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No God In Sight
A daring novel about present-day Bombay and the individual lives that spark the city’s consciousness.
Fast-paced and innovative, No God in Sight captures the seething multiplicity of Bombay through first-person accounts of an abortionist, a convert, a pregnant refugee, a gangster in hiding, a butcher, and an apathetic CEO, among others.
As the reader is hurtled from monologue to short story to anecdote, disparate lives collide in tantalizing ways. A family flees religious persecution in their village to take refuge in an urban slum; women walk the tightrope of free will and dormant violence; a father and son grant each other the relief of estrangement; and young men and women struggle to comprehend the consequences of sexual attraction. At the heart of the action is the city itself: a teeming, breathing, suffering Bombay that demands subservience and total surrender before it will sanction survival.
Insightful, ironic, and scathingly honest, No God in Sight is a brilliant debut by a talented young writer.
Fast-paced and innovative, No God in Sight captures the seething multiplicity of Bombay through first-person accounts of an abortionist, a convert, a pregnant refugee, a gangster in hiding, a butcher, and an apathetic CEO, among others.
As the reader is hurtled from monologue to short story to anecdote, disparate lives collide in tantalizing ways. A family flees religious persecution in their village to take refuge in an urban slum; women walk the tightrope of free will and dormant violence; a father and son grant each other the relief of estrangement; and young men and women struggle to comprehend the consequences of sexual attraction. At the heart of the action is the city itself: a teeming, breathing, suffering Bombay that demands subservience and total surrender before it will sanction survival.
Insightful, ironic, and scathingly honest, No God in Sight is a brilliant debut by a talented young writer.
200 pages, Hardcover
First published January 1, 2005
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277 people want to read
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Displaying 1 - 30 of 43 reviews
August 5, 2016
My favorite movie critic is Richard Brody of The New Yorker. Each year, he publishes a list of the best and worst movies from around the world—the list has been my staple for years. In 2014, Brody mentioned Oscar notable Birdman in the worst category. This year, The Revenant gets some flak. Brody suggests that for both movies by the director Alejandro González Iñárritu, the gap between ambition and delivery is filled not by imaginativeness, but by a grandiose attitude: a balletic camera trying to hide a spiritual hollowness. I agree.
In literature, too, there are examples of bluster filling the gap between high ambition and actual content.
Altaf Tyrewala’s debut novel, No God in Sight, garnered near-universal praise over a two year period from 2005 to 2007, in which it was published in country after country and translated in various European languages. My Penguin copy had a front-cover Salman Rushdie blurb laden with numerous five-star adjectives. Manil Suri’s back-cover blurb called it “a bullet-train of a novel,” in a good way.
Tyrewala’s thin novel is indeed big on ambition. It is composed of dozens of vignettes, almost all in first person. What we have is not a single narrative arc but a variety of situations, all of which are supposedly contributing to the meaning inherent in the title. Tyrewala comes up with good scenarios, most of them involving Muslim protagonists. There are abortionists, shoe sellers, young lovers, cops, rich people, fake Urdu teachers, and others – all struggling to get by. But Tyrewala' writing chops do not turn up routinely. Sample the below exchange between a woman and her boyfriend:
I'm too lazy to accommodate other examples of shoddiness, but suffice to say that one often wonders if Tyrewala’s conceit of multiple 1000-word vignettes isn’t a ploy to hide the sub-standard nature of his content. It is a pity that the structure happens to be the most definitive thing here; the component stories, of variable quality, do not contribute to the initial design uniformly. The novel reads like a brief survey of lives, and the more-or-less aleatory nature of the selections bares the writer’s deficiencies. Had there been more of a plan, had the writing been better, and the vignettes longer, the book would have left a better impression. For now, this reader is left wondering just how a Salman Rushdie blurb resembles an Oscar nomination.
In literature, too, there are examples of bluster filling the gap between high ambition and actual content.
Altaf Tyrewala’s debut novel, No God in Sight, garnered near-universal praise over a two year period from 2005 to 2007, in which it was published in country after country and translated in various European languages. My Penguin copy had a front-cover Salman Rushdie blurb laden with numerous five-star adjectives. Manil Suri’s back-cover blurb called it “a bullet-train of a novel,” in a good way.
