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Book Description
ヒマラヤ山脈のカンチェンジュンガ山のふもとに、年老いた裁判官が苦々しい思いで暮らしていた。彼はリタイヤして平穏な日々を送ることだけをただひたすら望んでいた。しかし、孤児となった孫娘サイが彼の元にやってきたり、彼の料理人の息子が米国移民帰化局の調査から逃れつつ生活していたりといった事実が、そのことを難しくさせていた。
ネパールで勃発した内乱が、サイと彼女のハンサムな家庭教師との間に芽生えた恋を脅かし、彼らは否応なしに利害関係について考えさせられることになる。裁判官は過去を振り返り、歩んできた道や、希望と裏切りが入り混じり欲望が交錯するこの貪欲な世界における自身の役割に、再び目を向けなければならなくなる。 --このテキストは、 ペーパーバック 版に関連付けられています。
Synopsis
At the foot of Mount Kanchenjunga in the Himalayas, lives an embittered old judge who wants nothing more than to retire in peace. But with the arrival of his orphaned granddaughter, Sai, and his cook's son trying to stay a step ahead of US immigration services, this is far from easy. When a Nepalese insurgency threatens Sai's blossoming romance with her handsome tutor they are forced to consider their colliding interests. The judge must revisit his past, his own journey and his role in this grasping world of conflicting desires every moment holding out the possibility for hope or betrayal.
--このテキストは、
ペーパーバック
版に関連付けられています。
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カスタマーレビュー
最も参考になったカスタマーレビュー
5 人中、5人の方が、｢このレビューが参考になった｣と投票しています。
形式:マスマーケット
ヒマラヤの麓、西ベンガル州に位置するカリンポンが実際にインドの一部であることは、物語の中の新聞でボンベイやデリーのあまり関係のない記事と一緒に記載されていることによっても伺うことが出来るが、この町にはそれにおさまらないものがある。インドとネパールとシッキムとブータンとチベットとイギリスの力の政治に蹂躙された多文化・多民族の町。宣教師の影響で教育機関が集まる土地でもあり、ネパールやブータンやバングラデシュ等の周辺地域からも子弟が集うことで知られる。カリンポンで1986〜88年にかけて勃発した、ネパール系住民のゴルカ国民解放戦線による民族自決・独立国家要求運動と暴動を背景としつつ、物語はこの町に隠居する元エリート裁判官Jemubhai、両親の死別に伴い彼と共に暮らすこととなる孫娘Sai、ゴルカで数学家庭教師のGyan、裁判官の料理人、その息子でニューヨークの不法移民社会を生きるBijuの周りの人物や出来事を描く。
達成は喪失ほど深く感じられるか。登場人物の殆どが何らかの形で西洋や近代世界に触れて屈折した思いや喪失感を抱いて様々に反応し、うまくこの世界に適合しないような部分を抱えている。自分の中にあるものも含めてインド的なものを否定してイギリス人のようになりたいと願ったり、旅をしたいと望んだり、全ての負の遺産を植民地主義や経済格差や異なる民族のせいにしたり、美化された故郷に愛着を覚えたり、といった具合に。著者は、これらが世代を超えて連鎖して歴史や神話となり、憎しみや苦味や愛着として増幅する様子を、鋭い洞察力をもって描く。ユーモアをもった筆致で書かれているのと少しばかりの希望が残されているので、過度に重苦しいということはない。また、物語はグローバル化、植民地主義、人種差別、所得や富の格差、社会階層、ナショナリズム、共通の記憶、人間の尊厳、テロなどの要素に思考を誘う。
達成は喪失ほど深く感じられるか。登場人物の殆どが何らかの形で西洋や近代世界に触れて屈折した思いや喪失感を抱いて様々に反応し、うまくこの世界に適合しないような部分を抱えている。自分の中にあるものも含めてインド的なものを否定してイギリス人のようになりたいと願ったり、旅をしたいと望んだり、全ての負の遺産を植民地主義や経済格差や異なる民族のせいにしたり、美化された故郷に愛着を覚えたり、といった具合に。著者は、これらが世代を超えて連鎖して歴史や神話となり、憎しみや苦味や愛着として増幅する様子を、鋭い洞察力をもって描く。ユーモアをもった筆致で書かれているのと少しばかりの希望が残されているので、過度に重苦しいということはない。また、物語はグローバル化、植民地主義、人種差別、所得や富の格差、社会階層、ナショナリズム、共通の記憶、人間の尊厳、テロなどの要素に思考を誘う。
3 人中、1人の方が、｢このレビューが参考になった｣と投票しています。
形式:ペーパーバック
I am glad I picked this book to amongst those to read this month. I enjoyed it from the start to finish. An appealing setting, fast pace and fascinating characters made me to read it the second time.It features with titles like The Usurper and Others, Good Earth,Bookseller of Kabul as culturally distinct books that I enjoyed.
Amazon.com で最も参考になったカスタマーレビュー (beta)
Amazon.com:
190件のカスタマーレビュー
257 人中、235人の方が、｢このレビューが参考になった｣と投票しています。
"Caught up in the mythic battles of past and present, justice and injustice."
