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    The House of Hidden Mothers: A Novel

    by Meera Syal


    eBook

    $9.99
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      ISBN-13: 9780374714963
    • Publisher: Farrar, Straus and Giroux
    • Publication date: 06/14/2016
    • Sold by: Macmillan
    • Format: eBook
    • Pages: 432
    • File size: 559 KB

    Meera Syal is an acclaimed actress, comedian, playwright, producer, and novelist. She starred in David Hare's playBehind the Beautiful Forevers at the National Theatre in London. The author of two previous novels, Anita and Me andLife Isn't All Ha Ha Hee Hee, Syal is highly regarded for her funny, sharp, and provocative fiction. She was appointed Commander of the British Empire for Services to Drama and Literature in the British Government's 2015 Honours List.
    Meera Syal, a British-born Indian, is a writer and actress. Her first novel, Anita and Me, won a Betty Trask award and was short-listed for the Guardian Fiction Prize. She lives in London.

    Read an Excerpt

    The House of Hidden Mothers


    By Meera Syal

    Farrar, Straus and Giroux

    Copyright © 2015 Chestwig and Flares Productions Ltd.
    All rights reserved.
    ISBN: 978-0-374-71496-3


    CHAPTER 1

    'Religion is for those who believe in hell, spirituality is for those who have already been there.' Shyama had to squint slightly to read the laminated sticker on the side of the receptionist's computer. It must be the light, she consoled herself. She shifted slightly in the queue, catching a whiff of perfume from the woman in front of her – something woody and expensive, blended with a scent she recognized intimately, a musky aroma with a bitter undertone: the familiar smell of desperation. The woman exchanged a few hushed words with the receptionist and then took a seat on a faded chintzy sofa, giving Shyama a better look at the owner of the computer.

    A new girl. She was young – too young, Shyama felt, for a place like this, a discreet Harley Street address where women under the age of thirty-five ought to be banned. With a faint nod, Shyama handed over her appointment card and stole a longer look at her. Sun, sin and saturated fats had not yet pinched the skin around her eyes or spider-legged their way around her smiling mouth. She was a natural redhead, with that translucent paleness and a smattering of tiny freckles, dusting on a freshly baked cupcake. How could this snip of a girl have ever had a glimpse of hell, as her sticker proclaimed? Then Shyama spotted her earrings: silver discs with the Hindu symbol 'Om' engraved on the surface.

    'Do take a seat, Mrs Shaw,' the young girl said. 'Mr Lalani won't be long.'

    There was a moment's hesitation while Shyama considered commenting on those earrings. But that would spark a conversation about where Shyama came from and yes, she was Hindu, but no, born here, and no, she hadn't been to half the ancient sites that Miss Cupcake had visited, and yes, isn't it humbling that the Indian poor have so little yet they would give you their last piece of chapatti and, despite living knee-deep in refuse, how on earth do they always seem so happy? Then there would be some more chat about the charming guest-house the receptionist had found in Goa or the unbelievable guide who had practically saved her life in the teeming, chanting crowds of Haridwar, or that moment when she had watched the monsoon clouds rolling in over Mumbai bay, dark clots curdling the horizon, the air turning metallic and tart to the tongue.

    Shyama had done all those things, many years ago, before motherhood and divorce and laughter lines – though frankly, when she looked at herself in a magnifying mirror nowadays she wondered if anything could have really been that funny.

    They could have swapped life-changing anecdotes, Shyama knowing she would always be able to trump the earrings simply by pointing to her skin. 'The real deal, see?' Though she knew she wasn't. She hadn't been to India for years. The only branch of the family she had ever been close to were now not speaking to her, and it seemed highly unlikely that she would be going there in the foreseeable future because every penny of her savings had gone on this clinic. The clinic where the redhead with the Om earrings was now staring at her.

