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Odysseus Abroad

A novel

Part of Vintage International

Author Amit Chaudhuri
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$16.00 US
Knopf | Vintage
On sale Feb 09, 2016 | 224 Pages | 978-1-101-97145-1
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  • English > Comparative Literature: Asian > India and South Asia
  • Interdisciplinary Studies > Race and Ethnic Studies > Asian Literature and Drama
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In Odysseus Abroad, Amit Chaudhuri charts a day in the life of two Indian men—a twenty-two-year-old student trying (and failing) at being a poet and his bachelor uncle, who has been living in genteel poverty for nearly three decades—as they explore London, the city they now call home. 

A wistful and beguiling work of fiction, the novel follows nephew and uncle on one of their weekly forays about town, as they ruminate on their situations, the art of living, and each other. Marked by the same sensual richness that is a hallmark of all of Chaudhuri’s work, here is a charming yet candid look at the experiences of the outsider, the struggles of youth and loneliness, and the spiky, needful, sometimes comical, yet ultimately loving connection between two generations.

“Wonderfully funny. . . . Each page notices something freshly, or registers something true.” —James Wood, The New Yorker

“Apart from its comedic delights, this playfully allusive novel . . . with its echoes of Joyce and Homer, [Odysseus Abroad] offers eloquent meditations on family and the fracturing of identity.” —The New York Times

“Luminously intelligent. . . . Odysseus Abroad has placed itself, with erudition and playfulness, on the map of modernism.” Neel Mukherjee, The Guardian

“Touchingly shows the way that those stranded between two cultures build themselves up as the quiet heroes of their lifelong journeys.” —Sam Sacks, TheWall Street Journal

“Tender. . . . Treated with Chaudhuri’s characteristic eloquence, kindly humour, poet’s gift of observation, and awareness of the redolence of each moment.” —The Independent 

“Mercilessly funny. . . . [A] study of alienation, delivered with Chaudhuri’s signature intelligence and reserve. . . . Its riches repay re-reading.” —TheChristian Science Monitor

“Chauduri’s writing is so fresh and immediate, and often powerfully observant. . . . He paints the background with a light, sure hand, recreating the atmosphere of London in those post-Falkland days when Mrs Thatcher seemed set to rule for ever.” —Kate Saunders, The Times

“Some passages recall to us a long tradition of energetic prose about London by writers from Sam Selvon to Salman Rushdie . . . I was struck by the precision of the writing.” —Amitava Kumar, Bookforum

“The best book I’ve ever read about the immigrant experience, indeed the colonial experience. . . Profound.” —Wendy Doniger, author of The Hindus: An Alternative History 

“Intelligent and funny. . . . Chaudhuri is a master of the inconsequential detail, or rather of describing quotidian, often overlooked details that matter to the character observing or experiencing them, or take on a new consequence in his describing of them.” —London Review of Books

“Charming. . . . A luminous and witty celebration of immigrant life, speaks to anyone who has searched for a place to call home.” —Toronto Star

“An unforgettable walk through London and other worlds by one of our most entertaining and artful writers.” —Deborah Levy, author of Swimming Home 

“Incisive and humorous.” —The Sunday Telegraph

“In this stunningly engaging new novel, Naipaul meets Amis? Yes. Joyce visits Thatcher’s England? Yes. But so much more. Wittingly inventive, deeply moving, it’s Chaudhuri’s finest work to date.” —Caryl Phillips, author of In the Falling Snow

“Richly allusive. . . . Filled with wandering and wondering. . . . Engrossing.” —The Observer (UK)

“A wonderful novel which has everything in it—pathos, humour, lyricism, and style—by one of the most remarkable novelists writing today.” —Nadeem Aslam, author of The Blind Man’s Garden

“A little gem not to be missed. . . . Almost unbearably moving and irresistibly hilarious in the space of a sentence.” —Daily Mail 

“Both moving and witty. . . . Deftness and lightness of touch highlight Chaudhuri’s subtle understanding of Indian life and preoccupations.” —Financial Times
He got up at around nine o’clock with the usual feeling of dread. He threw off the duvet. Still unused to being vertical, he pounded the pillow and the sheet to ensure he’d dislodged strands of hair as well as the ­micro-­organisms that subsisted on such surfaces but were invisible to the naked eye. He straightened the duvet, tugging at it till it was symmetrical on each side. He smoothed the sheet, patting it but skimming the starchy bit—­a shiny patch of dried semen, already quite old—­on the right flank of where he’d lain.

The anger inside him hadn’t gone—­from the aftermath of the concert. He’d watched it six days ago on TV: Africa, London, and Philadelphia conjoined by satellite. He switched it off after three quarters of an hour. By the time the Boomtown Rats came on, and the sea of dancing people in Wembley Stadium was being intercut with Ethiopian children with innocent eyes and bulbous heads, a phrase had arisen in his consciousness: “Dance of death.” Didn’t the exulting crowds in Wembley and in Philadelphia see their heroes’ and their own complicity in the famine? But surely this line of thought was absurd, maybe malicious, and to interpret in such terms an event of messianic goodwill, meant to bring joy and food to Ethiopia, nothing but perverse? So what if it brings a bit of joy to Londoners as well? Is that what you’re resenting? He’d discussed it with Mark while having lunch in the Students Union Building; and Mark, in the incredibly tolerant way of one who’s brushed aside death (he was a cancer survivor; his lower left leg was amputated), and who saw his friend’s madness for what it was, said with ­self-­deprecating reasonableness: “I think any kind of effort that brings relief to Africa is all right.” “Can one make an aesthetic objection, though, however awful that might sound?” Ananda had insisted. “Can an aesthetic objection go beyond what might seem morally right? That all those people cheering and dancing in Wembley Stadium, all of them thinking that by dancing to the music they were doing those starving children a good turn—­that it made it quite wrong and macabre somehow, especially when you saw the faces of the children?” Mark smiled a smile of understanding—­and of one who knew death’s proximity. As for Ananda: his own position on this matter underlined to him his isolation from the world—­from London, for that matter.

