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The Inheritors
'We inherit the lineage we're all born into, with its history and its contradictions, with the very beautiful and the very ugly, neither of which we can have a hand in being able to change.'
The family of Nisar Chowdhury moves from Dhaka to Chicago when he is just thirteen, and he grows up feeling estranged from both lands. Thirty years on, he returns to the city of his birth, only to find it changed beyond recognition.
Rekindling old relationships and trying to get to grips with his father's decision to sell off their remaining properties in the city, Nisar must navigate the labyrinth of a society that has moved on without him. The Inheritors is a vivid portrait of a city giddy with the march of change.
The family of Nisar Chowdhury moves from Dhaka to Chicago when he is just thirteen, and he grows up feeling estranged from both lands. Thirty years on, he returns to the city of his birth, only to find it changed beyond recognition.
Rekindling old relationships and trying to get to grips with his father's decision to sell off their remaining properties in the city, Nisar must navigate the labyrinth of a society that has moved on without him. The Inheritors is a vivid portrait of a city giddy with the march of change.
- GenresBangladesh
Kindle Edition
Published July 17, 2024
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Displaying 1 - 5 of 5 reviews
August 1, 2024
The Great Gatsby, relocated from 1920s New York to the bustling capital of Bangladesh in the 2010s.
But it's more than that. The Inheritors is a beautifully written critique of the gulf between the partying rich and the toiling poor; it explores the shallow relationships among the rich not-so-young things and the deeper but sometimes exploitative relationships between the wealthy and those who work for them. There are genuinely three-dimensional characters and a nice touch of mystery as Nisar the outsider tried to make sense of a world he didn't fully understand.
The Plot:
Nisar, the narrator, travels to Dhaka, which he left as a thirteen year old, thirty years earlier, to sell his father's properties. His next-door neighbour, Junaid, who holds lavish parties every Saturday night in an otherwise empty apartment block, is still in love with Nisar's cousin Disha even though their previous marriage ended; she is presently with Tarek. Bit by bit, Nisar discovers more about Dhaka and Junaid. As these rich young(ish) Bengalis live an opulent life-style, their various relationships fracture and reform until tragedy strikes.
The parallels:
The parallels with The Great Gatsby are clear and start with the characters' names, whose initial letters are identical:
Narrator Nick Carraway becomes narrator Nisar Chowdhury. Nick comes from the midwestern US; so does Nisar. Nick gives a potted account of his ancestry: “The Carraways are something of a clan, and we have a tradition that we’re descended from the Dukes of Buccleuch...” (TGG Ch 1) Nisar gives himself a rather more explicit ancestry, including his mother’s side, but it starts: “The Chowdhurys were of Yemeni Arab stock. They travelled to Bengal in around the 14th century and never looked back” (Ch 1) A difference is that Nick in TGG has his thirtieth birthday while Nisar is "flirting with my forties" (Ch 1) Another is that there is no suggestion that Nisar has gay sex.
Protagonist Jay Gatsby becomes protagonist Junaid Gazi. Fitzgerald’s introduction to Gatsby is: “There was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. This responsiveness had nothing to do with that flabby impressionability which is dignified under the name of the ‘creative temperament’” (Ch 1) Zaman’s introduction to Gazi is: “He existed in a kind of beauty that was undeniable. He exemplified the mysterious coexistence of opposing forces in one single being. He was as attuned to the universe as much as to his world, like an all-purpose machine, and picked up on the changes that took place miles ahead of others. His state of mind or any grand ability to tackle life with any special creative force towards the creative had nothing to do with it.” (Ch 1) Like Gatsby, the enormously rich Gazi lives next door to the narrator in a huge building empty except for the servants and himself. Like Gatsby, Gazi throws extravagant parties which he himself scarcely participates in. Like Gatsby, Gazi is in love with the narrator's cousin. Gatsby calls Nick 'old sport', Gazi calls Nisar 'boss'. Their ends are similar. Near the end of the book, Nick meets Gatsby's father, so Nisar meets Gazi's dad.