    Shyama flashed her a warm smile, wanting to reassure her that she wasn't one of those bitter women who would give her a hard time simply because she had youth and insouciance on her side – no sir, not she – and she sat down heavily on a squishy armchair, trying to steady her nerves.

    She started as a metallic ping announced that a text from Toby had just arrived. 'U OK? Phone on vibrate next to my heart ...' She knew the dots denoted irony. They did a lot of that: self-conscious romantic declarations, inviting each other to join in and trample on the sentiment before it embarrassed them both. It was cute, it was becoming habit, maybe she should worry about that. There might come a point where one of them would need to say something heartfelt and sincere without being laughed at. She texted back, 'Glad phone vibrating next to heart and not in trouser pocket as usual. Not gone in yet ...' It was only after she had sent the text that she realized she'd ended with dots too. Surely he would know that they denoted a resigned sigh, rather than an invitation to let the joshing begin. Oh well, it was a test. If Toby misunderstood and texted back with some quip, she would know that they weren't really suited and that it wasn't worth carrying on with any of this time-consuming, expensive grappling with Nature. Best to walk away with a sad smile and a good-luck-with-the-rest-of-your-life kind of wave. Then she could just let go. Let the belly sag and the grey show through, and blow the gym membership on vodka and full-sleeve tops to cover up the incoming bingo wings.

    A text from Toby. A single unironic X.

    * * *

    'Mr Lalani will see you now.'

    Shyama stood up at exactly the same time as the woman who had come in before her. Smart suit, perfect hair, pencil-thin, one arched eyebrow raised like a bow.

    'Mrs Bindman? Do go through.'

    The eyebrow pinged off an invisible arrow of victory and Shyama sat back down, repressing an urge to bang her heels against the chair like a truculent toddler. There was so much waiting in this game and yet so little time to play with. Her life was punctuated with mocking end-of-sentence dots. All those years spent avoiding getting pregnant, all those hours of sitting on cold plastic toilet seats in student digs/shared houses/first flats, praying for the banner of blood to declare that war was over, that your life would go on as before. And then the later years, spent in nicer houses on a better class of loo seat – reclaimed teak or cheekily self-conscious seats like the plastic one with a barbed-wire pattern inside (her daughter's choice, of course) – still waiting. But this time praying for the blood not to come, for a satisfied silence that would tell Shyama her old life was most definitely over as, inside her, a new one had just begun.

    On impulse she dialled Lydia's number, exhaling in relief as she heard her friend's voice.

    'Any news?'

    'I haven't gone in yet,' Shyama whispered, getting up and going out to the corridor so she could talk at normal volume.

    'You just caught me between my 11 o'clock bulimic and my midday self-harmer. Great timing.' Lydia's cool, measured voice felt like balm.

    Shyama's shoulders dropped an inch. 'Think I need a free session on your psycho-couch right now.'

    'That's what last night was for. Therapy without the lying-down-and-box-of-tissues bit. And as I told you then —'

    'I know.' Shyama sighed. 'Que sera sera and all that. Out of my hands. It sounds more palatable in Spanish somehow.'

    'Oh, hang on a minute, Shyams. Got another call coming through ... stay there ...'

    Before she could tell her that they could talk later, Shyama was put on hold. She looked across the corridor at her fellow patients, absorbed in old copies of Country Life. They were all, as the French so politely put it, women d'un certain âge, maturing like fine wine or expensive cheese, ripening into what might be regarded in some cultures as their prime years, when the children had flown the nest, the husband had mellowed, and the time left was spent in contemplation, relaxation and generally being revered. She, Lydia and Priya had talked about this very subject last night at their local tapas bar, the three of them hooting gales of garlicky laughter.

    Lydia had started it. 'Did you know that some Native American tribes actually used to hold menopause ceremonies? A sort of party to celebrate the end of the slog of childbearing?'

    'A party?' Priya said doubtfully, wrinkling her perfectly pert nose. 'Must have been a laugh a minute.'

