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Onion Tears
Love, loss and life are the themes that weave through this tale of three generations of Muslim women living in suburban South Africa. Khadeejah Bibi Ballim is a hard-working and stubborn first generation Indian who longs for her beloved homeland and often questions what she is doing on the tip of Africa. At thirty-seven, her daughter Summaya is struggling to reconcile her South African and Indian identities, while Summaya's own daughter, eleven-year old Aneesa, is a girl who has some difficult questions of her own. Is her mother lying to her about her father's death? Why won't she tell her what really happened? Gradually, the past merges with the present as the novel meanders through their lives, uncovering the secrets people keep, the words they swallow and the emotions they elect to mute. For this family, faintly detectable through the sharp spicy aromas that find their way out of Khadeejah's kitchen, the scent of tragedy is always threatening. Eventually it will bring this family together. If not, it will tear them apart.
288 pages, Kindle Edition
First published November 30, 2011
13 people are currently reading
552 people want to read
About the author
Shubnum Khan
8 books349 followersShubnum Khan is a USA Today bestselling and award-winning author. The Djinn Waits a Hundred Years is her international debut and an NYT Editors Pick. Her work has appeared in The New York Times, HuffPost, McSweeney's Quarterly Concern etc. She lives in Durban by the sea.
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Displaying 1 - 29 of 29 reviews
April 9, 2020
I thoroughly enjoyed this book. The experience of being a South African Indian woman came alive in the most palpable ways, I felt as if I could’ve lived through certain parts of the book. Excellent addition to South African literature.
October 16, 2012
There are various reasons why this novel deserves a 5 star status. First and foremost the lyrical prose in which it was written is truly a salve to the soul. Secondly the language use of the three women is typical to their age and calender time. Thirdly the themes of life and loss are handled in a way in which the reader becomes a part of these emotions and not an innocent bystander. I find the author's metaphors refreshingly new and deeply meaningful. The title not only relates to Kadeejah's handling of onions and the subsequent reasons as to her not crying as a rule when peeling them but also profoundly to the layers of the novel. Layers are peeled back to reveal ever more truths lying in wait. We peel the layers of the characters to the bare essences.In Kadeejah's break down toward the end of the novel all the tears regarding previous experiences are at last released and the character reaches an epiphany. I was moved by this novel; hats off to Shubnum Kahn.
May 10, 2011
It is her debut novel and is already being translated into Italian. Moreover, 1 500 copies have been
bought and will be sold in India. I spoke to Shubnum Khan about her
novel that was shortlisted for the Penguin Prize for African Writing and has made this year’s
Exclusive Books Homebru list
ONION Tears is a story about three generations of Muslim women living in Johannesburg. It is a simple story of loss, love and life. Its characters are women in a single family, going about their lives as best they can.
However, it is a story told with such passion and heart, it left me breathless.
As I discussed my response with Shubnum Khan, the 26-year-old who teaches creative writing at the University of KwaZulu-Natal, I began to understand my response more clearly.
Khan is a petite, passionate woman who is very clear about what she wants in life, yet also has many questions and things she still needs to do “to grow” as a person.
It’s her passion for life and her regard for the importance of people, no matter who they are, that comes through so strongly in her novel.
A strong cast of characters fills this novel with such humanity, it’s easy to be caught up in the intensity of their lives and be a bit shell-shocked when the novel ends so abruptly, yet aptly.
Khadeejah Bibi Ballim, the central character, is a feisty person with untold spunk in the face of adversity. She comes to South Africa as a young girl and is constantly longing for India – her beloved homeland – questioning her existence in a country that confounds her.
Her 37-year-old daughter, Summaya, is caught between her South African and Indian identities – finding they are not easily reconcilable. She is a single mother who has a deep, dark secret.
Summaya’s daughter, 11-year-old Aneesa, is very much a South African, but is struggling with her own questions of identity. Is her father really dead? Is her mother lying about him?
According to Khan, each character is in search of something – peace, lost love, a father; and this ultimately means an elusive search for
identity.
A story of love and loss is woven into their particular experiences – creating a breathtaking drama in which past and present merge to reveal shattering secrets.
Khan has a Master’s degree in creative writing and teaches English and media studies at UKZN. She is also a freelance journalist, cartoonist and painter. Onion Tears is her first book. This is an impressive resumé for someone so young and I feel this is only the beginning, for this multi-talented woman.
Despite teaching her students to plot their novels, Khan failed to heed her own advice when working on her novel.