That feeling had come to him at other times, when he’d seen the necessity for certain actions and yet couldn’t participate in them—­including the great march that took place a couple of years ago soon after he’d arrived here as a student. He remembered his first awkward hour in the college—­joining the other first years for the freshers’ ­get-­together in the Common Room on the second floor of Foster Court, ascending the stairs under a painting by Whistler, and ending up informing a bespectacled girl with a Princess Di haircut that the Sanskrit prem meant both carnal desire and love, that there was no separation between the two in “Indian culture.” The girl had smiled distantly. Only a week or two after his arrival, the news of the imminent cruise missiles had gathered force, leading finally to the march. He didn’t want to die and he didn’t want the world to blow up (as it seemed it any day would), but he couldn’t spend too much time thinking of the shadow of death hanging over mankind. Yet he didn’t quite admit this to himself. It was his uncle, who’d come to see him the next day in Warren Street, who’d said, while watching the Hyde ­Park–bound procession on TV with Monsignor Kent in the foreground (a touch of revolutionary glamour it gave to this man, the word “Monsignor”):

“They’re not getting to the root cause. They’re concerned about the symptom.”

This was uttered in the ­droopy-­eyed, amused way in which he spoke aphorisms containing a blindingly obvious truth ignored by everybody.

“Symptom?” said Ananda, challenging his uncle, but part of him chiming in.

“The nuclear bomb’s only a symptom,” repeated his uncle, almost contemptuous. “Getting rid of it won’t solve anything. Arrey baba, they have to look at the root cause.”

He pottered about for three or four minutes, making wasted journeys in the room, before parting the curtains and lifting the window a crack. In crumpled white kurta and pyjamas, he looked out on the street and on Tandoor Mahal opposite, unconcerned about being noticed by ­passers-­by below. It was striking how, with the window even marginally open—­heavy wooden windows he had to heave up or claw down, and which he was unused to (they made him fear for his fingers)—­sounds swam into the studio flat, making him feel paradoxically at home. His mind was elsewhere. He was aware that the house itself was very quiet. The only time there was a sound was when he walked about, and a floorboard groaned at the footfall.

Upstairs, they’d sleep till midday or later. He knew when they were awake because of the sporadic bangs and thuds that announced movement. It was as if the person who first woke up didn’t just get on their feet, but stamped on the floor. The noise they made wasn’t intentional—­it was incidental. It wasn’t directed against others because it bore no awareness of others. It was pure physical expression, made by those whose heads didn’t carry too many thoughts—­at least, not when they woke and became mobile again.

He hadn’t slept well. This was the norm; partly, it was the recurrent hyperacidity, which had him prop up two pillows against the wall—­that made it difficult to sleep too—­and, cursing, reach in the dark for the slim packs of Double Action Rennie he kept at his bedside. The taste of the tablets—­with associations of chalk powder and spearmint—­stayed with him slightly longer than their palliative effects.

But mainly it was the neighbours. They hardly slept till 3 or 4 a.m. There were three people upstairs, but also, often, a fourth. Vivek Patel, who wore pleated trousers and was lavish with aftershave; he wore accessories too—­chains around the wrist, fancy belts etcetera. He had a lisp—­or not a lisp, really, but a soft way of saying his t’s that was both limpid and menacing. His girlfriend Cynthia stayed in the same room. She was Bengali, but from a family of Christian converts. Cynthia Roy. She was pretty and a little ­cheap-­looking, with her bright red lipstick and simper and the thick outline of kohl, and with her ­sheep-­like devotion to Vivek. Cynthia was a new kind of woman—­a social aspirant, like her boyfriend—­that Ananda couldn’t really fathom, especially the mix of characteristics: newfangled but unintellectual, independent but content to be Vivek’s follower. Anyway, Ananda barely existed for her. Someone had said she liked “tough men.” Vivek wasn’t taller than five feet seven or eight, but he was probably tough—­because he was broad. In spite of his chains and aftershave, he had a swift, abstracted hammerhead air. Ananda had overheard him say “Fuck off, fuck off” to Walia, the landlord, after the payphone incident—­uttering the admonishment in his calm musical manner (“Fukko, fukko”) to which Walia clearly had no answer. Walia had nevertheless reclaimed the payphone coin box and carried it downstairs and out of 16 Warren Street. But in all other ways he was toothless before Vivek Patel because Vivek’s father, an East African businessman, was an old contact of Walia’s. Patel Senior lived in Tanzania. From there, he’d sent forth two sons, Vivek and Shashank (who stayed in the single room next to his older brother), to study at the American Management School in London. Shashank looked like Vivek in a narrow mirror: he was slightly taller, paler, and a bit nicer. He spoke with the same lisp—­which could have been a hallmark of Tanzanian Gujaratis. On his lips, it sounded guileless and reassuring. He’d told Ananda in the solemn way of one gripped and won over by a fiction that the American Management School offered genuine American degrees. This was the first time they’d discussed education and pretended to be ­high-­minded students of a similar kind—­to have different aims that somehow nobly overlapped and converged in this location, despite the signals to the contrary. No wonder they don’t have to study. Besides, who comes to London to do management?

. . .

The dull ­pulse-­like beat started at eleven o’clock at night. It was a new kind of music called “rap.” It baffled Ananda even more than disco. He had puzzled and puzzled over why people would want to listen and even move their bodies to an angry, insistent onrush of words—­words that rhymed, apparently, but had no echo or afterlife. It was as if they were an extension of the body: never had words sounded so alarmingly physical, and pure physicality lacks empathy, it’s ­machine-­like. So it seemed from his prejudiced overhearings. But down here he couldn’t hear the words—­only the beat and the bass note. It wasn’t loud, but it was profound, and had a way of sinking through the ceiling into his body below. Each time it started, his TV was still on, and he’d allow himself to think, “It’s OK, it’s not so bad really, I don’t know why I let it bother me. I can ignore it.” This gave him great reassurance for a few minutes. But the very faintness of the pulse, and the way it caused the remotest of tremors—­so remote he might be imagining it—­was threatening.

He could cope with it while the lights were on; he could see it in perspective (how do you see a sound?) as one among other things. When he switched off the bedside lamp, the faraway boom became ominous. Its presence was absolute, interior, and continuous, erasing other noises. In a darkness outlined by the perpetual yellow light coming in through the curtains, he waited for sleep. But more than sleep, he waited for the next sound. That vigil subsumed questions that came to him intermittently, and which lacked the immediacy of When will they turn down the music?—­questions like, What am I doing in London? And what’ll I do once I’m back in India? What do I do if I don’t get a First; will a 2:1 suffice? Of course I won’t get a First—­no one does. When will the Poetry Review send me a reply? I’ve read the stuff they publish—­chatty verses are the norm—­and they should be struck (at least some lonely editor tired of sifting through dry, knowing poems by English poets) by my anguish and music. Such thoughts occurred to him during the day but were now set aside in the interests of following—­in addition to the bass beat—­the movements upstairs. These were abrupt and powerful, as they were when the Patels first woke up at midday, and separated by typical longeurs of silence—­and immobility. The gaps were excruciating, because it was then that Ananda concentrated hardest, avidly trying to decide if activity had ended for the night. By now the music would be so faint that he’d have to strain to hear the dull electronic heartbeat. But strain is what he wanted to do; to devote, eyes shut, his whole imagination to this exercise.