    'Oh, I can see that,' Shyama chipped in. 'Dancing round a bonfire of all your old maxi pads. Bring your own hot flush.'

    Priya snorted a considerable amount of white wine out of both nostrils, grabbing a serviette to mask her splutters. She looked a decade younger than Shyama, though she wasn't. She managed a huge office, two children, a husband and ageing in-laws who lived with her, batch-cooked gourmet Indian meals and froze them in labelled Tupperware, and always wore four-inch heels. She would have made Shyama feel resentfully inadequate if it wasn't for her expansive generosity and her frank admission of several business-trip affairs.

    'A little respect, please, for the wise women who came before us,' Lydia intoned, mock seriously. 'Apparently feathers and drums featured heavily, plus some spirited dancing and the imbibing of naturally sourced hallucinogenics. The point was, they didn't see the menopause as this terrible curse, they welcomed it, celebrated it. Because it meant you were passing into your next and maybe most important phase of life – the powerful matriarchal elder, the badly behaved granny, take your pick.'

    'Dress it up how you want, honey.' Priya was filling her glass again. 'No amount of druggy dancing is going to make me feel any better about intimate dryness.'

    'They saw it as a beginning, not an end. Imagine, a whole tribe of cackling, don't-give-a-toss hags proudly sailing their bodies into old age. Who's up for it?'

    They had decided they would do just that, once that hormonal watershed had been crossed. Find a leafy spot on Wanstead Flats, gather a tribe of fellow crones – the three of them plus a few of the game birds from their Bodyzone class – choose a full-moon night and chant defiantly at the skies, 'What do we want? Respect! Adoration! Our right to exist as non-fertile yet useful attractive women! When do we want it? As soon as someone notices us, thanks awfully, sorry to bother you.' Or something a little more snappy.

    But it wouldn't be like that, Shyama realized now, the phone still to her ear, humming with electronic silence. It would rain, someone would tread in dog poo, they would have to fight for a spot amongst the cottagers and illicit couplings, and after two minutes of embarrassed mumbling, Lydia would suggest they repair to a nearby wine bar where they would crack self-deprecating jokes about their changing bodies over a shared bag of low-fat crisps. Besides, nowadays no one had to have a real menopause. You could just ignore it, take the drugs which keep a woman's body in a permanent state of faux fertility and parade around in hot chick's clothing, long after the eggs had left the building. A whole phase of life wiped away, glossed over, hushed up, for as long as you could get away with it. And given how society treated older women, why the hell not?

    'Shyams? Still there?'

    'Lyd – I think I'm next ...'

    Shyama stood aside as Mrs Bindman exited the consulting room. Shyama noticed that her skirt was slightly askew, a childlike muss of hair at the back of her head confirming a session on Mr Lalani's examination couch. Oh, but the smile she carried, softening every angle and crisp crease of her. It must have been a good-news day.

    'Got clients up until five, then I'm all yours,' Lydia got in quickly.

    Shyama muttered a brief goodbye and returned to the desk, where she waited until the receptionist looked up brightly.

    'Do go in, Mrs Shaw, and so sorry for the wait.' And then more softly, 'It was a bit of an emergency appointment, thank you for being so patient.'

    Shyama forgave most things when accompanied by impeccable manners. She hesitated, then said, 'I always thought hell would turn out to be some kind of waiting room. Sort of weird that this is in here.'

    The receptionist looked confused.

    'Your sticker?'

    'Oh, that!' The receptionist laughed, and it really did sound as if Tinkerbell had fallen down a small flight of steps. 'That's not mine. I'm just filling in for Joyce. She's off sick.'

    Shyama had never known Joyce's name but remembered the middle-aged, comfy woman who usually greeted her with a doleful smile.

    'I just thought ... your earrings.'

    'Oh, these!' The receptionist briefly touched one of the engraved silver discs. 'My boyfriend got them in Camden. Pretty pattern, isn't it?'