Drawing from her lecturer’s saying to “write what you know”, Khan drew from her own experiences within her family – and so
Onion Tears was born.
“This is not a story based on plot,” she says. “It is, rather, a very character-driven novel. I have three sisters and my mom has six sisters, so I know a great deal about the lives of women.
“My writing is most real when I write about women and the challenges they face.”
In the case of Onion Tears, Khan feels she has created strong female characters, maybe to the detriment of the plot. It appears to be a gamble that has paid off.
That being said, I had to enquire about exactly how much of the novel is based on Khan’s own life.
Khadeejah’s character is based on an aunt, Khan admits. However, all the other characters are fictional – and not.
“I have put elements of myself into my book,” she says, “but not necessarily as I am in reality.”
If it’s a love story you are looking for, or a story with a movie ending, Onion Tears will probably disappoint you. Despite the theme of love flowing through its pages it is not a love story.
It is a story according to Khan about “real” people and their very “real” lives – where nothing ends neatly.
Sometimes really “big and exciting” characters do become “frightened and introverted” after a single experience, she says. But this is one of the reasons the novel left me breathless.
All of the three main characters undergo a change because of a single event.
The concept of identity is a central theme in the novel and Khan hopes Onion Tears is
able to convey the fluid and changing nature of identity.
By moving to the past and back to the present Khan hopes to press home this idea. It is the unexpected things that have happened in the characters’ past, especially that of Khadeejah and Summaya, which changes them and their futures.
Khan is adamant she does not write with a specific message in mind. “Hopefully, through their personal experiences, readers will draw their own messages from my book,” she says.
Her goal is for readers to understand and reflect on the fact “that women go through similar trials and tribulations all over the world, no matter what their race or religion”. Khan hopes to prod people to think about issues they would not normally think about.
Hence she has three generations of women in her novel offering up three different perspectives on the recurring themes of love, loss and identity.
In so doing Khan is also, inadvertently, turning the old stereotype of the homogeneity of particular groups of people on its head.
This is not just a story about Muslim women and their place in society.
How can it be when each woman in the novel is so
different?
But their stories are equally important. “What we need to take heed of is that everyone has a different story and each person has his or her own justification for acting in a particular way.”
This book does touch on issues of Indian culture and Muslim women in Indian culture, but “this is just a prop to tell a story about life”.
Khan’s characters demonstrate that women are
stronger than they themselves, and society, think. “However, the sad truth is that most women only learn this through an often heart-breaking experience.”
bought and will be sold in India. I spoke to Shubnum Khan about her
novel that was shortlisted for the Penguin Prize for African Writing and has made this year’s
Exclusive Books Homebru list
ONION Tears is a story about three generations of Muslim women living in Johannesburg. It is a simple story of loss, love and life. Its characters are women in a single family, going about their lives as best they can.
However, it is a story told with such passion and heart, it left me breathless.
As I discussed my response with Shubnum Khan, the 26-year-old who teaches creative writing at the University of KwaZulu-Natal, I began to understand my response more clearly.
Khan is a petite, passionate woman who is very clear about what she wants in life, yet also has many questions and things she still needs to do “to grow” as a person.
It’s her passion for life and her regard for the importance of people, no matter who they are, that comes through so strongly in her novel.
A strong cast of characters fills this novel with such humanity, it’s easy to be caught up in the intensity of their lives and be a bit shell-shocked when the novel ends so abruptly, yet aptly.
Khadeejah Bibi Ballim, the central character, is a feisty person with untold spunk in the face of adversity. She comes to South Africa as a young girl and is constantly longing for India – her beloved homeland – questioning her existence in a country that confounds her.
Her 37-year-old daughter, Summaya, is caught between her South African and Indian identities – finding they are not easily reconcilable. She is a single mother who has a deep, dark secret.
Summaya’s daughter, 11-year-old Aneesa, is very much a South African, but is struggling with her own questions of identity. Is her father really dead? Is her mother lying about him?
According to Khan, each character is in search of something – peace, lost love, a father; and this ultimately means an elusive search for
identity.
A story of love and loss is woven into their particular experiences – creating a breathtaking drama in which past and present merge to reveal shattering secrets.
Khan has a Master’s degree in creative writing and teaches English and media studies at UKZN. She is also a freelance journalist, cartoonist and painter. Onion Tears is her first book. This is an impressive resumé for someone so young and I feel this is only the beginning, for this multi-talented woman.
Despite teaching her students to plot their novels, Khan failed to heed her own advice when working on her novel.
