What do you think?
Rate this book
Plastic Emotions
Nice One
432 pages, Hardcover
First published July 11, 2019
21 people are currently reading
447 people want to read
About the author
Shiromi Pinto
3 books6 followersBorn in the UK, she grew up in Montreal, Canada, and returned to London to take an MA at the School of Oriental & African Studies. She is currently a Creative Manager at the International Secretariat, Amnesty International, and lives in Northwest London with her young daughter.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 19 of 19 reviews
August 14, 2019
The Architect, by his arrangement of forms, realizes an order which is a pure creation of his spirit; by forms and shapes he affects our senses to an acute degree, and provokes plastic emotions
Le Corbusier, from Towards a New Architecture
Plastic Emotions by Shiromi Pinto is a fictionalisation of the relationship from the mind 1940s to the mid 1960s between two architects Swiss modernist Le Corbusier and Minnette de Silva, a pioneer of Sri Lankan modernism, the first Asian woman to become an Associate of the Royal Institute of British Architects, but now largely forgotten.
See this Guardian article by the author and
this from Frieze on the historic de Silva.
de Silva and le Corbusier in 1947
In Pinto's retelling, Le Corbusier and de Silva are former lovers and life-long soul mates, their relationship largely conducted by letters - see this extract from 3:AM Magazine for a flavour of the text.
While Le Corbusier enjoys worldwide fame and the patronage of Nehru, the Prime Minister of India for his major project to build a new regional capital city at Chandigarh, de Silva struggles to be taken seriously at times, her reputation overshadowed by a male rival who, in reality, was 10 years behind her in introducing modernist techniques. Towards the end of the novel, she reflects (the italics indicating phrases from her letters to Le Corbusier):
Overall - a carefully researched but richly imagined book, written with evocative prose. My one reservation was that the novel perhaps required more interest in modernist architecture and Le Corbusier than I had - the lengthy story of his build at Chandigarh rather overshadowing de Silva's own story: but then that rather sums up the reality of her life and career.
3.5 stars
Le Corbusier, from Towards a New Architecture
Plastic Emotions by Shiromi Pinto is a fictionalisation of the relationship from the mind 1940s to the mid 1960s between two architects Swiss modernist Le Corbusier and Minnette de Silva, a pioneer of Sri Lankan modernism, the first Asian woman to become an Associate of the Royal Institute of British Architects, but now largely forgotten.
See this Guardian article by the author and
this from Frieze on the historic de Silva.
de Silva and le Corbusier in 1947
In Pinto's retelling, Le Corbusier and de Silva are former lovers and life-long soul mates, their relationship largely conducted by letters - see this extract from 3:AM Magazine for a flavour of the text.
While Le Corbusier enjoys worldwide fame and the patronage of Nehru, the Prime Minister of India for his major project to build a new regional capital city at Chandigarh, de Silva struggles to be taken seriously at times, her reputation overshadowed by a male rival who, in reality, was 10 years behind her in introducing modernist techniques. Towards the end of the novel, she reflects (the italics indicating phrases from her letters to Le Corbusier):
But when she surveys her past work, she finds an uncomfortable truth: all the recognition she has received has been through family contacts. Almost all the contracts she has received have also been through contacts. Very few have approached her on the basis of her reputation. Her reputation, in fact, is generally prefixed by that word ‘woman’. That ‘woman’ architect. As if that somehow sullies the work I do. And if I succeed, the prefix is even more pronounced, suggesting how marvellous - and how bloody unexpected - it is for a woman to have created something so accomplished.The story is also set against the backdrop of Ceylon's independence and the increasing strife between the Sinhalese and Tamil communities. de Silva tells a friend "We’ve survived so far, haven’t we? There will always be room for us, Laki. We are artists. We stand above such petty arguments," but in reality the turmoil impacts her directly.
...
When have they ever recognised me for what I am - a pioneer of Modernism in Ceylon. Instead I am ‘that woman architect’ or worse still, that ‘girl architect’.
Overall - a carefully researched but richly imagined book, written with evocative prose. My one reservation was that the novel perhaps required more interest in modernist architecture and Le Corbusier than I had - the lengthy story of his build at Chandigarh rather overshadowing de Silva's own story: but then that rather sums up the reality of her life and career.
3.5 stars
September 13, 2019
Before reading Plastic Emotions, I have never heard of the Sri Lankan architect Minnette de Silva. Then again I don’t really know much about architecture but judging by the research I undertook while reading the book, she is an obscure figure in the field.
However her importance in Sri Lankan history cannot be ignored. Her innovative building techniques helped push the country into the modern age.
Plastic Emotions is not a straight up biography though, Shiromi Pinto has taken creative liberties with de Silva’s life; names have been changed, some of the buildings mentioned are fictional, some events in her life did not really happen, even the death of her father is depicted in a different way. Obviously there are some aspects of de Silva’s life which are true,namely her affair with Swiss architect Le Corbusier.
But whether these details are true or not isn’t really relevant. Plastic Emotions delves into deeper issues. For starters the book is about a woman trying her hardest to make her mark in a male dominated practice. Despite de Silva’s toughness she had a tender side, hence her deep friendship with Le Corbusier, which brings this out.
