"But nobody ever forgot anything, not really, though sometimes they pretend, when it suited them. Memories were permanent. Sorrowful ones remained sad even with the passing of time, yet happy ones could never be recreated- not within the same joy." Write a practical criticism on these lines. ( can also include the novel, "The Namesake").
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“But nobody ever forgot anything, not really, though sometimes they pretended, when it suited them. Memories were permanent. Sorrowful ones remained sad even with the passing of time, yet happy ones could never be recreated - not with the same joy. Remembering bred its own peculiar sorrow. It seemed so unfair: that time should render both sadness and happiness into a source of pain.”
The novel is also rich in a Dickensian cast of minor characters, from the proofreader drive n from his profession by a virulent allergy to printers' ink to the rent collector who can't help smiling even though "his life had become the plot of a bad Hindi movie minus the happy ending".
The novel is also rich in a Dickensian cast of minor characters, from the proofreader drive n from his profession by a virulent allergy to printers' ink to the rent collector who can't help smiling even though "his life had become the plot of a bad Hindi movie minus the happy ending".And though so much of Mistry's plot - which features a family burned alive, eviction, amputation, castration, suicide and a grisly succession of violent deaths - could have slipped over the edge into the melodrama of the same Hindi movies, the author handles his events deftly, without exaggeration or mawkishness, and in a style that never denies his characters the complexity of their own humanity. The result is a compelling book that manages the rare feat of being both entertaining and compassionate.
The novel is also rich in a Dickensian cast of minor characters, from the proofreader drive n from his profession by a virulent allergy to printers' ink to the rent collector who can't help smiling even though "his life had become the plot of a bad Hindi movie minus the happy ending".And though so much of Mistry's plot - which features a family burned alive, eviction, amputation, castration, suicide and a grisly succession of violent deaths - could have slipped over the edge into the melodrama of the same Hindi movies, the author handles his events deftly, without exaggeration or mawkishness, and in a style that never denies his characters the complexity of their own humanity. The result is a compelling book that manages the rare feat of being both entertaining and compassionate.
The novel is also rich in a Dickensian cast of minor characters, from the proofreader drive n from his profession by a virulent allergy to printers' ink to the rent collector who can't help smiling even though "his life had become the plot of a bad Hindi movie minus the happy ending".And though so much of Mistry's plot - which features a family burned alive, eviction, amputation, castration, suicide and a grisly succession of violent deaths - could have slipped over the edge into the melodrama of the same Hindi movies, the author handles his events deftly, without exaggeration or mawkishness, and in a style that never denies his characters the complexity of their own humanity. The result is a compelling book that manages the rare feat of being both entertaining and compassionate. Mistry is powerful and moving in his descriptions of random rural oppression, or in telling the familiar tales of courage and humanity amidst the horrors of Partition; but there are also hilarious sequences, none funnier than an account of one of the prime minister's political rallies during the Emergency, told from the point of view of the slum dwellers bussed in to constitute her bewildered audience.
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