Category Archives: Suri Manil

The City of Devi (2013) – Manil SURI

The recent tensions on the Korean Peninsula remind us that the flashpoints of the future are not in Europe or America—they are in Asia. From North Korean tinpot tyrants to Taliban insurgents in Pakistan and Afghanistan, it seems likely that the next major international conflict will come from the developing Asian world. So it’s interesting to see a potential future from an Asian writer.

Mumbai. The city of Devi. A city on the brink. As news of an imminent nuclear attack hits the streets, so too does Sarita. Her husband has been missing for a few days, and she has decided to find him. But someone else is trying to find the same man. Jaz is following Sarita in the hope that she will lead him to Karun. As they weave through the battered streets of Mumbai, though, both begin to realise that bigger problems are looming.

Taking this on board, Suri paints a world where this has happened. Just like Tarun J Tejpal in The Valley of Masks, Suri uses a uniquely Indian context to create speculative fiction to revitalise many of the tired clichés dragged out by other writers. One film which takes the Hindu god Devi and turns her into a modern-day superhero, aptly named Superdevi, has taken India—and the rest of the world—by storm. As the local government in Mumbai decides to use Devi as a symbol of the city—despite the secular nature of said government—the local Muslim population find the use of a Hindu symbol to represent them less than ideal. Egged on by extremists in Pakistan and anti-democracy protestors in China, violence rapidly erupts, a road that once taken can’t be unmade.

Mumbai, then, is transformed into a city teetering on the brink of complete annihilation. As the purported deadline for Pakistan’s impending nuclear attack comes closer and closer, people begin to act more irrationally. Bombs and violence become an almost daily certainty, so by the time we as readers arrive on the scene, Sarita finds herself hiding in the bomb shelter of a hospital. People are terrified—though the internet is no longer working, word of mouth has spread rumours that  Pakistan is planning on dropping a nuclear bomb on Mumbai in the next three days. Needless to say, people are nervous, and even in the small confined space of a bomb shelter, Muslims are being hunted down by Hindus. And how do you know when you find a Muslim? Same way you can tell someone is Jewish.

Unbeknownst to Sarita, Jaz, our other narrator, is also present. But Sarita has more pressing concerns—she thinks she knows where Karun is, and begins to run through the desolate streets of Mumbai to find him. As she runs, we get flashbacks to the beginning of Sarita and Karun’s relationship. Both in their early thirties, their families willing them on to find someone to settle down with, they find themselves actually falling in love. But Sarita feels that Karun is holding something back, particularly when they try to consummate their relationship. Even after they marry, it takes Sarita a lot of time to get Karun to perform sexually. She feels that something is holding him back, but she can’t work out what it is.

When we shift to Jaz’s perspective, everything crystallises. Karun’s secret is hardly surprising—anyone with half a brain can guess he’s having an affair with a man from about 30 pages in. So it’s kind of frustrating that it isn’t confirmed by Jaz until almost 100 pages later. It makes Sarita come off as less than the naïvely-in-love woman she is supposed to be, and more of an idiot. Though perhaps this is an Indian thing? I know the Indian take on homosexuality is not the most positive or prominent, so perhaps this more like the case of the 1950s housewife being genuinely surprised that her husband like dudes.

The treatment of sexuality in India—particularly in Muslim communities—adds another dimension to the novel. Suri paints the isolation and persecution faced by gay men in India well, and Jaz’s coming to terms with his own sexuality is made simpler by the fact that he is brought up in Europe, where attitudes are a little more liberal. His transformation from sex-crazed teenager forced to skulk in parks to find partners to a man in love and in a mature relationship is nicely realised, and really makes you feel for Jaz. Having found someone to love in a society that frowns upon it is hard, and the fact that Karun is skittish about the whole thing makes it seem even more unfair.

No doubt Cory Bernardi would be unimpressed by the ending of this novel. As signposted fairly early on, Suri presents us with a future that does not rely on contemporary ideals of family and relationships. Karun becomes the centre of a relationship between three people, with him in the middle—literally and figuratively. Haring back to the alternative Hindu holy trinity presented at the beginning of the novel, Suri suggests that each of us needs not just one other person in our lives, but two, to provide a more balanced approach to life. It’s an interesting idea that actually qorks quite well in this context.

Perhaps the most important job of a speculative fiction writer is to make sure that the world they create never becomes too unbelievable. It’s a fine line, and only occasionally does Suri falter. There are one or two moments where Suri has to write his way out of dead-ends he has written himself into. But for the most part, this is an excellent post-apocalyptic novel with an arguably more realistic take on potential future conflicts.

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