There are passages throughout the book on how architects shape the destiny of a country. Thus Minnette de Silva had her part in the turbulent history of Sri Lanka, like her buildings, Sri Lanka wanted to get rid of the shackles of colonialism and surge ahead. Although this led to riots and murders , a change happened. Shiromi Pinto does a fantastic job of merging Sri Lanka’s past with de Silva’s.
Plastic Emotions is innovative in it’s structure; Part epistolary, minimal, sometimes there’s just one sentence on a page, and different fonts. Yet it is compulsively readable; within the ‘normal’ text there are many beautifully written passages which I reread due to the way the words flowed.
I can write a lot of hyperbole for Plastic Emotions; I couldn’t put it down, I learnt a lot of new things, I liked the fact that literary techniques were merged, the writing is gorgeous. I can go on. It is an excellent book and an important one as it focuses on a person is is relatively unknown in the western world who managed to overcome traditional values and leave an imprint in the process. The more the world knows about Minnette de Silva the better.
Many thanks to Influx Press for sending a requested copy of Plastic Emotions in exchange for an honest review.
However her importance in Sri Lankan history cannot be ignored. Her innovative building techniques helped push the country into the modern age.
Plastic Emotions is not a straight up biography though, Shiromi Pinto has taken creative liberties with de Silva’s life; names have been changed, some of the buildings mentioned are fictional, some events in her life did not really happen, even the death of her father is depicted in a different way. Obviously there are some aspects of de Silva’s life which are true,namely her affair with Swiss architect Le Corbusier.
But whether these details are true or not isn’t really relevant. Plastic Emotions delves into deeper issues. For starters the book is about a woman trying her hardest to make her mark in a male dominated practice. Despite de Silva’s toughness she had a tender side, hence her deep friendship with Le Corbusier, which brings this out.
There are passages throughout the book on how architects shape the destiny of a country. Thus Minnette de Silva had her part in the turbulent history of Sri Lanka, like her buildings, Sri Lanka wanted to get rid of the shackles of colonialism and surge ahead. Although this led to riots and murders , a change happened. Shiromi Pinto does a fantastic job of merging Sri Lanka’s past with de Silva’s.
Plastic Emotions is innovative in it’s structure; Part epistolary, minimal, sometimes there’s just one sentence on a page, and different fonts. Yet it is compulsively readable; within the ‘normal’ text there are many beautifully written passages which I reread due to the way the words flowed.
I can write a lot of hyperbole for Plastic Emotions; I couldn’t put it down, I learnt a lot of new things, I liked the fact that literary techniques were merged, the writing is gorgeous. I can go on. It is an excellent book and an important one as it focuses on a person is is relatively unknown in the western world who managed to overcome traditional values and leave an imprint in the process. The more the world knows about Minnette de Silva the better.
Many thanks to Influx Press for sending a requested copy of Plastic Emotions in exchange for an honest review.
December 29, 2022
I found this one really awkward somehow, maybe in a way that wasn't intentional, but the focus seems to be more on Corbusier than it does Minette, who's at best depicted as the sort of "woman behind every great man" and at worst like a side character. But then sadly back in those days maybe that's the most that a lot of women could be, and might be that there's just not a lot of research material available on Minette which isn't overshadowed by Corbusier - who incidentally is portrayed as a total chauvenist pig, but I guess that's to be expected from early 20th century artists. Despite all this I'd definitely recommend the book for anyone interested in this time period, anyone interested in architecture, or in history, because it's quite evocatively written and manages to condense quite a bit into it's 400 pages whilst at the same time making it personable.
June 17, 2019
Plastic Emotions, by Shiromi Pinto, is a work of fiction inspired by the life of Minette de Silva who was the first Sri Lankan woman to be trained as an architect and the first Asian woman to be elected an associate of the Royal Institute of British Architects. Her father was a prominent politician in Ceylon and her mother a campaigner for woman’s suffrage. de Silva befriended the lauded Swiss-French pioneer of modernist architect, Le Corbusier, and, in this story at least, they are for a time lovers.
The portrayal of Le Corbusier is not flattering. He is egotistical and a serial womaniser.
“He has never appreciated a woman who makes an effort to cover her charms. ‘It is not natural,’ he would say.”
Le Corbusier requires affirmation from all he encounters that they are impressed by his achievements. It is difficult to understand why de Silva was so obsessed with this married man who considered only his own needs.
Ironically, given his personality, Le Corbusier dislikes America and admires India for its ‘absence of ego’. He has this idea that India’s poor are content with their lot and do not desire better for themselves.
de Silva studied in London and enjoyed regular visits to Paris but was required by her father to return home to Ceylon after she qualified. Raised in great privilege, amongst her country’s elite, she subsequently struggled to support herself financially. She longs for the freedoms enjoyed in London and Paris, feeling constrained by the demands of the upper echelons of Ceylon society. She is assisted in many ways by her wider family and develops close friendships, although these suffer over time as Ceylon’s political situation deteriorates.
“She does not understand how she has forgotten him so effortlessly. She wonders whether she has abandoned him because his politics no longer suit hers.”
The various groups of friends depicted consider themselves artists and intellectuals who revel in their perceived talents and cleverness. They appear detached from the wider population believing that only they know how to improve a country in which so many suffer poverty which, in their cocoon of privilege, they cannot truly comprehend.
“There will always be room for us, Laki. We are artists. We stand above such petty arguments.”
