My Nine Lives: Chapters of a Possible Past


Ruth Prawer Jhabvala is a novelist of unequalled insight, grace, and emotional power. My Nine Lives, her first novel in more than nine years, is filled with "invented memories." Nine vignettes -- autobiographical fictions -- are linked to portray a rich life, filled with searching, from London to Delhi, from Hollywood to New York. sEach chapter gathers a different cast of characters, some new and some vaguely familiar, and the linked assembly is as exciting and illuminating as an artist's first show at a Chelsea ...
See more details below
Paperback (New Edition)
$13.41 price
(Save 10%)$15.00 List Price
Other sellers (Paperback)
  • All (15) from $1.99   
  • New (6) from $4.98   
  • Used (9) from $1.99   
Sending request ...


Ruth Prawer Jhabvala is a novelist of unequalled insight, grace, and emotional power. My Nine Lives, her first novel in more than nine years, is filled with "invented memories." Nine vignettes -- autobiographical fictions -- are linked to portray a rich life, filled with searching, from London to Delhi, from Hollywood to New York. sEach chapter gathers a different cast of characters, some new and some vaguely familiar, and the linked assembly is as exciting and illuminating as an artist's first show at a Chelsea gallery or a new play at the Studio Theater. After seventeen books, Ruth Prawer Jhabvala takes on as her subject herself, the life she may have or may have wished to live. My Nine Lives is a startling and intriguing book of invention and memory.
Read More Show Less

Editorial Reviews

Publishers Weekly
After 17 books thorny with existential and intellectual issues, Jhabvala has unleashed her imagination to rewrite her own past. In nine pieces of "autobiographical fiction" set in New York, London and India, septuagenarian Jhabvala imagines alternative paths her life might have taken. While the narrator of each story has a different given name, in an Apologia Jhabvala states that "the I of each chapter-is myself." The stories do not attempt to cover her life fully (her long career with Merchant and Ivory is never alluded to) nor do they reveal specific personal details. Instead, certain circumstances and psychological attitudes prevail. The narrator is usually an only child of a wealthy German-Jewish father who fled the Nazis and a beautiful, vain, erstwhile actress mother. Both parents assume that their daughter will become an intellectual. For these reasons and because of her own predilection for exile, the narrator has never fully assimilated anywhere. The narrator's interest in existential questions and in Eastern religion leads to spiritual quests to India, where she marries or finds a lover. A m nage trois or quatre figures in nearly every story, as do marriages that do not survive the strain of relations with a third party. In a recurrent situation, a man willingly raises another man's child as his own. The habits of creative geniuses-a pianist, an artist, a philosopher-animate some plots. A strain of sadness is pervasive, as is the assumption that one's fate cannot be changed. Though these similarities become apparent as one reads the collection, each story is sinewy with compressed emotion and intellectual energy, as well as the poignancy of a thwarted search for love. Each can stand on its own as a finely crafted example of an accomplished storyteller's art. Pen-and-ink drawings by C.S.H. Jhabvala introduce each chapter. (June 1) Copyright 2004 Reed Business Information.
Library Journal
In her 18th book, the first in nine years, award-winning screenwriter Jhabvala (e.g., A Room with a View, The Remains of the Day) offers an unusual take on autobiographical fiction, turning the lens upon herself in a series of self-described invented memories. Each of the nine chapters presents a possible past for its first-person narrator. The familial relationships depicted vary as much as the locales, spanning relations between parents, siblings, lovers, or husbands in settings as far-reaching as England, India, and the United States. The narrators are always women, and each describes the twists, turns, pitfalls, and reunions in her life in the same strong and unapologetic voice, creating a unifying theme of personal quest that flows from chapter to chapter. An enjoyable read that could make an intriguing book club choice; highly recommended in libraries where fiction in a foreign setting or Merchant-Ivory films are popular.-Leann Isaac, Jameson Health Syst., New Castle, PA Copyright 2004 Reed Business Information.
Kirkus Reviews
Jhabvala (Shards of Memory, 1995, etc.) describes a life she could have lived but didn't. Backgrounded by the question What if? , each of the nine chapters here is a variant on Jhabvala's actual life. The women who narrate were born in Germany to Jewish families, as Jhabvala was; before WWII, they immigrated to Britain, as she did, or to the US, and, like her, they share a preoccupation with India. Some chapters are more memorable than others. In the first and most accomplished, the narrator, now old and living on a reduced income, returns to India, where she can live more cheaply. She'd lived there as a young woman working on her dissertation, but her demanding family summoned her back to New York to care for them. In India again, she is comforted by the presence of many old women like herself, who have spent " lives of unrequited longing." In one chapter with a New York setting, the narrator has an affair with a refugee pianist whom her mother idolizes; in another, when an old Indian lover, though ailing and wanted by the police, comes to stay, the narrator ruefully observes that he's still attractive to younger women. Money is a problem as properties must be sold and rooms let to fellow emigres. A narrator often falls in love with a charismatic man with spiritual interests, whom she follows to, or meets up with in, India. Relationships never work out, and the narrators are observers of others' happiness as their own eludes them. India, too, though revered, is often equally disappointing. None of these alternate lives is enviable, though each is interesting, peopled with such characters as a famous emigre artist down on his luck who sketches a narrator in her youth; and a notable Indianguru in whose mountain home another finds temporary fulfillment. A shuffling, to some degree, of all the same cards makes for a certain repetitiveness. But Jhabvala still outwrites many an author.
Read More Show Less