2006/2/11
形式:ハードカバー
Writing with wit and perception, Kiran Desai creates an elegant and thoughtful study of families, the losses each member must confront alone, and the lies each tells to make memories of the past more palatable. Sai Mistry is a young girl whose education at an Indian convent school comes to an end in the mid-1980s, when she is orphaned and sent to live with her grandfather, a judge who does not want her and who offers no solace. Living in a large, decaying house, her grandfather considers himself more British than Indian, far superior to hard-working but poverty-stricken people like his cook, Nandu, whose hopes for a better life for his son are the driving force in his life.
The story of Sai, living in Kalimpong, near India's northeast border with Nepal, alternates with that of Biju, Nandu's son, an illegal immigrant trying to find work and a better life in New York. Biju, working in a series of deadend jobs, epitomizes the plight of the illegal immigrant who has no future in his own country and who endures deplorable conditions and semi-servitude working illegally in the US. As Desai explores the aspirations of Sai and Biju, the hopes and expectations of their families, and their disconnections with their roots, she also creates vivid pictures of the friends and relatives who surround them, evoking vibrant images of a broad cross-section of society and revealing the social and political history of India.
Though Sai's romance, at sixteen, with Gyan, her tutor, provides her with an emotional escape from Kalimpong, it soon becomes complicated by Gyan's involvement with the Gorkha National Liberation Federation, a Nepalese independence movement which quickly becomes violent. Gyan's commitment to the insurgency offers an ironic contrast with the commitment of his family to the colonial British army in earlier times, just as the judge's hatreds, learned in England, are ironically contrasted with his British affectations in later life.
A careful observer of behavior, with a fine eye for revealing details, Desai brings her narrative and characters to life, illustrating her themes without making moral judgments about her characters--creating neither saints nor villains, just ordinary people leading the best lives they can, using whatever resources are available. Her characters, like people from all cultures, make sacrifices for their children, behave cruelly toward people they love, reject traditional ways of life and old values, rediscover what is important to them, suffer at the hands of faceless government officials, and learn, and grow, and make decisions, sometimes ill-considered, about their lives. Dealing with all levels of society and many different cultures, Desai shows life's humor and brutality, its whimsy and harshness, and its delicate emotions and passionate commitments in a novel that is both beautiful and wise. n Mary Whipple
The story of Sai, living in Kalimpong, near India's northeast border with Nepal, alternates with that of Biju, Nandu's son, an illegal immigrant trying to find work and a better life in New York. Biju, working in a series of deadend jobs, epitomizes the plight of the illegal immigrant who has no future in his own country and who endures deplorable conditions and semi-servitude working illegally in the US. As Desai explores the aspirations of Sai and Biju, the hopes and expectations of their families, and their disconnections with their roots, she also creates vivid pictures of the friends and relatives who surround them, evoking vibrant images of a broad cross-section of society and revealing the social and political history of India.
Though Sai's romance, at sixteen, with Gyan, her tutor, provides her with an emotional escape from Kalimpong, it soon becomes complicated by Gyan's involvement with the Gorkha National Liberation Federation, a Nepalese independence movement which quickly becomes violent. Gyan's commitment to the insurgency offers an ironic contrast with the commitment of his family to the colonial British army in earlier times, just as the judge's hatreds, learned in England, are ironically contrasted with his British affectations in later life.
A careful observer of behavior, with a fine eye for revealing details, Desai brings her narrative and characters to life, illustrating her themes without making moral judgments about her characters--creating neither saints nor villains, just ordinary people leading the best lives they can, using whatever resources are available. Her characters, like people from all cultures, make sacrifices for their children, behave cruelly toward people they love, reject traditional ways of life and old values, rediscover what is important to them, suffer at the hands of faceless government officials, and learn, and grow, and make decisions, sometimes ill-considered, about their lives. Dealing with all levels of society and many different cultures, Desai shows life's humor and brutality, its whimsy and harshness, and its delicate emotions and passionate commitments in a novel that is both beautiful and wise. n Mary Whipple
129 人中、118人の方が、｢このレビューが参考になった｣と投票しています。
Moments of brilliance, going nowhere
2007/3/11
形式:ペーパーバック
There are moments I love in this book... poignant observations that made me smile and think how brilliantly she'd nailed some unshakeable truth in life. There were details I enjoyed, such as on insects: "entire nations appeared boldly overnight." I loved the gentleness and clever vagueness with which she writes of Uncle Potty and Father Booty's relationship. She captures rage very well, showing how it's usually founded on something terrible from within, rather than on the acts of the target.
But as I read on, I became increasingly frustrated with the one-sided view of a country I've come to know and love. Yes, India has what she portrays, but it has so much more. There is kindness and tenderness amidst the poverty and rage. There are people with next to nothing who will give what they have to help a stranger - gave what they had to help me. Generosity and kindness exist alongside the indignities she portrays. Why not show that balance? I felt at times she was trying so hard, wanting so badly to shock the reader with her tales of vermin and vomit. Yes, that's there too. But it is not at the heart of the matter, and I think Ms Desai has missed that point.