The group are scathing of de Silva’s clients who will not bow to her will when designing what will be their home.
“They strike me as the types who appreciate something only after everyone else tells them how wonderful it is.”
Le Corbusier has the same issue when others try to alter his vision for a new build. He is so convinced of his own brilliance that he talks of seeking heritage status to prevent residents from altering anything about a building and its associated surrounds in the future.
Throughout the years covered in this tale each of the key characters indulges in affairs. These include an assistant de Silva employs and then casually sleeps with. When he leaves she feels anger that he takes her ideas to his new position – as if gaining such learning is not why he worked for her. There is little long term loyalty even between close friends.
The main story starts in 1949 and details de Silva’s life through to the 1960s – with brief coverage of how it later ends. Parts are epistolary. A wider picture is drawn by giving occasional voice to certain servants and friends. The pace felt slow in places as there was repetition and little action other than the increasing violence in Ceylon. Friendships are formed and cool; affairs blossom and then wilt with subsequent hurt and recrimination. The historical aspects are interesting as is the personal recognition of behaviours – suggesting a degree of self-awareness. The people depicted live a gilded existence despite personal slights and frustrations.
de Silva struggles to gain the professional appreciation she believes she deserves.
“when she surveys her past work, she finds an uncomfortable truth: all the recognition she has received has been through family contacts. Almost all the contracts she has received have also been through contacts. Very few have approached her on the basis of her reputation. Her reputation, in fact, is generally prefixed by the word ‘woman’. That ‘woman’ architect. As if that somehow sullies the work”
Le Corbusier has no such issues finding new projects, although he spends a great deal of the time period covered working on a large scale development in India. When this is finally completed he ponders how moving on from such a commitment feels.
“It is the same gloom that falls at the end of any long project. Like the first time you take a woman you have wanted for a long time – that feeling of: So? What next?”
The writing is precise and articulate although I struggled to empathise with either de Silva or Le Corbusier. Perhaps those with an interest in modernist architecture may feel more sympathy.
It is a familiar and depressing refrain that women struggle to attain the same regard as men for the same work. de Silva was a first in her field and faced prejudice. Nevertheless, the depiction presented here suggests she had opportunities others could not hope for due to her family’s position.
Although fictional a story inspired by real people will draw readers to their lives and the work they left. I am now curious about architects and their egos. The honesty with which characters’ lives and thoughts are presented – their chafing against expectation and convention – makes this a worthwhile read.
The portrayal of Le Corbusier is not flattering. He is egotistical and a serial womaniser.
“He has never appreciated a woman who makes an effort to cover her charms. ‘It is not natural,’ he would say.”
Le Corbusier requires affirmation from all he encounters that they are impressed by his achievements. It is difficult to understand why de Silva was so obsessed with this married man who considered only his own needs.
Ironically, given his personality, Le Corbusier dislikes America and admires India for its ‘absence of ego’. He has this idea that India’s poor are content with their lot and do not desire better for themselves.
de Silva studied in London and enjoyed regular visits to Paris but was required by her father to return home to Ceylon after she qualified. Raised in great privilege, amongst her country’s elite, she subsequently struggled to support herself financially. She longs for the freedoms enjoyed in London and Paris, feeling constrained by the demands of the upper echelons of Ceylon society. She is assisted in many ways by her wider family and develops close friendships, although these suffer over time as Ceylon’s political situation deteriorates.
“She does not understand how she has forgotten him so effortlessly. She wonders whether she has abandoned him because his politics no longer suit hers.”
The various groups of friends depicted consider themselves artists and intellectuals who revel in their perceived talents and cleverness. They appear detached from the wider population believing that only they know how to improve a country in which so many suffer poverty which, in their cocoon of privilege, they cannot truly comprehend.
“There will always be room for us, Laki. We are artists. We stand above such petty arguments.”
The group are scathing of de Silva’s clients who will not bow to her will when designing what will be their home.
“They strike me as the types who appreciate something only after everyone else tells them how wonderful it is.”
Le Corbusier has the same issue when others try to alter his vision for a new build. He is so convinced of his own brilliance that he talks of seeking heritage status to prevent residents from altering anything about a building and its associated surrounds in the future.
Throughout the years covered in this tale each of the key characters indulges in affairs. These include an assistant de Silva employs and then casually sleeps with. When he leaves she feels anger that he takes her ideas to his new position – as if gaining such learning is not why he worked for her. There is little long term loyalty even between close friends.
The main story starts in 1949 and details de Silva’s life through to the 1960s – with brief coverage of how it later ends. Parts are epistolary. A wider picture is drawn by giving occasional voice to certain servants and friends. The pace felt slow in places as there was repetition and little action other than the increasing violence in Ceylon. Friendships are formed and cool; affairs blossom and then wilt with subsequent hurt and recrimination. The historical aspects are interesting as is the personal recognition of behaviours – suggesting a degree of self-awareness. The people depicted live a gilded existence despite personal slights and frustrations.
de Silva struggles to gain the professional appreciation she believes she deserves.
“when she surveys her past work, she finds an uncomfortable truth: all the recognition she has received has been through family contacts. Almost all the contracts she has received have also been through contacts. Very few have approached her on the basis of her reputation. Her reputation, in fact, is generally prefixed by the word ‘woman’. That ‘woman’ architect. As if that somehow sullies the work”
Le Corbusier has no such issues finding new projects, although he spends a great deal of the time period covered working on a large scale development in India. When this is finally completed he ponders how moving on from such a commitment feels.
