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Glass Bottom
A luminous novel exploring the intricate web of human and natural transformations across time
Gul, Arth, Luni and Himmo live by the sea that bestows as much waste as wonder upon the shores, including, one day, a creature many believe to be a whale. When a storm passes through their small town, the two mother-daughter pairs are pulled into a whirlwind of deep entanglements and hidden desires.
Each of them is forced to confront the turbulence within and around Gul, tethered to the earth’s seismic murmurs, finds herself unravelling with the weather. Her daughter Arth grapples with the territories of personal and collective memory even as she navigates her complex relationship with her mother. Luni, threading her hopes and fears into her embroidery, tries to find solace amidst the chaos, while her daughter Himmo, drawn to the forbidden ocean, explores where her search and longing might take her. Together, they traverse love, loss and survival as their community teeters on the edge of rupture, with the tempest exposing truths that have long simmered just beneath the surface.
Set against the intractable Arabian Sea, Glass Bottom offers a profound and lyrical meditation on the ordinary and strange places we occupy, and the ties binding us to our planet and to each other, while simultaneously heralding the arrival of a distinctive literary talent.
Gul, Arth, Luni and Himmo live by the sea that bestows as much waste as wonder upon the shores, including, one day, a creature many believe to be a whale. When a storm passes through their small town, the two mother-daughter pairs are pulled into a whirlwind of deep entanglements and hidden desires.
Each of them is forced to confront the turbulence within and around Gul, tethered to the earth’s seismic murmurs, finds herself unravelling with the weather. Her daughter Arth grapples with the territories of personal and collective memory even as she navigates her complex relationship with her mother. Luni, threading her hopes and fears into her embroidery, tries to find solace amidst the chaos, while her daughter Himmo, drawn to the forbidden ocean, explores where her search and longing might take her. Together, they traverse love, loss and survival as their community teeters on the edge of rupture, with the tempest exposing truths that have long simmered just beneath the surface.
Set against the intractable Arabian Sea, Glass Bottom offers a profound and lyrical meditation on the ordinary and strange places we occupy, and the ties binding us to our planet and to each other, while simultaneously heralding the arrival of a distinctive literary talent.
156 pages, Kindle Edition
Published July 30, 2024
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August 12, 2024i need someone i know to read this so that they can explain it to me
October 12, 2024
Glass Bottom is when Riders to the Sea by J. M. Synge meets The Wasteland by T. S. Eliot. Literature students everywhere just rose up from their graves, but let me explain.
Glass Bottom presents the story of four characters building their existence in the lap of Mother Nature. The synopsis reminded me of Riders by Synge as these characters similarly battle with the Arabian Sea. As Synge's Maurya deals with the grief of losing her children to the sea, in Glass Bottom the sea is painted as avenging the injustice that women and nature have to tackle during the onslaught of modernity. Nature is our protector but also a destroyer when she is treated with grave injustice. The environment is being punished to make way for new monstrous establishments. As you've guessed already, eco-feminisim is a prominent theme in this book. Some of the imagery provided by the sea, symbols such as the hair, and shared moments with the characters (especially Himmo) left an indelible mark on me. I could easily picture Himmo in her seashell slippers collecting the remnants of the sea.
Why did I compare it to The Wasteland? Because you can spend hours dissecting the book. The author mentions both Eliot and Roland Barthes in the acknowledgements. The latter presented a concept called 'The Death of the Author' meaning that the reader is ultimately giving meaning to the book and not the author; what is a book but the interpretation by the reader? Leaving the meaning-making to the reader is commendable, but a lot of the meaning escaped me. I don't believe reading a book should have to be this difficult and is one of the reasons why I don't like reading T. S. Eliot's works outside of my academic needs. The book made me feel like I had to sit down with a compass and a ruler to connect the dots and make meaning. I, personally, would have preferred the language to be less convoluted. Overall, this is a great piece of experimental work for a debut with a great skeleton, and I'm eager to see where this experimentation leads Prasad.
Glass Bottom presents the story of four characters building their existence in the lap of Mother Nature. The synopsis reminded me of Riders by Synge as these characters similarly battle with the Arabian Sea. As Synge's Maurya deals with the grief of losing her children to the sea, in Glass Bottom the sea is painted as avenging the injustice that women and nature have to tackle during the onslaught of modernity. Nature is our protector but also a destroyer when she is treated with grave injustice. The environment is being punished to make way for new monstrous establishments. As you've guessed already, eco-feminisim is a prominent theme in this book. Some of the imagery provided by the sea, symbols such as the hair, and shared moments with the characters (especially Himmo) left an indelible mark on me. I could easily picture Himmo in her seashell slippers collecting the remnants of the sea.