Daisy is Nick's second cousin, once removed; Disha is Nisar’s first cousin. Daisy had a romantic relationship with Gatsby and is now the wife of Tom Buchanan. Disha was married to Gazi but is now in a relationship with Tarek Bashir.
Antagonist Tom Buchanan, Daisy's husband, is a millionaire; he has a mistress. Tarek Bashir is still married but presently in a relationship with Disha. He is "running around with Maisha" (Ch 14)
Jordan Baker is Nick Carraway's girlfriend for most of TGG though they grow apart towards the end. Nisar has a platonic relationship with Jasmine until nearly the end of TI.
George Wilson is a garage owner. Gowhar Wasim's family owns car dealerships.
Myrtle Wilson is George's wife. She is Tom Buchanan's mistress. Gowhar's wife is Maisha Wasim. She is in some sort of relationship with Tarek.
There are other parallels. For example, in TGG, there is a billboard on a highway that runs through a desert of ashy wastelands that represent industrial America. On the billboard is an advertisement for an oculist which consists of a monstrous pair of eyes overlooking the desolation; the symbolism of the all-seeing eye of God (and perhaps a reference to the eye atop the pyramid on the dollar bill) is blatant. In TI, the character Gowhar is obsessed by the idea that the stars in the night sky are God's Eyes. Nisat says: “God's Eyes. I had a literal image of eyes wearing horn-rimmed spectacles staring down from the sky. A billboard along an American highway portending the end of days while those eyes watched and judged.” (Ch 18) Another visual image is that Gazi bought his apartment block because from its roof he can see where Disha lives; Gatsby bought his house because he can see, across the Sound, a green light on the jetty at the end of Daisy's lawn.
The famous last line of TGG is "So we beat on, boats against the current, borne back ceaselessly into the past."; the last line of TI is “The past beats on, louder sometimes than the present, clearer than any visions of the future.” (Ch 28)
But there are differences. For example, Nisar has problems with a lawyer, Ehsan Kibria, who seems to have swindled his family. Both this solicitor and Meyer Wolfsheim (a friend of Gatsby's) have been involved in betting scandals; otherwise this plot line seems distinct.
I have no issues with a modern novelist mining and reforming an old source like this; Barbara Kingsolver did the same in Demon Copperhead. The only problem that I had, as with DC, was that once I had noticed the similarities, I started paying more attention to the parallels and less attention to the modern text; I was distracted from properly enjoying The Inheritors. Because this novel had a lot of great things going for it. The sense of placed was superb. The character of the narrator Nisar was much stronger than the original, Nick (a feature it shared with Demon Copperhead). There was a much stronger sense that the rich hedonists were parasites upon the poor. But the ending seemed a little rushed and, because of the parallels, it was highly predictable, even though Zaman tweaked it slightly.
Summary:
It was a fascinating glimpse into high society in Bangladesh and an entertaining story with some great characters.
But it's more than that. The Inheritors is a beautifully written critique of the gulf between the partying rich and the toiling poor; it explores the shallow relationships among the rich not-so-young things and the deeper but sometimes exploitative relationships between the wealthy and those who work for them. There are genuinely three-dimensional characters and a nice touch of mystery as Nisar the outsider tried to make sense of a world he didn't fully understand.
The Plot:
Nisar, the narrator, travels to Dhaka, which he left as a thirteen year old, thirty years earlier, to sell his father's properties. His next-door neighbour, Junaid, who holds lavish parties every Saturday night in an otherwise empty apartment block, is still in love with Nisar's cousin Disha even though their previous marriage ended; she is presently with Tarek. Bit by bit, Nisar discovers more about Dhaka and Junaid. As these rich young(ish) Bengalis live an opulent life-style, their various relationships fracture and reform until tragedy strikes.
The parallels:
The parallels with The Great Gatsby are clear and start with the characters' names, whose initial letters are identical:
Narrator Nick Carraway becomes narrator Nisar Chowdhury. Nick comes from the midwestern US; so does Nisar. Nick gives a potted account of his ancestry: “The Carraways are something of a clan, and we have a tradition that we’re descended from the Dukes of Buccleuch...” (TGG Ch 1) Nisar gives himself a rather more explicit ancestry, including his mother’s side, but it starts: “The Chowdhurys were of Yemeni Arab stock. They travelled to Bengal in around the 14th century and never looked back” (Ch 1) A difference is that Nick in TGG has his thirtieth birthday while Nisar is "flirting with my forties" (Ch 1) Another is that there is no suggestion that Nisar has gay sex.
