Product Description

Finalist for the 2009 National Book Award in Fiction: a major literary debut that explores class, culture, power, and desire among the ruling and servant classes of Pakistan. Passing from the mannered drawing rooms of Pakistan’s cities to the harsh mud villages beyond, Daniyal Mueenuddin’s linked stories describe the interwoven lives of an aging feudal landowner, his servants and managers, and his extended family, industrialists who have lost touch with the land. In the spirit of Joyce’s Dubliners and Turgenev’s A Sportsman’s Sketches, these stories comprehensively illuminate a world, describing members of parliament and farm workers, Islamabad society girls and desperate servant women. A hard-driven politician at the height of his powers falls critically ill and seeks to perpetuate his legacy; a girl from a declining Lahori family becomes a wealthy relative’s mistress, thinking there will be no cost; an electrician confronts a violent assailant in order to protect his most valuable possession; a maidservant who advances herself through sexual favors unexpectedly falls in love.

Together the stories in In Other Rooms, Other Wonders make up a vivid portrait of feudal Pakistan, describing the advantages and constraints of social station, the dissolution of old ways, and the shock of change. Refined, sensuous, by turn humorous, elegiac, and tragic, Mueenuddin evokes the complexities of the Pakistani feudal order as it is undermined and transformed. .

Product Details

• Amazon Sales Rank: #55323 in Books
• Published on: 2009-02-01
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 256 pages

Features

• ISBN13: 9780393068009
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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From Publishers Weekly
Starred Review. In eight beautifully crafted, interconnected stories, Mueenuddin explores the cutthroat feudal society in which a rich Lahore landowner is entrenched. A complicated network of patronage undergirds the micro-society of servants, families and opportunists surrounding wealthy patron K.K. Harouni. In Nawabdin Electrician, Harounis indispensable electrician, Nawab, excels at his work and at home, raising 12 daughters and one son by virtue of his cunning and ingenuity—qualities that allow him to triumph over entrenched poverty and outlive a robber bent on stealing his livelihood. Women are especially vulnerable without the protection of family and marriage ties, as the protagonist of Saleema learns: a maid in the Harouni mansion who cultivates a love affair with an older servant, Saleema is left with a baby and without recourse when he must honor his first family and renounce her. Similarly, the women who become lovers of powerful men, as in the title story and in Provide, Provide, fall into disgrace and poverty with the death of their patrons. An elegant stylist with a light touch, Mueenuddin invites the reader to a richly human, wondrous experience. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The Washington Post
From The Washington Post's Book World/washingtonpost.com Reviewed by Michael Dirda Because of Salman Rushdie, Arundhati Roy and Rohinton Mistry, to mention just a few of the most prominent authors, American readers have long been able to enjoy one terrific Indian novel after another. But Daniyal Mueenuddin's In Other Rooms, Other Wonders is likely to be the first widely read book by a Pakistani writer. Mueenuddin spent his early childhood in Pakistan, then lived in the United States -- he attended Dartmouth and Yale -- and has since returned to his father's homeland, where he and his wife now manage a farm in Khanpur. These connected stories show us what life is like for both the rich and the desperately poor in Mueenuddin's country, and the result is a kind of miniaturized Pakistani "human comedy." In the original Comédie humaine, Balzac had the ingenious notion of tying his various novels together by using recurrent characters. Eugène de Rastignac is the protagonist of Le Père Goriot but is subsequently glimpsed in passing or sometimes just referred to in several other books. In like fashion, Mueenuddin interlaces eight stories, while also linking them to the household of a wealthy and self-satisfied landowner named K.K. Harouni. In "Saleema," for instance, Harouni's elderly valet, Rafik, falls into a heartbreaking affair with a young maidservant, and we remember this, with a catch in our throat, when in another story we see him bring in two glasses of whiskey on a silver tray. In "Our Lady of Paris," we discover that Harouni's nephew is madly in love with a young American woman named Helen; later on, we discover that he is married -- to an American named Sonya. Many of Mueenuddin's stories conform to a common dynamic: We learn about a character's past, then zero in on the central crisis of his or her life and, even while we expect more development, suddenly find everything wound up in a paragraph or two: "The next day two men loaded the trunks onto a horse-drawn cart and carried them away to the Old City." (Flaubert or Chekhov might have written that.) In other instances, even so minimal a resolution remains cloudy: Mueenuddin just stops, having given us all that we need to know about the future or lack of future in a love affair or a marriage. The epigraph to In Other Rooms, Other Wonders is a Punjabi proverb: "Three things for which we kill -- Land, women and gold." Throughout the book the Harounis are gradually selling off their ancestral lands to pay for business losses and a Eurotrash lifestyle. (Two of the patriarch's three daughters reside in Paris and London.) Nearly everyone in the book is more or less corrupt. In "Provide, Provide" we learn of the machinations of Jaglani, the manager of K.K. Harouni's estates in the Southern Punjab. When Jaglani "would receive a brief telegram, NEED FIFTY THOUSAND IMMEDIATELY," he would "sell the land at half price, the choice pieces to himself, putting it in the names of his servants and relatives. He sold to the other managers, to his friends, to political allies. Everyone got a piece of the quick dispersion. He took a commission on each sale." But even the immensely shrewd and politically powerful Jaglani has his weakness. He begins to sleep with his driver's sister, a young woman he employs to cook and clean for him: "Finally he could not deny to himself that he had fallen in love, for the first time in his life. He even acknowledged her aloof coldness, the possibility that she would mar his life. And yet he felt that he had risen so far, had become invulnerable to the judgments of those around him, had become preeminent in this area by the river Indus, and now he deserved to make this mistake, for once not to make a calculated choice, but to surrender to his desire." In Mueenuddin's Pakistan, happiness is usually short-lived. Jaglani's beloved develops a urinary-tract infection, then discovers she cannot bear children. A man finally achieves success, only to be diagnosed with cancer. When a party girl resolves to change her life, she discovers how hard it is to be virtuous. On every page there are wonderful, surprising observations and details: A judge says of his wife that "you need only see her disjoint a roast chicken to know the depths or heights of her carnality." The rich young Sohail Harouni suddenly recites from memory some poetry by James Merrill. An old caretaker builds a wooden cubicle that can be dismantled and simply carted away whenever he needs to move. In every instance, Mueenuddin convincingly captures the mindset or speech of any class, from the hardworking Nawab, a roustabout electrician with 11 daughters, to the flamboyantly decadent Mino, who imports tons of sand to his country estate for a "Night of the Tsunami" party. But my favorite character is the mysterious judicial clerk Mian Sarkar: "There is nothing connected with the courts of Lahore that he has not absorbed, for knowledge in this degree of detail can only be obtained by osmosis. Everything about the private lives of the judges, and of the staff, down to the lowest sweeper, is to him incidental knowledge. He knows the verdicts of the cases before they have been written, before they even have been conceived. He sees the city panoptically, simultaneously, and if he does not disclose the method and the motive and the culprit responsible for each crime, it is only because he is more powerful if he does not do so." Mian Sarkar -- half Sherlock Holmes, half Jeeves -- actually functions as a detective in "About a Burning Girl," and the result is the most light-hearted of Mueenuddin's stories. I was only sorry that he didn't include more about this "man of secret powers." Maybe he will in his next book. As should be clear, In Other Rooms, Other Wonders is a collection full of pleasures. I saw only a single improbability in it: At one point, a gorgeous young wife grows dissatisfied with her hard-working and high-minded husband's routine love-making. So she dons a pair of stockings and a garter belt and, otherwise naked, lies fetchingly in their candle-lit bedroom. The husband comes in, glances at her and says, "So that's how you wear those!" and then begins to trim a broken fingernail and talk about a problem on the farm. Not even a Princeton graduate, which he is, could be quite such a moron.
Copyright 2009, The Washington Post. All Rights Reserved.

