and I could go to Arnauti's, where we were allowed a corner table outside, though not our black friend Njoroge, who with quite a straight face, head in the air and hands in his pockets, would proudly wander off.

After hastily consuming sticky Swiss rolls and doughy cheese or spinach pies, Deepa and I ran out to play. There were two handcarts outside the shop for pulling loads, one of them had its handle broken and no one usually minded when we took it out to give each other rides. Deepa, who was seven, ran along beside Njoroge and me, and habitually, in domineering big-brother fashion, I refused her a place in our conveyance, became annoyed at her for running after us, a girl in her two long pigtails and Punjabi pyjama and long shirt. She cried, and every time she did that Njoroge would give her a ride, obligingly push the cart for her all around the parking lot, and I believed they had more fun together than he had with me. That was why I thought he was in love with my sister. Every time I said that, Mother would have a fit, but she never objected to our playing with our friend.

One morning just before noon a green Ford pickup drove up and parked outside our store; from it emerged a tall and slim white woman, with brown curls to her shoulders and trousers that seemed rather broad at the hips. She had a long and ruddy face with a pointed chin. She paused to scrutinize the shops in the mall and, I thought, stared severely for a moment at me and my companions, before bending to say something to the two children who were in the passenger seat. The door opened on the other side and out tumbled a boy of my age and a young girl who could have been six; from the back jumped out with some flair an African servant–well dressed in expensive hand-me-downs, as the more favoured servants of the Europeans usually were, much to the envy of other servants. This one sported a brown woollen vest and a tweed jacket. The woman escorted her two children to Arnauti's, where they sat at a table outside and in loud voices ordered from the waiter who had come running out to attend, and then she went over to my father's shop. Soon our own barefoot servant hurried out to hand the European woman's servant a bottle of Coke.

When she had finished her shopping, her servant was called and he carried her two cartons of purchases to the back of the pickup. Then Mrs. Bruce, as was her name, returned to Arnauti's patio and joined a table with two other women and a man. Her two children came out, where Njoroge, Deepa, and I, upon seeing them, now somewhat self-consciously continued our preoccupations with each other and our cart. The boy and girl stood quite still, outside the guardrail, staring at us.

Do you want a ride? I asked the boy suddenly.

Without a word he came and sat in the cart and we pushed him away at top speed with hoots and growls to simulate various engine sounds. When we stopped, after a distance, having gathered up a cloud of dust across the parking lot, the boy got out and dusted himself off as his sister whined, Now me, Willie, it's my turn now.

He paid her no attention but shook Njoroge's and my hands solemnly, saying, William -- call me Bill, and pleased to meet you.

We shook hands wordlessly, then I pointed to my friend and said hesitantly: Njoroge.

That day Deepa and I stopped calling Njoroge by his English name. And I believe he also stopped using it for himself.

Now he in his turn pointed at me and said: Vic--Vikram.

Well then -- jolly good, Bill said. Let's give those two girls a ride --

He wore shorts of grey wool, with a rather fine blue checked shirt. His hair, like that of his sister, was a light brown. And both wore black shoes and white socks. The girl was in red overalls, and two ribbons of a like colour tied her hair in clumps at the back. We drove the two girls with speed right up to the line of shops, as they hung on, clutching for dear life, screaming with joy.
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Foreword

1. What is the significance of the three epigraphs to the book — quoted from T.S. Eliot, the Upanishads, and a Swahili proverb? Think about the epigraphs, but also the sources from which they are taken.

2. “We remained that enigma, the Asians of Africa.” How does M.G. Vassanji explore the “in-between” status of Indians in Kenyan society? Does it change over the course of the novel? How do its effects play out in the lives of different members of the Lall family?

3. How does the novel handle the competing claims of the personal and the political? How does it treat characters who favour of political violence and those who are scarred by it? Do you feel that it makes a judgment about violence?

4. Were you surprised that Njoroge gives up Deepa when her mother insists? Why does he accede?

5. How does The In-Between World of Vikram Lall compare with another novel you have read that grapples with political issues (such as one by V. S. Naipaul, George Orwell, Arthur Koestler, Graham Greene, Leo Tolstoy…)

6. What is the importance of the stories of people besides the narrator in the novel? For example, the railway stories of Vic’s grandfather; the history of the couple in Jamieson, etc.

7. How does the subtle repetition of “third wheels” in the novel connect to its deeper themes? Think of Vikram’s father excluded from the bond between his mother and Mahesh; Vikram himself left outside the bond between Njoroge and Deepa.

8. What are the roles of fathers, real and symbolic, in The In-Between World of Vikram Lall? Consider Vikram’s father, Inspector Verma, JomoKenyatta, etc.

9. How is colonialism experienced in The In-Between World of Vikram Lall? And independence?

10. Look back at some of Vikram’s descriptions of himself: “There was a frozen core buried deep inside me that I could not dislodge or melt, that held me back”; “I have said that I could not engage morally in my world”; “I don’t know what is happening to me”; “I noticed a certain self-detachment in myself.”
To what extent is this honest reflection? Defensive self-justification?

