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The Rice Mother

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At the age of fourteen, Lakshmi leaves behind her childhood among the mango trees of Ceylon for married life across the ocean in Malaysia, and soon finds herself struggling to raise a family in a country that is, by turns, unyielding and amazing, brutal and beautiful. Giving birth to a child every year until she is nineteen, Lakshmi becomes a formidable matriarch, determined to secure a better life for her daughters and sons. From the Japanese occupation during World War II to the torture of watching some of her ...

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The Rice Mother

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At the age of fourteen, Lakshmi leaves behind her childhood among the mango trees of Ceylon for married life across the ocean in Malaysia, and soon finds herself struggling to raise a family in a country that is, by turns, unyielding and amazing, brutal and beautiful. Giving birth to a child every year until she is nineteen, Lakshmi becomes a formidable matriarch, determined to secure a better life for her daughters and sons. From the Japanese occupation during World War II to the torture of watching some of her children succumb to life’s most terrible temptations, she rises to face every new challenge with almost mythic strength. Dreamy and lyrical, told in the alternating voices of the men and women of this amazing family, The Rice Mother gorgeously evokes a world where small pleasures offset unimaginable horrors, where ghosts and gods walk hand in hand. It marks the triumphant debut of a writer whose wisdom and soaring prose will touch readers, especially women, the world over.

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Editorial Reviews

Publishers Weekly
Manicka's luminous first novel is a multigenerational story about a Sri Lankan family in Malaysia. In the 1920s, Lakshmi is a bright-eyed, carefree child in Ceylon. But at 14, her mother marries her to Ayah, a 37-year-old rich widower living in Malaysia. When she arrives at her new home, she promptly discovers that Ayah is not rich at all, but a clerk who had borrowed a gold watch and a servant to trick Lakshmi's mother. Ayah is for the most part a decent man, however, and Lakshmi rallies and takes control of a sprawling household that soon includes six children of her own. There is a period of contented family life before WWII and the Japanese occupation of Malaysia, during which Lakshmi's eldest and most beautiful daughter, Mohini, is abducted and killed by Japanese soldiers. The family unravels as Ayah withdraws and Lakshmi falls prey to fits of rage. Mohini's twin brother, Lakshmnan, becomes a compulsive gambler, leaving his own wife and three children impoverished. The story is told through the shifting perspectives of different family members, including son Sevenese, who can see the dead; youngest daughter, Lalita, neither pretty nor gifted; Rani, Lakshmnan's fierce and beleaguered wife; and Lakshmnan's daughter, Dimple. Their voices are convincingly distinct, and the prismatic sketches form a cohesive and vibrant saga. Manicka can be a bit syrupy on the subjects of childhood and maternal love, but she also has a fine feeling for domestic strife and the ways in which grief permeates a household. (July) Copyright 2003 Reed Business Information.
Library Journal
When 14-year-old Lakshmi marries a widower of 37, she believes that she is leaving her Sri Lankan village for a life of luxury in Malaysia. Instead, she endures hardship and poverty, giving birth to six children in the years before the Japanese invasion of World War II. In this gripping multigenerational saga, the tumultuous history of Malaysia becomes the backdrop for Lakshmi's indomitable spirit. The barbarity of the Japanese, postwar prosperity, the bursting of the Southeast Asian financial bubble, the vice trades of opium, gambling, and sex-all take their toll on Lakshmi's children and grandchildren. However, while her husband and ultimately all of her children prove to be disappointments, Lakshmi continues to love them and do what's best for all of them, even if it seems cruel. First novelist Manicka's sympathetic portrait of this larger-than-life matriarch is based on her own grandmother. Her page-turner, narrated in turn by Lakshmi and various family members, is not only a portrait of one family but also a tantalizing glimpse of an unfamiliar world. Strongly recommended for most public libraries. [Previewed in Prepub Alert, LJ 3/15/03.]-Andrea Kempf, Johnson Cty. Community Coll. Lib., Overland Park, KS Copyright 2003 Reed Business Information.
Kirkus Reviews
Loosely autobiographical, multigenerational first novel: exotic, sensual, sometimes sentimental, often searing, and ultimately universal in its depiction of an Indian family in Malaysia. It's 1931, and 14-year-old Lakshmi leaves Ceylon in an arranged marriage to the much older Ayah. When Ayah turns out to be not the rich businessman Lakshmi expected but a lowly clerk whose sweet, simple nature keeps him from professional advancement, bright and ambitious Lakshmi quickly takes charge of their financial and domestic affairs. By the time she's twenty she has six children whom she feeds, clothes, and educates with iron-willed devotion. There are the twins, brilliant oldest son Lakshmnan and his twin sister Mohini, with her otherworldly beauty; pretty Anna; the adventurous outsider Sevenese; Jeyan, who is perhaps not as simple-minded as everyone assumes; and the homely, shy Lalita. The children all remember their early years as close to idyllic. Then WWII breaks out. When Mohini is raped and killed by the Japanese (whom Manicka, with a loss of perspective, portrays as unrelentingly monsterlike), the family begins to fall apart. Lakshmi has fits of rage that approach madness, while Lakshmnan's early promise fizzles into dissolute gambling and an unhappy marriage (his wife is an almost cartoonish villain among otherwise highly nuanced characters). Except for the happily married Anna, life does not work out as Lakshmi planned for her children. Yet they all revere her, even Lakshmnan; and Ayah's gentle love provides an emotional ballast that Lakshmi does not understand until too late. Lakshmnan's daughter Dimple, whose beauty recalls Mohini, tape-records her aunts' and uncles' (as well as herparents' and grandparents') memories-and shifting perspectives-to preserve the family legacy for her own daughter. Toward the end Manicka falters, forcing the story of Dimple's unhappy marriage into plot manipulations that feel forced, but, still, the story's richness and careful accumulation of detail are reminiscent of a very different family chronicle, Thomas Mann's Buddenbrooks Read this one slowly, to savor. Agent: Darley Anderson/Darley Anderson Literary Agency
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Product Details