“It is the same gloom that falls at the end of any long project. Like the first time you take a woman you have wanted for a long time – that feeling of: So? What next?”
The writing is precise and articulate although I struggled to empathise with either de Silva or Le Corbusier. Perhaps those with an interest in modernist architecture may feel more sympathy.
It is a familiar and depressing refrain that women struggle to attain the same regard as men for the same work. de Silva was a first in her field and faced prejudice. Nevertheless, the depiction presented here suggests she had opportunities others could not hope for due to her family’s position.
Although fictional a story inspired by real people will draw readers to their lives and the work they left. I am now curious about architects and their egos. The honesty with which characters’ lives and thoughts are presented – their chafing against expectation and convention – makes this a worthwhile read.
August 19, 2022
contains spoilers!
i have so much to say about this book so i'm just going to add its description to give me a bit of a guide.
i'll start with what i didn't like:
1. the characterisation:
the description of minnette as a "forgotten feminist icon" feels ironic to me as much of the book put a larger focus onto le corbusier and modern architecture and took away from minnette's own life and accomplishment. i would have loved it more if her character was more well-rounded and had some progression but it felt like she was barely reacting to the people and changes around her. i couldn't for the life of me understand why she excused the way le corbusier was treating her despite being aware of it. the overwhelming focus on their relationship takes away from minnette as a person and an architect. there was barely any progression to her relationship with the other characters bar siri and le corbusier to an extent, and minnette's words and actions to him were contradictory to the values that she seemed to champion.
the book also claims to follow her "efforts to build a post-independence sri lanka that is heading towards political and religious turmoil" but barely touches on her work save for her feeling inferior to le corbusier or asking for his advice. i enjoyed the very rare moments when minnette was alone and focused on her work but it was always downplayed by her not feeling good enough.
speaking of the man himself, it was difficult to sit through le corbusier's POV and read about how he felt as if the women in his life owed him something while taking zero accountability for his own behaviour with his wife vonn, minnette and even mimi. maybe it was "owing to the times" but it was difficult to not be put off by his rampant sexism, and fetishisation of minnette (see: l'inde, mon oiseau, bird of paradise etc). in the chandigarh chapters, it was even worse to see how little respect he had for his team and the indian builders that he was working with, although i can't tell if this is accurate or not because i haven't done my research on him.
most of the other characters were similar, and did not have much development. minnette's sister anil was perplexing, and it felt like her identity and accomplishments were stripped away to play the conservative (yet somehow indulgent) older sister when in life, she was anything but. mimi was another mystery, falling just short of a manic pixie dream girl whose involvement in minnette's and le corbusier's lives isn't explored at all. the rest of the recurring cast were equally bleak, and i only liked laki, but that didn't end well. moreover, the book had taken liberties with other characters that do not seem to serve any purpose in the end. here's a better, if strongly-worded review that muses on the anachronisms this book contained with regards to setting and characters/character inspiration:
2. the lack of significant story progression
i don't have much to say on this except that the writer took the epistolary relationship between minnette and le corbusier too far and their lives outside of it fell short. my most favourite parts of the book were when minnette was interacting with her family/friends or working and those were so few and far between. nothing really seems to happen aside from them updating each other on their lives, but this could be because the book is more literary fiction or a character study. albeit, it still goes nowhere in that regard too.
okay whew. onto what i did like.
1. the writing
this book had absolutely gorgeous writing. i was using orange tabs to annotate my favourite lines, and this book is just littered with that colour. it was poetic, and part of what kept me reading towards the end despite not liking where it was going. the writer is extremely good with her words, and it reads like poetry.
2. the setting
admittedly, i could stand to learn more about my country's history during the period this story was set in (very late 40s- mid 60s). that was actually one of the things that made me pick it up. although the characters belonged to an upper-class privileged background, it was still enjoyable to read about their daily lives and the political landscape of the time. it was also interesting how minnette was written to hold certain political beliefs but didn't take action whenever she could (when laki asked her to join the satyagraha). i do not know if minnette was like this in real life, but i liked the implication that someone who is privileged would rather bask in that comfort instead of taking action to change the status quo. once again, david robson had some interesting thoughts about how the book made its characters overindulge in a time of hardships, so i would recommend you check that out.
3. the subject matter. no, really!
what i mean is that i appreciate how the author chose to write about minnette. i first found out about her through a book club session, where a friend who is an interior designer brought her up, and then spoke about this book. minnette, unfortunately, has been forgotten and there's not much information about her on the internet. it was admirable of the writer to bring her story to life, even if i didn't entirely like how it was written. i wish that it had explored minnette's life more before and after le corbusier, but again, the book is meant to showcase their relationship so that is unavoidable.
if you want a more realistic version of minnette's life, you would be better off reading her memoir.
final thoughts:
overall, i do think this was an enjoyable read because of the gorgeous prose and setting (and my familiarity with it) but suffers from characters who stay stagnant or are not recognisable from real life. still, it was thought-provoking and worth a read in my opinion.
