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Rohinton Mistry’s enthralling novel is at once a domestic drama and an intently observed portrait of present-day Bombay in all its vitality and corruption. At the age of seventy-nine, Nariman Vakeel, already suffering from Parkinson’s disease, breaks an ankle and finds himself wholly dependent on his family. His step-children, Coomy and Jal, have a spacious apartment (in the inaptly named Chateau Felicity), but are too squeamish and resentful to tend to his physical needs.
Nariman must now turn to his younger daughter, Roxana, her husband, Yezad, and their two sons, who share a small, crowded home. Their decision will test not only their material resources but, in surprising ways, all their tolerance, compassion, integrity, and faith. Sweeping and intimate, tragic and mirthful, Family Matters is a work of enormous emotional power.
“Subtle and true… His evocation of the streets and sounds of jostling Bombay is almost painfully alive.” —New York Review of Books
“[Mistry] needs no infusion of magical realism to vivify the real. The real world, through his eyes, is magical.” —The New York Times
“Mistry writes with a patient attention to language, structure, and detail reminiscent of. . . . Tolstoy and Tagore… His greatest strength lies in depicting the human heart, in all its longing and imperfection, with unsentimental tenderness.” —San Francisco Chronicle
“Mistry harks back to the 19th-century novelists. . . . The reader is moved, even to tears.” —John Updike, The New Yorker
“Mistry… solidifies his standing as one of the world’s finest authors… Come to [this book] with the anticipation or foreboding you’d bring to a letter from home. You’ll be rewarded luxuriously.” —The Seattle Times
“Mistry [is] a giant of a writer. . . . [an] almost perfect example of the storyteller’s art.” —Chicago Tribune
“Rohinton Mistry is not a household name, but it should be. . . . he ought to be considered simply one of the best writers, Indian or otherwise, now alive. . . . Major writers differ from minor ones… in their ability to handle the big questions: death, family, the passing of time, the inevitability of loss, God or the corresponding God-shaped hole. Mistry handles all of them in an accomplished style entirely his own.” —The Atlantic