Why did I compare it to The Wasteland? Because you can spend hours dissecting the book. The author mentions both Eliot and Roland Barthes in the acknowledgements. The latter presented a concept called 'The Death of the Author' meaning that the reader is ultimately giving meaning to the book and not the author; what is a book but the interpretation by the reader? Leaving the meaning-making to the reader is commendable, but a lot of the meaning escaped me. I don't believe reading a book should have to be this difficult and is one of the reasons why I don't like reading T. S. Eliot's works outside of my academic needs. The book made me feel like I had to sit down with a compass and a ruler to connect the dots and make meaning. I, personally, would have preferred the language to be less convoluted. Overall, this is a great piece of experimental work for a debut with a great skeleton, and I'm eager to see where this experimentation leads Prasad.
August 4, 2024
thank you Pan Macmillan for the review copy.
This novel tells the story of Luni, Himmo, Gul, and Arth, two mother-daughter pairs navigating their identities and personalities from both personal and societal perspectives.
There are numerous elements I could relate to, especially the mother-daughter dynamics and how they shape their identities around each other. While this aspect will likely be widely discussed by other readers, I want to focus on the role of the Arabian Sea, and nature in general, which is intricately woven into the lives of the characters. The author paints an ambiguous portrait of the sea and the whale (is it a whale?) and explores how the characters find both comfort and discomfort in it. This narrative also highlights a profound connection with ecofeminism, drawing parallels between the destruction of nature by men and the oppression of women. Through these comparisons, the novel subtly critiques the ways in which patriarchal society exploits both women and the environment, showcasing the resilience and interconnectedness of both.
Another relatable element is Himmo’s longing for a father or father figure. The guilt of desiring a father figure when your mother provides the world for you is a nuanced topic not often discussed in media. The conversations between Gul and Arth about the death of Gul's father (Arth's grandfather) reveal a daughter's understanding of her father’s suffering and the difficulty of letting go of a grandparent. This dynamic reminded me of Beauvoir’s A Very Easy Death, as it poignantly explores grief and the complexities of familial bonds, adding a layer of emotional depth to the narrative.
The author's remark during one of our conversations, "That’s the good thing about literature, it takes you to places," resonates deeply with this novel. The writing is extremely lyrical, demanding patience to unravel the layers of metaphors and themes. There were moments when I found myself Googling phrases in the middle of the night, which, while enriching, eventually became a bit taxing due to my difficulty comprehending the complex prose.
Despite this, the intricate writing style invites fans of complex fiction to immerse themselves fully. I plan to revisit this book in a few years to see what new insights I can glean, anticipating that different stages of life might offer fresh perspectives on the themes and characters.
This novel tells the story of Luni, Himmo, Gul, and Arth, two mother-daughter pairs navigating their identities and personalities from both personal and societal perspectives.
There are numerous elements I could relate to, especially the mother-daughter dynamics and how they shape their identities around each other. While this aspect will likely be widely discussed by other readers, I want to focus on the role of the Arabian Sea, and nature in general, which is intricately woven into the lives of the characters. The author paints an ambiguous portrait of the sea and the whale (is it a whale?) and explores how the characters find both comfort and discomfort in it. This narrative also highlights a profound connection with ecofeminism, drawing parallels between the destruction of nature by men and the oppression of women. Through these comparisons, the novel subtly critiques the ways in which patriarchal society exploits both women and the environment, showcasing the resilience and interconnectedness of both.
Another relatable element is Himmo’s longing for a father or father figure. The guilt of desiring a father figure when your mother provides the world for you is a nuanced topic not often discussed in media. The conversations between Gul and Arth about the death of Gul's father (Arth's grandfather) reveal a daughter's understanding of her father’s suffering and the difficulty of letting go of a grandparent. This dynamic reminded me of Beauvoir’s A Very Easy Death, as it poignantly explores grief and the complexities of familial bonds, adding a layer of emotional depth to the narrative.