Protagonist Jay Gatsby becomes protagonist Junaid Gazi. Fitzgerald’s introduction to Gatsby is: “There was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. This responsiveness had nothing to do with that flabby impressionability which is dignified under the name of the ‘creative temperament’” (Ch 1) Zaman’s introduction to Gazi is: “He existed in a kind of beauty that was undeniable. He exemplified the mysterious coexistence of opposing forces in one single being. He was as attuned to the universe as much as to his world, like an all-purpose machine, and picked up on the changes that took place miles ahead of others. His state of mind or any grand ability to tackle life with any special creative force towards the creative had nothing to do with it.” (Ch 1) Like Gatsby, the enormously rich Gazi lives next door to the narrator in a huge building empty except for the servants and himself. Like Gatsby, Gazi throws extravagant parties which he himself scarcely participates in. Like Gatsby, Gazi is in love with the narrator's cousin. Gatsby calls Nick 'old sport', Gazi calls Nisar 'boss'. Their ends are similar. Near the end of the book, Nick meets Gatsby's father, so Nisar meets Gazi's dad.
Daisy is Nick's second cousin, once removed; Disha is Nisar’s first cousin. Daisy had a romantic relationship with Gatsby and is now the wife of Tom Buchanan. Disha was married to Gazi but is now in a relationship with Tarek Bashir.
Antagonist Tom Buchanan, Daisy's husband, is a millionaire; he has a mistress. Tarek Bashir is still married but presently in a relationship with Disha. He is "running around with Maisha" (Ch 14)
Jordan Baker is Nick Carraway's girlfriend for most of TGG though they grow apart towards the end. Nisar has a platonic relationship with Jasmine until nearly the end of TI.
George Wilson is a garage owner. Gowhar Wasim's family owns car dealerships.
Myrtle Wilson is George's wife. She is Tom Buchanan's mistress. Gowhar's wife is Maisha Wasim. She is in some sort of relationship with Tarek.
There are other parallels. For example, in TGG, there is a billboard on a highway that runs through a desert of ashy wastelands that represent industrial America. On the billboard is an advertisement for an oculist which consists of a monstrous pair of eyes overlooking the desolation; the symbolism of the all-seeing eye of God (and perhaps a reference to the eye atop the pyramid on the dollar bill) is blatant. In TI, the character Gowhar is obsessed by the idea that the stars in the night sky are God's Eyes. Nisat says: “God's Eyes. I had a literal image of eyes wearing horn-rimmed spectacles staring down from the sky. A billboard along an American highway portending the end of days while those eyes watched and judged.” (Ch 18) Another visual image is that Gazi bought his apartment block because from its roof he can see where Disha lives; Gatsby bought his house because he can see, across the Sound, a green light on the jetty at the end of Daisy's lawn.
The famous last line of TGG is "So we beat on, boats against the current, borne back ceaselessly into the past."; the last line of TI is “The past beats on, louder sometimes than the present, clearer than any visions of the future.” (Ch 28)
But there are differences. For example, Nisar has problems with a lawyer, Ehsan Kibria, who seems to have swindled his family. Both this solicitor and Meyer Wolfsheim (a friend of Gatsby's) have been involved in betting scandals; otherwise this plot line seems distinct.
I have no issues with a modern novelist mining and reforming an old source like this; Barbara Kingsolver did the same in Demon Copperhead. The only problem that I had, as with DC, was that once I had noticed the similarities, I started paying more attention to the parallels and less attention to the modern text; I was distracted from properly enjoying The Inheritors. Because this novel had a lot of great things going for it. The sense of placed was superb. The character of the narrator Nisar was much stronger than the original, Nick (a feature it shared with Demon Copperhead). There was a much stronger sense that the rich hedonists were parasites upon the poor. But the ending seemed a little rushed and, because of the parallels, it was highly predictable, even though Zaman tweaked it slightly.