Tyrewala’s thin novel is indeed big on ambition. It is composed of dozens of vignettes, almost all in first person. What we have is not a single narrative arc but a variety of situations, all of which are supposedly contributing to the meaning inherent in the title. Tyrewala comes up with good scenarios, most of them involving Muslim protagonists. There are abortionists, shoe sellers, young lovers, cops, rich people, fake Urdu teachers, and others – all struggling to get by. But Tyrewala' writing chops do not turn up routinely. Sample the below exchange between a woman and her boyfriend:
"I'm sorry Abhay, you're just too crude! We've tremendous physical chemistry, agreed, but we can't be in bed all the time. What about the mornings or during meals? What do we talk of then? How many programmes you debugged? I want someone immersed in life, someone who can buy me diamonds while fascinating me with his take on Pynchon's works."
'No, Swati, no!' I looked up from between her thighs. 'You're the one for me! Give me two months. When I come back to Boston, I promise I'll be dripping with the humanities like you won't believe.'
I'm too lazy to accommodate other examples of shoddiness, but suffice to say that one often wonders if Tyrewala’s conceit of multiple 1000-word vignettes isn’t a ploy to hide the sub-standard nature of his content. It is a pity that the structure happens to be the most definitive thing here; the component stories, of variable quality, do not contribute to the initial design uniformly. The novel reads like a brief survey of lives, and the more-or-less aleatory nature of the selections bares the writer’s deficiencies. Had there been more of a plan, had the writing been better, and the vignettes longer, the book would have left a better impression. For now, this reader is left wondering just how a Salman Rushdie blurb resembles an Oscar nomination.
August 20, 2018
Brilliant debut. Intelligent writing.
This is a character Antakshari, forming a beautiful mosaic of different types of people.
The chapter names are teasing and interesting.
High point: The way thoughts of each character is captured is excellent.
Recommended: For innovative writing technique, and good punches in the prose.
Not recommended: For people who read a book mainly for its plot.
This is a character Antakshari, forming a beautiful mosaic of different types of people.
The chapter names are teasing and interesting.
High point: The way thoughts of each character is captured is excellent.
Recommended: For innovative writing technique, and good punches in the prose.
Not recommended: For people who read a book mainly for its plot.
April 29, 2021
I wrote about this book when it came out, so I'll just copy/paste here what I wrote back then: "No God in Sight zips along so fast you'll read it in one sitting - and then flip back to the start and read it again. Every one of the dozens of protagonists who crowd the pages leaves an indelible mark, and Mumbai itself begins to feel like the story's main character. The city grows up around us and finally towers overhead. Hilarious and searing, No God in Sight also shows the costs of poverty as well as Hindu violence against Muslims, which drives people out of their homes and derails their lives."
August 24, 2012
Cliches piled upon cliches in language that reads like a botched translation job from an Indian language, this book was a pain to get through. I am amazed that stuff like this even gets published, and to add insult to injury, I see literary giants like Rushdie, Suri and Tejpal (famous, but not really a literary giant) hailing this as the next big thing. We have a thing for topicality in India, don't we? We like stuff if they deal with "issues", no matter if they describe the whole process in the most deadening, hoary prose ever known to man. A quick but unpleasant read.
July 25, 2011
Somewhere in between a relay race and 'six degrees of separation' lies the narrative style of this excellent novel. And just like the city it showcases, it sets a scorching pace. But its not just a microcosm of the city, its also a take on social issues - from religion to class differences to a clash of the old and new. And somewhere in between is a subtext of man's search for where he came from and where he is going, and the series of connected lives and the sheer weariness that prevents them from being able to think beyond their immediate existence, somehow points towards the title - 'no god in sight'.