Drawing from her lecturer’s saying to “write what you know”, Khan drew from her own experiences within her family – and so
Onion Tears was born.
“This is not a story based on plot,” she says. “It is, rather, a very character-driven novel. I have three sisters and my mom has six sisters, so I know a great deal about the lives of women.
“My writing is most real when I write about women and the challenges they face.”
In the case of Onion Tears, Khan feels she has created strong female characters, maybe to the detriment of the plot. It appears to be a gamble that has paid off.
That being said, I had to enquire about exactly how much of the novel is based on Khan’s own life.
Khadeejah’s character is based on an aunt, Khan admits. However, all the other characters are fictional – and not.
“I have put elements of myself into my book,” she says, “but not necessarily as I am in reality.”
If it’s a love story you are looking for, or a story with a movie ending, Onion Tears will probably disappoint you. Despite the theme of love flowing through its pages it is not a love story.
It is a story according to Khan about “real” people and their very “real” lives – where nothing ends neatly.
Sometimes really “big and exciting” characters do become “frightened and introverted” after a single experience, she says. But this is one of the reasons the novel left me breathless.
All of the three main characters undergo a change because of a single event.
The concept of identity is a central theme in the novel and Khan hopes Onion Tears is
able to convey the fluid and changing nature of identity.
By moving to the past and back to the present Khan hopes to press home this idea. It is the unexpected things that have happened in the characters’ past, especially that of Khadeejah and Summaya, which changes them and their futures.
Khan is adamant she does not write with a specific message in mind. “Hopefully, through their personal experiences, readers will draw their own messages from my book,” she says.
Her goal is for readers to understand and reflect on the fact “that women go through similar trials and tribulations all over the world, no matter what their race or religion”. Khan hopes to prod people to think about issues they would not normally think about.
Hence she has three generations of women in her novel offering up three different perspectives on the recurring themes of love, loss and identity.
In so doing Khan is also, inadvertently, turning the old stereotype of the homogeneity of particular groups of people on its head.
This is not just a story about Muslim women and their place in society.
How can it be when each woman in the novel is so
different?
But their stories are equally important. “What we need to take heed of is that everyone has a different story and each person has his or her own justification for acting in a particular way.”
This book does touch on issues of Indian culture and Muslim women in Indian culture, but “this is just a prop to tell a story about life”.
Khan’s characters demonstrate that women are
stronger than they themselves, and society, think. “However, the sad truth is that most women only learn this through an often heart-breaking experience.”
March 29, 2020
This book is a beautiful ode to women. All women trying to find their place in a male dominated world, society, community, household, environment. It's not what makes us the same that matters. It's how we are different. That's where our strengths lie. That's how we survive all that's meant to put us down. 3 generations of incredibly wise females, beautiful and smart, and at different stages of life. All so relevant and all so genuinely portrayed. Enjoyed the character development and style of writing - very emotive and believable.
Also, women are really strong. All women nje that are showed flames by these good-for-nothing males, but pick up the pieces, try piece them together and continue living. Some are still trying, years after they got burned. Can't be easy. And I love how they weren't perfect people themselves, the main characters. They weren't painted as innocents to whom bad things randomly happened, so we feel for them more; especially the older ladies.
I also loved how it sort of broke down all these racial and religious constructs we seem to feel separate us. It's written by a Muslim lady, about Muslims, and it's crazy how the Way they are brought up, and their family dynamics, are similar to the black community. It reinforces the truth that toxicity exists in all communities.
I did feel like she takes her writing style from Arundhati Roy. Not the whole set though, just in the way she personifies abstract things and feelings and moments in order to emphasise their importance in the development of the story and the character. I only noticed this because I read The God of Small Things right before reading this one, so I could just be seeing things. But it definitely didn't take away anything from the story, so I'm not complaining.
Also, women are really strong. All women nje that are showed flames by these good-for-nothing males, but pick up the pieces, try piece them together and continue living. Some are still trying, years after they got burned. Can't be easy. And I love how they weren't perfect people themselves, the main characters. They weren't painted as innocents to whom bad things randomly happened, so we feel for them more; especially the older ladies.
I also loved how it sort of broke down all these racial and religious constructs we seem to feel separate us. It's written by a Muslim lady, about Muslims, and it's crazy how the Way they are brought up, and their family dynamics, are similar to the black community. It reinforces the truth that toxicity exists in all communities.