Product Details

  • ISBN-13: 9781593760694
  • Publisher: Counterpoint Press
  • Publication date: 6/9/2005
  • Edition description: New Edition
  • Pages: 277
  • Product dimensions: 5.60 (w) x 11.00 (h) x 0.83 (d)

Read an Excerpt

My Nine Lives

Chapters of a Possible Past
By Ruth Prawer Jhabvala

Shoemaker & Hoard

Copyright © 2004 Ruth Prawer Jhabvala
All right reserved.

ISBN: 1-59376-028-0

Chapter One


I HAVE gone back to live in India, partly for economic reasons. It's cheaper for me here than in New York, and that has been a consideration during these last years. Of course I no longer live where I used to when I came here over forty years ago-with Somnath and his family in their crammed flat in the crammed house in a maze of alleys leading off the bazaar. The house is still standing, though a part of it, cracked and crumbled during a particularly heavy monsoon, has had to be propped up. Another family is occupying Somnath's old flat, which has been divided into even smaller sections; the whole house is now a warren of subdivided living spaces let out to large families sharing sanitary facilities.

After my return, the first place I moved to was in a suburban middle-class colony. Although newly built, it was already overpopulated and not so different from the inner-city area where I used to live in Somnath's house. The streets were crowded with hawkers and pushcarts and homeless dogs and cows and an occasional pig snuffling in the gutters for discarded food. I rented a room built on the terrace roof-it was small, but enough for me and with its own toilet and shower. It also had its own staircase at the side of the house so that I was independent of the landlord's family living downstairs. At first they were very friendly to me, and once when I was sick with flu, they sent up food. I knew that they referred to me as the "budiya"-the old woman-up there. It is difficult for me to realize that this description fits me as it used to fit Somnath's old mother: she had a hump and a chronic bad knee that she clutched all the time while groaning and calling to God for release. But I spend my days in the same feckless way I used to forty years ago-and, I must admit, with an even lighter heart. I have no responsibilities and am always alone.

Being alone is nothing new to me-from childhood I've always preferred it, except for being with my mother, and with my father, Otto. The only years when I felt my aloneness as loneliness or friendlessness-I really had no friends-was during my teenage years, from sixteen to twenty; and then it was not so much because of my own expectations and desires as those of my parents for me. My father had remarried but was in an apartment around the corner from where I lived with my mother, Nina. On Saturday nights she invariably went out whereas I invariably had nowhere to go. "Will you be all right?" she would ask me; she felt bad about leaving me and that was what made my eyes fill with tears. To hide them, I would lower my head over the book I was reading-"Oh yes," I said, "this is fascinating;" the moment she left the tears would fall on to my fascinating book and I would have to wipe them off. But by the time I had entered more deeply into my studies-I was in the oriental department at Columbia-my books really were more interesting to me than anything offered elsewhere; and my parents, though still anxious about me, could reassure one another: "Rosemary is an intellectual."

During my first visit to India, in my early twenties, I changed my name to Shanti (meaning Peace, which I was anxious to pursue and, if possible, possess). But on my return to New York I changed it back to Rosemary-which did not suit me, never had done, but was all that was left of my parents' expectations for me. Even the room that Nina had so lovingly furnished for me in her apartment-in all her apartments, whether we were in Los Angeles or in New York-had been overlaid by my own interests. Oriental texts and Sanskrit grammars filled the closet that should have held rows of pretty dresses; the vanity table with its frilly skirt had to bear my brass statues of Hindu deities; a mandala featuring the cycle from birth to death eclipsed the rosebuds on the wallpaper chosen by Nina as suitable for a young girl's bower (or "Mädchenzimmer," as she and Otto called it).