From the millions that make up the phenomenon that's Bombay, and gives it a 'spirit', the author manages to create a few characters that give us a glimpse of the individual lives. He begins with a seemingly nonchalant treatment of what might be considered a moral issue - abortion, and thus captures the pulse of a city and the thought process and credo of a new generation. But amazingly, there is a universal nature to it too, and more often than not, the author manages to walk this line with balance, despite the majority of characters being Muslim. Featuring the famous local trains, the cop who expounds the logic of his sense of justice, the men who share a name with a terrorist, the book is quintessentially Mumbai, and yet, from another perspective, they're just human stories. If we juxtapose the allusions to 'my mumbai' and 'your mumbai' in the corporate executive's story and the 'to be comfortable with discomfort, one must banish all contact with ease' in the butcher's story, we see two sets of people figuring out their own ways to cope with what the city and life throws at them. Sometimes, they can't, and all they want to do is escape, like Amin Bhai.
In just about 170 pages, Altaf Tyrewala creates not just the characters who make Mumbai, but even manages to represent, even if its just through a few examples, how they got there. Can't even complain about the lack of character development because the snapshots almostd efine the characters. Another great rendition of Mumbai, and a must read!
From the millions that make up the phenomenon that's Bombay, and gives it a 'spirit', the author manages to create a few characters that give us a glimpse of the individual lives. He begins with a seemingly nonchalant treatment of what might be considered a moral issue - abortion, and thus captures the pulse of a city and the thought process and credo of a new generation. But amazingly, there is a universal nature to it too, and more often than not, the author manages to walk this line with balance, despite the majority of characters being Muslim. Featuring the famous local trains, the cop who expounds the logic of his sense of justice, the men who share a name with a terrorist, the book is quintessentially Mumbai, and yet, from another perspective, they're just human stories. If we juxtapose the allusions to 'my mumbai' and 'your mumbai' in the corporate executive's story and the 'to be comfortable with discomfort, one must banish all contact with ease' in the butcher's story, we see two sets of people figuring out their own ways to cope with what the city and life throws at them. Sometimes, they can't, and all they want to do is escape, like Amin Bhai.
In just about 170 pages, Altaf Tyrewala creates not just the characters who make Mumbai, but even manages to represent, even if its just through a few examples, how they got there. Can't even complain about the lack of character development because the snapshots almostd efine the characters. Another great rendition of Mumbai, and a must read!
February 5, 2025
Absolutely loved this. This is a necessary read for everybody! Go! now! Read this!
I read it entirely in one sitting because I simply could not stop.
The premise, the way its written, the characters and the way they're all tied together is simply brilliant. I like how the moment you start to pinpoint a character as the antagonist for that specific story, the author is like bam! You're wrong, here is their story. Until you realise the consistent antagonist throughout, just like in reality, is the State and the ruling class.
The one about the beggar really stuck with me, I don't think I have ever actively thought about the pov of a beggar. I like how the author forces you to put yourself in their perspective. And immediately it is followed by the pov of some rich ceo who addresses you and 'your' bombay as different from his (the rich one).
Not to forget, the relevance of this book especially now. Considering how this was published in 2006, I think its an important read for all the libs who think the current state of affairs is only a result of the last 10 years, ignoring that muslims have been facing persecution for a long time, and has only gotten worse in the last 10 years. Overall, the book is highly important and profound.
amazing wonderful. Loved it loved it. Gonna now read more of the author!
I read it entirely in one sitting because I simply could not stop.
The premise, the way its written, the characters and the way they're all tied together is simply brilliant. I like how the moment you start to pinpoint a character as the antagonist for that specific story, the author is like bam! You're wrong, here is their story. Until you realise the consistent antagonist throughout, just like in reality, is the State and the ruling class.
The one about the beggar really stuck with me, I don't think I have ever actively thought about the pov of a beggar. I like how the author forces you to put yourself in their perspective. And immediately it is followed by the pov of some rich ceo who addresses you and 'your' bombay as different from his (the rich one).
Not to forget, the relevance of this book especially now. Considering how this was published in 2006, I think its an important read for all the libs who think the current state of affairs is only a result of the last 10 years, ignoring that muslims have been facing persecution for a long time, and has only gotten worse in the last 10 years. Overall, the book is highly important and profound.
amazing wonderful. Loved it loved it. Gonna now read more of the author!
May 17, 2018
The narrative structure of this novel is brilliant. I was hooked after just a few pages. Each chapter is a first-person story with a central character that then appears in the next chapter. The first and the last chapter correspond (does that count as a spoiler), which, truth be told, was not as satisfying as I had thought it would be. But still quite masterful.