I did feel like she takes her writing style from Arundhati Roy. Not the whole set though, just in the way she personifies abstract things and feelings and moments in order to emphasise their importance in the development of the story and the character. I only noticed this because I read The God of Small Things right before reading this one, so I could just be seeing things. But it definitely didn't take away anything from the story, so I'm not complaining.
June 5, 2024
Peeling back the layers of an onion will reduce you to tears…It’s much like that as you delve under the layers of the recently re-released ‘Onion Tears’, Shubnum Khan’s first novel. There will be tears as you discover the secrets, frustration at the stubbornness, understanding as culture prevails and underlines every action, and the added tension that accompanies a good story.
Khan writes a multi layered story intersecting it with a touch of magic and her beautiful turn of phrase. Walls become almost human, breathing, absorbing the secrets of the residents, the aromas of the food, pulsing with the secrets that lie within.
The story is about the relationship between three strong women. Nani Khadeejah is the cook, bottling atchar and making traditional dishes for family, friends and neighbours. Food is her kingdom. Tough, first generation South African Indian, her family and her culture are everything. Daughter Summaya is a travel agent, not something her mother approves of but, well, Summaya is the modern woman, defying convention (or so she thinks) it is what it is. She is a beautiful but sad woman, missing her dead husband, fiercely protective of her daughter Aneesa, guiltily aware of all the unspoken secrets she carries within her. But secrets have a way of unravelling and with the past weighing very heavily on the present it is the young Aneesa who questions, pokes and discovers what the hidden stories are.
The gossips of the community, the malicious and jealous relative, whispering behind doors, all are portrayed with precision, humour and understanding and a sprinkling of Indian dialects. But it is a terrible incident that provokes a reconciliation for all that went before.
Khan builds her characters boldly, each inhabiting their own skins. She shows their strengths and weaknesses. She observes her fellows well. For Khadeejah preserving the Indian culture is vital but for Summaya assimilation is her space, moving on her challenge. Aneesa will lead the way with her youthful view as she negotiates a friendship that opens the doors to uncovering the mystery of her dead father.
‘You could be, or not be’, says Khan and truly we choose who we want to be. While culture is part of our lives and shapes our understanding of the world around us, it can restrict our view and our choices. Khan well deserves the accolades this book received on its first publication and I felt very satisfied on finishing it. Quite unlike her latest book’ The Lost Love of Akbar Manzil’ it shows her as a writer of extraordinary talent.
Khan writes a multi layered story intersecting it with a touch of magic and her beautiful turn of phrase. Walls become almost human, breathing, absorbing the secrets of the residents, the aromas of the food, pulsing with the secrets that lie within.
The story is about the relationship between three strong women. Nani Khadeejah is the cook, bottling atchar and making traditional dishes for family, friends and neighbours. Food is her kingdom. Tough, first generation South African Indian, her family and her culture are everything. Daughter Summaya is a travel agent, not something her mother approves of but, well, Summaya is the modern woman, defying convention (or so she thinks) it is what it is. She is a beautiful but sad woman, missing her dead husband, fiercely protective of her daughter Aneesa, guiltily aware of all the unspoken secrets she carries within her. But secrets have a way of unravelling and with the past weighing very heavily on the present it is the young Aneesa who questions, pokes and discovers what the hidden stories are.
The gossips of the community, the malicious and jealous relative, whispering behind doors, all are portrayed with precision, humour and understanding and a sprinkling of Indian dialects. But it is a terrible incident that provokes a reconciliation for all that went before.
Khan builds her characters boldly, each inhabiting their own skins. She shows their strengths and weaknesses. She observes her fellows well. For Khadeejah preserving the Indian culture is vital but for Summaya assimilation is her space, moving on her challenge. Aneesa will lead the way with her youthful view as she negotiates a friendship that opens the doors to uncovering the mystery of her dead father.
‘You could be, or not be’, says Khan and truly we choose who we want to be. While culture is part of our lives and shapes our understanding of the world around us, it can restrict our view and our choices. Khan well deserves the accolades this book received on its first publication and I felt very satisfied on finishing it. Quite unlike her latest book’ The Lost Love of Akbar Manzil’ it shows her as a writer of extraordinary talent.
January 15, 2012
I really really enjoyed this easy to read but not vacuous story.
This South African novel tells the story of three generations of Indian women, living in South Africa. The very distinctly South African feel merges wonderfully with what feels like a very authentic Indian experience.