"plastic emotions is a novel based on the true life story of minnette de silva –forgotten feminist icon and the first female sri lankan architect. in a gripping and lyrical story, shiromi pinto paints a complex picture of de silva, charting her affair with infamous swiss modernist le corbusier and her efforts to build a post-independence sri lanka that is heading towards political and religious turmoil."
i have so much to say about this book so i'm just going to add its description to give me a bit of a guide.
i'll start with what i didn't like:
1. the characterisation:
the description of minnette as a "forgotten feminist icon" feels ironic to me as much of the book put a larger focus onto le corbusier and modern architecture and took away from minnette's own life and accomplishment. i would have loved it more if her character was more well-rounded and had some progression but it felt like she was barely reacting to the people and changes around her. i couldn't for the life of me understand why she excused the way le corbusier was treating her despite being aware of it. the overwhelming focus on their relationship takes away from minnette as a person and an architect. there was barely any progression to her relationship with the other characters bar siri and le corbusier to an extent, and minnette's words and actions to him were contradictory to the values that she seemed to champion.
the book also claims to follow her "efforts to build a post-independence sri lanka that is heading towards political and religious turmoil" but barely touches on her work save for her feeling inferior to le corbusier or asking for his advice. i enjoyed the very rare moments when minnette was alone and focused on her work but it was always downplayed by her not feeling good enough.
speaking of the man himself, it was difficult to sit through le corbusier's POV and read about how he felt as if the women in his life owed him something while taking zero accountability for his own behaviour with his wife vonn, minnette and even mimi. maybe it was "owing to the times" but it was difficult to not be put off by his rampant sexism, and fetishisation of minnette (see: l'inde, mon oiseau, bird of paradise etc). in the chandigarh chapters, it was even worse to see how little respect he had for his team and the indian builders that he was working with, although i can't tell if this is accurate or not because i haven't done my research on him.
most of the other characters were similar, and did not have much development. minnette's sister anil was perplexing, and it felt like her identity and accomplishments were stripped away to play the conservative (yet somehow indulgent) older sister when in life, she was anything but. mimi was another mystery, falling just short of a manic pixie dream girl whose involvement in minnette's and le corbusier's lives isn't explored at all. the rest of the recurring cast were equally bleak, and i only liked laki, but that didn't end well. moreover, the book had taken liberties with other characters that do not seem to serve any purpose in the end. here's a better, if strongly-worded review that muses on the anachronisms this book contained with regards to setting and characters/character inspiration:
2. the lack of significant story progression
i don't have much to say on this except that the writer took the epistolary relationship between minnette and le corbusier too far and their lives outside of it fell short. my most favourite parts of the book were when minnette was interacting with her family/friends or working and those were so few and far between. nothing really seems to happen aside from them updating each other on their lives, but this could be because the book is more literary fiction or a character study. albeit, it still goes nowhere in that regard too.
okay whew. onto what i did like.
1. the writing
this book had absolutely gorgeous writing. i was using orange tabs to annotate my favourite lines, and this book is just littered with that colour. it was poetic, and part of what kept me reading towards the end despite not liking where it was going. the writer is extremely good with her words, and it reads like poetry.
2. the setting
admittedly, i could stand to learn more about my country's history during the period this story was set in (very late 40s- mid 60s). that was actually one of the things that made me pick it up. although the characters belonged to an upper-class privileged background, it was still enjoyable to read about their daily lives and the political landscape of the time. it was also interesting how minnette was written to hold certain political beliefs but didn't take action whenever she could (when laki asked her to join the satyagraha). i do not know if minnette was like this in real life, but i liked the implication that someone who is privileged would rather bask in that comfort instead of taking action to change the status quo. once again, david robson had some interesting thoughts about how the book made its characters overindulge in a time of hardships, so i would recommend you check that out.
3. the subject matter. no, really!
what i mean is that i appreciate how the author chose to write about minnette. i first found out about her through a book club session, where a friend who is an interior designer brought her up, and then spoke about this book. minnette, unfortunately, has been forgotten and there's not much information about her on the internet. it was admirable of the writer to bring her story to life, even if i didn't entirely like how it was written. i wish that it had explored minnette's life more before and after le corbusier, but again, the book is meant to showcase their relationship so that is unavoidable.
if you want a more realistic version of minnette's life, you would be better off reading her memoir.
final thoughts:
overall, i do think this was an enjoyable read because of the gorgeous prose and setting (and my familiarity with it) but suffers from characters who stay stagnant or are not recognisable from real life. still, it was thought-provoking and worth a read in my opinion.