I wonder what I would think of this book if I had ever been to India. I wonder if I would smell things or feel things and know things in my body that only my imagination could otherwise touch. Certain aspects of the grit and grime evoked memories of living in and traveling through North Africa, but I was very aware of the superimposition I was undertaking. My point in mentioning this is that I really felt a desire while reading to be able to somehow put myself on the line the characters were walking. I almost felt ashamed that I couldn't. Because even my personal and very real tragedies here all come with running water.
At the same time, this novel is not a sob story. It does not engage in self-pity. It does not strike me as an attempt to decry or glorify. Instead, each narrative is fully rooted in its place, whether it be air-conditioned and bulletproof or a high rise slum. The spectrum of representation - gender, religion, language, geography, sexuality, age, neurodiversity - is as wide as I have seen in a modern novel without feeling gratuitous.
Andrew, you were right: an excellent novel to push back against sentimental orientalism.
I wonder what I would think of this book if I had ever been to India. I wonder if I would smell things or feel things and know things in my body that only my imagination could otherwise touch. Certain aspects of the grit and grime evoked memories of living in and traveling through North Africa, but I was very aware of the superimposition I was undertaking. My point in mentioning this is that I really felt a desire while reading to be able to somehow put myself on the line the characters were walking. I almost felt ashamed that I couldn't. Because even my personal and very real tragedies here all come with running water.
At the same time, this novel is not a sob story. It does not engage in self-pity. It does not strike me as an attempt to decry or glorify. Instead, each narrative is fully rooted in its place, whether it be air-conditioned and bulletproof or a high rise slum. The spectrum of representation - gender, religion, language, geography, sexuality, age, neurodiversity - is as wide as I have seen in a modern novel without feeling gratuitous.
Andrew, you were right: an excellent novel to push back against sentimental orientalism.
September 3, 2016
This is the book form of "Humans of Bombay". Very interesting take on the lives of Mumbaikars. How self-centered people are, the consequences of being in an intimate relationship, a father-son's typical relationship, a bootwala's dream of starting a new life in New York, so on...
At some point, I felt this is another replica of Jhumpa Lahiri's "Interpreter of Maladies". Fast paced. Worth a read.
At some point, I felt this is another replica of Jhumpa Lahiri's "Interpreter of Maladies". Fast paced. Worth a read.
October 7, 2013
I felt touched by the narration
October 24, 2024
i’m not sure how you end a book like this, but i’m not sure it’s in this way
September 26, 2018
Meine Meinung:
In jede dieser Geschichten kommen viele Personen vor. Die Geschichte an sich wird, durch die einzelne Perspektivwechsel unterteilt. Was denkt der Protagonist. Welche Perspektive, welche Meinung hat er. In der ersten geht es um eine Familie. Mutter, Vater, Sohn, Schwester, Arzt, Vater des Arztes. Sie alle kommen zu Wort. Mit einem traurigen Ende. Denn eine Versöhnung gab es nicht, bevor der Vater des Arztes starb.
In wieder einer Anderen zieht es Menschen nach Mumbai um ein besseres Leben zu haben. Doch ist das überhaupt möglich? Nicht wirklich. Es gibt den Zufall das mehrere Männer, mit dem gleichen Namen hier leben. Dabei reagiert jeder anders, als ein Terrorist mit dem ihnen identischen Namen erschossen wird.
Insgesamt muss ich sagen, das die Geschichten und die Aufteilung mir sehr gefällt. Die Möglichkeit jede Person, als einzelnes Individuum zu sehen. So in die Tiefe des Denkens dieser einzutauchen, von denen hier berichtet wird ist berührend, verstörend und auch traurig.
Mein Fazit:
Menschen und ihre Sicht der Dinge.
In jede dieser Geschichten kommen viele Personen vor. Die Geschichte an sich wird, durch die einzelne Perspektivwechsel unterteilt. Was denkt der Protagonist. Welche Perspektive, welche Meinung hat er. In der ersten geht es um eine Familie. Mutter, Vater, Sohn, Schwester, Arzt, Vater des Arztes. Sie alle kommen zu Wort. Mit einem traurigen Ende. Denn eine Versöhnung gab es nicht, bevor der Vater des Arztes starb.
