Tag-Archive for ◊ mysterious death ◊

Author:
• Saturday, December 13th, 2014

Amitav Ghosh was born in 1956 into a middle-class Bengali Hindu family in Calcutta, India, to a lieutenant colonel father and a housewife mother. He grew up in India, Bangladesh and Sri Lanka. He received a B.A. degree in 1976 and an M.A. degree in 1978 from the University of Delhi followed by a Ph.D. in social anthropology from the University of Oxford in 1982. As well as working as a newspaper reporter and editor, Ghosh also taught at the University of Delhi, the American University in Cairo, Columbia University in New York City and Queens College in New York.

Amitav Ghosh is a novelist, an essayist and a non-fiction writer. He has received prestigious awards including the Prix Médicis étranger, The Padma Shri, the Arthur C. Clarke Award, the Frankfurt International e-Book Award and he has been short-listed for the Man Booker Prize and for the Man Asian Literary Prize. The Shadow Lines, Ghosh’s second novel, published in 1988, won the Sahitya Akademi Award and the Ananda Puraskar.

Ghosh is now a full-time writer. He lives between the USA and India with his wife Deborah Baker,
who is a biographer, an essayist and a senior editor at Little Brown and Company, a publishing house in the USA. The couple have two children.

The Shadow Lines is set against a historical background that moves back and forth from the second world war in England to the nineteen-sixties in India, leading to the eighties and interwoven with the fictitious lives of the characters. The author tackles a specific theme: the power of memory, the art of remembering almost everything and how one can travel, virtually, to various places through one’s memories. The writer brings together, through the main nameless character, various periods of time and series of events experienced by generations of the family and friends in Calcutta, Dhaka and London.

Events start decades before the narrator’s birth and end on the eve of his return from London to Delhi. After becoming a mature young man and after studying in London for one year, he comes to terms with the fact that there is no longer hope of having his beautiful cousin, Ila, share his love now that she is married to Nick and madly in love with him despite their misfitted marriage. Before leaving London the narrator also finds out from May, Tridib’s lover and Mrs Price’s daughter, the truth about the mysterious death of his elder cousin and mentor, Tridib, while visiting Dhaka during the Bangladeshi revolt.

Tridib is a great story-teller, through his tales of London and various other topics like “Mesopotamian stelae, East European jazz, the habits of arboreal apes, the plays of Garcia Lorca, there seem to be no end to things he could talk about”, make everything real for his younger cousin. Both cousins are gifted with vivid memories, an acute sense of perception of the past as well as a strong desire to learn new things to feed their imagination. Additionally, the narrator’s grandmother, through her many stories about Dhaka, where she was born before settling in Calcutta, has “no home but in her memory” and she makes the narrator feel as if he was there with her.

The narrator realises, while sitting on the edge of a camp bed in the cellar back in Raibajar with his beloved cousin, Ila, surrounded by objects that carry a lot of memories, like ghosts of time, that “they were not ghosts at all: the ghostliness was merely the absence of time and distance – for that is all that a ghost is, a presence displaced in time”.

The Shadow Lines is a compassionate, powerfully moving novel in many ways. Ghosh masterfully expresses his thoughts in his eloquent writing. His characters are well depicted in an interesting, vast array of individuality. The narrator is a passionately imaginative recorder of the events and lives of people around him. The young Tridib is an idle, avid, multifarious intellectual. Ila is portrayed as a spoiled, beautiful young bohemian seeking complete freedom in her new world and although born an upper-class Indian, feels devoid of identity. Tha’mma’s husband dies when she is thirty two years old and in order to survive, she works for twenty seven years as a schoolmistress in Calcutta. She is hard working and authoritarian unlike her only sister, Mayadebi, who is richly married and referred to ironically as “Queen Victoria” by her elder sister. There is also the very old friends of Tridib’s family, Mrs Price, and her two children, May and Nick.

The violence in Dhaka and Calcutta described subtly by Ghosh and shown as incomprehensible and aberrant brutality, as in the violent death of the innocent Tridib, sadly still exists today in many other places of the world, e.g. in Syria, Iraq, Ukraine, Libya, Israel, Yemen and Bahrain. In his novel, Ghosh describes shadow lines that create a seemingly unbridgeable gap producing bloodshed. These lines leave their shadows wherever they happen to be. They are irrationally man-made in order to divide people and separate countries artificially. While wars, religions, partitions and violence alienate people and nations, at least the power of memory combined with imagination keeps them united.

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Author:
• Tuesday, June 09th, 2009

Cristina Garcia was born in Havana, Cuba in 1958. After Fidel Castro came to power in the early sixties, she moved with her parents to New York and following an early Catholic education, she obtained a bachelor’s degree in Political Science in 1979 at Barnard College, at Columbia University. She later entered the School of Advanced International Studies at John Hopkins University in Baltimore and in 1981 obtained a master’s degree in International Relations.

In the early eighties, Garcia worked for several publications: the Boston Globe for a short time, then United Press International, The Knoxville Journal in Tennessee and The New York Times. She was a correspondent at Time magazine in New York city in 1983 and also worked in San Francisco, Miami and Los Angeles.

In 1990 Cristina Garcia decided to devote her time to writing fiction in order to highlight the life of Cuban immigrants in the United States. In 1984 she travelled to Cuba to meet her relatives for the first time and five years later her trip provided her with the incentive to start writing her first book, Dreaming in Cuban, published in 1992, followed by The Agüero Sisters published in 1997 and Monkey Hunting in 2003.

Cristina Garcia has been a Guggenheim Fellow, a Hodder Fellow at Princeton University and the recipient of a Whiting writer’s award. In 1990 Garcia married Scott Brown, with whom she had a daughter, Pilar born in 1992. Garcia now lives with her daughter in Santa Monica.

The novel of The Agüero Sisters is made up of several family stories (with multiple narrators) interlaced with each other in the past and the present. It’s the rich complex story of Constancia and Reina Agüero, the two very different sisters, who were separated for thirty years.

Reina is forty eight years old, tall, dark and beautiful, liberated and a skilled master electrician,who supported the revolution and therefore remained in Havana. While her sister is the fifty one year-old Constancia, the pale, petite and conservative wife and business woman who immigrated with her husband to the United States after the Cuban revolution and adopted her new country’s culture.

What they both have in common is the intriguing, haunting and mysterious death of their mother and father, who both died many years ago, but whose memory still lives vividly with them after leaving them to inherit half truths, secrets and lies.

The author describes the Cuban landscape in detail, but not much detail is provided about Cuba before and after Fidel Castro took power. The novel mainly relates the lives of Cuban-Americans and the mysteries and myths that they carry with them and the beautiful American dream. There is also the uneasy relationship between children and parents and the hard-to-resolve question of identity.

Cristina Garcia is interested in emotional inheritance “and how those get played out subjectively in different times and places.” She said the beauty of being a novelist is that you can explore your obsessions at length.

Despite the jumps back and forth in time, the prologue gives us the main theme of the novel.

Although Garcia has an elegant style of writing and a fine description of characters, her plot is incomplete. She never reveals why Ignacio kills Blanca and two years later commits suicide. Nor has the author explained the reasons for Blanca’s disappearance and returning to her husband and child, heavily pregnant by another man, who remains anonymous throughout the book. The characters of Constancia and Reina’s daughters are neither fully developed nor do they contribute much to the story.

Nevertheless, it’s an enjoyable, colourful book to read.

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