For the second year running, the Booker Prize has recognised a novel featuring a Naxalite as a protagonist. Neel Mukherjee’s The Lives of Others takes place in the late-1960s, at the birth of the radical Indian Maoist movement, charting the rise and dispersal of a west Bengali family through years of intense but not always overt social conflict. Last year’s The Lowland, by Jhumpa Lahiri, covered similar ground: family epics with a radical at its centre, the novels’ primary structural differences lie in the figure of the revolutionary himself – in Lahiri’s novel, the Naxalite dies early on but his legacy penetrates deep into the future, whereas in The Lives of Others he is granted a narrative strand of his own – and also and more importantly in the approach to time taken by the two authors.
Lahiri made often violent use of the ellipsis. This necessitated in the novel’s first third a profusion of exposition and backstory. Mukherjee’s novel is much fatter and much slower: it takes its time to build up detail and depth, and though its own forty or fifty years proceed from 1967 backwards, unlike Lahiri’s more contemporary work, its own gaps and omissions work not against the flow of the narrative but in its favour: a missing child or unmarried daughter, a broken marriage or a failing paper mill, seem at first to be simple facts of life, but the delicate flashbacks – never explicit, never showy – serve to fill in, rather than draw attention to, the gaps. This makes it, perhaps, a less frustrating novel – but not always, I think, as successful a one.
The reason for this apparently paradoxical situation, it seems to me, is the novel’s totalising project. Its focus is the Ghosh family, a tribe of well-to-do north Calcutta paper magnates, heirs to the self-made fortune of patriarch Prafullanath (born, according to the family tree – for there is one here, along with a map – in 1898). Fairly early on, it’s plain that the Ghoshes are intended to operate as Indian society writ small, or at least the creaky, shaky elements of Indian society, its inegalitarian impulses and unequal distributions. The Ghoshes are a conservative family, nostalgic for the past and wary of change. At the dawn of Independence, for instance, Prafullanath groans: “Gandhi … wearing his louncloth and walking barefoot – all this unbearable rubbish!” [pg. 239] The deadening system Prafullanath represents is seen to be self-perpetuating, accepting by those most oppressed by it. For example, the widow of Prafullanath’s dead son is forced to live little better than one of the family’s barely-visible servants, stowed along with her two children ‘below stairs': one granddaughter has never “thought this set-up to be unfair, in the sense of assigning it that particular term and being consequently moved along the path of enquiry on causes and reasons.” pg. 18] It is precisely this despair that another grandchild, Supratik, runs away with the Naxalites to overturn.
It is all, then, allegory: “the family is the primary unit of exploitation”, Supratik insists at one point [pg. 79], and it’s never a position against which the novel really stands. Its interests are too squarely in mapping the Ghosh family’s fate onto India’s. One of the first adult emotions experienced by one of the favoured granddaughters, after all, is desire, in her case for a sparkly pencil case; the acquisitive drive first of Prafullanath and then his favoured son, Adinath, is seen to power their mistreatment of workers at their paper mills, and their distrust for positive social change which will nevertheless impact negatively upon their ageing business models. (“Why did words such as “sufficient” or “enough” have no meaning, no traction in our lives?” [pg. 99] From the frustrated Chhaya, too dark-skinned to win a groom and in any case in some form of love with her beta-male brother, Priyonath (himself a repressed coprophiliac), to the defeated poet Bholonath, each of the children whom Prafullanath leaves almost entirely to his reactionary wife, Charubala, are in one manner or another undone by the suffocating atmosphere, its strangled will to power, within the household.
Like India in 1967, then, the Ghosh family is at war with itself. Yet what to Mukherjee is necessary analogy also sits side-by-side with his novel’s other theme, the one from which it derives its hope: that families are also the one place where we can best learn to know the other. The ill-fated fifth child, Sona, appears to experience some form of autism, and at one point, whilst enjoying one of the many equations to which he sets himself, he “lets out an exultant cry, part one note laugh, part shout – his magic number, his old friend, his saviour on the winged horse: one.” [pg. 205] In Mukherjee’s novel, one is not a propitious number. As its title suggests, what The Lives of Others is most interested in is promoting understanding, and in its many pages of scene-setting it absolutely conjures its world, allowing the reader at least to enter very much into the heads of its characters – each of whom are distinct whilst also being identifiably related. Bhola often experiences “the gap between feelings and their articulation in language” [pg. 141], and it is this chasm, bridgeable only with a sort of honesty and frankness unwelcome in the repressed confines of the Ghoshes’ home, that Mukherjee’s novel taken as a whole seeks to bridge: that is, he takes a broken society, and a broken family, and seeks in depicting the ways in which both are defective to propose the fix.
This is an ambitious and elegant trick for a novel to pull off, and in the novel’s closing stages – which I won’t spoil here, but which alternate, like the rest of the book, between a third-person omniscient, time-unstuck narrative of the Ghosh family, and a much tighter, first-person chronicle of Supratik’s adventures in rural radicalisation – the pace doesn’t so much pick up as begin to proceed in a rhythmic pattern that is not predictable but does offer momentum. Undoubtedly The Lives of Others is completely conceived. I can’t help but feel, though, that it might have benefitted from some of the occassionally over-ruthless editing found in the Lahiri. If last year she went too far, perhaps this year Mukherjee hasn’t gone far enough.
That Goldilocks note seems a good one on which to segue into the prediction game. It seems to me that the three big novels on this year’s shortlist are Smith’s, Flanagan’s and Jacobson’s. Of those, perhaps as a function of my having had longer to do so, it is the latter which has led me most to thought having read it. On the other, Jacobson’s is so personal a vision that it might alienate enough others to preclude it from the prize. I more or less decided between Smith and Flanagan in my review of the Australian novel: How To Be Both feels, appropriately simultaneously, ambitious and playful enough to achieve something really remarkable whilst also covering a breadth of mood. For me, therefore, it is Ali Smith who should win the gong.