It was odd. He hadn’t realised till he moved to this flat that floorboards could be so porous; and that this perviousness was an established feature of English coexistence. “But we were colonised by them,” he thought. “How is it that our cities are so different? How come I’m so little prepared for here?” He briefly sought but couldn’t find a connection between London and Bombay—­except, of course, the red ­double-­decker buses and postboxes. It made him ill at ease—­over and above having to swallow the insult of having been ruled by this nation! A nation now in turmoil, with Arthur Scargill browbeating television anchors, and the indomitable grocer’s daughter unleashing policemen on horses on the miners. Ananda himself was barely aware that it was all over, that the ­red-­faced Scargill’s time was up, and that his refrain, “At the end of the day,” had caught up with him sooner than you’d have guessed two years ago. Ananda was disengaged from Indian politics but dilettantishly addicted to British politicians—­the debates; the mock outrage; the amazing menu of accents; the warmth of Tony Benn’s s’s and his inexorable fireside eloquence; the way he cradled his pipe; the wiry trade union leaders, blown into the void by Mrs. Thatcher’s booming, unbudging rebuttals. It was a great spectacle, British politics—–and the actual participants and the obligatory ways in which they expressed disagreement (“That is the most ridiculous tosh I’ve ever heard”; “Excuse me, but I belong to a family that’s been working class for generations”) was even more entertaining than the moist nonsense that their Spitting Image counterparts regularly sputtered.

Class! He’d hardly been aware of it before coming to England—­which was not so much an indication that it didn’t exist in India as of the fact that the privileged were hardly conscious of it, as they were barely conscious of history—­because they didn’t dream they were inhabiting it, so much did they take it for granted. History was what had happened; class was something you read about in a book. Living in London, he was becoming steadily conscious of it, and not only of race, which was often uppermost in his mind. Who had spoken of the “conscience of my race”? He couldn’t remember. It sounded like a bogus formulation—­probably some British orator, some old fart, maybe Winston Churchill. Then again, maybe not. Could it be a poet? Poets said the oddest things—­odd for poets, that is. He’d discovered that the words he’d ascribed to some populist sloganeer and even, unconsciously, to Marx actually belonged to “A Defence of Poetry”; there, Shelley had proclaimed: “The rich have become richer, the poor have become poorer; and the vessel of the State is driven between the Scylla and Charybdis of anarchy and despotism.” How astute of Shelley to have noticed; and to have made that throwaway observation well before Marx made his advent into London! Marx had come here in 1846, and Shelley’s “Defence” was published in 1840, belatedly, nineteen years after it was composed; had the bearded one noticed it, picked it up, investigated—­did Marx read poetry? Did he like poets? Certainly, it appeared to Ananda that, in England now, the rich had suddenly become richer—­but he could be wrong; he was no good at economics; his sights were set on the Olympian, the Parnassian: especially getting published in Poetry Review. He had a notion that the poor were becoming poorer, though he didn’t connect this with the pit closures. His uncle had been made redundant. Serves him right. Poor man. But, if you thought about it, there was money about and people were celebrating it, the pubs in central London near his studio flat looked less despondent and ruffianly, they’d become smarter, even the curry as a consequence of this new financial ­self-­confidence was in ascendancy, not the old spicy beef curry and rice he’d tasted first when he’d visited London as a child, nor even the homemade Indian food that left smells in hallways which ­white-­skinned neighbours complained of, but a smart new acceptable curry, integer of the city’s recent commercial success and boom. Even before he’d journeyed to England this time, to start out as a student, he’d heard that money was flowing in from North Sea Oil. Lucky bastards. Lucky for Thatcher—­like a gift to her from Poseidon, or whoever the appropriate god was (he was poor in Greek mythology). Poseidon had also given her a hand at the Falklands, a war the British should have lost if only because they were British—­he was angry about that. Lucky island, with more than its fair share of windfalls, rewards, and fortune. In his own land, all three million square kilometres of it, they’d dug and drilled but couldn’t find a single vein of oil there, nor in the oceans surrounding its deceptively plump ­finger-­like promontory from which Sri Lanka seemed to trickle off like a drop of water. This happy breed of men, this little world. This precious stone set in the silver sea. They were doing all right.
Copyright © 2015 by Amit Chaudhuri. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
© Geoff Pugh

Amit Chaudhuri is the author of five previous novels, one work of nonfiction, and a number of books of literary criticism. His many honors include the Los Angeles Times Book Prize for Fiction and the Commonwealth Writers’ Prize; most recently, he became the first recipient of the Infosys Prize for Humanities—Literary Studies. A contributor to the London Review of Books, Granta, and The Times Literary Supplement, he is currently professor of contemporary literature at the University of East Anglia and a Fellow of the Royal Society of Literature. He is also an internationally acclaimed musician, and lives in Calcutta, India, and Norwich, England. 

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About

In Odysseus Abroad, Amit Chaudhuri charts a day in the life of two Indian men—a twenty-two-year-old student trying (and failing) at being a poet and his bachelor uncle, who has been living in genteel poverty for nearly three decades—as they explore London, the city they now call home. 

A wistful and beguiling work of fiction, the novel follows nephew and uncle on one of their weekly forays about town, as they ruminate on their situations, the art of living, and each other. Marked by the same sensual richness that is a hallmark of all of Chaudhuri’s work, here is a charming yet candid look at the experiences of the outsider, the struggles of youth and loneliness, and the spiky, needful, sometimes comical, yet ultimately loving connection between two generations.