In wieder einer Anderen zieht es Menschen nach Mumbai um ein besseres Leben zu haben. Doch ist das überhaupt möglich? Nicht wirklich. Es gibt den Zufall das mehrere Männer, mit dem gleichen Namen hier leben. Dabei reagiert jeder anders, als ein Terrorist mit dem ihnen identischen Namen erschossen wird.
Insgesamt muss ich sagen, das die Geschichten und die Aufteilung mir sehr gefällt. Die Möglichkeit jede Person, als einzelnes Individuum zu sehen. So in die Tiefe des Denkens dieser einzutauchen, von denen hier berichtet wird ist berührend, verstörend und auch traurig.
Mein Fazit:
Menschen und ihre Sicht der Dinge.
April 8, 2008
Altaf Tyrewala's bestselling debut novel is a brilliant collective first person account of the pulsating metropolis Mumbai. The fascinatingly crafted, racy monologues add a sense of immediacy and unpredictability. the book is at once witty, surreal and dark, giving out a sense of larger forces at work. With the characters grappling with demonds - both inner and social, no God's gonna come from the skies and show you a path, each one has to work out his own destiny. (hence the tittle) The book captures confined existences in mumbai - something that is not really unique to just this city, rather anyone who's ever lived in a bustling city can relate to the experiences narrated in the book. All in all, a fantastic read!
January 4, 2012
Wow, this was an amazing book to start my 2012 reading challenge with.
The writing was almost poetic, the characters were so real, and the way each of their stories intertwined made this such an enjoyable read.
It's such a short book, a little over 200 pages so it can be read very quickly.
You don't get in depth views into each character but you still feel like you know them which, in my opinion, makes Altaf Tyrewala a great writer.
Oh, and if you like this book I highly recommend The Death of Vishnu by Manil Suri, one of my favorite books. I found out about No God in Sight from that book and I'm so glad I did.
5/5 stars. Read this book!
The writing was almost poetic, the characters were so real, and the way each of their stories intertwined made this such an enjoyable read.
It's such a short book, a little over 200 pages so it can be read very quickly.
You don't get in depth views into each character but you still feel like you know them which, in my opinion, makes Altaf Tyrewala a great writer.
Oh, and if you like this book I highly recommend The Death of Vishnu by Manil Suri, one of my favorite books. I found out about No God in Sight from that book and I'm so glad I did.
5/5 stars. Read this book!
November 24, 2012
"No God In Sight" is an ingenious way of taking the readers through a myriad of lives and perspectives and it compels you to become philosophical and question how your existence and actions have a domino effect on the lives of many others. It gives you a bird eye view of the many things happening in and around us and you are left perplexed with the ability of the author to soak his writing in the cultural mix to bring out the very essence of the characters' being. Furthermore, Altaf Tyrewala is witty and is skilled with playing on metaphors making this book a simple yet classy and humorous read.
May 27, 2012
Taught, creative, wry, dark. A portrait of dense, oppressive Mumbai and its desperate residents through vignettes of loosely overlapping characters. Not a great book but a good one, an interesting one, and an author who shows promise; Tyrewala evinces a keen observation of detail and a crative play of language. It's a page-turner and an easy read, but morally ominous. A bit Our Town meets Steinbeck.
July 25, 2018
Istantanee sull'India presentate tramite il pensiero degli innumerevoli protagonisti. Il libro mi ha ricordato una staffetta: alla partenza troviamo una donna, le sue riflessioni; il testimone viene passato al marito, poi al figlio, alla figlia e così via. Si arriva, tramite piccoli collegamenti, a incontrare tante persone, a conoscere, anche solo per qualche riga, la loro vita. Veloce, ritmato, un bel libro!!
June 23, 2008
A very quick and fascinating read about the dark, humorous, hidden and celebrated aspects of one of India's most interesting cities: Bombay. The author's style is clever and addictive. I have never read another atory presented this way that leads you into the recesses of so many people's life stories.
January 17, 2016
What a book!! The author has provided an insight to the big and busy Bombay life.By taking a view of an unusual set of characters, one gets to know about life and its various scenarios. Also, how religion in India is still associated with a person's identity. A unique style of writing.Fast paced ranging from short stories to anecdotes.This book captivates you till the end.