Summary:
It was a fascinating glimpse into high society in Bangladesh and an entertaining story with some great characters.
December 31, 2023
"The Inheritors" is a novel by Nadeem Zaman that explores the complex relationships within a world driven by power and privilege. The story follows Nisar Chowdhury, who returns to Bangladesh after three decades abroad to sell his father's ancestral land. Despite being greeted warmly by his cousin Disha and his father's lawyer, Mr. Ehsan, Nisar becomes intrigued by Gazi's interest in the entire estate. As he investigates the lives of the wealthy elite, he becomes trapped in a web of uncertainty and intrigue. The novel effectively juxtaposes the past and present, presenting a realistic portrayal of life in Bangladesh, which shares similarities with its Indian counterpart.
October 31, 2023
This book was so frustrating. On one hand, it really beautifully captures the ennui of an elite rich class in contemporary Dhaka and a kind of political disenchantment post-Liberation. The language is sparse and beautiful and speaks to questions of diaspora/migration/class. Around 2/3s of the way I just got so fed up with the cast; everyone was basically unlikeable without much depth and they all just seemed to be messing around while none of the relationships were going anywhere; I didn’t feel anything at the deaths at the end.
This entire review has been hidden because of spoilers.
November 18, 2023
it's not good. it's patchy, and it's an interesting premise, but I feel like the writer didn't really succeed in anything: either to flesh out the characters, or the atmosphere in the country, or any kind of politics or history.
i request the person at hachette not to write good blurbs for insipid books.
i request the person at hachette not to write good blurbs for insipid books.
August 13, 2023
This was a fantastic novel, and I really enjoyed reading a book that was written by a Bangladeshi-American set in modern day Dhaka, and not the ones that my parents or other American Bangladeshi children would have been familiar with from their stories.
Nisar Chowdhury returns to Dhaka on business for his father to sell property and rectify their financial status in the states. A struggling writer, Nisar begins to reflect on his connection to America, hoping to capture the connection of being a Bangladeshi back in Dhaka. However, when he arrives, he finds a city that is undergoing rapid development and urbanization, and an elite that his family is a part of rapidly shedding the traditional cultural and religious identity of his parents generation.
At times drawing influence from "The Great Gatsby" and also staying unique to its political, social and ecnomic commentary of post revolution Dhaka/Bangladesh in the new millennium, Zaman opens the curtain behind the two Dhakas - one that is still a monumnet to the thousands that died for independence of the nation state and the freedom to speak the mother tongue of Bangla, while the other is a bastion of wealth and dark connections, with a rising upper class that is more Western while still retaining some pride in being Bangladeshi. For Nisar, he finds himself at a crossroads, where he is not Bangladeshi enough for those here, but he's also not American enough to claim America as his home.
I fully enjoyed the novel, especially seeing how America was not seen as a central focus point for much of the narrative.
Nisar Chowdhury returns to Dhaka on business for his father to sell property and rectify their financial status in the states. A struggling writer, Nisar begins to reflect on his connection to America, hoping to capture the connection of being a Bangladeshi back in Dhaka. However, when he arrives, he finds a city that is undergoing rapid development and urbanization, and an elite that his family is a part of rapidly shedding the traditional cultural and religious identity of his parents generation.
At times drawing influence from "The Great Gatsby" and also staying unique to its political, social and ecnomic commentary of post revolution Dhaka/Bangladesh in the new millennium, Zaman opens the curtain behind the two Dhakas - one that is still a monumnet to the thousands that died for independence of the nation state and the freedom to speak the mother tongue of Bangla, while the other is a bastion of wealth and dark connections, with a rising upper class that is more Western while still retaining some pride in being Bangladeshi. For Nisar, he finds himself at a crossroads, where he is not Bangladeshi enough for those here, but he's also not American enough to claim America as his home.
I fully enjoyed the novel, especially seeing how America was not seen as a central focus point for much of the narrative.
Displaying 1 - 5 of 5 reviews