nwasianweekly.com
Feb. 23, 2008

‘Blind Faith’ not blind to descriptions

By Michelle Kang
Northwest Asian Weekly

Sangarika Ghose is a novelist, journalist and TV anchor for CNN-IBN. You might be able to deduce these things from reading “Blind Faith,” Ghose’s second novel after the modestly successful “The Gin Drinkers.” It is colorful, packed with concise, breathless descriptions and might, just under the surface, have something to say about the clash of Western and Eastern cultures, with its messy spiritual conflicts. Or it might not.

Ghose the novelist succeeds best at pure description. Where the message is lost in a plot full of twists and mystical subtext, you might not notice in the blur of adjectives. Ghose is generously fills pages with lists: lists of things, people, smells and tastes. She creates ecstasy through these rapid-fire lists and conjures up spectacle through a rich jumble of mish-mashed people and characters.

But as for plot, perhaps this is a case of less is more. The two main characters, Mia and Indi, are very strong female leads. Their obsessions drive the story and their obsessions are fueled by a touch of ego-mania. The more you read, the less you trust the instinct of these characters. Are they a little mad? Or is this what all people are like deep down when our purest desires are examined?

The basic premise kicks off as Mia meets Karna, a mystic on the streets of London whom she feels an instant connection with, as he eerily resembles a character from one of her father’s favorite paintings. She vows to follow him on his “Purification Journey,” which culminates on the Indian Festival of Pitchers, the Kumbh Melah. But Mia soon meets Vik. He is the successful businessman-frat boy, smart, thoughtful and always dressed to the nines, ready to party. She marries Vik but her heart longs for Karna.

The plot gets complicated as Ghose opens another dimension in the tale involving a hauntingly beautiful Indian stateswoman and rebel, Indi. She is the most memorable character in the novel; strong-willed and egotistical, she is larger-than-life in her political accomplishments and also in her family struggles. Indi’s estrangement from her conservative family causes her to depend more and more on her romantic partner, Justin, who gave up his comfortable lifestyle in New York to serve as a doctor in the East, where he now lives out of a rucksack and has a long white beard.

It is impossible not to try to find a link between Indi and Mia. Why is Ghose bringing these female leads so clearly to the forefront? The connection between the two is, surprisingly, much more plot-focused than anything. In the last quarter of the novel, in a race to tie loose ends neatly, Ghose reveals the link between Indi and Mia in a complex web that resembles a thriller spy novel. You are breathless with plot twists but may finish without understanding why Indi and Mia are the only ones left standing.

Where the book is successful is in focusing on the cultural rift between West and East. Though not a new subject, Ghose is able to put a new spin on it, concentrating on making the tension tangible. Ghose has a knack for highlighting cultural symbols that represent both the clash and appropriation of Eastern traditions for Western consumption — and none better than Kumbh Melah. This festival is a free-for-all event, a huge celebration attracting the faithful Indian crowds and also the spectacle-loving Westerners.

Ghose describes the crowd of festival attendees thus: “There were rockers who sought inspiration for new tunes, wildlife photographers seeking escape from the traumas of the sanctuary, millionaires hoping to impress their latest girlfriends, wellness bimbettes from Mumbai whispering excitedly about the latest hot sadhu, and industrialists’ trophy wives padding after their yoga instructors.”

Wit like that, displayed through the journalistic means of “show, don’t tell,” is evident throughout the novel. Should you read this book for its descriptive elements alone? Yes, it is a gold mine of adjectives. The plot, which delves into the mystical and occasionally bizarre female ego, may drive many away but may appeal to some. For those who want a tamer tale, one that more delicately explores what it means to be Indian in a Western world, a better book might be “The Shadow Lines,” by Amitav Ghosh, or the well-known “Namesake,” by Jhumpa Lahiri. But do not be deterred by some of the stranger elements of “Blind Faith.” When finished, you may yourself have acquired some of Ghose’s wonderful ability to describe the common world around you.

“Blind Faith,” by Sangarika Ghose. Published by Harper Perennial, March 4, 2008. $13.95.

Michelle Kang can be reached at info@nwasianweekly.com.

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