I love South African literature and try to read as much of it as I can. This book is a great example of South African literature. It is wonderfully rich, real and vibrant, and very clearly South African without beating any of the usual ‘African’ drums. It is the story of women who live in South Africa – it makes very little political comment and, yay, HIV or Aids are never mentioned.
I love the fact that we as a country seem to be producing stories which just tell South African stories and do not need to make a South African point.
This being said, the lives the three female characters in the book have could probably only happen in this country.
Khadeejah Bibi Ballim (grandmother), Summaya (daughter), and Aneesa (granddaughter), and the small cast of side characters populate the story very successfully. Despite the very small cast the book never feels thin. In fact, the richness of the inner life of these characters, together with the succulently described cooking and food preparation, makes the book positively bursting at the seams.
They live their separate and yet very interlinked lives, trying to do the best they can with what they have. The sadness in all three is as evident as the glimmer of hope which all three are slowly revealed to have. These are strong female characters, getting through life, negotiating the trials they encounter. They are flawed but very likable people.
In this saffron- feeling book, the women’s rich past, their future and their very closely shared present all co-exist, carried along on the smell of achar and envy.
If this book was a colour it would be henna brown with saffron yellow streaks.
If it were a smell it would be garlic and onion gently sweating with Indian spices heating in the oil.
If it were a sound it would be children’s laughter, crackly old paper and the sound of a sharp knife slicing through cold onion.
But lucky for us this is a book and as such is a wonderful afternoon and evening curled up in the warmth of the these women’s lives.
I do hope Shubnum Khan writes another novel and that it as rich and satisfying as this one.
This South African novel tells the story of three generations of Indian women, living in South Africa. The very distinctly South African feel merges wonderfully with what feels like a very authentic Indian experience.
I love South African literature and try to read as much of it as I can. This book is a great example of South African literature. It is wonderfully rich, real and vibrant, and very clearly South African without beating any of the usual ‘African’ drums. It is the story of women who live in South Africa – it makes very little political comment and, yay, HIV or Aids are never mentioned.
I love the fact that we as a country seem to be producing stories which just tell South African stories and do not need to make a South African point.
This being said, the lives the three female characters in the book have could probably only happen in this country.
Khadeejah Bibi Ballim (grandmother), Summaya (daughter), and Aneesa (granddaughter), and the small cast of side characters populate the story very successfully. Despite the very small cast the book never feels thin. In fact, the richness of the inner life of these characters, together with the succulently described cooking and food preparation, makes the book positively bursting at the seams.
They live their separate and yet very interlinked lives, trying to do the best they can with what they have. The sadness in all three is as evident as the glimmer of hope which all three are slowly revealed to have. These are strong female characters, getting through life, negotiating the trials they encounter. They are flawed but very likable people.
In this saffron- feeling book, the women’s rich past, their future and their very closely shared present all co-exist, carried along on the smell of achar and envy.
If this book was a colour it would be henna brown with saffron yellow streaks.
If it were a smell it would be garlic and onion gently sweating with Indian spices heating in the oil.
If it were a sound it would be children’s laughter, crackly old paper and the sound of a sharp knife slicing through cold onion.
But lucky for us this is a book and as such is a wonderful afternoon and evening curled up in the warmth of the these women’s lives.
I do hope Shubnum Khan writes another novel and that it as rich and satisfying as this one.
May 27, 2012
what a beautiful book! i've been meaning to read this book for a while now. I bought it a few days ago and was surprised that it was a local south African author! I didnt even know that. I finished it tonight in a restaurant and cried in public. wow, what gut wrenching emotions. and it was so beautifully written. this book really deserves a five star!
January 7, 2023
Incredible piece of work, feel a bit silly for putting this off for so long, thinking it’s “chick-lit.” It’s so far from that. A surprisingly modern, dark tale. It’s morbid; it’s dark; it’s very courageous; it faces the sadness of life headlong; it’s erotic; it’s hilarious. It’s life-affirming (if you have a perspective on life that life is joyous even if it’s difficult).
I had two prior paperback versions of this book which both accidentally got lost. I finally bought a digital version last year and I’m so glad that I read it now. If I had read it earlier I would not be appreciative of what a monumental achievement this is. Now that I’m older, I’m more attuned to story structure and the decisions a writer makes. The author is so skilful here in telling the story through three women, from three generations, each talking and thinking in an authentic voice. And instead of being a gimmick it allows story to reveal in a very unique, rich way. The 3 characters feel real, and instead of confining them to their generational stereotypes, the author frees them to be human, my favourite example is when the granny character reminisces her youth experiences of the boy in the bath tub.