From Bookmarks Magazine
Mueenuddin brings to bear on his stories his personal experience: the son of a Pakistani father and an American mother, he was educated in the United States and lives in Pakistan. Drawing comparisons to Flaubert, Chekov, and Balzac is a smart way to kick off a writing career. When not searching for analogs from the annals of literature, critics found plenty of superlatives to praise Mueenuddin's work, which effectively depicts a place and people plagued by class and ancestral tension and caught between the past and an uncertain future. While plenty of ugliness exists in the motives and petty schemes of his characters, Mueenuddin remains evenhanded, elegantly setting the stage for the tensions between power and poverty and all attendant human frailties to play out.
Copyright 2009 Bookmarks Publishing LLC

Customer Reviews

A brilliant, mesmerizing book
It is impossible to say enough about these subtle, deep, painful stories which remind me of Chekhov. In all the tales, revolving somehow around a very rich Pakistani landowner and his family, the poet Burn's line "man's inhumanity to man" kept echoing in my mind. I was enthralled by the unique vision and skill of the writer and at the same time truly depressed by the stories. The rich see nothing outside themselves but for brief moments; they have little joy and the poor are less than chattel to them. The poor or those fallen from prosperity cluster about them, hanging on to their feet for dear life, and inevitably falling away. If love begins to blossom in these stories, it will fail by one partner's flawed nature or parents' manipulative intervention. If any character has a sweet or generous nature, he or she is totally extinguished. Women fare the worse, being kept as mistresses until the man dies and then losing everything.