“Wonderfully funny. . . . Each page notices something freshly, or registers something true.” —James Wood, The New Yorker

“Apart from its comedic delights, this playfully allusive novel . . . with its echoes of Joyce and Homer, [Odysseus Abroad] offers eloquent meditations on family and the fracturing of identity.” —The New York Times

“Luminously intelligent. . . . Odysseus Abroad has placed itself, with erudition and playfulness, on the map of modernism.” Neel Mukherjee, The Guardian

“Touchingly shows the way that those stranded between two cultures build themselves up as the quiet heroes of their lifelong journeys.” —Sam Sacks, TheWall Street Journal

“Tender. . . . Treated with Chaudhuri’s characteristic eloquence, kindly humour, poet’s gift of observation, and awareness of the redolence of each moment.” —The Independent 

“Mercilessly funny. . . . [A] study of alienation, delivered with Chaudhuri’s signature intelligence and reserve. . . . Its riches repay re-reading.” —TheChristian Science Monitor

“Chauduri’s writing is so fresh and immediate, and often powerfully observant. . . . He paints the background with a light, sure hand, recreating the atmosphere of London in those post-Falkland days when Mrs Thatcher seemed set to rule for ever.” —Kate Saunders, The Times

“Some passages recall to us a long tradition of energetic prose about London by writers from Sam Selvon to Salman Rushdie . . . I was struck by the precision of the writing.” —Amitava Kumar, Bookforum

“The best book I’ve ever read about the immigrant experience, indeed the colonial experience. . . Profound.” —Wendy Doniger, author of The Hindus: An Alternative History 

“Intelligent and funny. . . . Chaudhuri is a master of the inconsequential detail, or rather of describing quotidian, often overlooked details that matter to the character observing or experiencing them, or take on a new consequence in his describing of them.” —London Review of Books

“Charming. . . . A luminous and witty celebration of immigrant life, speaks to anyone who has searched for a place to call home.” —Toronto Star

“An unforgettable walk through London and other worlds by one of our most entertaining and artful writers.” —Deborah Levy, author of Swimming Home 

“Incisive and humorous.” —The Sunday Telegraph

“In this stunningly engaging new novel, Naipaul meets Amis? Yes. Joyce visits Thatcher’s England? Yes. But so much more. Wittingly inventive, deeply moving, it’s Chaudhuri’s finest work to date.” —Caryl Phillips, author of In the Falling Snow

“Richly allusive. . . . Filled with wandering and wondering. . . . Engrossing.” —The Observer (UK)

“A wonderful novel which has everything in it—pathos, humour, lyricism, and style—by one of the most remarkable novelists writing today.” —Nadeem Aslam, author of The Blind Man’s Garden

“A little gem not to be missed. . . . Almost unbearably moving and irresistibly hilarious in the space of a sentence.” —Daily Mail 

“Both moving and witty. . . . Deftness and lightness of touch highlight Chaudhuri’s subtle understanding of Indian life and preoccupations.” —Financial Times

Excerpt

He got up at around nine o’clock with the usual feeling of dread. He threw off the duvet. Still unused to being vertical, he pounded the pillow and the sheet to ensure he’d dislodged strands of hair as well as the ­micro-­organisms that subsisted on such surfaces but were invisible to the naked eye. He straightened the duvet, tugging at it till it was symmetrical on each side. He smoothed the sheet, patting it but skimming the starchy bit—­a shiny patch of dried semen, already quite old—­on the right flank of where he’d lain.

The anger inside him hadn’t gone—­from the aftermath of the concert. He’d watched it six days ago on TV: Africa, London, and Philadelphia conjoined by satellite. He switched it off after three quarters of an hour. By the time the Boomtown Rats came on, and the sea of dancing people in Wembley Stadium was being intercut with Ethiopian children with innocent eyes and bulbous heads, a phrase had arisen in his consciousness: “Dance of death.” Didn’t the exulting crowds in Wembley and in Philadelphia see their heroes’ and their own complicity in the famine? But surely this line of thought was absurd, maybe malicious, and to interpret in such terms an event of messianic goodwill, meant to bring joy and food to Ethiopia, nothing but perverse? So what if it brings a bit of joy to Londoners as well? Is that what you’re resenting? He’d discussed it with Mark while having lunch in the Students Union Building; and Mark, in the incredibly tolerant way of one who’s brushed aside death (he was a cancer survivor; his lower left leg was amputated), and who saw his friend’s madness for what it was, said with ­self-­deprecating reasonableness: “I think any kind of effort that brings relief to Africa is all right.” “Can one make an aesthetic objection, though, however awful that might sound?” Ananda had insisted. “Can an aesthetic objection go beyond what might seem morally right? That all those people cheering and dancing in Wembley Stadium, all of them thinking that by dancing to the music they were doing those starving children a good turn—­that it made it quite wrong and macabre somehow, especially when you saw the faces of the children?” Mark smiled a smile of understanding—­and of one who knew death’s proximity. As for Ananda: his own position on this matter underlined to him his isolation from the world—­from London, for that matter.

That feeling had come to him at other times, when he’d seen the necessity for certain actions and yet couldn’t participate in them—­including the great march that took place a couple of years ago soon after he’d arrived here as a student. He remembered his first awkward hour in the college—­joining the other first years for the freshers’ ­get-­together in the Common Room on the second floor of Foster Court, ascending the stairs under a painting by Whistler, and ending up informing a bespectacled girl with a Princess Di haircut that the Sanskrit prem meant both carnal desire and love, that there was no separation between the two in “Indian culture.” The girl had smiled distantly. Only a week or two after his arrival, the news of the imminent cruise missiles had gathered force, leading finally to the march. He didn’t want to die and he didn’t want the world to blow up (as it seemed it any day would), but he couldn’t spend too much time thinking of the shadow of death hanging over mankind. Yet he didn’t quite admit this to himself. It was his uncle, who’d come to see him the next day in Warren Street, who’d said, while watching the Hyde ­Park–bound procession on TV with Monsignor Kent in the foreground (a touch of revolutionary glamour it gave to this man, the word “Monsignor”):

“They’re not getting to the root cause. They’re concerned about the symptom.”

This was uttered in the ­droopy-­eyed, amused way in which he spoke aphorisms containing a blindingly obvious truth ignored by everybody.

“Symptom?” said Ananda, challenging his uncle, but part of him chiming in.

“The nuclear bomb’s only a symptom,” repeated his uncle, almost contemptuous. “Getting rid of it won’t solve anything. Arrey baba, they have to look at the root cause.”

He pottered about for three or four minutes, making wasted journeys in the room, before parting the curtains and lifting the window a crack. In crumpled white kurta and pyjamas, he looked out on the street and on Tandoor Mahal opposite, unconcerned about being noticed by ­passers-­by below. It was striking how, with the window even marginally open—­heavy wooden windows he had to heave up or claw down, and which he was unused to (they made him fear for his fingers)—­sounds swam into the studio flat, making him feel paradoxically at home. His mind was elsewhere. He was aware that the house itself was very quiet. The only time there was a sound was when he walked about, and a floorboard groaned at the footfall.