  • ISBN-13: 9780142004548
  • Publisher: Penguin Group (USA) Incorporated
  • Publication date: 7/27/2004
  • Edition description: Reprint
  • Pages: 464
  • Sales rank: 341,334
  • Product dimensions: 5.14 (w) x 7.98 (h) x 0.87 (d)

Meet the Author

Rani Manicka, an economics graduate, was born and educated in Malaysia. Infused with her own South Asian family history, The Rice Mother is her first novel.

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Read an Excerpt


I was born in Ceylon in 1916, at a time when spirits walked the earth just like people, before the glare of electricity and the roar of civilization had frightened them away into the concealed hearts of forests. There they dwelled inside enormous trees full of cool, blue-green shade. In the dappled stillness you could reach out and almost feel their silent, glaring presence yearning for physical form. If the urge to relieve ourselves beset us while we were passing through the jungle, we had to say a prayer and ask their permission before our waste could touch the ground, for they were easily offended. Their solitude broken was the excuse they used to enter an intruder. And walk in his legs.

Mother said her sister was once lured off and possessed by just such a spirit, and a holy man from two villages away had to be sent for to exorcise the evil in her. He wore many chains of strangely twisted beads and dried roots around his neck, testaments to his fearsome powers. The simple villagers gathered, a human ring of curiosity around the man. To drive the spirit away, he began to beat my aunt with a long, thin cane, all the time demanding, "What do you want?" He filled the peaceful village with her terrified screams, but unmoved, he carried on beating her poor body until it bled streams of red.

"You are killing her," my grandmother howled, held back by three appalled yet horribly fascinated women. Ignoring her, the holy man fingered a livid pink scar that ran all the way down his face and walked his determined, tight circles around the cowering girl, always with the darkly whispered query, "What do you want?" Until eventually she screamed shrilly that it was a fruit she wanted.

"Fruit? What sort of fruit?" he asked sternly, halting before the sobbing girl.

A shocking transformation occurred suddenly. The little face looked up at him slyly, and perhaps there was even a bubble of madness in the grin that slowly and with unspeakable obscenity spread its legs on her lips. Coyly she pointed to her younger sister, my mother. "That is the fruit I want," she said, her voice unmistakably male.

The simple villagers were united in their gasp of stunned shock. Needless to say the tall man did not give my mother to the spirit, for she was surely her father's favorite. The spirit had to make do with five lemons, cut and flung into its face, a searing sprinkling of sacred water, and a suffocating amount of myrrh.