The author's remark during one of our conversations, "That’s the good thing about literature, it takes you to places," resonates deeply with this novel. The writing is extremely lyrical, demanding patience to unravel the layers of metaphors and themes. There were moments when I found myself Googling phrases in the middle of the night, which, while enriching, eventually became a bit taxing due to my difficulty comprehending the complex prose.
Despite this, the intricate writing style invites fans of complex fiction to immerse themselves fully. I plan to revisit this book in a few years to see what new insights I can glean, anticipating that different stages of life might offer fresh perspectives on the themes and characters.
August 9, 2024
Set against the stunning backdrop of the Arabian Sea, Glass Bottom delves into the intertwined lives of two mother-daughter pairs: Gul and Arth, and Luni and Himmo. Their stories, deeply connected with the natural world and the sea that surrounds them, unfold as a dead sea creature washes ashore and a tumultuous storm brews on the horizon.
From the very first chapter, the author’s exquisite prose and stunning lyricism captivated me. The mesmerizing sentences perfectly complement the haunting and atmospheric setting of the Arabian Sea. The vivid descriptions evoke a longing for a place you've never visited, yet feel deeply connected to.
Though the novel presents multiple perspectives, each character's voice stands out as distinct and unique, making it easy to follow their individual journeys.
Glass Bottom delves into ecofeminism, drawing parallels between the annihilation of nature and the maltreatment of women under patriarchal systems. The same forces that devalue the environment often suppress women, particularly in traditional roles. Despite this, both women and nature demonstrate an enduring strength, with the power to regenerate, resist, and sustain life.
Despite its brevity, every chapter is infused with deep emotion and complexity. Luni’s struggle as a single mother, Himmo’s childlike innocence, and the intricate, relationship between Gul and Arth all contribute to a narrative that is both raw and profoundly emotional.
While the plot occasionally feels convoluted or aimless, the rich writing and well-drawn characters consistently pull it back on track.
If you love literary fiction, then this is a must read!
From the very first chapter, the author’s exquisite prose and stunning lyricism captivated me. The mesmerizing sentences perfectly complement the haunting and atmospheric setting of the Arabian Sea. The vivid descriptions evoke a longing for a place you've never visited, yet feel deeply connected to.
Though the novel presents multiple perspectives, each character's voice stands out as distinct and unique, making it easy to follow their individual journeys.
Glass Bottom delves into ecofeminism, drawing parallels between the annihilation of nature and the maltreatment of women under patriarchal systems. The same forces that devalue the environment often suppress women, particularly in traditional roles. Despite this, both women and nature demonstrate an enduring strength, with the power to regenerate, resist, and sustain life.
Despite its brevity, every chapter is infused with deep emotion and complexity. Luni’s struggle as a single mother, Himmo’s childlike innocence, and the intricate, relationship between Gul and Arth all contribute to a narrative that is both raw and profoundly emotional.
While the plot occasionally feels convoluted or aimless, the rich writing and well-drawn characters consistently pull it back on track.
If you love literary fiction, then this is a must read!
September 23, 2024
Glass Bottom, the debut novel of Sonali Prasad, is a tale that is centred on the idea of Ecofeminism. Revolving around the stories of its four female protagonists, the story interweaves the complexities and tragedies of these women with the vast enigma of the sea and its exploitation by humans.
Set against the Arabian Sea, the novel narrates the interconnected lives of Gul, Arth, Luni, and Himmo — mother-daughter pairs who live by the sea. Luni is working in a beauty parlour and has a strange obsession with collecting hair strands which she uses as threads to draw pictures on a cloth tapestry. The story hints that Luni had survived an abusive marriage and had run away to save her daughter. Living among the fisherfolk, she is a single mother who is often plagued by the memories of her past. Her daughter Himmo, a curious and lively girl who loves to collect abandoned slippers and odd objects from the sea, is navigating the struggles of growing up and the absence of a father. In contrast to this working-class mother and daughter stand Gul and Arth. Gul works in the geology centre and is a scholar. Her daughter Arth who works with an artist and is grieving her grandfather’s demise, carries the weight of confusion, anxiety, and estrangement from her mother. Tied to their lives is the sea which is constantly getting encroached upon and exploited in the name of development plans. The carcass of a whale shark that washes up on the shore and the brewing of a storm bring these women to reflect on their losses, on nature and life itself.
