THE WEDDING is a perfectly constructed conversation about cultural and societal expectations, and about the deeply rooted and inescapable connections to community. Constructed around the unique perspectives of friends and family connected to the upcoming wedding of Baby and Devi, we feel this confinement and we watch while some lean into the comfort and security of tradition, while others kick down the door.
The novel opens with the perspective of Jasvir, the great aunt of the bride. As she greets her sister-in-law, the bride’s grandmother, it is obvious there are tensions. The complexities of tradition mixed up with the demands of not only keeping up with but showing up members of the local Indian community are on full display. The grandmother delivers the wedding invitation, along with a box of sweets – the groom’s family owns a sweets shop, and these are from a competitor – and it’s clear, the expectation is that Jasvir will notice, and that she will be impressed by all of it. Jasvir feels trapped in the family home, and with this visit, and a conversation with her daughter Ravi, we feel her sorrow at living a life not entirely of her choosing.
In a later chapter, Raman, the mother of the bride, watches her daughter at the wedding. She is both critical of, and moved by, the clichéd poetry in a slide show. “Love is the root, love is the fruit.” And she is sent into a full-on panic worried her daughter doesn’t know what she wants. “Women were raised to exist in relation to and invalidation of another – a mother, a sister, a daughter, a niece, a wife – and that is all she was: root and fruit.”
This strikes at the heart of the story, what life do we choose for ourselves and what life is decided for us? And inside all this, there is the question: what life do we deserve?
A rich and moving story about family, the ones we hate and the ones we love, and how we are never entirely free of them and who we’ve become because of them.