When I was very young I used to rest quietly on my mother's lap, listening to her voice remember happier times. You see, my mother was descended from a family of such wealth and influence that in their heyday her English grandmother, Mrs. Armstrong, had been called upon to give a posy of flowers and shake the gloved hand of Queen Victoria herself. My mother was born partially deaf, but her father put his lips against her forehead and spoke to her tirelessly until she learned to speak. By the time she was sixteen she was as beautiful as a cloud maiden. Proposals of marriage came from far and wide to the lovely house in Colombo, but alas, she fell in love with the scent of danger. Her elongated eyes lowered on a charming rogue.

One night she climbed out of her window and down the very neem tree upon which her father had trained a thorny bougainvillea bush when she was only a year old in an effort to deter any man from ever scaling the tree and reaching his daughter's window. As if his pure thoughts had fed the bush, it grew and grew until the entire tree, ablaze with flowers, became a landmark that could be seen for miles around. But Grandfather had not reckoned on his own child's determination.

That moonlit night thorns like bared fangs shredded her thick clothes, ripped her hair, and plunged deep into her flesh, but she couldn't stop. Beneath was the man she loved. When at last she stood before him, there was not an inch of her skin that didn't burn as if aflame. Silently the waiting shadow led her away, but every step was like a knife in her foot, so she begged in terrible pain to rest. The wordless silhouette swung her up and carried her away. Safe inside the warm circle of his arms, she looked back at her home, grand against the vivid night sky, and saw her own bloody footprints leading away from the tree. They remained to taunt her father. She cried then, knowing that they would hurt his poor heart the most. He would beat his own head and cry, "How willing her betrayal?"

The lovers married at daybreak in a small temple in another village. In the ensuing bitter quarrel, the groom, my father, who was in fact the resentful son of a servant in my grandfather's employ, forbade my mother even the mere sight of any member of her family. Only after my father was gray ash in the wind did she return to her family home, but by then her mother was a widow gray with loss.

After issuing his heartless sentence, my father brought my mother to our backward little village far away from Colombo. He sold some of her jewelry, bought some land, built a house, and installed her in it. But clean air and wedded bliss didn't suit the new bridegroom, and soon he was off-lured away by the bright lights in the cities, summoned by the delights of cheap alcohol served by garishly painted prostitutes, and intoxicated by the smell fanned out of a pack of cards. After each absence he returned and presented his young wife with jar upon jar of all manner of white lies pickled in various brands of alcohol. For some obscure reason he thought she had a taste for them. Poor Mother, all she had left were her memories and me, precious things that she used to take out every evening. First she washed off the grime of the years with her own tears, then she polished them with the worn cloth of regret. And finally, when their wonderful sparkle had been returned to them, she laid them out one by one for me to admire before carefully returning them to their golden box inside her head.

From her mouth issued visions of a glorious past full of armies of devoted servants, fine carriages drawn by white horses, and iron chests filled with gold and rich jewelry. How could I, sitting on the cement floor of our tiny hut, even begin to imagine a house so high on a hill that all of Colombo was visible from its front balcony, or a kitchen so huge that our entire house could fit into it?

My mother once said that when she was first placed into her father's arms, tears of joy streamed down his face at the sight of her unusually fair skin and her full head of thick, black hair. He held the small bundle close to his face, and for a while all he could do was breathe in that strange, sweetish odor that is a newborn baby. Then he strode into the stables, his white veshti flapping against his strong brown legs, jumped onto his favorite stallion, and galloped off in a cloud of dust. When he returned, it was with the two largest emerald pieces that the entire village had ever seen. He presented them to his wife, little baubles in return for a marvelous miracle. She had them fashioned into diamond-encrusted earrings that she was never seen without.

I have never seen the famous emeralds, but I still have the black-and-white studio photograph of a sad-eyed woman standing stiffly in front of a badly painted background, a coconut tree growing on the edge of a beach. I look at her often, frozen on a piece of paper long after she is no more.

My mother said that when I was born, she cried to see that I was only a girl, and my disgusted father disappeared to make more pickled lies, returning two years later still roaring drunk. Despite this I still retain crystal-clear memories of a village life so happy and so carefree that not a day goes by in adulthood that I don't think about it with a bittersweet ache. How can I even begin to tell you how much I miss those carefree days when I was Mother's only child, her sun, her moon, her stars, her heart? When I was so loved and so precious that I had to be coaxed into eating? When Mother would come out of the house with a plate of food in her hand and search the village for me so she could feed me with her own hand, all so the tedious business of food would not interrupt my play?