It’s modern because it describes a dead corpse as beautiful. It’s modern because it tells how the best people, trying their best, make mistakes. It openly shows the flaws of the SA Indian community, unpleasant aspects which most don’t talk about publicly. Racism, being tough to wives. It’s modern because it’s not written for a certain audience, expecting to be accepted, it’s an author expressing thoughts freely for no audience in particular.
This book will always have time-capsule value for me, as so much of what is told here overlaps with my childhood. In particular how she describes that scene in the flats in Laudium.
I had two prior paperback versions of this book which both accidentally got lost. I finally bought a digital version last year and I’m so glad that I read it now. If I had read it earlier I would not be appreciative of what a monumental achievement this is. Now that I’m older, I’m more attuned to story structure and the decisions a writer makes. The author is so skilful here in telling the story through three women, from three generations, each talking and thinking in an authentic voice. And instead of being a gimmick it allows story to reveal in a very unique, rich way. The 3 characters feel real, and instead of confining them to their generational stereotypes, the author frees them to be human, my favourite example is when the granny character reminisces her youth experiences of the boy in the bath tub.
It’s modern because it describes a dead corpse as beautiful. It’s modern because it tells how the best people, trying their best, make mistakes. It openly shows the flaws of the SA Indian community, unpleasant aspects which most don’t talk about publicly. Racism, being tough to wives. It’s modern because it’s not written for a certain audience, expecting to be accepted, it’s an author expressing thoughts freely for no audience in particular.
This book will always have time-capsule value for me, as so much of what is told here overlaps with my childhood. In particular how she describes that scene in the flats in Laudium.
February 18, 2013
Poignant and touching, An affirmation of sorts.
November 9, 2015
My review of Onion Tears can be found in the following audio story: https://soundcloud.com/shaguftap/on-r...
July 20, 2025
4 ⭐
i'm wondering if aneesa ends up with hoosein
i'm wondering if aneesa ends up with hoosein
June 5, 2013
Onion Tears is very easy to read, the conversational, precocious tone of the narrator makes turning each page a pleasure than a chore. Never does it seem the reader is "going through the motions", every sentence and every detail adds to the story and each character's profile. At the start we would be learning some stuff about each character and then every so often we'd be told something out of the blue that almost jolts us, but causes us to realise the assumptions we've automatically subconsciously made.
The book would probably be optimally appreciated by a female Muslim of Indian descent, preferably with some experience or understanding of South Africa (I only fit 75% of that criteria myself!), but I see no reason why anyone who simply recognises good writing and a story told with 'pyaar' wouldn't enjoy this.
There are occasions where the short 'chapters' dedicated to one of the characters and their sometimes abrupt endings seem to slightly upset the rhythm, and maybe the less obvious Afrikaans phrases could be explained, but I'm clutching at straws to offer criticisms in a novel where I was easily able to empathise with and visualise every character and setting.
I immediately saw similarities with White Teeth, I am sure Ms Khan's career will be as illustrious and decorated as Zadie's, and I certainly look forward to the next offering from this debutant whose already seasoned writing can soften even the hardest of hard hearted readers.
The book would probably be optimally appreciated by a female Muslim of Indian descent, preferably with some experience or understanding of South Africa (I only fit 75% of that criteria myself!), but I see no reason why anyone who simply recognises good writing and a story told with 'pyaar' wouldn't enjoy this.
There are occasions where the short 'chapters' dedicated to one of the characters and their sometimes abrupt endings seem to slightly upset the rhythm, and maybe the less obvious Afrikaans phrases could be explained, but I'm clutching at straws to offer criticisms in a novel where I was easily able to empathise with and visualise every character and setting.
I immediately saw similarities with White Teeth, I am sure Ms Khan's career will be as illustrious and decorated as Zadie's, and I certainly look forward to the next offering from this debutant whose already seasoned writing can soften even the hardest of hard hearted readers.
June 4, 2013
Shubnum Khan's debut novel gives us a perspective on South African life that in my opinion has so far been missing from our country's literature. Reading this for me was like an intimate conversation with a friend who understands and knows the idiosyncratic culture of South African Indian people. The familiarity of reading about characters who, although in the novel are Muslim, by their mannerisms and culture represent a much wider spectrum of Indian South Africans and our experience of identity, was an edifying experience.
