In 2012 I read J.G. Farrell's Troubles (reviewed here) and it rapidly became one of my favourites. Its mixture of humour and tragedy, often within the same sentence, was intoxicating and that's also a combination used to great effect in The Siege of Krishnapur. This one's a book I bought for my undergraduate degree and never got round to reading. It tells the story of, as might be guessed, a siege in Krishnapur where the British community is living a serene existence. Only the Collector, Mr Hopkins, senses the danger ahead but he's dismissed as a crank until violence sweeps closer.
Once again, I adored this book. It's a strange mixture of light and dark, using the macabre to great effect. I was a little impatient for the 'real' story to get going, the scene-setting of people and places might have been important but I wanted to delve into the stress of the siege. However, everything we'd learned earlier played a part in the later scenes of despair and tragedy.
Description is one of Farrell's strengths and he uses smell to particularly good effect in this novel. Days after finishing reading it I'm still captured by the unseen bodies lying beyond the walls and the starving dogs tied up and forced to survive any way they can. Most of the characters are distinctive and there are little ongoing skirmishes which add to the overall effect of civilisation in peril. The two doctors, for instance, have on-going rows which, as with most situations in this novel, come to a darkly comical conclusion. The Padre, as well, goes around trying to convert everyone in the midst of battle. Two of the scenes that linger from this book, for me, come from this character: firstly, the battle scene where he is preaching and preaching even while the cannons are firing around him and, secondly, the scene where he's trying to convert one character while digging a grave and the corpse almost ends up going in vertically by accident. Yes, macabre but extremely memorable.
The Siege of Krishnapur is an excellent book, not for the squeamish perhaps but certainly beautifully written and evocative. It is full of reality drawn from contemporary sources about the Indian Mutiny and woven into a stunning novel that I really found it a pleasure to read, despite the horror it was detailing. That's quite a feat and I remain in awe of Farrell's literary ability.
Showing posts with label india. Show all posts
Showing posts with label india. Show all posts
Monday, 29 December 2014
Friday, 22 March 2013
Classic Film Review: Bhowani Junction (1956)
Bhowani Junction stars Stewart Granger as Colonel Rodney Savage, one of the British officers facilitating the withdrawal of the British from India in 1947. Sorry to see them go are the Anglo-Indians who have enjoyed some privileges from their British cousins and are concerned about their place in the new India. One of these is Victoria Jones (Ava Gardner), a WAC. She finds herself disgusted by Savage's treatment of Indians engaging in protest and receives unwanted advances from Lieutenant Graham McDaniel (Lionel Jeffries). Following an incident, she slips into the world of Ranjit Kasel (Francis Matthews) whose mother poses more of a danger to her than she realises.
This is Victoria's story. It jars a little to hear it narrated by Savage because it feels as though it's detracting from the fact that her experiences are central to the plot. On the other hand, as they went down the 'framing' route with Savage telling the story to a colleague on the train as he leaves Bhowani Junction, I suppose this makes sense. However, Victoria is the character we see and sympathise with. She embodies the conundrum of the person 'in the middle' with no heritage to speak of and constantly trying to define her place in the world. Gardner portrays this conflict admirably, with only a few slips into melodrama. Her Victoria is personable and, most importantly, coherent. Her feelings may change but we often see the reason why.
Aside from the narration aspect, there was only one other thing that really bothered me: the long-winded introduction by Savage about what was going on at the time. It could have been explained much more naturally in dialogue, and that goes for Savage's periodic interruptions to tell us 'what's going on'. The film was actually doing a decent job of conveying that and so the interruptions felt redundant and, again, removed focus from Gardner's Victoria.
There is one scene that stands out from all the rest and Gardner doesn't say a word. Victoria's in the temple with Ranjit and begins thinking about all the things that have been said to her and by her that have brought her to this moment. Gardner doesn't speak but her facial expressions do the work for her. You don't need words in that moment to have a full understanding of the character and that's rather special.
I don't think that the Granger/Gardner pairing was particularly inspired in that their arguments were more exciting that their supposed attraction but, overall, this was an interesting and colourful film that built to a conclusion I actually cared about.
This is Victoria's story. It jars a little to hear it narrated by Savage because it feels as though it's detracting from the fact that her experiences are central to the plot. On the other hand, as they went down the 'framing' route with Savage telling the story to a colleague on the train as he leaves Bhowani Junction, I suppose this makes sense. However, Victoria is the character we see and sympathise with. She embodies the conundrum of the person 'in the middle' with no heritage to speak of and constantly trying to define her place in the world. Gardner portrays this conflict admirably, with only a few slips into melodrama. Her Victoria is personable and, most importantly, coherent. Her feelings may change but we often see the reason why.