How not to miss those days when the sun was a happy companion that stayed to play all year round and kissed me a careless nut brown? When Mother caught the sweet rain in her well behind the house, and the air was so clear that the grass smelled green?

An innocent time when the dusty dirt roads were surrounded by slanting coconut trees and dotted with simple village folk on rickety bicycles, their teeth stained red inside untroubled laughter. When the plot behind each house was a supermarket, and one slaughtered goat was adequate for eight households blissfully unaware of an invention called the refrigerator. When mothers needed only the gods who gathered in the white clouds above as baby-sitters to watch over their children playing in the waterfall.

Yes, I remember Ceylon when it was the most magical, most beautiful place in the world.


I suckled at Mother's breasts until the age of almost seven, running wild with my friends until hunger or thirst nudged me and then dashing back into the coolness of the house, impatiently crying out for my mother. Regardless of what she was doing, I pushed aside her sari and let my mouth curl around the unbound mounds of soft toffee brown. My head and shoulders burrowed inside the safety of her rough cotton sari, the clear scent of her, the innocent love in the milk that flowed into my mouth and the warm comfort of those quiet sucking sounds that I used to make inside the envelope of her flesh. Try as they might, the cruel years have not managed to rob my memory of either taste or sound.

For many years I hated the taste of rice or any kind of vegetables, content to live on sweet milk and yellow mangoes. My uncle was a mango dealer of sorts, and crates of them used to sit in the storeroom at the back of our house. A skinny mahout on an elephant would deposit them, and there they waited until another arrived to pick them up. But while they waited ... I sprinted to the very top of those wooden crates and sat cross-legged, without the slightest fear of the spiders and scorpions that inevitably lurked within. Even being bitten by a centipede and turning blue for four whole days didn't deter me. All my life I have been driven by the blind compulsion to walk barefoot down the difficult path. "Come back," people scream desperately at me. My feet bleeding and torn, I grit my teeth and press on in the opposite direction.

Dissolute and untamed, I tore the skins off the succulent orange flesh with my teeth. It is one of the most powerful images I still carry with me. Me all alone in the cool darkness of our storeroom, high atop those wooden crates, with sticky, sweet-warm juices running down my arms and legs, gorging my way through a heap of my uncle's wares.

Unlike boys, girls didn't have to go to school in our day, and except in my father's presence I was mostly left to run wild. Until, that is, at the age of fourteen, when the first drop of menstrual blood proclaimed me suddenly and distressingly a grown woman. For the first week I was shut up in a small room with the windows nailed shut. It was the custom, for no self-respecting family was prepared to risk the possibility of adventurous boys climbing up coconut trees to peek at the newly found secret charms of their daughters.

During my confinement period I was forced to swallow raw eggs, washed down with sesame seed oil and a whole host of bitter herb potions. Tears were to no avail. When Mother came in with her offerings from hell, she came equipped with a cane that I quickly found to my utter amazement she was prepared to use. At teatime, instead of her delicious sweet cakes I was handed half a coconut shell filled to the brim with hot, soft eggplants cooked in a surfeit of the dreaded sesame oil. "Eat it hot," Mother advised as she closed and locked the door. In a fit of defiance and frustration I purposely let it get cold. Between my fingers the cold, slimy flesh of the eggplants squashed satisfyingly, but in my mouth they were utterly disgusting dead caterpillars. Thirty-six raw eggs, a good few bottles of sesame seed oil, and a whole basketful of eggplants must have slid down my throat before the small-room confinement was over. I was then simply confined indoors and made to learn to do women's things. It was a sad transition for me. The deep loss of sun-baked earth under my running feet is impossible to explain. Like a prisoner I sat and stared longingly out of small windows. Almost immediately my long, matted hair was combed and plaited and transformed into a sleek snake down my back and my skin suddenly pronounced too sun-darkened. My real potential, my mother decided, lay in my skin. Unlike her, I was no Indian beauty, but in a land of coffee-colored people I was a cup of very milky tea.

A prized, precious color.

A color surely to be actively sought after in a wife, subtly encouraged in a daughter-in-law, and lovingly cherished in one's grandchildren. Suddenly strange middle-aged ladies began to appear in our home. I was dressed to the nines and paraded in front of them. They wore the shrewd look of diamond merchants. Their sharp, beady eyes inspected me carefully for flaws, without the slightest trace of embarrassment.