October 1, 2024
Picked up this book to understand what it would have been like to be a London-trained brown feminist architect in a newly independent country grappling with articulation of self identity (while also attempting to weed out deeply entrenched colonialism)
Positives
1. Exquisite description of columbo/ceylon/kandy
2. Using friendships to elucidate inter-ethnic conflicts, unconscious racial bias and colonial undertones of the new world
Negatives
1. Romanticisation of toxic attachment
2. Portrayal of a feminist icon as a blind devotee Corbusier kept around to assuage his insecurities
3. Attention to Corbusier's career eclipsing that of Minnette
4. Cloying language
5. Occasionally flippant writing about political turmoil
6. Reductive accounts of India and romanticisation of its poverty
7. Inordinate description of the eliteness of Minnette's family while entirely ignoring the vital roles of Minnette's parents in Srilanka's history
8. Jejune romanticisation of architecture
Positives
1. Exquisite description of columbo/ceylon/kandy
2. Using friendships to elucidate inter-ethnic conflicts, unconscious racial bias and colonial undertones of the new world
Negatives
1. Romanticisation of toxic attachment
2. Portrayal of a feminist icon as a blind devotee Corbusier kept around to assuage his insecurities
3. Attention to Corbusier's career eclipsing that of Minnette
4. Cloying language
5. Occasionally flippant writing about political turmoil
6. Reductive accounts of India and romanticisation of its poverty
7. Inordinate description of the eliteness of Minnette's family while entirely ignoring the vital roles of Minnette's parents in Srilanka's history
8. Jejune romanticisation of architecture
October 17, 2020
পড়লাম Shiromi Pinto রচিত Plastic Emotions. উপন্যাসটি শুরু হয়েছে একটি চিঠি দিয়ে এবং উপন্যাসের অনেক অংশেই চিঠির আদানপ্রদান হয়েছে দুজন প্রধান চরিত্রের মধ্যে একজন হলেন সুইস আর্কিটেক্ট Le Corbusier ও শ্রীলংকান আর্কিটেক্ট Minnette de Silva -এর মধ্যে। প্রসঙ্গত বলে রাখা ভালো এই Le Corbusier স্বাধীন ভারতের প্রথম প্রধানমন্ত্রী নেহেরুর অনুরোধে চন্ডিগড় শহর ডিজাইন করেছিলেন। আজকে চন্ডিগড়ে ঢুকলে দেখা যায় একটি মুঠিখোলা হাত তাঁর চিন্তক ইনিই। Le Corbusier ছিলেন একজন modernist আর্কিটেক্ট। আর Minnette de Silva ছিলেন এক অসামান্য মহিলা আর্কিটেক্ট। গল্প আবর্তিত হয়েছে ভারতের বোম্বে, রাজস্থান, চন্ডিগড়, থেকে প্যারিস, লন্ডন হয়ে শ্রীলঙ্কার কলম্বো, ক্যান্ডি ইত্যাদি জায়গাকে কেন্দ্র করে। শ্রীলংকার তৎকালীন জটিল রাজনৈতিক পরিস্থিতির কিছুটা বর্ণনা করা হয়েছে। বুদ্ধিস্ট সিংহলিজ দ্বারা তামিল জনগোষ্ঠীর উপরে অত্যাচারের ছবি ফুটে উঠেছে। ভারতবর্ষে বুদ্ধিস্ট বলতে আমরা সাধারণত শান্তশিষ্ট নিরীহ ভিক্ষুদের কেই বুঝি। কিন্তু তৎকালীন সিলোন বা শ্রীলঙ্কায় বৌদ্ধ ধর্মাবলম্বীরা প্রচন্ড হিংসাপরায়ণ জাতীয়তাবাদী জনগোষ্ঠী যারা মনে করতেন বৌদ্ধ ধর্ম এবং সিংহলি ভাষা ছাড়া শ্রীলংকার উন্নতি বা ভবিষ্যত সম্ভব নয়। তাই তারা মূলত তামিল ও অ্যাংলো শ্রীলংকানদের উপর অত্যাচার করতেন। এমন একটা সময় ছিল যখন সরকার বাধ্য করেছিল সমস্ত শ্রীলঙ্কান নাগরিককে সিংহলি ভাষা শিখতে হবে ও সমস্ত কাজকর্ম সেই ভাষার মাধ্যমেই হবে। শ্রীলংকার মতন অত ক্ষুদ্র একটি দেশে এইভাবে একটি ভাষা জোর করে স্থাপন করা কতটা ভয়ংকর হতে পারে তা ইতিহাস বলে দেয়। ভাবতে অবাক লাগে ভারতের মতন এত বড় বিচিত্র দেশে যখন হিন্দি ভাষা নিয়ে দাদাগিরি চলতে থাকে এবং অসাংবিধানিক পদ্ধতিতে সেই ভাষার জোর করে আপন করার চেষ্টা করা হয় তখন এর পরিণতি কতটা মারাত্মক হতে পারে তা বলে বোঝানো মুশকিল। পূর্ব পাকিস্তান বাংলাদেশ হলো মূলত এই ভাষার কারণেই। এত ছোট ছোট জায়গায় এত বিচিত্র ভাষা এবং সংস্কৃতি যে কোন একটি ভাষা বা সংস্কৃতিকে জাতীয় ভাষা ও সংস্কৃতি হিসেবে প্রাধান্য দেওয়া মূলত মূর্খামির পরিচয় বহন করে।
বইটি আমাদের একটি কথা চোখে আঙুল দিয়ে দেখিয়ে দেয় যে, কোন পেশায় “মহিলা” তকমাটা প্রতিপদে কতটা বাধার সৃষ্টি করতে পারে। আর দেখায় যে দক্ষিণ-পূর্ব এশিয়ার উপমহাদেশে বারেবারে যে ধরনের জাতীয়তাবাদী রাজনীতির আগমন ঘটেছে তা সামগ্রিক জনজীবনে ক্ষতি বই লাভ কিছু করেনি।
বইটি আমাদের একটি কথা চোখে আঙুল দিয়ে দেখিয়ে দেয় যে, কোন পেশায় “মহিলা” তকমাটা প্রতিপদে কতটা বাধার সৃষ্টি করতে পারে। আর দেখায় যে দক্ষিণ-পূর্ব এশিয়ার উপমহাদেশে বারেবারে যে ধরনের জাতীয়তাবাদী রাজনীতির আগমন ঘটেছে তা সামগ্রিক জনজীবনে ক্ষতি বই লাভ কিছু করেনি।
July 13, 2019
Plastic Emotions is an imagining of the life of Minnette de Silva, the first Sri Lankan woman to become an architect, the first Asian woman to be elected as an Associate of the Royal Institute of British Architects, and the woman who helped to remould the built landscape of a newly independent Sri Lanka with her daringly modern designs.