What a picture it paints of a feudal society though throughout the classes! Nawabdin the electrician can fix any machine with mango sap and makeshift wiring until it soon breaks again; he married, early in his life, "a sweet woman of unsurpassed fertility" who gave him twelve daughters for whom he must find dowries by turning his hand to dozens of little businesses until a thief in even more desperate condition tries to kill him for his motorcycle. Lily, a woman in her 30s who is weary of a life of loose sex and wild parties, vows to change into a model farmer's wife when she marries the decent son of a rich landowner. She discovers once married that "I'm not the type to be dutiful. I'm messy and willful and self-destructive." (The paragraph which ends this story is so brilliant I read it three times.) And the last story with the character I loved the best, "a small, bowlegged man with a lopsided face," a dirt-poor peasant so devoted to the garden which a rich woman hires him to tend that he lovingly buys grape vines with his own money. For these characters and many more, the author sings a sonorous lament with his prose.

A very sad book, but wonderfully written, just wonderfully.

A gem - even if you're not a big fan of short stories, you'll love this
This terrific book is made up of short stories that are linked, and you see some of the same characters at different points in time and place. It's not that easy to do, but Mueensuddin pulls it off perfectly, and you get to know each character in almost a Rashamon way - through their own eyes and through those of others. If you think that you really dislike or favor someone, just wait. You may think differently later on.

These stories have locations in common too, and the majority of the book takes place near Lahore, on the farmlands of a wealthy Pakistani family. We are shown what life is like for the poor, and for the rich. We become acquainted with landowners, and the workers and servants, and how bad luck or one bad decision can result in catastrophe. Success and happiness in life often depends on the circumstances of one's birth, and the reader gets a lesson about Pakistani culture, and its harshness, its dependence on knowing the right people, and its fatalism. And throw luck into the mix. And because the stories take place at different times, we see how modernization has affected Pakistan - and how some things remain the same.

If you were a fan of A Fine Balance (one of my favorite books), or The God of Small Things, I can *guarantee* that you will love this book. Like those great novels, this one can be both heartbreaking and funny, and many times you will be smiling at some amusing passage only to be devastated by the next.

One other thing to add - I am not, in general, a big fan of short stories. If you feel this way too, do not be put off by the fact this is a book of stories. Both because the book is so well-written, and because the stories share commonality of characters and place, it reads like a novel.

So, highly, highly recommended. This is going down as one of my top reads of the year. It's that good. (And you'll be hooked from page one - another big plus.)

Great Literature with a Strong Cultural Anthropological Twist
Daniyal Mueenuddin's debut collection of interconnected short stories, "In Other Rooms, Other Wonders" is a rare and entrancing treat: at once both exceptional literature and extraordinary literary cultural anthropology. This work stands as one of the finest works of new literature I've read all year. If you love global literature, don't miss this unique and exquisite reading experience!

Open this book, and you are at once immersed in the fascinating reality of an alien and intriguing culture -- the culture of Punjabi Pakistan. All the characters in these stories are connected to the same elite and powerful farming estate. You get to know the owners, their immediate family, relative, and lovers, servants, workers, managers, friends, colleagues, and local community and government officials. The stories take place within a fifty-year period, from the early 1960s to the present day. This time span gives you the opportunity to observe the culture in transition, as old ways are adapted to meet the emerging challenges of a modern global world.

This is a vibrant and rich culture very different from our own. The author does not compel you to judge this world, but rather to understand and appreciate it. This is an Islamic culture, but nowhere in the book is religion discussed and highlighted. This is a culture where corruption is endemic, infecting all aspects of society from the most intimate family connections to every kind of routine business and government transaction. This is a culture with deep feudal roots. Yet this culture works and is vibrant and alive on so many levels. One of the characters in the book, the rich highly educated American wife of the modern day landowner, discusses her life in Pakistan with a friend at a party saying, "It's strange, it's like a drug. I think that I miss the States so much -- and I do -- and then after a month there I'm completely bored. Pakistan makes everything else seem washed out."

The stories in this collection are simply magical, the characters so alive I can't get them out of my head. I feel an intimacy with this estate and these people. I feel as if I had lived among them. And what of Mueenuddin's prose? It's astonishing -- fresh, minimalist, rich, witty, often incredibly wise; he's a remarkable new voice in American literature. And, yes, Mueenuddin is an American and it is fitting that the first story in this collection, "Nawabdin Electrician," was chosen by Salman Rushdie (serving as Guest Editor) for inclusion in the 2008 edition of the famous literary series "The Best American Short Stories."

[If you read this work and find yourself loving this type of literary cultural anthropology, I also recommend that you try Mischa Berlinski's debut novel, "Fieldwork." It was a National Book Award fiction finalist in 2007. You will find my review for this book on Amazon.]