One hot afternoon, after Mother had tugged, pulled, and expertly rolled my stiff, awkward body into a great deal of pink material, decorated my hair with bruised pink roses from the garden, and dribbled me in precious stones set in dull yellow gold, I stood scowling by the window, marveling at how quickly and completely my life had changed. In a day. No, less. And without warning.

Outside, the wind rustled in the lime tree, and a playful breeze flew into my room, teased the curls on my temples, and blew softly into my ear. I knew him well, that breeze. He was as blue as the baby god Krishna and as cheeky. Whenever we dived from the highest rock into the waterfalls in the woods behind Ramesh's house, he always managed to reach the icy cold water first. That's because he cheats. His feet never touch the dark-green velvet moss on the rocks.

He laughed in my ear. "Come," his voice tinkled merrily. He tickled my nose and flew out.

I leaned out of the window, craning my neck as far as I could, but to me the shining water and the blue breeze were lost forever. They belonged to a barefoot child, happy in a dirty dress.

Standing there nursing my resentment and frustration, I saw a carriage stop outside our house. Wheels creaked in the dry dust. A heavy woman in a dark blue silk sari and slippers too dainty for her frame heaved herself out. Stepping back into the gloom of my room, I watched her curiously. Her dark eyes roved around our small house and meager compound, nurturing some secret satisfaction. Surprised by her strange expression, I stared at her until I lost sight of her cunning face. She disappeared behind the bougainvillea trees fringing the garden path. Mother's soft voice inviting her in wafted into my room. I stood pressed to my bedroom door and listened to the stranger's unexpectedly musical voice. She had a lovely voice, one that belied the sly, small eyes and the thin compressed lips. Presently my mother called out to me to bring in the tea that she had prepared for our visitor. As soon as I stood at the threshold of the front room where Mother received visitors, I felt the stranger's quick, appraising glance. Once more it seemed to me that she was satisfied by what met her searching eyes. Her lips opened into a warm smile. Truly, if I hadn't seen the smug, almost victorious look she had thrown at our poor dwelling earlier, I might now have mistaken her for the adoring aunt that Mother smilingly introduced her as. I dropped my glance demurely as I had been instructed to do in the presence of benevolent adults and sharp-eyed diamond buyers.

"Come and sit by me," Aunty Pani called softly, patting the bench beside her. I noticed that on her forehead was not the red kum kum dot customary for married women but a black dot signifying her unmarried status. I walked carefully toward her lest I should trip in the six yards of beautiful cloth that swirled dangerously around me, humiliate my mother, and amuse this sophisticated stranger.

"What a pretty girl you are!" she exclaimed in her musical voice.

Mutely I looked at her from the corner of my eye and felt a strange, inexplicable revulsion. Her skin was unwrinkled, smooth, and carefully powdered, her hair scented with sweet jasmine, and yet in my enchanted kingdom I imagined her a rat-eating snake woman, oozing like thick tar out of trees and gliding into bedrooms like a silent ribbon. All the while, black and hunting, she flicks out a tongue, long, pink, and cold-blooded. What does she know, the snake woman?

A plump, beringed hand delved into a small beaded handbag and snaked out with a wrapped sweet. Such treats were rare in the village. Not all snake women were poisonous, I decided. She held the morsel out to me. It was a test. I didn't fail my watching mother. I didn't snatch. Only when Mother smiled and nodded did I reach out for the precious offering. Our hands touched briefly. Hers were cold and wet. Our glances met and held. She hastily looked away. I had outstared the snake. I was sent back to my room. Once the door had closed behind me, I unwrapped the sweet and ate the snake woman's bribe. It was delicious.

The stranger didn't stay long, and soon Mother came into my room. She helped me with the complicated task of getting out of the long swathes of material, folding them, and putting them away carefully.

"Lakshmi, I have accepted a marriage proposal for you," she said to the folded sari. "A very good proposal. He is of a better caste than we are. Also he lives in that rich land called Malaya."

I was stunned. I stared at her in disbelief. A marriage proposal that would take me away from my mother? That land of the bird's-nest thieves, so many thousands of miles away. Tears welled up in my eyes. I had never been parted from my mother.


Never. Never.

I ran to her, pulled her face down to mine, pressed my lips against her forehead, and cried desperately, "Why can't I just marry someone who lives in Sangra?"

Her beautiful eyes were wet. Like a pelican that claws at its own breast to feed its young.