June 9, 2022
¿𝑄𝑢𝑒́ 𝒉𝑎 𝑠𝑖𝑑𝑜 𝑑𝑒 𝐷𝑖𝑜𝑠? 𝑂𝑠 𝑙𝑜 𝑣𝑜𝑦 𝑎 𝑑𝑒𝑐𝑖𝑟. 𝐿𝑜 𝒉𝑒𝑚𝑜𝑠 𝑚𝑎𝑡𝑎𝑑𝑜. 𝑉𝑜𝑠𝑜𝑡𝑟𝑜𝑠 𝑦 𝑦𝑜 𝑙𝑜 𝒉𝑒𝑚𝑜𝑠 𝑚𝑎𝑡𝑎𝑑𝑜.
Este extracto de una obra de Nietzsche resume a la perfección el laberíntico y caótico tejido que Tyrewala desgrana para el lector en esta obra.
La asfixiante cotidinidad que rodea los protagonistas se pega en la piel del lector como la calor que tiñe la ciudad de Mumbai, escenario de la desmitificación cruel y la pobreza extrema.
Dividida en dos grandes partes, Tyrewala juega a las muñecas rusas con la perspectiva y el foco narrativo para demostrar su habilidad de escritor - dios. La grandeza de esta novela es precisamente el contraste de las ideas con el mundo ruidoso, triste y ruin que se esconde en los sobre habitados edificios de la capital.
Aquello que nos rodea, nuestros actos y motivaciones no pueden seguir justificándose por una presencia divina, ni por la ley de la causalidad. Debemos ser honestos con nuestros éxitos, y, ante todo, con nuestras desgracias. Solo reconociendo el crimen se puede seguir el camino.
Este extracto de una obra de Nietzsche resume a la perfección el laberíntico y caótico tejido que Tyrewala desgrana para el lector en esta obra.
La asfixiante cotidinidad que rodea los protagonistas se pega en la piel del lector como la calor que tiñe la ciudad de Mumbai, escenario de la desmitificación cruel y la pobreza extrema.
Dividida en dos grandes partes, Tyrewala juega a las muñecas rusas con la perspectiva y el foco narrativo para demostrar su habilidad de escritor - dios. La grandeza de esta novela es precisamente el contraste de las ideas con el mundo ruidoso, triste y ruin que se esconde en los sobre habitados edificios de la capital.
Aquello que nos rodea, nuestros actos y motivaciones no pueden seguir justificándose por una presencia divina, ni por la ley de la causalidad. Debemos ser honestos con nuestros éxitos, y, ante todo, con nuestras desgracias. Solo reconociendo el crimen se puede seguir el camino.
September 20, 2020
The book taps itself into the reality of Mumbai, the themes of family, struggle, search for happiness, escape, all deindle in the narrative of different individuals, a unique perspective each expressing a different insight, but still within the window of observing the culture.
Beautifully written and some heart aches and laughs along the way, but the theme of uniqueness and reality bleeds in the words written.
Beautifully written and some heart aches and laughs along the way, but the theme of uniqueness and reality bleeds in the words written.
March 4, 2026
Considering it’s the author’s first work, it is quite good.
It brings forth the reality of Mumbai through multiple first person narratives sewn together seamlessly. I loved the approach of consecutive chapters being written from pov of one character to the next; akin to a relay race.
My favourite were the abortionist and the butcher.
Considering the author is Muslim, most of the characters are also Muslim only. This gives a more authentic take on the lives of the Muslim in a hostile city.
It brings forth the reality of Mumbai through multiple first person narratives sewn together seamlessly. I loved the approach of consecutive chapters being written from pov of one character to the next; akin to a relay race.
My favourite were the abortionist and the butcher.
Considering the author is Muslim, most of the characters are also Muslim only. This gives a more authentic take on the lives of the Muslim in a hostile city.
December 5, 2021
For a author who is writing his first novel and is reviewed by Salman Rushdie.
It is depicting quite honestly, the livelihood and disparate starch difference amongst people and religion in Bombay and India.
All the chapters are inherently indifferent with each other but they go quite well.