Luni and Himmo live a separate life from Gul and Arth and although there are no direct interactions between these pairs, their lives run parallel to each other regardless of the divide in their economic and life circumstances. It is interesting to note that all four women are obsessed with collecting things. Luni collects hair from her parlour, Gul collects stones, Arth collects newspaper clippings and Himmo collects washed-up slippers from the beach. Given that these women carry a sense of loss within them, this act of collecting things appears as a desperate attempt to reclaim that loss, a habit that ties them together.
The eco-feminist aspect of the text is not limited to the four protagonists but to all the women living around them. The author notes that in the event of a calamity when storms and the turbulence of the sea afflict the people of the coast, the men “who had known to run away from the waves” and “keep their heads above water” survive, but women, who are taught submissive gender roles but not survival skills, end up dead:
“The women, meanwhile, trapped by duty to their loved ones and the very thing they thought gave them currency- a forehead curl to mark the spouse’s fortune…got tangled in grass, metals and bushes; did not seek higher ground if the waves had stripped them naked; and were found gashed, wrapped, strangled…clinging to their old and young” (147)
The author also notes how mindless urbanisation and destruction not only affects nature but also the indigenous and poor people living by the shore who are displaced and ruined. Their houses, including Luni’s, are threatened by a bulldozer and the road it creates keeps moving forward like an unstoppable force, nonchalantly eliminating the people in its path:
“A few familiar faces looked out of the windows and regarded the road. The inevitability of it. It seemed to leap out of heads in power to cut through and climb over anything. No matter what the cost, or who got displaced in the process. No court order or sacred concern could halt it for too long. The tribes of the island knew this after little remained of them and their protest.” (72)
Such lines reiterate the idea that the exploitation of people and nature is the conscious doing of a capitalist power structure and its excuses of development. This becomes more evident in the story when the grand hotel by the sea is allowed to stay while the houses of poor people are accused of encroachment and razed down.
The novel has a fragmented narration. Dreams and unconnected sentences create a sense of absurdity and ambiguity. It makes the narrative hazy, clouding the characters, and allowing the reader to pick up hints about them from the haze. This makes the characters mysterious and detached. Even though some aspects of these characters, like the tussle between mothers and daughters, are relatable, largely, these women are elusive and beyond comprehension.
The two main reasons for this are the lack of context and direction in the movement of the plot and the highly complex language. Apart from the fact that this story is happening by the Arabian Sea, all other factors that define the characters are vague. Who are these women? Where did they come from? What do they wish to achieve in life? These questions are ambiguously and vaguely answered and the author spends more effort in tracing the present psychological turmoil of these characters, which without context does not exact empathy from the reader. The plot keeps meandering without an aim and the ending is as ambiguous as the beginning. The significance of the whale and what happens to these four characters at the end are not very clear. The artist who is mentioned repeatedly in Arth’s stories vanishes midway along with the missing boy Arth tried to find, to zero in on Arth’s and Gul’s mother-daughter relationship. The backstory of the grandfather is also revealed much later and it would have enhanced the plot if the author had given hints about the grandfather figure and organically led up to the conflict between Gul and Arth.
The poetry in Prasad’s language is commendable and it stands out. The high lyricism of her prose deserves special remark. However, a more concrete rendition of her ideas could have made the story as enjoyable as the poetry in her lines. The language is often cryptic and does not help in the interpretation of the context. Many of the descriptions only lead to ambiguity which disrupts the flow of reading and the reader's comprehension.
Glass Bottom is a story with a lot of potential, but it may not be everyone’s cup of tea. The idea behind the story is interesting but the execution could have been better. If not for the story, readers who love lyrical prose can surely give this book a chance.
Set against the Arabian Sea, the novel narrates the interconnected lives of Gul, Arth, Luni, and Himmo — mother-daughter pairs who live by the sea. Luni is working in a beauty parlour and has a strange obsession with collecting hair strands which she uses as threads to draw pictures on a cloth tapestry. The story hints that Luni had survived an abusive marriage and had run away to save her daughter. Living among the fisherfolk, she is a single mother who is often plagued by the memories of her past. Her daughter Himmo, a curious and lively girl who loves to collect abandoned slippers and odd objects from the sea, is navigating the struggles of growing up and the absence of a father. In contrast to this working-class mother and daughter stand Gul and Arth. Gul works in the geology centre and is a scholar. Her daughter Arth who works with an artist and is grieving her grandfather’s demise, carries the weight of confusion, anxiety, and estrangement from her mother. Tied to their lives is the sea which is constantly getting encroached upon and exploited in the name of development plans. The carcass of a whale shark that washes up on the shore and the brewing of a storm bring these women to reflect on their losses, on nature and life itself.