Aside from the narration aspect, there was only one other thing that really bothered me: the long-winded introduction by Savage about what was going on at the time. It could have been explained much more naturally in dialogue, and that goes for Savage's periodic interruptions to tell us 'what's going on'. The film was actually doing a decent job of conveying that and so the interruptions felt redundant and, again, removed focus from Gardner's Victoria.
There is one scene that stands out from all the rest and Gardner doesn't say a word. Victoria's in the temple with Ranjit and begins thinking about all the things that have been said to her and by her that have brought her to this moment. Gardner doesn't speak but her facial expressions do the work for her. You don't need words in that moment to have a full understanding of the character and that's rather special.
I don't think that the Granger/Gardner pairing was particularly inspired in that their arguments were more exciting that their supposed attraction but, overall, this was an interesting and colourful film that built to a conclusion I actually cared about.
Wednesday, 9 November 2011
Book Review: A Passage to India by E.M. Forster
A Passage to India was on the list of books I noted in June that I'd bought and never read. Since then I've received several nudges towards it so I thought I'd bite the bullet and finally get around to reading it.
The plot of the novel seems fairly simple: after an incident in a cave an English woman accuses an Indian doctor of assault which sets the English and Indians against each other. However, this brief analysis disregards the complexity of the world which Forster depicts in A Passage to India. Adela Quested's woes are brought on by her desire to see the 'real' India, primarily because the English exist separately from the Indians. The gulf between the two is highlighted on numerous occasions during the first third of the novel, coming to a head after Adela's accusation in the second section. The final third demonstrates that, as things stand, the people of the two nations cannot yet be friends.
All of the characters are well drawn and realistic. If Forster disparages anyone it is the English oppressors rather than the Indian subjects. But he is also at pains to demonstrate the divisions in India between Moslems and Hindus. Things are not as straightforward as England v. India and characters are utilised to show the different shades of life. Mrs Moore, Adela's prospective mother-in-law is the first English character the reader encounters. She has a slight altercation with Dr. Aziz, the alleged perpetrator of the later crime against Adela, about wearing shoes in mosques. She has already removed hers which surprises Aziz. Mrs Moore's attitude is the one which best describes Forster's sympathy towards India and, by offering her as a mouthpiece so early on, all other impressions are judged into relation to Mrs Moore's and often come up short. A few pages after this encounter with Aziz, Mrs Moore's son, the City Magistrate, shows all the contempt we come to expect from the English when he says, "So he called to you over your shoes. Then it was impudence. It's an old trick. I wish you had had them on." (p27) This simple sentence sets up the tensions that dominate the novel.
Forster excels at description and this is used to great effect in this particular novel. India comes alive on the page, in as vivid detail as I can remember in fiction. Nowhere is this more useful than in the very first chapter:
"The sky settles everything - not only climates and seasons, but when the earth shall be beautiful. By herself she can do little - only feeble outbursts of flowers. But when the sky chooses, glory can rain into the Chandrapore bazaars, or a benediction pass from horizon to horizon. The sky can do this because it is so strong and so enormous. Strength comes from the sun, infused in it daily, size from the prostrate earth. No mountains infringe on the curve. League after league the earth lies flat, heaves a little, is flat again. Only in the south, where a group of fists and fingers are thrust up through the soil, is the endless expanse interrupted. These fists and fingers are the Marabar Hills, containing the extraordinary caves." (p6-7)
I'd recommend this book to anyone, primarily because the theme of tensions between two cultures is still as applicable today as it was a century ago.
This is a good essay on the origin of A Passage to India.
The plot of the novel seems fairly simple: after an incident in a cave an English woman accuses an Indian doctor of assault which sets the English and Indians against each other. However, this brief analysis disregards the complexity of the world which Forster depicts in A Passage to India. Adela Quested's woes are brought on by her desire to see the 'real' India, primarily because the English exist separately from the Indians. The gulf between the two is highlighted on numerous occasions during the first third of the novel, coming to a head after Adela's accusation in the second section. The final third demonstrates that, as things stand, the people of the two nations cannot yet be friends.