A quite good read but chapters could've have been more intertwined together.
It is depicting quite honestly, the livelihood and disparate starch difference amongst people and religion in Bombay and India.
All the chapters are inherently indifferent with each other but they go quite well.
A quite good read but chapters could've have been more intertwined together.
February 4, 2024
the book really sits with you for a while, makes you think about things you'd rather not think about. it's a sort of comfort to know that everyone has thoughts about their actions and that people aren't just 2 dimensional, it's a tough to digest book but it feels like second nature, like home.
May 8, 2019
Hollow (plot), humorous (at times), half-hearted (writing), haggard (storytelling) — I felt nothing after reading this book.
January 5, 2021
Compelling reading and written in a style you don't see every day. Highly recommend
January 22, 2025
like the inside of a city's mind
February 4, 2025
very very relevant, should be an essential reading for indian high school kids
January 16, 2026
Aucun dieu en vue fait penser à un plan séquence dans la façon dont l'auteur nous embarque dans le récit. On y suit un personnage, puis un autre personnage qui a un lien avec le premier, ce qui nous amène à rencontrer un autre personnage, et ainsi de suite. Le récit est très bien maîtrisé, Altaf Tyrewala nous emmène à la découverte de Bombay (aujourd'hui Mumbai) à travers des personnages aussi variés que profonds. En l'espace de quelques pages, on a le temps de s'y attacher et de vouloir savoir ce qui va leur arriver. Un thème est récurrent dans le roman : le conflit parfois violent entre Hindous et Musulmans.
J'ai mis la moitié du livre avant de comprendre que je ne reverrais pas les personnages que j'avais vus avant. Cette forme de récit est hyper sympa et très prenante, le style est cinématographique et il y a une forme d'urgence à suivre tous les personnages. On ressent le rythme cadencé de la ville, on suit des personnages aux destins divers, parfois tragiques, et on s'y attache le temps de quelques pages avant de les laisser vaquer à leurs occupations pour suivre quelqu'un d'autre. J'ai beaucoup apprécié le personnage d'Amjad, le tueur de formes de vie inférieures. Une lecture très sympa, l'idée est chouette et elle est formidablement bien exécutée. Le titre est ironique : on voit, dans le livre, des conflits interreligieux, mais en réalité, il semblerait que tous soient dans le même panier, la même galère, et que Dieu - ou les dieux - aient abandonné tout le monde.
J'ai mis la moitié du livre avant de comprendre que je ne reverrais pas les personnages que j'avais vus avant. Cette forme de récit est hyper sympa et très prenante, le style est cinématographique et il y a une forme d'urgence à suivre tous les personnages. On ressent le rythme cadencé de la ville, on suit des personnages aux destins divers, parfois tragiques, et on s'y attache le temps de quelques pages avant de les laisser vaquer à leurs occupations pour suivre quelqu'un d'autre. J'ai beaucoup apprécié le personnage d'Amjad, le tueur de formes de vie inférieures. Une lecture très sympa, l'idée est chouette et elle est formidablement bien exécutée. Le titre est ironique : on voit, dans le livre, des conflits interreligieux, mais en réalité, il semblerait que tous soient dans le même panier, la même galère, et que Dieu - ou les dieux - aient abandonné tout le monde.
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August 11, 2011Altaf Tyrewala weaves a series of interlocking stories into a tapestry of Mumbai.A majority of the characters involved are Muslim and there are some nice insights into religious tension in this bustling city.He's very good at finding a pattern in the seeming chaos of this amazing city.Highly recommended for anyone who's been to Mumbai,or anyone who just likes a well told story .If you enjoyed this,you'd probably enjoy Anita Desai's In Custody,Arundhati Roy's God of Small Things ,R K Narayan's Malgudi Stories and the Salman Rushdie edited Vintage Book of Indian Fiction.
February 24, 2017
I liked this book for using a simple trick and turning it into a meaty little novella bridged essentially with short stories. The structure here solid and while there is no real plot to speak of (rather, a whole series of plots), I did not feel cheated or let down as a reader. As a writer, I admired his vignettes, each of which had so succinctly captured life's little dramatic episodes that they were great ideas for full-length novels.
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