All through my childhood, I tried to live up to my name Rosemary. I knew how hard it was for Nina that I was not pretty, let alone beautiful as she was. She would buy me frocks that would have looked lovely on some other little girl and I put them on eagerly. But it was Nina herself who said, "Take it off, darling," and she would turn away-in tears, I imagined, so that I ran after her and clung to her. Then she would say, "Never mind, darling, what's it matter?" But that only made me more miserable because I knew how much it mattered to her.

Nina herself had been a spectacular beauty, in Germany in the 1930s, before they were forced to emigrate, she had begun a career as a film actress that might have led to stardom. Nina left because she was married to a Jew-my father, Otto Levy; she herself came from a Catholic family of modest means (petit-bourgeois, she said, but only just). The Levy family had sufficient influence to arrange for visas to America; also sufficient funds to start a New York branch of their prosperous business in fine leather goods, with Otto as the managing director. Nina and I did not stay with him for long. By this time they fought a lot, and I believe Susie too had already attached herself to them. But mainly it was because Nina felt that her place was in Hollywood, and following up some leads and promises, she boldly packed us up and left. Her stunning looks, her courage, her perseverance, and maybe to some extent Otto's money with which he was always generous to us even after their divorce, all these helped us through. She did have some success in Hollywood, though never on the scale she might have expected in her native Germany. She always played foreigners, for though her English was fluent and even racy, her accent remained heavily German; and with this accent, and her sultry, pouting looks, she was inevitably cast as the bad woman-during the war years even as a Nazi-in contrast to the wholesome American heroine. They were not good parts, nor were they good films, and she spoke of them disparagingly, pretending to shrug them off as merely her, and my, bread and butter. But in fact she worked hard at her roles, however small and unworthy they were, analyzing them, researching the background, extracting possibilities of depth that may have been in her but were not in the characters she was called on to play. And after a while, when she got older and heavier-she always had a weight problem-the parts that came her way were smaller and fewer, until finally she decided that it was not worth staying in Hollywood but that she might as well go back to New York, to allow Otto a share in my upbringing.

It was Otto who found the Upper East Side apartment in which Nina and I lived for so many years. He and Susie, whom he had since married, were just around the block, so we became one fairly harmonious family. He and Nina no longer fought the way they used to; they had far too many interests in common and were eager for each other's company. Susie did whatever they did, but since she had less stamina, they preferred to leave her at home for their more strenuous activities, such as their "antiquing" expeditions. Both loved buying objects and both had the same taste. Nina had a flair for picking up bargains, and they always returned flushed with victory and loaded with vases and clocks and tapestries for Nina's and my apartment. Susie didn't care to have too many things in her and Otto's place-they only collected dust, she complained, and that was a problem for her who could never keep household help for more than a few weeks. But she joined them on their visits to museums and private openings at galleries; on Sundays they attended chamber music concerts, on Wednesdays they had subscription seats at the Metropolitan Opera; and of course there was always the theatre, classical theatre, where Nina sat far forward in her seat with clasped hands and bright eyes, imagining herself as Hedda Gabler or Madame Arkadina. Otto loved to arrive at these events with a woman in furs and jewels on each arm, himself impeccable with his white silk evening scarf and his Clark Gable mustache.

Otto was very correct, very German, in the tradition of his family who had, until told otherwise, considered themselves entirely, patriotically German, reveling in every German triumph, which they regarded as their own. But there was one strain in their ancestry at odds with these characteristics. Of course as Levys they were of the priestly tribe-which they treated as a joke, worldly uncles bantering about it over their pork cassoulet and their lobster mayonnaise. But there was one item of family memorabilia, dating from the seventeenth century, that filled them with pride, even as they joked about it. This was a letter-a farsighted uncle donated it to the Hebrew University in 1936 (before himself emigrating to Argentina where he too did well in the leather business)-written by a Rabbi Mordechai Levy who had been sent by his Frankfurt community to Smyrna to inquire into the authenticity of a self-proclaimed Messiah. The letter he sent back home to Frankfurt confirmed every claim-yes yes yes, it is He, the Messiah sent to redeem us; and we must do His bidding immediately and sell all our goods and properties and go to Jerusalem to await our redemption. But my ancestors were too hardheaded and cautious for that, and anyway the Messiah later turned out to be false. Otto always kept a copy of the letter from Smyrna, in its German translation-the original was in Hebrew, which he could not read-and later he had an English translation made. That was the one I read and I suppose somehow its expectations entered into me; that cry of yes it is He! He has come! though I never seriously expected a real Messiah to enter my life.

