A sense of filial abandonment stalks and steers the life of the heroine and provides the framework for this novel set in a brutal apartheid South Africa.
A mother sends her daughter away at the age of six and the daughter allows the memory of that parting to fester through her adult life. The Architecture of Loss is just that—a tale of what loss does to relationships. Afroze and Sylvie of the chiffon saris drift apart, leaving a memory of men who pass in the night. Sylvie is a doctor who hands her daughter Afroze over to the mercy of the child’s father, Ismail, who in turn passes her on to the woman he lives with, Moomina, a Malay wrapped in the warmth of cinnamon and dough.
Diese Geschichte stammt aus der May 21, 2018-Ausgabe von Outlook.
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Diese Geschichte stammt aus der May 21, 2018-Ausgabe von Outlook.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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The Propaganda Files
A recent spate of Hindi films distorts facts and creates imaginary villains. Century-old propaganda cinema has always relied on this tactic
Will Hindutva Survive After 2024?
The idealogy of Hindutva faces a challenge in staying relevant
A Terrific Tragicomedy
Paul Murray's The Bee Sting is a tender and extravagant sketch of apocalypse
Trapped in a Template
In the upcoming election, more than the Congress, the future of the Gandhi family is at stake
IDEOLOGY
Public opinion will never be devoid of ideology: but we shall destroy ourselves without philosophical courage
The Many Kerala Stories
How Kerala responded to the propaganda film The Kerala Story
Movies and a Mirage
Previously portrayed as a peaceful paradise, post-1990s Kashmir in Bollywood has become politicised
Lights, Cinema, Politics
FOR eight months before the 1983 state elections in undivided Andhra Pradesh, a modified green Chevrolet van would travel non-stop, except for the occasional pit stops and food breaks, across the state.
Cut, Copy, Paste
Representation of Muslim characters in Indian cinema has been limited—they are either terrorists or glorified individuals who have no substance other than fixed ideas of patriotism
The Spectre of Eisenstein
Cinema’s real potency to harness the power of enchantment might want to militate against its use as a servile, conformist propaganda vehicle