Luni and Himmo live a separate life from Gul and Arth and although there are no direct interactions between these pairs, their lives run parallel to each other regardless of the divide in their economic and life circumstances. It is interesting to note that all four women are obsessed with collecting things. Luni collects hair from her parlour, Gul collects stones, Arth collects newspaper clippings and Himmo collects washed-up slippers from the beach. Given that these women carry a sense of loss within them, this act of collecting things appears as a desperate attempt to reclaim that loss, a habit that ties them together.
The eco-feminist aspect of the text is not limited to the four protagonists but to all the women living around them. The author notes that in the event of a calamity when storms and the turbulence of the sea afflict the people of the coast, the men “who had known to run away from the waves” and “keep their heads above water” survive, but women, who are taught submissive gender roles but not survival skills, end up dead:
“The women, meanwhile, trapped by duty to their loved ones and the very thing they thought gave them currency- a forehead curl to mark the spouse’s fortune…got tangled in grass, metals and bushes; did not seek higher ground if the waves had stripped them naked; and were found gashed, wrapped, strangled…clinging to their old and young” (147)
The author also notes how mindless urbanisation and destruction not only affects nature but also the indigenous and poor people living by the shore who are displaced and ruined. Their houses, including Luni’s, are threatened by a bulldozer and the road it creates keeps moving forward like an unstoppable force, nonchalantly eliminating the people in its path:
“A few familiar faces looked out of the windows and regarded the road. The inevitability of it. It seemed to leap out of heads in power to cut through and climb over anything. No matter what the cost, or who got displaced in the process. No court order or sacred concern could halt it for too long. The tribes of the island knew this after little remained of them and their protest.” (72)
Such lines reiterate the idea that the exploitation of people and nature is the conscious doing of a capitalist power structure and its excuses of development. This becomes more evident in the story when the grand hotel by the sea is allowed to stay while the houses of poor people are accused of encroachment and razed down.
The novel has a fragmented narration. Dreams and unconnected sentences create a sense of absurdity and ambiguity. It makes the narrative hazy, clouding the characters, and allowing the reader to pick up hints about them from the haze. This makes the characters mysterious and detached. Even though some aspects of these characters, like the tussle between mothers and daughters, are relatable, largely, these women are elusive and beyond comprehension.
The two main reasons for this are the lack of context and direction in the movement of the plot and the highly complex language. Apart from the fact that this story is happening by the Arabian Sea, all other factors that define the characters are vague. Who are these women? Where did they come from? What do they wish to achieve in life? These questions are ambiguously and vaguely answered and the author spends more effort in tracing the present psychological turmoil of these characters, which without context does not exact empathy from the reader. The plot keeps meandering without an aim and the ending is as ambiguous as the beginning. The significance of the whale and what happens to these four characters at the end are not very clear. The artist who is mentioned repeatedly in Arth’s stories vanishes midway along with the missing boy Arth tried to find, to zero in on Arth’s and Gul’s mother-daughter relationship. The backstory of the grandfather is also revealed much later and it would have enhanced the plot if the author had given hints about the grandfather figure and organically led up to the conflict between Gul and Arth.
The poetry in Prasad’s language is commendable and it stands out. The high lyricism of her prose deserves special remark. However, a more concrete rendition of her ideas could have made the story as enjoyable as the poetry in her lines. The language is often cryptic and does not help in the interpretation of the context. Many of the descriptions only lead to ambiguity which disrupts the flow of reading and the reader's comprehension.
Glass Bottom is a story with a lot of potential, but it may not be everyone’s cup of tea. The idea behind the story is interesting but the execution could have been better. If not for the story, readers who love lyrical prose can surely give this book a chance.
October 11, 2024
Glass Bottom is a book that tries to portray eco-fiction through the lives of the women in its story in parallel. The fates of four women living on a coastal land are changed the day a dead whale washes ashore. Luni, Himmo, Gul and Arth have unique personalities and are exploring lives from their point of view. However, what changes in the environment also changes their lives, unfolding in this 200-page book.