She not so much explores as unveils these facts and ideas through the voices of 3 generations in a single family living in post-apartheid SA, because what could have been a dry examination of identity and culture is really a captivating story that just happens to be about a demographic that in my opinion, has so far not been represented in fiction.*
In my opinion, I find our stories as South Africans tend to focus on the political first and the human second, so I believe this book is valuable for two reasons: For it's value as an expression of the South African Indian culture post-apartheid, and it's value as a beautifully written, captivating story that will take anyone on a journey with characters you will love and know when you finish the last page.
*If anyone knows of any similar writers/stories please let me know.
She not so much explores as unveils these facts and ideas through the voices of 3 generations in a single family living in post-apartheid SA, because what could have been a dry examination of identity and culture is really a captivating story that just happens to be about a demographic that in my opinion, has so far not been represented in fiction.*
In my opinion, I find our stories as South Africans tend to focus on the political first and the human second, so I believe this book is valuable for two reasons: For it's value as an expression of the South African Indian culture post-apartheid, and it's value as a beautifully written, captivating story that will take anyone on a journey with characters you will love and know when you finish the last page.
*If anyone knows of any similar writers/stories please let me know.
June 18, 2015
A light-hearted still a touching story - I found this book to be a wonderful read.
The story telling is powerful with various layers intertwined - complex characters with strong identities, their intricate past, and the society they deal with. The author never fails to see the humour in all of it, and as she reveals the layers of the personalities, answers to their questions, and the different faces of society, the commentary leaves the reader with much to think about, and a smile lingering behind with every page.
The highly visual vivid prose and style of writing makes for a immersive read. I particularly liked the fact the author deals with the issues of the characters treating them in a very real manner without any sort of over dramatization, making the story even more engaging.
Highly recommended, especially for anyone who has been to India or has experienced the culture at any level and wants to get a flavour of the inner lanes of the lifestyle where many people still live in large single multi-generational families. Read at an easy pace for there is much to ponder upon for the intelligent reader. Developing strong cravings for the Indian cuisine could be a side effect.
In the spirit of one of the characters, I'd say plenty of soup to fill every corner of the soul.
The story telling is powerful with various layers intertwined - complex characters with strong identities, their intricate past, and the society they deal with. The author never fails to see the humour in all of it, and as she reveals the layers of the personalities, answers to their questions, and the different faces of society, the commentary leaves the reader with much to think about, and a smile lingering behind with every page.
The highly visual vivid prose and style of writing makes for a immersive read. I particularly liked the fact the author deals with the issues of the characters treating them in a very real manner without any sort of over dramatization, making the story even more engaging.
Highly recommended, especially for anyone who has been to India or has experienced the culture at any level and wants to get a flavour of the inner lanes of the lifestyle where many people still live in large single multi-generational families. Read at an easy pace for there is much to ponder upon for the intelligent reader. Developing strong cravings for the Indian cuisine could be a side effect.
In the spirit of one of the characters, I'd say plenty of soup to fill every corner of the soul.
May 9, 2013
Shubnum writes the way I aspire to write. She writes about a Muslim family, focusing on three generations of women within the family. This book contains poignancy, it is poetic yet jarringly real. She creates suspense throughout the book about a family secret that kept me hooked. She knows when to slow down the pace and when to hurry up and get to the point. I believe it is art through the written word. I found myself wondering how the characters were doing after putting it down...she fooled me into believing they were people I actually new. I simply loved it.
January 29, 2012
The novel starts off leisurely, almost lazily and about midway you begin to wonder if anything is going to happen. There appears to be a dearth of plot. But as soon as you've thought it, things begin to move. Events, incidents, flashbacks, new characters. The story picks up pace and then it gets pretty meaty. If you're looking for something easy flowing, languid and yet displays a terrific play of words and simile and metaphor, this is worth a read.
June 10, 2013
I found this book surprisingly gentle and touching and it often brought tears to my eyes.
Khan manages to transport readers into this world of women, all with their own secrets, heartaches and desires. Each character is distinct and yet their shared experience comes through clearly.
The language, to me, was spot on and I enjoyed being immersed in that world.
I recommend it!
Khan manages to transport readers into this world of women, all with their own secrets, heartaches and desires. Each character is distinct and yet their shared experience comes through clearly.
The language, to me, was spot on and I enjoyed being immersed in that world.
I recommend it!
April 9, 2012
This novel is set in South Africa and tells the story of 3 generations of women from an Indian family. The story is well-told and it brought me into the world of the Indian community in South Africa, a perspective I hadn't yet explored.