    'Mmm. Anyway, sorry to hear Joyce's off. I'll discuss my spooky-sticker theory with her when she's back.'

    The receptionist hesitated, then lowered her voice. 'I don't think she'll be coming back. Poor Joyce. Who'd have thought it?'

    Shyama battled with an image of matronly, sad-eyed Joyce standing on a pile of self-help books whilst looping a dressing-gown cord around her neck, all the way down the corridor and into the hushed beige of Mr Lalani's private consulting room.

    * * *

    'I wish I could give you more encouraging news, but I want to be completely honest with you, Mrs Shaw.'

    Mr Lalani held her gaze; he really was absurdly good-looking with his mane of salt-and-pepper hair and limpid brown eyes – Omar Sharif in Doctor Zhivago but with better teeth.

    'No. I mean, yes, I appreciate that.'

    She always put on nice underwear for her visits here, pathetic as that was. Like the old joke about the busy mum who gives herself a quick wipe with a flannel before her gynae appointment; once she's on the couch, her doctor clears his throat (why are they usually men?) and tells her, 'You really didn't need to go to so much effort.' She has used the very flannel her four-year-old employed to wash her doll that morning with glitter soap. It was amusing the first time Shyama heard it. She had heard it several times now, attributed to different people, some of them famous. One of the urban myths that she and her fellow travellers shared in their many waiting rooms. Except she wasn't one of them any more.

    'Mrs Shaw? Can I get you some water, perhaps?'

    'No. Really, I'm fine. I'm just ... surprised. Because, well, I've managed one before, haven't I? A child, I mean.'

    'Yes, of course. And I hope that's some comfort, though I know this isn't what you wanted to hear. But you had your daughter nineteen years ago. Your body was very different then. And, of course, I am pretty certain at that point you did not have the problems that ...'

    Mr Lalani became pleasant background noise, though Shyama remembered to nod knowingly as she caught the odd word drifting by – 'Laparoscopy ... endometriosis ... ICSI ... IUI ... IVF ...' – soothing as a mantra in their familiarity. She had a strange and not unpleasant sensation of floating above her body, looking down at the smartish, attractive-ish woman in her casual yet edgy outfit, looking rather good for forty-eight (because of her Asian genes, you know – black don't crack, brown don't frown) and feeling surprisingly calm. Ridiculous to expect there wouldn't be some issues at her age; women half her age had issues. There were plenty of other options, surely?

    '... very few other options available, I'm afraid.'

    Shyama blinked, came back to earth with an uncomfortable lurch. 'What? Sorry, I missed that last ... paragraph, actually.'

    Mr Lalani's eyes softened. Only on men could wrinkles look empathetic. 'I'm sorry if I'm not being clear. Let me discard the jargon for a moment.'

    His archaic use of language and impeccable grammar hinted at expensive foreign schooling. She had been seeing him for over a year, the third expert during two years of trying, and still knew nothing about his life. The discreet gold band confirmed a wife, presumably a family. How many children had he fathered, or helped create? How many women had sat here in this chair and received his judgement like a benediction or a curse?

    '... very little point in pursuing IVF or any other kind of assisted reproduction. Even seeking donor eggs would not solve the issue of your inhospitable womb and the dangers of attempting to carry a child yourself.'

    An inhospitable womb! There, she had been looking for a title for her autobiography. It was a game she played with her girlfriends; every so often, usually when one of them was going through a particularly challenging life phase – rebellious children, a recalcitrant partner, money slipping through their fingers like mercury. So far her favourite title had come from Priya, who had proffered In These Shoes? Later on, Shyama found out that 'In These Shoes' was the title of a song, but still, coming from Priya at that moment, it had seemed like poetry.

    'Of course, it is always your choice. You can get a second opinion, many women do. But the medical facts remain as they are. I am sorry.'