I would be lying if I said the book is as breezy and straightforward as it sounds. Because clearly, I read 100% of the book and only understood 30% of it. While I could comprehend that the mother-daughter duos - Luni and Himmo, Gul and Arth - are the centre of the story and their lives are intertwined with that of nature, I couldn't see what really changed in their lives all of a sudden.
If anything, the narration was so convoluted and haphazard, and I couldn't see where it was all going. While it sounded lyrical and philosophical, it did not make sense to me. When I finally felt I could make something out of the narrative, it looped backwards again and slipped above my head. Or maybe I am not intellectual enough to understand this book, and it's made for someone who can really figure out complex narratives.
I was at least enjoying Himmo's part initially and realised the turmoil she was going through. But the rest was all a blur. And then the part where Arth and her ghost mother Gul have some kind of fantasised relationship is where I lost it all. I understand that writers feel the need to write poignantly / lyrically / complexly. However, how complex is too complex is a serious matter of concern. I would always prefer a book that speaks to me in the simplest language, which is relatable, rather than such narratives where the whole point gets missed because of the stress on complexity. But if you want to experiment in your reading or challenge your intellect, you should try this one.
I would be lying if I said the book is as breezy and straightforward as it sounds. Because clearly, I read 100% of the book and only understood 30% of it. While I could comprehend that the mother-daughter duos - Luni and Himmo, Gul and Arth - are the centre of the story and their lives are intertwined with that of nature, I couldn't see what really changed in their lives all of a sudden.
If anything, the narration was so convoluted and haphazard, and I couldn't see where it was all going. While it sounded lyrical and philosophical, it did not make sense to me. When I finally felt I could make something out of the narrative, it looped backwards again and slipped above my head. Or maybe I am not intellectual enough to understand this book, and it's made for someone who can really figure out complex narratives.
I was at least enjoying Himmo's part initially and realised the turmoil she was going through. But the rest was all a blur. And then the part where Arth and her ghost mother Gul have some kind of fantasised relationship is where I lost it all. I understand that writers feel the need to write poignantly / lyrically / complexly. However, how complex is too complex is a serious matter of concern. I would always prefer a book that speaks to me in the simplest language, which is relatable, rather than such narratives where the whole point gets missed because of the stress on complexity. But if you want to experiment in your reading or challenge your intellect, you should try this one.
August 31, 2024
A luminous novel exploring the intricate web of human and natural transformations across time, this one line summary and the blurb stating that there are two mother-daughter pairs living by the sea coming to terms with the turbulence within them and around, exploring their deep entanglements and hidden desires, all this tempted me to pick Sonali Prasad’s debut novel - Glass Bottom. Four women characters and their ties with nature, I thought would give me a fine instance of eco fiction. Sadly, I was completely let down by the book.
A whale is hunted down, there are storms sending people in vulnerable coastal regions to shelter homes, the poor are shifted out of their homes close to the seashore while a hotel that encroaches the beach is let to stay. Arth feels that her mother, Gul should have done more to save her grandfather. Luni toils in a beauty parlor, embroiders patterns using hair strands she secretly collects from her clients while her daughter Himani gathers flip flop pairs from debris washed ashore by the Arabian sea and sells them to a scrap dealer.
I sifted through the lyrical prose that eluded my grasp and gleaned only threadbare details of the four protagonists and struggled to understand their emotions. The purple prose felt frustratingly obscure. Every author writes in a certain fashion about certain subjects for reasons and it doesn't feel pleasant to exit a book without even getting the slightest hang of these reasons. Reading this book felt like an epigrapher struggling to decipher the Indus valley civilisation script (a script yet to be decoded). There are mysteries to crack, vital clues are missing but the script itself is not meaningless. My drawing this comparison only suggests that I am currently ill equipped to understand the book. I sincerely wish Glass Bottom boasted of transparency like the glass in the title and wasn't this opaque or cryptic.
A whale is hunted down, there are storms sending people in vulnerable coastal regions to shelter homes, the poor are shifted out of their homes close to the seashore while a hotel that encroaches the beach is let to stay. Arth feels that her mother, Gul should have done more to save her grandfather. Luni toils in a beauty parlor, embroiders patterns using hair strands she secretly collects from her clients while her daughter Himani gathers flip flop pairs from debris washed ashore by the Arabian sea and sells them to a scrap dealer.