All of the characters are well drawn and realistic. If Forster disparages anyone it is the English oppressors rather than the Indian subjects. But he is also at pains to demonstrate the divisions in India between Moslems and Hindus. Things are not as straightforward as England v. India and characters are utilised to show the different shades of life. Mrs Moore, Adela's prospective mother-in-law is the first English character the reader encounters. She has a slight altercation with Dr. Aziz, the alleged perpetrator of the later crime against Adela, about wearing shoes in mosques. She has already removed hers which surprises Aziz. Mrs Moore's attitude is the one which best describes Forster's sympathy towards India and, by offering her as a mouthpiece so early on, all other impressions are judged into relation to Mrs Moore's and often come up short. A few pages after this encounter with Aziz, Mrs Moore's son, the City Magistrate, shows all the contempt we come to expect from the English when he says, "So he called to you over your shoes. Then it was impudence. It's an old trick. I wish you had had them on." (p27) This simple sentence sets up the tensions that dominate the novel.
Forster excels at description and this is used to great effect in this particular novel. India comes alive on the page, in as vivid detail as I can remember in fiction. Nowhere is this more useful than in the very first chapter:
"The sky settles everything - not only climates and seasons, but when the earth shall be beautiful. By herself she can do little - only feeble outbursts of flowers. But when the sky chooses, glory can rain into the Chandrapore bazaars, or a benediction pass from horizon to horizon. The sky can do this because it is so strong and so enormous. Strength comes from the sun, infused in it daily, size from the prostrate earth. No mountains infringe on the curve. League after league the earth lies flat, heaves a little, is flat again. Only in the south, where a group of fists and fingers are thrust up through the soil, is the endless expanse interrupted. These fists and fingers are the Marabar Hills, containing the extraordinary caves." (p6-7)
I'd recommend this book to anyone, primarily because the theme of tensions between two cultures is still as applicable today as it was a century ago.
This is a good essay on the origin of A Passage to India.
Monday, 28 March 2011
Book Review: Staying On by Paul Scott
This was another book I bought during my undergraduate degree (for my Colonialism and Post-Colonialism unit, I believe) and never read for whatever reason. Looking at it now, I can speculate on one probable reason: on the copy I own the female character is named on the back of the book as 'Lily' when you discover on the first page that she's actually called 'Lucy'. Despite the fact this is a publishing error, I think it had a psychological effect. Hence I waited four years to read the book.
Staying On is the story of a couple, Tusker and Lucy Smalley, who remained in India after Tusker retired from the British Army. They live in a small town called Pankot and, it's no spoiler to say so, Tusker is discovered dead on the first page. From there, the novel meanders backwards in time a little and unravels the events and relationships in the months before his death. Towards the beginning of the book it can be a little difficult to put your finger on where you are in time but this soon settles down. Also, don't think that the novel focuses solely on these few months: Scott's characters do that ever-human thing of thinking about their pasts, Lucy Smalley in particular. You honestly do get the feeling you've lived a life with these people.
There are so many strands to this book that it's impossible to separate half of them. Characters like Mr and Mrs Bhoolabhoy, the Smalley's landlords, are faithfully (sometimes even painfully) represented. Mrs Bhoolabhoy is a larger-than-life harridan and dictator, mercilessly ruling her business and her husband, a mild-mannered Christian who loves his little church and his hotel. Mr Bhoolabhoy serves as one of the viewpoint characters of the novel, along with Lucy Smalley and Ibrahim, the Smalley's servant. All of them are easily distinguishable and amusing in their own way.
I haven't read any other reviews of Staying On but I can imagine some of the criticism. Not much happens! Well, maybe that's true. After Tusker's body is found in the opening pages the climax of the novel has already been revealed - what's left to know? I think that's a little short-sighted. What Scott does, to great effect, is invite you into Pankot and into the lives of Tusker, Lucy, Mr Bhoolabhoy and Ibrahim. There is never the sense that he's embellishing for literary merit: the novel feels truthful and authentic. I trusted Scott as I trusted George Orwell when reading Burmese Days: I felt like I was being transported to another country but without cliché-ridden prose and character representation. You can say this for Scott and Orwell: you certainly know they've been there.
Staying On won the Booker Prize in 1977. Scott is perhaps most famous for the quartet of novels beginning with The Jewel in the Crown but many critics seem to regard Staying On as his best novel. Having only read this one, I can't comment on that. However, I can say that the story lingered in my mind for days afterwards, not an easy feat in an age of instant distraction and social media. I would wholeheartedly recommend it.
The book can be purchased here.
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