"You are a very lucky girl. You will travel with your husband to a land where there is money to be found in the streets. Aunty Pani says that your husband-to-be is very wealthy, and you will live like a queen, just like your grandma did. You won't have to live like me. He is neither a drunkard nor a gambler like your father."

"How could you bear to send me away?" I breathed, betrayed.

There was aching love and pain behind her eyes. Life had yet to teach me that a child's love can never equal a mother's pain. It is deep and raw, but without it a mother is incomplete.

"I will be so alone without you," I wailed.

"No, you won't, because your new husband is a widower, and he has two children, aged nine and ten. So you will have much to keep you busy and plenty of companionship."

I frowned uncertainly. His children were almost my age. "How old is he?"

"He's thirty-seven years old," Mother said briskly, turning me around to release the last hook on my blouse.

I wriggled around to face her. "But Ama, that's even older than you!"

"That may be, but he will be a good husband for you. Aunty Pani says he owns not one but a few gold watches. He has had plenty of time to amass a huge fortune and is so rich he does not even require a dowry. He is her cousin, so she should know. I made a terrible mistake, and I have ensured that you will not. You shall be more. More than me. I will begin preparing your jewelry box immediately."

I stared mutely at her. Her mind was made up.
I was doomed.

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Customer Reviews

Average Rating 4.5
( 12 )
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Sort by: Showing all of 12 Customer Reviews
  • Anonymous

    Posted December 25, 2012

    My favorite book

    Recommended to me. Quite complex but a page turner!

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  • Posted August 26, 2011

    A really moving novel, beautifully written.

    I love the many aspects this book posesses and how it is told by a series of first person narratives, it adds a level of depth and personality, I was completely drawn in!

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  • Posted June 15, 2009

    more from this reviewer

    I Also Recommend:

    Storytelling at its finest

    Rani Manicka did a fantastic job drawing the reader into the jungles of Ceylon and Malaysia in this multi generataional saga about courage, stillborn dreams, courage and the power of forgiveness. Telling the tale through several different characters allowed us to see their differing perceptions and reasonings about the same event and demonstrated the ability of mothers to shape their lives. The deeply descriptive language allowed the reader to create a picture of what each character saw, and added to the beauty of the tale.
    The Rice Mother is a beautiful, heart-wrenching tale which depicts how hate and spite can ruin not only our lives, but the lives of those around us when we choose to hold onto it. I also must admit I had to breathe a sigh of relief when we finally got to hear Ratha's side of the story.
    I look forward to reading more from this talented author.

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  • Anonymous

    Posted November 8, 2006

    Eye Opener

    This book really opened my eyes to the world outside of my 10 X 10 room, I knew how badly the Japanese treated woman in China but I never knew the extent they did in Mayasia either. What I really liked about the book was its format and how you get everyone's point of view and not just a single person which made it interesting. I'm not much of a reader but I was immediatly sucked into the novel and would sit for three hours at a time simply reading. The only thing which confused me a bit is that there would be a time-gap in the story and it was hard to tell how old the characters were.

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  • Anonymous

    Posted April 2, 2005

    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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  • Anonymous

    Posted December 23, 2003


    I caught a friend reading this book over and over. When I asked her about it she gladly let me borrow it. After the first chapter I went out and bought my own copy. I have read it repeatedly. I found it richly detailed and full of the reality of life. The characters are very distinct and memorable, you find yourself reading on, hoping for them to have happy endings. Read this book, you'll laugh cry and be stunned when it's over.

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  • Anonymous

    Posted November 18, 2003

    Great Book

    I think that this book was very interesting, and held my attention every step of the way. Although I would have liked the ending to have a little more explanation. Some things were left a little vague. Overall an excellent book that I would recommmend to anyone.

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  • Anonymous

    Posted September 29, 2003

    A beautiful book

    I am a Ceylon Tamil myself and I can relate myself to the story. Having lived in both Ceylon and Singapore it touched my heart to read the book. On a recent flight back from Europe to the US I hardly blinked reading the book. I was ignorant to think that the Japanese occupation of the Malayan peninsula affected only the Chinese people. For a first timer novelist Rani Manicka has done a wonderful job. It is a beautiful book.

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  • Anonymous

    Posted July 29, 2012

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  • Anonymous

    Posted December 27, 2010

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  • Anonymous

    Posted December 10, 2009

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  • Anonymous

    Posted July 22, 2014

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