    'So it's me, then?' Shyama exhaled. 'I mean, I know Toby has passed all his tests with flying colours. Well, he would, wouldn't he? Thirty-four-year-old men, that's their prime, isn't it? And he loves red meat, though we try and limit the lamb chops to once a week. Or is it zinc you have to eat? Is that in eggs? Eggs have good cholesterol now, don't they? And after all the warnings they gave us ... so doctors can be wrong. You just find out way after the event, usually.'

    Mr Lalani let the silence settle, mote by mote, like fine dust. He had been here many times before. He knew not to argue or over-sympathize. He knew it is always best to let the woman – and it is almost invariably the woman – talk and cry and vent her rage at the world, at Nature who has betrayed her. At forty-eight, the betrayal was almost inevitable. Not that he would ever say that out loud.


    (Continues...)

    Excerpted from The House of Hidden Mothers by Meera Syal. Copyright © 2015 Chestwig and Flares Productions Ltd.. Excerpted by permission of Farrar, Straus and Giroux.
    All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
    Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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    Shyama, a forty-eight-year-old London divorcée, already has an unruly teenage daughter, but that doesn't stop her and her younger lover, Toby, from wanting a child together. Their relationship may look like a cliché, but despite the news from her doctor that she no longer has any viable eggs, Shyama's not ready to give up on their dream of having a baby. So they decide to find an Indian surrogate to carry their child, which is how they meet Mala, a young woman trapped in an oppressive marriage in a small Indian town from which she's desperate to escape. But as the pregnancy progresses, they discover that their simple arrangement may be far more complicated than it seems.

    In The House of Hidden Mothers, Meera Syal, an acclaimed British actress and accomplished novelist, takes on the timely but underexplored issue of India's booming surrogacy industry. Western couples pay a young woman to have their child and then fly home with a baby, an easy narrative that ignores the complex emotions involved in carrying a child. Syal turns this phenomenon into a compelling, thoughtful novel already hailed in the UK as "rumbustious, confrontational and ultimately heartbreaking . . . Turn[s] the standard British-Asian displacement narrative on its head" (The Guardian). Compulsively readable and with a winning voice, The House of Hidden Mothers deftly explores subjects of age, class, and the divide between East and West.

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    The Barnes & Noble Review
    Meera Syal, much celebrated in Britain as an actor, comedian, and novelist, is little known here, though that should change with the publication of The House of Hidden Mothers, her third novel. Fast paced, character rich, and, for the most part, deftly plotted, the book throws out a constellation of problematic issues arranged around a central one, that of the Indian surrogacy industry and the relationship between people who have nothing to sell but their bodies and those who can afford to avail themselves of them. As of this writing, the Indian government is in the process of regulating the trade and prohibiting surrogacy for foreign couples, but the matter is far from resolved, not least because surrogacy is the only means by which many Indian women have been able to provide for their own children's welfare and education. The question is so ethically complex as to have no satisfactory answer. In other words, it provides ideal material for a novel.

    Shyama, daughter of Indian immigrants, is a successful London beauty salon owner and a woman of "a certain age" — forty-eight, to be exact. She is divorced from an unfaithful husband and living with her nineteen-year-old daughter, Tara. Also present is Toby, Shyama's partner of some six years, a gentle man fourteen years her junior. Meanwhile, her elderly parents, Prem and Sita, once refugees from Partition who have scrimped and saved all their lives, live right next door. Shyama and Toby have been trying to have a baby for four years, and the novel opens in a Harley Street fertility specialist's office, where Shyama finally learns that she has no viable eggs and an "inhospitable womb." Pregnancy is impossible, and it's devastating news, especially to her, a self-made woman used to overcoming barriers. It's a grim truth, she reflects, that "[i]n an age where you could cougar your way around town with a wrinkle-free smile, inside you were not as old as you felt, but as old as you actually were." Not to be balked in her quest for a baby, Shyama seizes on the idea of employing a surrogate mother.