Upstairs, they’d sleep till midday or later. He knew when they were awake because of the sporadic bangs and thuds that announced movement. It was as if the person who first woke up didn’t just get on their feet, but stamped on the floor. The noise they made wasn’t intentional—­it was incidental. It wasn’t directed against others because it bore no awareness of others. It was pure physical expression, made by those whose heads didn’t carry too many thoughts—­at least, not when they woke and became mobile again.

He hadn’t slept well. This was the norm; partly, it was the recurrent hyperacidity, which had him prop up two pillows against the wall—­that made it difficult to sleep too—­and, cursing, reach in the dark for the slim packs of Double Action Rennie he kept at his bedside. The taste of the tablets—­with associations of chalk powder and spearmint—­stayed with him slightly longer than their palliative effects.

But mainly it was the neighbours. They hardly slept till 3 or 4 a.m. There were three people upstairs, but also, often, a fourth. Vivek Patel, who wore pleated trousers and was lavish with aftershave; he wore accessories too—­chains around the wrist, fancy belts etcetera. He had a lisp—­or not a lisp, really, but a soft way of saying his t’s that was both limpid and menacing. His girlfriend Cynthia stayed in the same room. She was Bengali, but from a family of Christian converts. Cynthia Roy. She was pretty and a little ­cheap-­looking, with her bright red lipstick and simper and the thick outline of kohl, and with her ­sheep-­like devotion to Vivek. Cynthia was a new kind of woman—­a social aspirant, like her boyfriend—­that Ananda couldn’t really fathom, especially the mix of characteristics: newfangled but unintellectual, independent but content to be Vivek’s follower. Anyway, Ananda barely existed for her. Someone had said she liked “tough men.” Vivek wasn’t taller than five feet seven or eight, but he was probably tough—­because he was broad. In spite of his chains and aftershave, he had a swift, abstracted hammerhead air. Ananda had overheard him say “Fuck off, fuck off” to Walia, the landlord, after the payphone incident—­uttering the admonishment in his calm musical manner (“Fukko, fukko”) to which Walia clearly had no answer. Walia had nevertheless reclaimed the payphone coin box and carried it downstairs and out of 16 Warren Street. But in all other ways he was toothless before Vivek Patel because Vivek’s father, an East African businessman, was an old contact of Walia’s. Patel Senior lived in Tanzania. From there, he’d sent forth two sons, Vivek and Shashank (who stayed in the single room next to his older brother), to study at the American Management School in London. Shashank looked like Vivek in a narrow mirror: he was slightly taller, paler, and a bit nicer. He spoke with the same lisp—­which could have been a hallmark of Tanzanian Gujaratis. On his lips, it sounded guileless and reassuring. He’d told Ananda in the solemn way of one gripped and won over by a fiction that the American Management School offered genuine American degrees. This was the first time they’d discussed education and pretended to be ­high-­minded students of a similar kind—­to have different aims that somehow nobly overlapped and converged in this location, despite the signals to the contrary. No wonder they don’t have to study. Besides, who comes to London to do management?

. . .

The dull ­pulse-­like beat started at eleven o’clock at night. It was a new kind of music called “rap.” It baffled Ananda even more than disco. He had puzzled and puzzled over why people would want to listen and even move their bodies to an angry, insistent onrush of words—­words that rhymed, apparently, but had no echo or afterlife. It was as if they were an extension of the body: never had words sounded so alarmingly physical, and pure physicality lacks empathy, it’s ­machine-­like. So it seemed from his prejudiced overhearings. But down here he couldn’t hear the words—­only the beat and the bass note. It wasn’t loud, but it was profound, and had a way of sinking through the ceiling into his body below. Each time it started, his TV was still on, and he’d allow himself to think, “It’s OK, it’s not so bad really, I don’t know why I let it bother me. I can ignore it.” This gave him great reassurance for a few minutes. But the very faintness of the pulse, and the way it caused the remotest of tremors—­so remote he might be imagining it—­was threatening.

He could cope with it while the lights were on; he could see it in perspective (how do you see a sound?) as one among other things. When he switched off the bedside lamp, the faraway boom became ominous. Its presence was absolute, interior, and continuous, erasing other noises. In a darkness outlined by the perpetual yellow light coming in through the curtains, he waited for sleep. But more than sleep, he waited for the next sound. That vigil subsumed questions that came to him intermittently, and which lacked the immediacy of When will they turn down the music?—­questions like, What am I doing in London? And what’ll I do once I’m back in India? What do I do if I don’t get a First; will a 2:1 suffice? Of course I won’t get a First—­no one does. When will the Poetry Review send me a reply? I’ve read the stuff they publish—­chatty verses are the norm—­and they should be struck (at least some lonely editor tired of sifting through dry, knowing poems by English poets) by my anguish and music. Such thoughts occurred to him during the day but were now set aside in the interests of following—­in addition to the bass beat—­the movements upstairs. These were abrupt and powerful, as they were when the Patels first woke up at midday, and separated by typical longeurs of silence—­and immobility. The gaps were excruciating, because it was then that Ananda concentrated hardest, avidly trying to decide if activity had ended for the night. By now the music would be so faint that he’d have to strain to hear the dull electronic heartbeat. But strain is what he wanted to do; to devote, eyes shut, his whole imagination to this exercise.

It was odd. He hadn’t realised till he moved to this flat that floorboards could be so porous; and that this perviousness was an established feature of English coexistence. “But we were colonised by them,” he thought. “How is it that our cities are so different? How come I’m so little prepared for here?” He briefly sought but couldn’t find a connection between London and Bombay—­except, of course, the red ­double-­decker buses and postboxes. It made him ill at ease—­over and above having to swallow the insult of having been ruled by this nation! A nation now in turmoil, with Arthur Scargill browbeating television anchors, and the indomitable grocer’s daughter unleashing policemen on horses on the miners. Ananda himself was barely aware that it was all over, that the ­red-­faced Scargill’s time was up, and that his refrain, “At the end of the day,” had caught up with him sooner than you’d have guessed two years ago. Ananda was disengaged from Indian politics but dilettantishly addicted to British politicians—­the debates; the mock outrage; the amazing menu of accents; the warmth of Tony Benn’s s’s and his inexorable fireside eloquence; the way he cradled his pipe; the wiry trade union leaders, blown into the void by Mrs. Thatcher’s booming, unbudging rebuttals. It was a great spectacle, British politics—–and the actual participants and the obligatory ways in which they expressed disagreement (“That is the most ridiculous tosh I’ve ever heard”; “Excuse me, but I belong to a family that’s been working class for generations”) was even more entertaining than the moist nonsense that their Spitting Image counterparts regularly sputtered.

