Don’t mistake A Death in Shonagachhi for a murder mystery, or you’ll be setting yourself up for disappointment. Some moments will remain unexplained, threads will refuse to tie neatly, and certain ends will stay frayed. Strictly speaking, Rijula Das’s explosive debut can be classified as literary noir. More poetically, it is a soul-baring depiction of a community built in the most unexpected of places—a testament to resilience in the face of crushing blows, and a promise that love can overcome the agony of circumstances beyond one’s control.
Review of ‘The Seven Moons of Maali Almeida’ (Sort of Books, 2022) by Shehan Karunatilaka
Two years ago, I read Fyodor Dostoevsky’s “The Christmas Tree and the Wedding”(1848), and even though I don’t celebrate Christmas in the traditional sense,
Han Kang’s atmospheric novel, The Vegetarian (Portobello, 2016), is an evocative look at the psychosis of a woman plagued by her own humanity. In a masterstroke,
Don’t mistake A Death in Shonagachhi for a murder mystery, or you’ll be setting yourself up for disappointment. Some moments will remain unexplained, threads will refuse to tie neatly, and certain ends will stay frayed. Strictly speaking, Rijula Das’s explosive debut can be classified as literary noir. More poetically, it is a soul-baring depiction of a community built in the most unexpected of places—a testament to resilience in the face of crushing blows, and a promise that love can overcome the agony of circumstances beyond one’s control.
Review of ‘The Seven Moons of Maali Almeida’ (Sort of Books, 2022) by Shehan Karunatilaka
Two years ago, I read Fyodor Dostoevsky’s “The Christmas Tree and the Wedding”(1848), and even though I don’t celebrate Christmas in the traditional sense,
Han Kang’s atmospheric novel, The Vegetarian (Portobello, 2016), is an evocative look at the psychosis of a woman plagued by her own humanity. In a masterstroke,