Shiromi Pinto has woven a narrative that mingles fact with fiction to shine a light on this almost forgotten woman. It's a beautiful novel, full of rich description and insightful observation, that reveals something of what it was to be de Silva. She was a risk taker, a fiercely independent woman working in a highly male-centric society, and she wanted to bring the traditional crafts of her nation into the modern world so that they would continue to have relevance.
The novel is an exploration of her life, with her friendship with Le Corbusier depicted in the language of a love affair and her existence as a London socialite, celebrated for her exoticism, juxtaposed with that of her architectural practice in Sri Lanka, where she was treated with suspicion because of her gender.
The title is a quote from Le Corbusier's "Towards a New Architecture" and refers to the ability of an architect to mould the emotions of those who experience his (or her) buildings through the forms and shapes it is composed of. De Silva, in marrying tradition with modernity, was seeking a new, more plastic language of architecture. Her work in Sri Lanka was ground breaking. Pinto's novel is a stepping stone towards re-establishing her contribution to modernism.
It's also a beautiful story. You don't need to know anything about the central characters or the world of architecture to appreciate the humanity of two people who love each other but can't be together, or the life of a woman making her way in a man's world against a background of political upheaval.
Shiromi Pinto has woven a narrative that mingles fact with fiction to shine a light on this almost forgotten woman. It's a beautiful novel, full of rich description and insightful observation, that reveals something of what it was to be de Silva. She was a risk taker, a fiercely independent woman working in a highly male-centric society, and she wanted to bring the traditional crafts of her nation into the modern world so that they would continue to have relevance.
The novel is an exploration of her life, with her friendship with Le Corbusier depicted in the language of a love affair and her existence as a London socialite, celebrated for her exoticism, juxtaposed with that of her architectural practice in Sri Lanka, where she was treated with suspicion because of her gender.
The title is a quote from Le Corbusier's "Towards a New Architecture" and refers to the ability of an architect to mould the emotions of those who experience his (or her) buildings through the forms and shapes it is composed of. De Silva, in marrying tradition with modernity, was seeking a new, more plastic language of architecture. Her work in Sri Lanka was ground breaking. Pinto's novel is a stepping stone towards re-establishing her contribution to modernism.
It's also a beautiful story. You don't need to know anything about the central characters or the world of architecture to appreciate the humanity of two people who love each other but can't be together, or the life of a woman making her way in a man's world against a background of political upheaval.
May 6, 2020
This book review is extracted from my blog https://www.destinationbooks.uk
Fiction | Independent publishing | Life-writing | Feminism
Shiromi Pinto’s second novel Plastic Emotions is a work of biographical fiction about 20th century, Sri Lankan architect Minette de Silva: the first female Asian architect to have international success, though she received limited recognition during her lifetime compared with her male counterparts and has since been forgotten. Plastic Emotions fictionalises her life in an attempt to draw attention to her forgotten achievements. It’s a thoroughly enjoyable read, with intriguing characters, good narrative pace, and an easy-to-read writing style that mixes fragments of correspondence with third-person narration.
The political backdrop of the novel is interesting. Ceylon (now Sri Lanka) is newly independent and riots and lifestyle restrictions ensue as Sinhalese, Buddhist nationalists fight for power against marginal Tamil groups. The novel hints at the impact on Ceylonese people but the novel’s political backdrop is often too remote from its bourgeois protagonists, who remain largely unaffected by these events.
The narrative follows the correspondence and lives of Minette and her lover Le Corbusier - a married, male, Western architect - through the 1940s to 1960s, as their relationship is stretched by distance, their careers and Le Corbusier’s negligence. The novel consists of both Minette and Le Corbusier’s perspectives but it’s Minette’s life and relationships that we invest in.
The architectural theme is levelled well to those unfamiliar with the field, and details of de Silva’s buildings and her design process are genuinely interesting. De Silva is considered a pioneer as she is the first to adapt modernist styles to Asian contexts and she integrated the work of local artists and craftspeople into her buildings, though these achievements could be played out more in the novel. Instead, Pinto focuses on Minette’s fictionalised personal life; but I would have been happy to read more about her work.
I found instant enjoyment in this novel and was hooked into the international intellectual scene Minette is part of: much like scenes from a Simone de Beauvoir novel. However, Plastic Emotions is a little disappointing. It’s an exciting premise – the recovery of the life of a forgotten woman - but Pinto leaves a lot to be desired from a feminist standpoint. Pinto’s characterisation of Minette is lacking, and the impact of gender on de Silva’s career is oversimplified. Compared to Pinto’s portrayal of de Silva in an article she wrote for Architectural Review, which depicts Minette as expressive, unapologetic and a force to be reckoned with, the Minette of Plastic Emotions is less sparkling. She seems timid, is often overshadowed by her white English friend Mimi and regularly panders to Le Corbusier’s ego. Furthermore, Minette’s reflections on how gender impacts her work and life lack complexity and depth; she occasionally remarks that she doesn’t get contracts or that clients are reluctant to pay the ‘girl architect’ but there is little critique or emotion behind these comments. I had anticipated a more nuanced feminist exploration of gender which wasn't fulfilled.