Class! He’d hardly been aware of it before coming to England—­which was not so much an indication that it didn’t exist in India as of the fact that the privileged were hardly conscious of it, as they were barely conscious of history—­because they didn’t dream they were inhabiting it, so much did they take it for granted. History was what had happened; class was something you read about in a book. Living in London, he was becoming steadily conscious of it, and not only of race, which was often uppermost in his mind. Who had spoken of the “conscience of my race”? He couldn’t remember. It sounded like a bogus formulation—­probably some British orator, some old fart, maybe Winston Churchill. Then again, maybe not. Could it be a poet? Poets said the oddest things—­odd for poets, that is. He’d discovered that the words he’d ascribed to some populist sloganeer and even, unconsciously, to Marx actually belonged to “A Defence of Poetry”; there, Shelley had proclaimed: “The rich have become richer, the poor have become poorer; and the vessel of the State is driven between the Scylla and Charybdis of anarchy and despotism.” How astute of Shelley to have noticed; and to have made that throwaway observation well before Marx made his advent into London! Marx had come here in 1846, and Shelley’s “Defence” was published in 1840, belatedly, nineteen years after it was composed; had the bearded one noticed it, picked it up, investigated—­did Marx read poetry? Did he like poets? Certainly, it appeared to Ananda that, in England now, the rich had suddenly become richer—­but he could be wrong; he was no good at economics; his sights were set on the Olympian, the Parnassian: especially getting published in Poetry Review. He had a notion that the poor were becoming poorer, though he didn’t connect this with the pit closures. His uncle had been made redundant. Serves him right. Poor man. But, if you thought about it, there was money about and people were celebrating it, the pubs in central London near his studio flat looked less despondent and ruffianly, they’d become smarter, even the curry as a consequence of this new financial ­self-­confidence was in ascendancy, not the old spicy beef curry and rice he’d tasted first when he’d visited London as a child, nor even the homemade Indian food that left smells in hallways which ­white-­skinned neighbours complained of, but a smart new acceptable curry, integer of the city’s recent commercial success and boom. Even before he’d journeyed to England this time, to start out as a student, he’d heard that money was flowing in from North Sea Oil. Lucky bastards. Lucky for Thatcher—­like a gift to her from Poseidon, or whoever the appropriate god was (he was poor in Greek mythology). Poseidon had also given her a hand at the Falklands, a war the British should have lost if only because they were British—­he was angry about that. Lucky island, with more than its fair share of windfalls, rewards, and fortune. In his own land, all three million square kilometres of it, they’d dug and drilled but couldn’t find a single vein of oil there, nor in the oceans surrounding its deceptively plump ­finger-­like promontory from which Sri Lanka seemed to trickle off like a drop of water. This happy breed of men, this little world. This precious stone set in the silver sea. They were doing all right.
Copyright © 2015 by Amit Chaudhuri. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Author

© Geoff Pugh

Amit Chaudhuri is the author of five previous novels, one work of nonfiction, and a number of books of literary criticism. His many honors include the Los Angeles Times Book Prize for Fiction and the Commonwealth Writers’ Prize; most recently, he became the first recipient of the Infosys Prize for Humanities—Literary Studies. A contributor to the London Review of Books, Granta, and The Times Literary Supplement, he is currently professor of contemporary literature at the University of East Anglia and a Fellow of the Royal Society of Literature. He is also an internationally acclaimed musician, and lives in Calcutta, India, and Norwich, England. 

