From the Pulitzer Prize-winning, best-selling author of The Namesake comes an extraordinary new novel, set in both India and America, that expands the scope and range of one of our most dazzling storytellers: a tale of two brothers bound by tragedy, a fiercely brilliant woman haunted by her past, a country torn by revolution, and a love that lasts long past death.
Born just 15 months apart, Subhash and Udayan Mitra are inseparable brothers, one often mistaken for the other in the Calcutta neighborhood where they grow up. But they are also opposites, with gravely different futures ahead. It is the 1960s, and Udayan - charismatic and impulsive - finds himself drawn to the Naxalite movement, a rebellion waged to eradicate inequity and poverty; he will give everything, risk all, for what he believes. Subhash, the dutiful son, does not share his brother’s political passion; he leaves home to pursue a life of scientific research in a quiet, coastal corner of America.
But when Subhash learns what happened to his brother in the lowland outside their family’s home, he goes back to India, hoping to pick up the pieces of a shattered family, and to heal the wounds Udayan left behind - including those seared in the heart of his brother’s wife.
Masterly suspenseful, sweeping, piercingly intimate, The Lowland is a work of great beauty and complex emotion; an engrossing family saga and a story steeped in history that spans generations and geographies with seamless authenticity. It is Jhumpa Lahiri at the height of her considerable powers.
Long-listed for the 2013 Man Booker Prize
"Haunting... A novel that crosses generations, oceans, and the chasms within families... Lahiri’s skill is reflected not only in her restrained and lyric prose, but also in her moving forward chronological time while simultaneously unfolding memory, which does not fade in spite of the years. A formidable and beautiful book." (Publishers Weekly)
"An absolute triumph. Lahiri uses a gorgeously rendered Calcutta landscape to profound effect.... As shocking complexities tragedies, and revelations multiply, Lahiri astutely examines the psychological nuances of conviction, guilt, grief, marriage, and parenthood, and delicately but firmly dissects the moral conundrums inherent in violent revolution. Renowned for her exquisite prose and penetrating insights, Lahiri attains new heights of artistry - flawless transparency, immersive intimacy with characters and place - in her spellbinding fourth book and second novel. A magnificent, universal, and indelible work of literature... Lahiri’s standing increases with each book, and this is her most compelling yet." (Donna Seaman, Booklist)
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My least favorite of all her work.
Maybe because I'm such a fan of her other work, I am more critical, but I thought this book was a bust.
I thought the characters were really dull and not fleshed out well. I certainly didn't sympathize with them, nor did I care what happened to them. I didn't get a good sense of their motivation for the choices they made- and overall it was just dull. That's the best I can say.
If you want to read Lahiri, I suggest starting with something else- if I had read this first, I wouldn't have gone back for any more.
Sure- The Namesake is a masterpiece and 10x better.
Yes, I thought he did a nice job.
There was a moment where a character goes through a big shift (sorry I don't want to write out a big spoiler, but it's about 3/4 way through and you'll know it when you hear it), and it was just so out of left field and silly, all I could do was roll my eyes. Usually Jhumpa Lahiri's characters are so complex, and through her writing you really understand them- good and bad. But here- it was like reading about a family of paper dolls. Flat and dimension-less.
Distractingly Poor Performance
I usually don't think too hard about the narration. I think the best narration should recede into the background and allow you to enjoy the story. But Sunil Malhotra had an irritatingly morose delivery at all times. This is not the world's most cheerful book, but he read the entire thing as if he were speaking at a funeral, even at the book's happy moments. He also paused at weird times in the text. I found myself thinking more about the narration than about the book itself. Not a good experience.