Finally, Ms Desai should fire her editor for the many anachronisms in the book. The 1985-6 was not the time of the Macarena, baggy pants on teenage boys, or the negative use of the term "PC" (politically correct), to name a few. All that came later. Add to that, it appears that no one proofread the last third of the book. This carelessness coincided with how the prose itself progressed. It started wonderfully, and slid like a Himalayan landslide into negativity and caracature. The ending was utterly pointless, and I was left with moments of brilliance that ultimately went nowhere.
But as I read on, I became increasingly frustrated with the one-sided view of a country I've come to know and love. Yes, India has what she portrays, but it has so much more. There is kindness and tenderness amidst the poverty and rage. There are people with next to nothing who will give what they have to help a stranger - gave what they had to help me. Generosity and kindness exist alongside the indignities she portrays. Why not show that balance? I felt at times she was trying so hard, wanting so badly to shock the reader with her tales of vermin and vomit. Yes, that's there too. But it is not at the heart of the matter, and I think Ms Desai has missed that point.
Finally, Ms Desai should fire her editor for the many anachronisms in the book. The 1985-6 was not the time of the Macarena, baggy pants on teenage boys, or the negative use of the term "PC" (politically correct), to name a few. All that came later. Add to that, it appears that no one proofread the last third of the book. This carelessness coincided with how the prose itself progressed. It started wonderfully, and slid like a Himalayan landslide into negativity and caracature. The ending was utterly pointless, and I was left with moments of brilliance that ultimately went nowhere.
33 人中、33人の方が、｢このレビューが参考になった｣と投票しています。
Making more with less
2007/9/8
形式:ペーパーバック
Reading The Inheritance of Loss made me uncomfortable. On several occasions I drifted off, thinking about the implications of unfettered immigration both on the quality of life for the immigrants and for people in host countries. The sheer size of India's population is staggering, and its rate of growth can only spill into other countries. From the perspective of Kiran Desai's New York immigrants, Saeed and Biju, the entire world is full of Indians struggling to survive, competing with each other and anyone else for the few available resources. One readily sympathizes with the struggles of Indians both abroad and at home, but just when liberal salve seems about to soothe the reader into thoughts of the romantic poor, we see the rich get disinherited by liberation soldiers, homeless people on the edge of starvation, and the lower class desperate for a step up. Desai's rich characters are never so sympathetic that we make the mistake of thinking they deserve their comfort and wealth, even if they haven't earned the suffering that becomes their lot. More than once I found myself making an inventory of those possessions I could lose without bitterness or decline in the quality of life. It's one thing to acknowledge your good fortune and quite another to part with it in the name of equality. We all inherit loss, however, and the pace of change in Desai's India seems a harbinger of the changes we'll feel in the US.
Luckily, the story isn't all grim. The author's eye for detail is extraordinary: small miracles appear on each page. The field of her prose is so studded with gems that one reads quite slowly. My feelings didn't flow too freely - even though I was fascinated by her close attention to the world, her satirical descriptions of character, the play of ideas, and the relevance of many of the issues - I seldom cared deeply about the fate of the people in the novel. Impending doom made me wary, callous behavior made me judgmental, and the writer's eye was on details both smaller and larger than the emotional life of one or two people. I loved Sai, the young girl at the heart of the story, who seemed to be an innocent version of Ms. Desai. The most emotionally wrenching aspect of the story concerned the judge and his pampered dog, Mutt. Even as I condemned him for abuse toward people, I recognized the pathos in his love for his pet. Those characters who sneer at him for loving an animal more than people may have a righteous point, but his dilemma comes too close to home for readers like me. We're glad just to see that his love has some outlet, which makes the plot all that much harder to bear.
The more I've thought about it, the more I enjoyed this novel. While I was reading I wished for something funnier, lusher, or more romantic, but in the end I was challenged, enlightened, and heartened by the novel. I'm glad to be living in a time when I can depend on Kiran Desai to reveal the world to me.
Luckily, the story isn't all grim. The author's eye for detail is extraordinary: small miracles appear on each page. The field of her prose is so studded with gems that one reads quite slowly. My feelings didn't flow too freely - even though I was fascinated by her close attention to the world, her satirical descriptions of character, the play of ideas, and the relevance of many of the issues - I seldom cared deeply about the fate of the people in the novel. Impending doom made me wary, callous behavior made me judgmental, and the writer's eye was on details both smaller and larger than the emotional life of one or two people. I loved Sai, the young girl at the heart of the story, who seemed to be an innocent version of Ms. Desai. The most emotionally wrenching aspect of the story concerned the judge and his pampered dog, Mutt. Even as I condemned him for abuse toward people, I recognized the pathos in his love for his pet. Those characters who sneer at him for loving an animal more than people may have a righteous point, but his dilemma comes too close to home for readers like me. We're glad just to see that his love has some outlet, which makes the plot all that much harder to bear.
The more I've thought about it, the more I enjoyed this novel. While I was reading I wished for something funnier, lusher, or more romantic, but in the end I was challenged, enlightened, and heartened by the novel. I'm glad to be living in a time when I can depend on Kiran Desai to reveal the world to me.
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