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    978-0-345-80585-0
    $16.00 US
    Paperback
    Vintage
    Dec 02, 2014
  • The Man of Feeling
    The Man of Feeling
    Javier Marías
    978-0-8041-7259-2
    $16.00 US
    Paperback
    Vintage
    Oct 07, 2014
  • Levels of Life
    Levels of Life
    Julian Barnes
    978-0-345-80658-1
    $15.95 US
    Paperback
    Vintage
    Jul 01, 2014
  • Beer in the Snooker Club
    Beer in the Snooker Club
    Waguih Ghali
    978-0-8041-7074-1
    $16.00 US
    Paperback
    Vintage
    Jun 10, 2014
  • Subtle Bodies
    Subtle Bodies
    Norman Rush
    978-1-4000-7713-7
    $15.00 US
    Paperback
    Vintage
    Jun 03, 2014
  • Going Home Again
    Going Home Again
    Dennis Bock
    978-1-4000-9610-7
    $15.95 US
    Paperback
    Vintage
    May 06, 2014
  • The Infatuations
    The Infatuations
    Javier Marías
    978-0-307-95073-4
    $15.95 US
    Paperback
    Vintage
    Apr 22, 2014
  • Vintage Munro
    Vintage Munro
    Nobel Prize Edition
    Alice Munro
    978-0-8041-7356-8
    $12.00 US
    Paperback
    Vintage
    Apr 22, 2014
  • Bombay Stories
    Bombay Stories
    Saadat Hasan Manto
    978-0-8041-7060-4
    $16.95 US
    Paperback
    Vintage
    Mar 25, 2014
  • Paradise
    Paradise
    Toni Morrison
    978-0-8041-6988-2
    $17.00 US
    Paperback
    Vintage
    Mar 11, 2014
  • The Blind Man's Garden
    The Blind Man's Garden
    Nadeem Aslam
    978-0-345-80285-9
    $16.95 US
    Paperback
    Vintage
    Jan 28, 2014
  • All That Is
    All That Is
    A Novel
    James Salter
    978-1-4000-7842-4
    $16.95 US
    Paperback
    Vintage
    Jan 28, 2014
  • The Tragedy of Mister Morn
    The Tragedy of Mister Morn
    Vladimir Nabokov
    978-0-307-95066-6
    $15.00 US
    Paperback
    Vintage
    Dec 03, 2013
  • Soldiers' Pay
    Soldiers' Pay
    William Faulkner
    978-0-593-47096-1
    $10.00 US
    Paperback
    Vintage
    Aug 15, 2023
  • Mosquitoes
    Mosquitoes
    William Faulkner
    978-0-593-47098-5
    $10.00 US
    Paperback
    Vintage
    Aug 15, 2023
  • Medusa's Ankles
    Medusa's Ankles
    Selected Stories
    A. S. Byatt
    978-0-593-46685-8
    $18.00 US
    Paperback
    Vintage
    Sep 06, 2022
  • Out (Special Edition)
    Out (Special Edition)
    Natsuo Kirino
    978-0-593-31195-0
    $18.00 US
    Paperback
    Vintage Crime/Black Lizard
    Aug 09, 2022
  • More Than I Love My Life
    More Than I Love My Life
    A novel
    David Grossman
    978-0-593-31259-9
    $17.00 US
    Paperback
    Vintage
    Jul 12, 2022
  • The Living Sea of Waking Dreams
    The Living Sea of Waking Dreams
    A novel
    Richard Flanagan
    978-0-593-31370-1
    $17.00 US
    Paperback
    Vintage
    Apr 26, 2022
  • Trio
    Trio
    A novel
    William Boyd
    978-0-593-31146-2
    $17.00 US
    Paperback
    Vintage
    Mar 08, 2022
  • Klara and the Sun
    Klara and the Sun
    A novel
    Kazuo Ishiguro
    978-0-593-31129-5
    $16.95 US
    Paperback
    Vintage
    Mar 01, 2022
  • Antiquities and Other Stories
    Antiquities and Other Stories
    Cynthia Ozick
    978-0-593-31276-6
    $16.00 US
    Paperback
    Vintage
    Mar 01, 2022
  • Inside Story
    Inside Story
    A novel
    Martin Amis
    978-0-593-31171-4
    $18.00 US
    Paperback
    Vintage
    Feb 22, 2022
  • Let Me Tell You What I Mean
    Let Me Tell You What I Mean
    Joan Didion
    978-0-593-31219-3
    $16.00 US
    Paperback
    Vintage
    Jan 25, 2022
  • Palimpsest
    Palimpsest
    A Memoir
    Gore Vidal
    978-0-593-31439-5
    $18.00 US
    Paperback
    Vintage
    Nov 16, 2021
  • Season of Anomy
    Season of Anomy
    Wole Soyinka
    978-0-593-46719-0
    $16.95 US
    Paperback
    Vintage
    Sep 14, 2021
  • The Interpreters
    The Interpreters
    Wole Soyinka
    978-0-593-46721-3
    $16.95 US
    Paperback
    Vintage
    Sep 14, 2021
  • Here We Are
    Here We Are
    A novel
    Graham Swift
    978-1-9848-9952-1
    $16.00 US
    Paperback
    Vintage
    Aug 10, 2021
  • Juneteenth (Revised)
    Juneteenth (Revised)
    Ralph Ellison
    978-0-593-31461-6
    $17.00 US
    Paperback
    Vintage
    May 18, 2021
  • Think, Write, Speak
    Think, Write, Speak
    Uncollected Essays, Reviews, Interviews, and Letters to the Editor
    Brian Boyd, Vladimir Nabokov Literary Trust
    978-1-101-87370-0
    $18.00 US
    Paperback
    Vintage
    Feb 09, 2021
  • The Wapshot Chronicle
    The Wapshot Chronicle
    John Cheever
    978-0-593-08177-8
    $16.95 US
    Paperback
    Vintage
    Feb 02, 2021
  • The Wapshot Scandal
    The Wapshot Scandal
    John Cheever
    978-0-593-31289-6
    $16.95 US
    Paperback
    Vintage
    Feb 02, 2021
  • Love in the Time of Cholera (Illustrated Edition)
    Love in the Time of Cholera (Illustrated Edition)
    Gabriel García Márquez
    978-0-593-31085-4
    $25.00 US
    Paperback
    Vintage
    Oct 27, 2020
  • The Scandal of the Century
    The Scandal of the Century
    And Other Writings
    Gabriel García Márquez
    978-0-525-56680-9
    $16.95 US
    Paperback
    Vintage
    Sep 15, 2020
  • Personal Writings
    Personal Writings
    Albert Camus
    978-0-525-56721-9
    $16.00 US
    Paperback
    Vintage
    Aug 04, 2020
  • Berta Isla
    Berta Isla
    A novel
    Javier Marías
    978-0-525-56312-9
    $17.00 US
    Paperback
    Vintage
    Jul 07, 2020
  • Life for Sale
    Life for Sale
    Yukio Mishima
    978-0-525-56514-7
    $17.00 US
    Paperback
    Vintage
    Apr 07, 2020
  • The Source of Self-Regard
    The Source of Self-Regard
    Selected Essays, Speeches, and Meditations
    Toni Morrison
    978-0-525-56279-5
    $16.95 US
    Paperback
    Vintage
    Jan 14, 2020
  • Love Is Blind
    Love Is Blind
    A novel
    William Boyd
    978-0-525-56444-7
    $16.95 US
    Paperback
    Vintage
    Sep 24, 2019
  • So Much Life Left Over
    So Much Life Left Over
    A Novel
    Louis de Bernieres
    978-0-525-56441-6
    $16.95 US
    Paperback
    Vintage
    Jul 09, 2019
  • Myra Breckinridge
    Myra Breckinridge
    Gore Vidal
    978-0-525-56650-2
    $18.00 US
    Paperback
    Vintage
    May 21, 2019
  • Warlight
    Warlight
    Michael Ondaatje
    978-0-525-56296-2
    $16.95 US
    Paperback
    Vintage
    Apr 02, 2019
  • First Person
    First Person
    Richard Flanagan
    978-0-525-43577-8
    $17.00 US
    Paperback
    Vintage
    Mar 05, 2019
  • The Only Story
    The Only Story
    A novel