    This will be Mala, a woman living in poverty in an Indian village. Unable to complete her education because of the death of her father, she is married to Ram, an ignorant boor whose family received what they considered an inadequate dowry. This shortcoming has given Ram license — if license were needed — to treat Mala like chattel; and when he learns of the riches to be obtained by renting out his wife's womb at one of India's many surrogacy clinics, he is determined to act on it. But it is Mala who takes charge, seeing surrogacy as power and an escape from her degrading existence.

    The plan is for Shyama and Toby to travel to India and for Mala to be impregnated with a donor egg and Toby's sperm — the idea being that the surrogate will have no substantive attachment to the baby. Mala will be housed at the clinic with the other gestating surrogates and, upon delivery, hand the baby over. Complexities of the plot, however, result in Shyama and Toby bringing Mala home to live with them during her — or, as they think of it, their — pregnancy. It does not make for a happy domestic scene. Tara is furious with her mother — partly because she has been completely left out of her decision to have another baby and partly because of her mother's general high-handedness and, not to put too fine a point on it, self-absorption. Beyond that lies a more wounding circumstance: while Shyama is in India dealing with the clinic, Tara is sexually assaulted. Traumatized, she feels she cannot confide in anyone, most especially her mother, who is wrapped up with the pregnancy.

    For their part, Shyama's parents are bewildered by the whole idea of their middle-aged daughter's determination to have baby, especially in this manner; but, in addition, they are in torment thanks to another strand of the story. They had allowed Prem's niece and her husband stay temporarily in the apartment they had bought with their hard-earned money for their longed-for retirement in New Delhi. It is one of the many examples in these pages of one person's generosity being taken as stupidity by the recipient. Fifteen years later, the couple are still there, refusing to move even though, in addition to his own apartment, Prem's brother owns two other apartments — which he rents out. Prem could have recovered his apartment years ago simply by bribing the legal authorities — as the present occupant is doing. But instead, honorable and peace-loving, he is in misery, as is his wife.

    The novel is a cornucopia of vexed situations: the trials of an older woman–younger man relationship; the anguish of infertility; mother-daughter conflict; the many questions surrounding surrogacy; sexual assault in the Western world and in India; female infanticide ("to save their parents the price of a crippling dowry"); the plight of poor Indian women and the status of women in India in general; Western feelings of entitlement; cultural dissonance; legal corruption; and dispossession of émigrés. It is truly remarkable how Syal can bring so many big topics into the storyline without making the book seem less a novel than a primer in twenty-first-century global ethics. But along with these matters the novel delves deeply, often with rueful humor, into the main characters' inner lives: the petty envies, tyrannies, doubts, hopes, regrets, and bubbles of joy. Further, Syal's writing is highly visual, summoning up milieu and mind-set in scene after scene, as, for instance, in her depiction of Mala's journey to New Delhi, squashed in a crowded train carriage with Ram. Among their fellow passengers are:
    A worn-out mother with three children, barely months between them: she must have popped them out like winter peas, thought Mala. Of course, the whole carriage knew why: the eldest two were girls . . . They were obviously the rehearsal for the third child, a boy, visibly plumper than his sisters, his skin gleaming with coconut oil and with kohl around his eyes to ward off the evil-thinkers, nestling in his mama's lap, prince of them all.
    In the end, everyone gets his or her lot in life straightened out, for better or worse, and in one case, rather too neatly — or perhaps I should say happily. But The House of Hidden Mothers remains a most rewarding novel and, I would add, an ideal selection for a book club, as it lends itself to endless and expansive discussion.

    Katherine A. Powers reviews books widely and has been a finalist for the Nona Balakian Citation for Excellence in Reviewing from the National Book Critics Circle. She is the editor of Suitable Accommodations: An Autobiographical Story of Family Life: The Letters of J. F. Powers, 1942–1963.

