In this absorbing novel, set in 1869, Deepa Anapara brings us on a journey to the roof of the world: the forbidden land of Tibet. To the highest place on earth, land of Buddhist monasteries, ‘foreigners’ were forbidden entry, on pain of execution. But some defied the ban.
The novel focuses on two types of explorers. Katherine is the typical Victorian lady adventurer, travelling just because she wants to. Balram, an Indian surveyor, is working for an Englishman, ‘The Captain’, who is searching for the source of the Tsampo river (the Brahmaputra in India). The Captain disguises himself, ineffectually, by painting his skin with walnut juice. Katherine has Indian blood and thanks to her sallow skin, and her gender, doesn’t need to worry about being caught.
The novel alternates between chapters tracking Katherine’s pilgrimage and Balram’s survey. We go with them through the dramatic landscape, stunningly beautiful, often forbidding and dangerous. The travellers encounter wild animals, bandits, many monks and some ordinary people. About halfway through, an intriguing stranger called Chetak appears and injects the novel with some spicy tension and mystery, which it needs, since all too soon the drama of close shaves with snow leopards or threats by bandits loses dramatic power.
Still, the account of the journey is enthralling. Based on extensive research, all sources duly acknowledged in an appendix which will have you running to the library, this is primarily a novel about place – and what a place. We’ve been armchair travellers to these exotic lands of the past before, but a huge difference is here we have the perspective of Balram and other indigenous explorers, the indispensable nameless helpers.
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The novel is unsparingly critical of the coloniser’s insufferable sense of superiority. The Captain (not an altogether bad guy) is utterly dependent on Balram for navigational and surveying skills, but everyone knows the servant of Empire will take the credit for the maps and the medals from The Royal Geographical Society.
Although some descriptions of the landscape sparkle, and characterisation is brilliant, the style veers towards the functional. What matter. Anappara has such a compelling story to tell and such important ideas to communicate that her lucid, transparent prose feels just perfect.
Éilís Ní Dhuibhne is Laureate for Irish Fiction
[ Dalai Lama confirms he will be reincarnated and his trust will identify successorOpens in new window ]