August 23, 2012
Could not put it down. Beautifully written. Love how the ending of one chapter flows into the next one.
May 24, 2020
Le radici altrove è l'opera prima della scrittrice sudafricana di origine indiana Shubnum Khan. Il romanzo racconta le vicende di tre donne, nonna, figlia e nipote, tre donne di origine indiana che vivono in Sudafrica. Ognuna delle tre donne vive in modo diverso il legame con le proprie radici, passando dalla nostalgia della "matriarca" Khadeejah alla pressoché totale integrazione in Sudafrica di sua nipote Aneesa. Procedendo nella lettura, ci accorgiamo che ognuna di queste donne convive con un vuoto, lasciato dall'assenza degli uomini della loro vita. Gli uomini di questo romanzo sono assenti anche quando fisicamente presenti, figure sbiadite, senza spessore se messe a confronto con le forti personalità variegate delle protagoniste. Il romanzo risulta interessante anche da un punto di vista culturale: ogni pagina è traboccante di elementi linguistici e soprattutto culinari legati alle radici indiane e musulmane delle tre donne. Le descrizioni dei cibi riempiono la lettura di colori e odori esotici, offrendo al lettore un immaginario che non si esaurisce con il racconto, ma coinvolge anche i sensi.
Nonostante abbia apprezzato molto la costruzione dei personaggi e l'atmosfera esotica, ho rilevato diversi elementi che hanno rallentato molto la mia lettura. Innanzitutto il ritmo della narrazione è a mio avviso molto lento, a tratti pesante, per via delle numerose e prolisse digressioni in cui si raccontano gli eventi passati che hanno segnato la vita delle protagoniste. La trama non è particolarmente avvincente, motivo per cui spesso e volentieri mi sono ritrovata sul punto di abbandonare la lettura. Sin dall'inizio si parla di un evento che ha segnato il passato di Summaya, creando molta aspettativa nel lettore; aspettativa che personalmente è stata delusa in quanto il colpo di scena arriva troppo tardi e risulta troppo debole per giustificare il grande mistero che vi aleggia intorno. Nonostante abbia apprezzato molto numerosi elementi di questo romanzo, devo purtroppo valutarlo con due stelle poiché le debolezze di questo romanzo non sono adeguatamente controbilanciate da altri elementi forti.
Nonostante abbia apprezzato molto la costruzione dei personaggi e l'atmosfera esotica, ho rilevato diversi elementi che hanno rallentato molto la mia lettura. Innanzitutto il ritmo della narrazione è a mio avviso molto lento, a tratti pesante, per via delle numerose e prolisse digressioni in cui si raccontano gli eventi passati che hanno segnato la vita delle protagoniste. La trama non è particolarmente avvincente, motivo per cui spesso e volentieri mi sono ritrovata sul punto di abbandonare la lettura. Sin dall'inizio si parla di un evento che ha segnato il passato di Summaya, creando molta aspettativa nel lettore; aspettativa che personalmente è stata delusa in quanto il colpo di scena arriva troppo tardi e risulta troppo debole per giustificare il grande mistero che vi aleggia intorno. Nonostante abbia apprezzato molto numerosi elementi di questo romanzo, devo purtroppo valutarlo con due stelle poiché le debolezze di questo romanzo non sono adeguatamente controbilanciate da altri elementi forti.
December 27, 2024
Although there were parts of the book that dragged and the ending was a little anti-climatic, I really loved the author's writing style (parts of it reminded me of Arundhati Roy's Good of Small Things) and the different perspectives of the three main characters.
December 8, 2018
Quite a real life story of innocence lost and lives lived. Very good.
July 11, 2024
Wow I’ve got no words, so deeply South African and the strongest women
December 26, 2024
I found the ending quite abrupt. As if no closure could be expected.
However, I enjoyed the writing.
However, I enjoyed the writing.
January 11, 2026
Nostalgic and beautifully written. The characters were so real and so relatable, they jumped off the page.
March 29, 2025
I dithered between the 3- and 4-star ratings before settling on 3 stars, but I am happy to see that it garnered so many 5-stars. The portrayal of the grandmother and her granddaughter are the strengths of this novel. It ticks the boxes for an authentic South African story.
July 22, 2011
Quite slow paced but an enjoyable read. =)
March 22, 2014
two and a half stars. Nice. 100 page book in 300 pages.
October 3, 2016
When generation after another peeling layer after another the tears don't stop until someone reaches the core. Life of three women tangled in hope,fear and a lot more.
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