An interesting story told with an over-abundance of metaphors and similes
I was quite impressed with the good reviews the book received even before its publication, and so I bought it as a gift for a friend. She liked it so much that she lent it to me saying, 'A lovely gift.Thank you very much. I enjoyed reading it. Read it and tell me what you think of it. It's very good'. So I read it. A multi-generational saga, I found the story very interesting.Told in first person, it is the story of Laxmi who, at age fourteen, is duped into marrying a man more than twice her age. The marriage is arranged by her Aunt Pani who lies to Laxmi's mother that the groom, Ayah - a widower with two children - is wealthy. Laxmi goes to Malasia with her husband and bears six children in five years and learns quickly that she can not rely on her husband for much help and support. Ayah is depicted as a kind and loving man, but without strong will-power. Laxmi, however, is depicted as a stong woman with an abundance of will power. But her narrative hindered me from really enjoying the book. It is loaded with too many metaphors and similes. Also, many of the sentences sound as if they were written first in Malay and then translated literally into English, ignoring the cadence, the natural flow of the English language: 'Anger rose up from the black mud in my stomach.' 'Failure was a badly trained dog that lived in other people's houses.' These sentences, for example, might sound natural and flow smoothly in Malay, but they sound rather awkward in English. Also, I felt that her English lacked precision. For example, she writes about Mohini, the first daughter: 'Mohini was hiding behind the curtains. Like a cat. Beautiful, soft, and perfectly white with large green eyes.' I have seen perfectly white gardenias and dahlias, of course, and once even a perfectly white albino monkey, but never a perfectly white human. A reader, however, can gleam quite a bit of interesting information from this book: How to catch a cobra, and how to strengthen limp legs of infants -' bury the baby to knee level in a hole one and half feet deep. Slowly the legs will gain strength!' I found a few glaring errors also. For example, Sevenese agrees to go to the cemetery with Raja to catch snakes. They go to the cemetery at night. However, when they leave the cemetery after catching a cobra, Rani Manicka writes, ' His voice still sounded like the rasp of sandpaper, but now that we were outside, I felt better. Safer. It was evening, and there were people taking slow strolls, laughing and talking in low voices.' Writing about Professor Rao, the gemologist to whom Laxmi's children took stones they had gathered, Rani Manicka writes: 'In the living room Professor Rao allowed nothing but the dour classical music of Thiagaraja to fill the air.' Having studied Thiagaraja's music for twenty four years, (the music is known as the South Indian classical or Carnatic music; Thiagaraja was one of the three famous composers in this field) I am aware that it takes a certain bent of mind, a certain ear, to appreciate this divine music; not all can appreciate it, and some might even find it dour. Lest readers conclude that I am complaining too much, let me hasten to add that I found the novel quite interesting to read. I wasn't disappointed. Infact I will be returning the book to my friend and say, 'Not bad for a first novel. Quite an impressive debut.' Rani's language and style has the distinctly Asian ring to it.
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