As a small child, I asked the usual questions that children like me ask about God and Death and Time, and Nina did her best to answer them. Even when she was on the point of going out, looking over her shoulder to check if the seams of her stockings were straight, she would pause to find some suitable reply for me. But later, when I reached my teens and should have been asking other kinds of questions, she became impatient. I know she and Otto discussed me-"Why doesn't she have any friends-any boy friends?" Nina would ask. "My goodness, at her age-" She rolled her eyes heavenward at the thought of herself at my age.

Finally, she had to resort to giving me the answers to questions I hadn't thought to ask. She made a solemn occasion of it: we went for tea at the Plaza-I loved that, because I knew she often met friends there and they talked about Life, which was such an overwhelmingly important subject for her. And now she was here with me, in the crowded, scented, opulent room, among banks of hothouse flowers and the string orchestra playing and the waiters with their trolleys of giant pastries oozing chocolate and cream. It was with me that she was discussing the human condition in its weightiest aspects. She talked the way I had seen her do with others-with men, all of them artists and intellectuals-her elbows propped on the table, her sleeves pushed up from her creamy, rounded arms with bracelets tumbling down them. Her eyes vague and dreamy through the smoke of her cigarette, she informed me what it was that men and women did together. This information, though entirely new to me, did not engage my interest; and the only question I asked was why they did it. She opened her eyes wide in surprise (her eyes were green but looked dark because of her lashes, black as patent leather). Then she laughed: "But darling-because they love each other." "The way I love you?" I asked-sometimes, I have to admit, I was deliberately childish with her, to amuse her, but that time I was serious. However, I had succeeded in amusing her and she responded in the way I loved most: with a burst of laughter, her lips parting to reveal her still perfect teeth, her healthy tongue, and she leaned forward to kiss me, enfolding me in the warmth of her breath, her perfume, the smell and taste of the good strong coffee she drank all day long, even at tea-time.

Although in the years ahead she and I often talked about Love, she hardly ever again brought sex into it. When she did, she was dismissive: "What is it, after all? Just technical." And whenever she broke up with a lover, her invariable verdict against him was: "All he cares about is sex. Men are swine." Only Otto was exempt. They had long ago ceased any sexual relation but were bound by other, stronger ties: myself, their past, their conception of the importance of experience, the course of life, of Life-das Leben. But what was for her the highest, finest part of it she shared not with Otto but with me: it was with me that she discussed Love as she understood it, as something entirely, overwhelmingly other, breaking into a different dimension altogether. And that's how I understood it too-perhaps influenced by her, certainly by my feeling for her, which was my first indication of what love could be.

I was sent to very expensive private schools, gladly paid for by Otto, where I was miserable because all the other girls were so much smarter, in the fashionable as well as the intellectual sense, than I could ever hope to be. I worked hard but the results were far from encouraging, and it was doubtful whether they could ever be good enough to get me into college. Fortunately, during my last two years in High School, my interests became focused on oriental studies, where I discovered the same questions I had been asking since I could remember and even some approximate answers to them. It was when I entered the oriental department at Columbia that Otto and Nina began to say-with pride, for they had a tremendous respect for intellectuals-"The child is intellectual." Neither of them had had a college education. Otto had gone straight from school into the family business, while Nina hadn't even finished school but at fourteen, to her everlasting regret, had begun to model, act, flirt, and generally have a good time. For the rest of her life she tried to make up for this by reading books. She read avidly, indiscriminately, with passion. She adored the classics-Tolstoy, Chekhov, Thomas Mann-but also the latest bestsellers, swallowing everything with the same ravenous appetite, her eyes racing down the page as though devouring the print.

And she adored intellectuals, male ones, that is-she hated "bluestockings," turning down the corners of her mouth in pronouncing the word. Her lovers were all writers, musicians, philosophers, philologists, even a theologian-sometimes several of them together, so that she would quote from the works of one to the other. Most of them, in Los Angeles and later in New York, were European refugees.


Excerpted from My Nine Lives by Ruth Prawer Jhabvala Copyright © 2004 by Ruth Prawer Jhabvala. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Read More Show Less

Table of Contents

1 Life 3
2 Menage 33
3 Gopis 63
4 Springlake 89
5 A choice of heritage 129
6 My family 153
7 Dancer with a broken leg 181
8 Refuge in London 211
9 Pilgrimage 247
Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star


4 Star


3 Star


2 Star


1 Star


Your Rating:

Your Name: Create a Pen Name or

Barnes & Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation


  • - By submitting a review, you grant to Barnes & and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Terms of Use.
  • - Barnes & reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)