I sifted through the lyrical prose that eluded my grasp and gleaned only threadbare details of the four protagonists and struggled to understand their emotions. The purple prose felt frustratingly obscure. Every author writes in a certain fashion about certain subjects for reasons and it doesn't feel pleasant to exit a book without even getting the slightest hang of these reasons. Reading this book felt like an epigrapher struggling to decipher the Indus valley civilisation script (a script yet to be decoded). There are mysteries to crack, vital clues are missing but the script itself is not meaningless. My drawing this comparison only suggests that I am currently ill equipped to understand the book. I sincerely wish Glass Bottom boasted of transparency like the glass in the title and wasn't this opaque or cryptic.
August 7, 2024
Genre: literary fiction, environmental fiction
Glass Bottom takes you to a small coastal town where four women—Gul, Arth, Luni, and Himmo—find their lives upended by a strange sea creature and a violent storm. As they navigate their personal challenges and desires, the story delves into themes of love, loss, and resilience.
The novel paints a vivid picture of their emotional journeys, set against the backdrop of the Arabian Sea. It’s a beautifully written exploration of the connections between people and their environment, showcasing the strength and depth of its characters.
This book is a compelling and lyrical read that will leave you reflecting on the bonds we share with each other and the world around us.
This book took me some time to get into due to its lyrical storytelling, but once I got a grip on the narrative, it flowed effortlessly.
Glass Bottom takes you to a small coastal town where four women—Gul, Arth, Luni, and Himmo—find their lives upended by a strange sea creature and a violent storm. As they navigate their personal challenges and desires, the story delves into themes of love, loss, and resilience.
The novel paints a vivid picture of their emotional journeys, set against the backdrop of the Arabian Sea. It’s a beautifully written exploration of the connections between people and their environment, showcasing the strength and depth of its characters.
This book is a compelling and lyrical read that will leave you reflecting on the bonds we share with each other and the world around us.
This book took me some time to get into due to its lyrical storytelling, but once I got a grip on the narrative, it flowed effortlessly.
August 17, 2024
I was thoroughly underwhelmed by 'Glass Bottom', a novel that promises much but delivers little. The overly indulgent prose is more akin to a meandering stream-of-consciousness than a coherent narrative, making it a chore to slog through.
The characters are paper-thin and lack any semblance of depth or development. Their motivations are obscure, and their actions feel more like vehicles for the author's philosophical ramblings than genuine expressions of human emotion.
The plot is virtually nonexistent, replaced by a jumbled mess of metaphors and flowery language that fails to convey any meaningful message. It's like the author took a handful of interesting ideas, threw them in a blender, and hit puree.
Overall, 'Glass Bottom' feels like a self-indulgent exercise in literary navel-gazing. If you're looking for a novel that actually tells a story, look elsewhere.
The characters are paper-thin and lack any semblance of depth or development. Their motivations are obscure, and their actions feel more like vehicles for the author's philosophical ramblings than genuine expressions of human emotion.
The plot is virtually nonexistent, replaced by a jumbled mess of metaphors and flowery language that fails to convey any meaningful message. It's like the author took a handful of interesting ideas, threw them in a blender, and hit puree.
Overall, 'Glass Bottom' feels like a self-indulgent exercise in literary navel-gazing. If you're looking for a novel that actually tells a story, look elsewhere.
September 13, 2025
Glass Bottom by Sonali Prasad is a lyrical and poetic novel that follows the lives of two distinct mother - daughter duos against the backdrop of the Arabian Sea. The writing is rich in imagery, and the connections between the characters and nature are beautifully rendered. The sea, storms, and discarded objects act as symbolic extensions of the characters' emotions and histories, creating a reflective, almost meditative reading
experience. However, while the prose is evocative, it can feel overly dense at times, slowing the narrative and making it harder to fully connect with the characters. Some plot developments meander, and the tension between the mothers and daughters isn't always resolved in a satisfying way. Overall, the story can feel a bit boring. It's worth reading for the poetic moments and ecofeminist perspective, but it didn't fully engage me.
experience. However, while the prose is evocative, it can feel overly dense at times, slowing the narrative and making it harder to fully connect with the characters. Some plot developments meander, and the tension between the mothers and daughters isn't always resolved in a satisfying way. Overall, the story can feel a bit boring. It's worth reading for the poetic moments and ecofeminist perspective, but it didn't fully engage me.
August 9, 2024
3.25
Such lush writing!
Such lush writing!
April 3, 2025
DNF. Unreadable.
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