11. What did you make of the “frame” of the small Ontario town from which Vikram Lall tells much of what happens in the novel? Did you find Seema Chatterjee and Joseph important characters? Is there the beginning of a comparison between Kenyan society and Canadian society at work here?

12. At various times the narrator pauses in his recollections to explain the historical context of the times he is describing. How did you feel about these passages?

13. “It was mother who still said, We have to think of the samaj, the community, don’t we; the world watches us…” How do the claims of community and tradition pull at the principal characters?

14. Choose one of the minor characters in the novel — Sophia, Mahesh, Khiakia, Inspector Soames, etc. — and consider what he or she contributes to the book as a whole.

15. Why does Vikram Lall decide to return home?

16. Discuss: servants / Jamieson / songs / the Masai in The In-Between World of Vikram Lall.

17. Did you find Vikram Lall to be a sympathetic character in his own story?

18. How did you feel about the ending of the novel?

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Reading Group Guide

1. What is the significance of the three epigraphs to the book — quoted from T.S. Eliot, the Upanishads, and a Swahili proverb? Think about the epigraphs, but also the sources from which they are taken.

2. “We remained that enigma, the Asians of Africa.” How does M.G. Vassanji explore the “in-between” status of Indians in Kenyan society? Does it change over the course of the novel? How do its effects play out in the lives of different members of the Lall family?

3. How does the novel handle the competing claims of the personal and the political? How does it treat characters who favour of political violence and those who are scarred by it? Do you feel that it makes a judgment about violence?

4. Were you surprised that Njoroge gives up Deepa when her mother insists? Why does he accede?

5. How does The In-Between World of Vikram Lall compare with another novel you have read that grapples with political issues (such as one by V. S. Naipaul, George Orwell, Arthur Koestler, Graham Greene, Leo Tolstoy…)

6. What is the importance of the stories of people besides the narrator in the novel? For example, the railway stories of Vic’s grandfather; the history of the couple in Jamieson, etc.

7. How does the subtle repetition of “third wheels” in the novel connect to its deeper themes? Think of Vikram’s father excluded from the bond between his mother and Mahesh; Vikram himself left outside the bond between Njoroge and Deepa.

8. What are the roles of fathers, real and symbolic, in The In-Between World of Vikram Lall? Consider Vikram’s father, Inspector Verma, Jomo Kenyatta, etc.

9. How is colonialism experienced in The In-Between World of Vikram Lall? And independence?

10. Look back at some of Vikram’s descriptions of himself: “There was a frozen core buried deep inside me that I could not dislodge or melt, that held me back”; “I have said that I could not engage morally in my world”; “I don’t know what is happening to me”; “I noticed a certain self-detachment in myself.”
To what extent is this honest reflection? Defensive self-justification?

11. What did you make of the “frame” of the small Ontario town from which Vikram Lall tells much of what happens in the novel? Did you find Seema Chatterjee and Joseph important characters? Is there the beginning of a comparison between Kenyan society and Canadian society at work here?

12. At various times the narrator pauses in his recollections to explain the historical context of the times he is describing. How did you feel about these passages?

13. “It was mother who still said, We have to think of the samaj, the community, don’t we; the world watches us…” How do the claims of community and tradition pull at the principal characters?

14. Choose one of the minor characters in the novel — Sophia, Mahesh, Khiakia, Inspector Soames, etc. — and consider what he or she contributes to the book as a whole.

15. Why does Vikram Lall decide to return home?

16. Discuss: servants / Jamieson / songs / the Masai in The In-Between World of Vikram Lall.

17. Did you find Vikram Lall to be a sympathetic character in his own story?

18. How did you feel about the ending of the novel?

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Customer Reviews

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Sort by: Showing 1 – 4 of 3 Customer Reviews
  • Posted October 27, 2009

    more from this reviewer

    I Also Recommend:

    Felt like I had to mourn the characters after finishing the book

    I have shared this book with 4 friends and actually had to rebuy just to keep a copy!
    I really appreciated the depth of the characters, I felt like I was walking through life with them. I had to take a breather from beginning a new book after finishing this one. It took me a few days to mull this over, let it all sink in and move on. I actually lent it to my neighbor just so I would have someone to talk with about it.

    2 out of 2 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 26, 2005

    BEAUTIFUL PROSE; MULTI-LAYERED STORY MAKES THIS A GEM

    Vassanji's richly detailed and thoroughly engrossing style of prose alone makes this novel worth reading; the story itself is a bonus. The nuances of culture, the clashes of generations, the ambiguities of being a native but also a foreigner, the machinations of the political process, the search for identity, and the quest for redemption are all beautifully addressed in this novel. There is not one thing that this novel is about; indeed, it is a novel of Kenya during it's tumultous jettison into independence, a novel of inter-racial love and friendship, a novel of familial obligation, and a novel of coming to terms with one's life. I heartily recommend this novel to anyone interested in a good story, East Africa, Indian culture, or simply savoring the English language as a work of art.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 26, 2009

    No text was provided for this review.

  • Anonymous

    Posted January 11, 2009

    No text was provided for this review.

Sort by: Showing 1 – 4 of 3 Customer Reviews

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