    Julian Barnes
    978-0-525-56306-8
    $16.00 US
    Paperback
    Vintage
    Mar 05, 2019
  • A Long Way from Home
    A Long Way from Home
    Peter Carey
    978-0-525-43599-0
    $16.95 US
    Paperback
    Vintage
    Feb 05, 2019
  • The Rub of Time
    The Rub of Time
    Bellow, Nabokov, Hitchens, Travolta, Trump: Essays and Reportage, 1994-2017
    Martin Amis
    978-1-4000-9599-5
    $16.95 US
    Paperback
    Vintage
    Jan 22, 2019
  • I'm Not Here to Give a Speech
    I'm Not Here to Give a Speech
    Gabriel García Márquez
    978-1-101-91118-1
    $14.95 US
    Paperback
    Vintage
    Jan 08, 2019
  • The Frolic of the Beasts
    The Frolic of the Beasts
    Yukio Mishima
    978-0-525-43415-3
    $15.00 US
    Paperback
    Vintage
    Nov 27, 2018
  • The Myth of Sisyphus
    The Myth of Sisyphus
    Albert Camus
    978-0-525-56445-4
    $15.00 US
    Paperback
    Vintage
    Nov 06, 2018
  • Dinner at the Center of the Earth
    Dinner at the Center of the Earth
    Nathan Englander
    978-0-525-43404-7
    $16.95 US
    Paperback
    Vintage
    Sep 04, 2018
  • Between Eternities
    Between Eternities
    And Other Writings
    Javier Marías
    978-1-101-97211-3
    $15.95 US
    Paperback
    Vintage
    Aug 28, 2018
  • A Boy in Winter
    A Boy in Winter
    A Novel
    Rachel Seiffert
    978-0-8041-6880-9
    $16.00 US
    Paperback
    Vintage
    Jul 10, 2018
  • The Red-Haired Woman
    The Red-Haired Woman
    Orhan Pamuk
    978-1-101-97423-0
    $16.00 US
    Paperback
    Vintage
    Jul 10, 2018
  • Men Without Women
    Men Without Women
    Stories
    Haruki Murakami
    978-1-101-97452-0
    $16.95 US
    Paperback
    Vintage
    May 01, 2018
  • The Golden Legend
    The Golden Legend
    A novel
    Nadeem Aslam
    978-1-101-97338-7
    $17.00 US
    Paperback
    Vintage
    Apr 24, 2018
  • The Woman on the Stairs
    The Woman on the Stairs
    A Novel
    Bernhard Schlink
    978-1-101-91234-8
    $16.95 US
    Paperback
    Vintage
    Feb 20, 2018
  • A Horse Walks Into a Bar
    A Horse Walks Into a Bar
    A novel
    David Grossman
    978-1-101-97349-3
    $15.95 US
    Paperback
    Vintage
    Jan 16, 2018
  • South and West
    South and West
    From a Notebook
    Joan Didion
    978-0-525-43419-1
    $16.00 US
    Paperback
    Vintage
    Jan 02, 2018
  • Letters to Véra
    Letters to Véra
    Vladimir Nabokov
    978-0-307-47658-6
    $24.00 US
    Paperback
    Vintage
    Dec 12, 2017
  • House of the Sleeping Beauties and Other Stories
    House of the Sleeping Beauties and Other Stories
    Yasunari Kawabata
    978-0-525-43414-6
    $9.99 US
    Ebook
    Vintage
    Dec 12, 2017
  • The Boat Rocker
    The Boat Rocker
    A Novel
    Ha Jin
    978-0-8041-7037-6
    $16.00 US
    Paperback
    Vintage
    Oct 17, 2017
  • Absolutely on Music
    Absolutely on Music
    Conversations
    Haruki Murakami, Seiji Ozawa
    978-0-8041-7372-8
    $18.00 US
    Paperback
    Vintage
    Oct 03, 2017
  • The Spy
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    A Novel of Mata Hari
    Paulo Coelho
    978-0-525-43279-1
    $16.95 US
    Paperback
    Vintage
    Jun 27, 2017
  • Keeping an Eye Open
    Keeping an Eye Open
    Essays on Art
    Julian Barnes
    978-1-101-87337-3
    $20.00 US
    Paperback
    Vintage
    Jun 13, 2017
  • The Noise of Time
    The Noise of Time
    A Novel
    Julian Barnes
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    $17.00 US
    Paperback
    Vintage
    Jun 13, 2017
  • I Am Not Your Negro
    I Am Not Your Negro
    A Companion Edition to the Documentary Film Directed by Raoul Peck
    James Baldwin, Raoul Peck
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    $16.00 US
    Paperback
    Vintage
    Feb 07, 2017
  • A Decent Ride
    A Decent Ride
    Irvine Welsh
    978-1-101-97084-3
    $16.95 US
    Paperback
    Vintage
    Jan 10, 2017
  • Mothering Sunday
    Mothering Sunday
    A Romance
    Graham Swift
    978-1-101-97172-7
    $15.00 US
    Paperback
    Vintage
    Jan 10, 2017
  • Julieta (Movie Tie-in Edition)
    Julieta (Movie Tie-in Edition)
    Three Stories That Inspired the Movie
    Alice Munro
    978-0-525-43426-9
    $7.99 US
    Ebook
    Vintage
    Dec 13, 2016
  • Notwithstanding
    Notwithstanding
    Louis de Bernieres
    978-1-101-96987-8
    $16.00 US
    Paperback
    Vintage
    Oct 18, 2016
  • A Strangeness in My Mind
    A Strangeness in My Mind
    A novel
    Orhan Pamuk
    978-0-307-74484-5
    $17.95 US
    Paperback
    Vintage
    Sep 20, 2016
  • The Blue Guitar
    The Blue Guitar
    John Banville
    978-0-8041-7361-2
    $17.00 US
    Paperback
    Vintage
    Aug 09, 2016
  • The Dust That Falls from Dreams
    The Dust That Falls from Dreams
    A Novel
    Louis de Bernieres
    978-1-101-97000-3
    $17.00 US
    Paperback
    Vintage
    Jul 26, 2016
  • Wind/Pinball
    Wind/Pinball
    Hear the Wind Sing and Pinball, 1973 (Two Novels)
    Haruki Murakami
    978-0-8041-7014-7
    $17.00 US
    Paperback
    Vintage
    May 03, 2016
  • England and Other Stories
    England and Other Stories
    Graham Swift
    978-1-101-87238-3
    $16.00 US
    Paperback
    Vintage
    Apr 19, 2016
  • God Help the Child
    God Help the Child
    Toni Morrison
    978-0-307-74092-2
    $16.00 US
    Paperback
    Vintage
    Jan 26, 2016
  • The Sex Lives of Siamese Twins
    The Sex Lives of Siamese Twins
    Irvine Welsh
    978-0-8041-7321-6
    $16.00 US
    Paperback
    Vintage
    Jan 12, 2016
  • The Buried Giant
    The Buried Giant
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    978-0-307-45579-6
    $17.00 US
    Paperback
    Vintage
    Jan 05, 2016
  • Amnesia
    Amnesia
    Peter Carey
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    $15.95 US
    Paperback
    Vintage
    Dec 08, 2015
  • Family Furnishings
    Family Furnishings
    Selected Stories, 1995-2014
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    978-1-101-87235-2
    $18.95 US
    Paperback
    Vintage
    Sep 15, 2015
  • A Wilderness Station
    A Wilderness Station
    Selected Stories, 1968-1994
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    Paperback
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    Sep 15, 2015
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    978-1-101-97078-2
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    Dec 02, 2014
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