    Reviewer: Katherine A. Powers

    Publishers Weekly
    04/25/2016
    Syal (Life Isn’t All Ha Ha Hee Hee) tackles family drama and the new India in one fell swoop. Second-generation British Indian Shyama never really imagined she’d have another child after her first marriage ended in divorce. But now the 48-year-old salon owner and her much-younger boyfriend, Toby, are fixated on having a baby, much to the annoyance of Shyama’s college-aged daughter, Tara. When IVF treatments fail, the couple turns to surrogacy, an option that is much more affordable in India than elsewhere in the world. But Toby and Shyama’s pursuit of parenthood is complicated not only by Tara’s personal crises and the latest chapter in Shyama’s parents’ Dickensian legal battles over New Delhi real estate, but also by their ethically nebulous personal involvement with the surrogate mother, Mala. Narrated primarily from Shyama’s point of view, with occasional glimpses into other characters’ outlooks, this ambitious novel offers some interesting insights into India’s changing social climate, particularly its intersections with class and gender. But in trying to be a romance, an intergenerational saga, and political novel, it outreaches its grasp. Agent: Georgia Garrett, Rogers, Coleridge & White. (June)
    From the Publisher
    "[A] well-paced, enjoyable read." ---Kirkus
    Library Journal
    05/01/2016
    In this emotion-stirring, multicultural, feminist novel, 48-year-old Indian American Shyama faces the realities of surrogate pregnancy when she and her younger lover decide to pursue this route of procreation, a way to bring forth a child and "help" (financially) a poor woman. Shyama's Indian parents are facing an ongoing real-estate struggle against the corruption of the Indian government, and her teenage daughter goes to India to join the civil rights movement. The current state of India's society is the backdrop to their personal dramas. Syal (Life Isn't All Ha Ha Hee Hee) depicts the harmful sexism that is ingrained in Indian culture and offers a panorama of diverse views: Western vs. Eastern; rich vs. poor; strong feminists vs. passive traditionalists; men who range from sexist to feminist. VERDICT With an absorbing modern family saga story line and sympathetic, compelling characters, Syal's novel trains a personal lens on ethical issues surrounding surrogacy and women's rights. An excellent book club choice. [See Prepub Alert, 11/30/15.]—Sonia Reppe, Stickney-Forest View P.L., IL
    Kirkus Reviews
    2016-03-16
    A woman longing for a child jumps headlong into the dramatic world of international surrogacy in Syal's third novel (Life Isn't All Ha Ha Hee Hee, 2000, etc.). Shyama, a 48-year-old British Indian divorcée, lives in London close to her aging immigrant parents, Prem and Sita, and her 19-year old daughter, Tara. After a series of unsuccessful fertility treatments with Toby, her 34-year-old partner, Shyama decides to bypass her "inhospitable womb" by hiring a surrogate mother in India, where the process is unregulated and cheap. Despite the reservations of her daughter and parents and Toby's ambivalence about having a child, Shyama and Toby make the journey to Delhi to find a surrogate through a clinic specializing in assisted reproductive technology. There they meet Mala, a young married woman eager to escape her limited circumstances. As Mala begins her pregnancy on behalf of Shyama and Toby, they become entangled in each others' lives in unexpected and inadvisable ways, turning what begins as a simple matter of supply and demand into something far more complicated. Alongside this drama, Prem and Sita's struggles with a property in India and Tara's increasing alienation and loneliness are woven together to create a multitextured story of desires, disappointments, and family bonds. The novel inhabits many points of view, including Shyama's, Toby's, Mala's, and Tara's, as well as those of more minor characters. These varying perspectives mostly add interest to the narrative, but at times, they feel redundant and unnecessary, a forgivable flaw, since Syal so skillfully uses this bicultural cast of characters to explore the dramatic complexities of transnational surrogacy. The many themes of this novel, including generational conflicts, cultural myopia, economic privilege, and gender politics, give readers plenty to think about. Somewhat overpopulated with characters and issues, but ultimately this hefty novel is a well-paced, enjoyable read.

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