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R. K. Narayan (1906—2001) witnessed nearly a century of change in his native India and captured it in fiction of uncommon warmth and vibrancy. The four novels collected here, all written during British rule, bring colonial India into intimate focus through the narrative gifts of this master of literary realism. Swami and Friends introduces us to Narayan’s beloved fictional town of Malgudi, where ten-year-old Swaminathan’s excitement about his country’s initial stirrings for independence competes with his ardor for cricket and all other things British. The Bachelor of Arts is a poignant coming-of-age novel about a young man flush with first love, but whose freedom to pursue it is hindered by the fixed ideas of his traditional Hindu family. In The Dark Room, Narayan’s portrait of aggrieved domesticity, the docile and obedient Savitri, like many Malgudi women, is torn between submitting to her husband’s humiliations and trying to escape them. The title character in The English Teacher, Narayan’s most autobiographical novel, searches for meaning when the death of his young wife deprives him of his greatest source of happiness. These pioneering novels, luminous in their detail and refreshingly free of artifice, are a gift to twentieth-century literature.
R. K. Narayan (1906—2001) witnessed nearly a century of change in his native India and captured it in fiction of uncommon warmth and vibrancy. The Bachelor of Arts is a poignant coming-of-age novel about a young man flush with first love, but whose freedom to pursue it is hindered by the fixed ideas of his traditional Hindu family. This pioneering novel, luminous in its detail and refreshingly free of artifice, is a gift to twentieth-century literature.
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Following in the footsteps of the storytellers of his native India, R. K. Narayan has produced his own versions of tales taken from the Ramayana and the Mahabarata. Carefully selecting those stories which include the strongest characters, and omitting the theological or social commentary that would have drawn out the telling, Narayan informs these fascinating myths with his urbane humor and graceful style. "Mr. Narayan gives vitality and an original viewpoint to the most ancient of legends, lacing them with his own blend of satire, pertinent explanation and thoughtful commentary."—Santha Rama Rau, New York Times "Narayan's narrative style is swift, firm, graceful, and lucid . . . thoroughly knowledgeable, skillful, entertaining. One could hardly hope for more."—Rosanne Klass, Times Literary Supplement
Winner of the José Saramago Literary Award In an unnamed Portuguese village, against a backdrop of severe rural poverty, two generations of men and women struggle with love, violence, death, and—perhaps worst of all—the inescapability of fate. A pair of twins conjoined at the pinky, a 120-year-old wise man, a shepherd turned cuckold by a giant, and even the Devil himself make up the unforgettably oddball cast of The Implacable Order of Things. As these lost souls come together and drift apart, José Luís Peixoto masterfully reveals the absurd, heartbreaking, and ultimately bewitching aspects of human nature in a literary performance that heralds the arrival of an astoundingly gifted and poetic writer.
Coolie portrays the picaresque adventures of Munoo, a young boy forced to leave his hill village to fend for himself and discover the world. His journey takes him far from home to towns and cities, to Bombay and Simla, sweating as servant, factory-worker and rickshaw driver. It is a fight for survival that illuminates, with raw immediacy, the grim fate of the masses in pre-Partition India.
The right reasons to fall in love with The Bachelor When it debuted in 2002, The Bachelor raised the stakes of first-wave reality television, offering the ultimate prize: true love. Since then, thrice yearly, dozens of camera-ready young-and-eligibles have vied for affection (and roses) in front of a devoted audience of millions. In this funny, insightful examination of the world’s favorite romance-factory, Suzannah Showler explores the contradictions that are key to the franchise’s genius, longevity, and power and parses what this means for both modern love and modern America. She argues the show is both gameshow and marriage plot — an improbable combination of competitive effort and kismet — and that it’s both relic and prophet, a time-traveler from first-gen reality TV that proved to be a harbinger of Tinder. In the modern media-savvy climate, the show cleverly highlights and resists its own artifice, allowing Bachelor Nation to see through the fakery to feel the romance. Taking on issues of sex, race, contestants-as-villains, the controversial spin-offs, and more, Most Dramatic Ever is both love letter to and deconstruction of the show that brought us real love in the reality TV era.
Set against the backdrop of the Indian Freedom Movement, this fiction novel from award-winning Indian writer R. K. Narayan traces the adventures of a young man, Sriram, who is suddenly removed from a quiet, apathetic existence and, owing to his involvement in the campaign of Mahatma Gandhi against British rule in India, thrust into a life as adventurously varied as that of any picaresque hero. “There are writers—Tolstoy and Henry James to name two—whom we hold in awe, writers—Turgenev and Chekhov—for whom we feel a personal affection, other writers whom we respect—Conrad, for example—but who hold us at a long arm’s length with their ‘courtly foreign grace.’ Narayan (whom I don’t hesitate to name in such a context) more than any of them wakes in me a spring of gratitude, for he has offered me a second home. Without him I could never have known what it is like to be Indian.”—Graham Greene “R. K. Narayan...has been compared to Gogol in England, where he has acquired a well-deserved reputation. The comparison is apt, for Narayan, an Indian, is a writer of Gogol’s stature, with the same gift for creating a provincial atmosphere in a time of change....One is convincingly involved in this alien world without ever being aware of the technical devices Narayan so brilliantly employs.”—Anthony West, The New Yorker