I was invested enough in the characters and plot that I looked forward to my next reading session but the plotline does lose momentum towards the end of the book. Some of the more suspenseful details are abandoned; for example, Pinto hints at one character’s responsibility for another’s death and suggests problems in Minette’s sister’s marriage but these twists never come to fruition. By the final one hundred pages, I realised the plot wasn't going to come to a climax and instead this part of the book was a wrapping up of Minette and Le Corbusier’s life stories.
However, these disappointments this didn't spoil my enjoyment of the novel and the book is a fruitful attempt to expose readers to a forgotten figure and some of Asia's political history. I recommend Pinto’s Architectural Review article as supplementary reading. There's a link to it on my blog post: https://www.destinationbooks.uk/2020/...
3/5
Fiction | Independent publishing | Life-writing | Feminism
Shiromi Pinto’s second novel Plastic Emotions is a work of biographical fiction about 20th century, Sri Lankan architect Minette de Silva: the first female Asian architect to have international success, though she received limited recognition during her lifetime compared with her male counterparts and has since been forgotten. Plastic Emotions fictionalises her life in an attempt to draw attention to her forgotten achievements. It’s a thoroughly enjoyable read, with intriguing characters, good narrative pace, and an easy-to-read writing style that mixes fragments of correspondence with third-person narration.
The political backdrop of the novel is interesting. Ceylon (now Sri Lanka) is newly independent and riots and lifestyle restrictions ensue as Sinhalese, Buddhist nationalists fight for power against marginal Tamil groups. The novel hints at the impact on Ceylonese people but the novel’s political backdrop is often too remote from its bourgeois protagonists, who remain largely unaffected by these events.
The narrative follows the correspondence and lives of Minette and her lover Le Corbusier - a married, male, Western architect - through the 1940s to 1960s, as their relationship is stretched by distance, their careers and Le Corbusier’s negligence. The novel consists of both Minette and Le Corbusier’s perspectives but it’s Minette’s life and relationships that we invest in.
The architectural theme is levelled well to those unfamiliar with the field, and details of de Silva’s buildings and her design process are genuinely interesting. De Silva is considered a pioneer as she is the first to adapt modernist styles to Asian contexts and she integrated the work of local artists and craftspeople into her buildings, though these achievements could be played out more in the novel. Instead, Pinto focuses on Minette’s fictionalised personal life; but I would have been happy to read more about her work.
I found instant enjoyment in this novel and was hooked into the international intellectual scene Minette is part of: much like scenes from a Simone de Beauvoir novel. However, Plastic Emotions is a little disappointing. It’s an exciting premise – the recovery of the life of a forgotten woman - but Pinto leaves a lot to be desired from a feminist standpoint. Pinto’s characterisation of Minette is lacking, and the impact of gender on de Silva’s career is oversimplified. Compared to Pinto’s portrayal of de Silva in an article she wrote for Architectural Review, which depicts Minette as expressive, unapologetic and a force to be reckoned with, the Minette of Plastic Emotions is less sparkling. She seems timid, is often overshadowed by her white English friend Mimi and regularly panders to Le Corbusier’s ego. Furthermore, Minette’s reflections on how gender impacts her work and life lack complexity and depth; she occasionally remarks that she doesn’t get contracts or that clients are reluctant to pay the ‘girl architect’ but there is little critique or emotion behind these comments. I had anticipated a more nuanced feminist exploration of gender which wasn't fulfilled.
I was invested enough in the characters and plot that I looked forward to my next reading session but the plotline does lose momentum towards the end of the book. Some of the more suspenseful details are abandoned; for example, Pinto hints at one character’s responsibility for another’s death and suggests problems in Minette’s sister’s marriage but these twists never come to fruition. By the final one hundred pages, I realised the plot wasn't going to come to a climax and instead this part of the book was a wrapping up of Minette and Le Corbusier’s life stories.
However, these disappointments this didn't spoil my enjoyment of the novel and the book is a fruitful attempt to expose readers to a forgotten figure and some of Asia's political history. I recommend Pinto’s Architectural Review article as supplementary reading. There's a link to it on my blog post: https://www.destinationbooks.uk/2020/...
3/5
September 8, 2021
The Wikipedia article about de Silva was more inspiring than this book - this book painted de Silva as an accommodated and plain woman defined by her affair with a famous man, when she had done much more. The book is good in that it brings Minnette's work to a wider audience such as myself, I am happy I picked the book up if only for that.
October 11, 2022
A very moving tale that resonated within me. I found myself cheering on Minnette in all her accomplishments as well as crying with her in her grief. Towards the end of the book, there was a point where I wondered why the Chandigarh project is discussed in such detail while none of Minnette's works are? and then I realized that it is just the beauty of the story, it reflects how undermined Minnette's accomplishments were in reality and I think it adds to the beauty of the story.
June 22, 2020
Very boring read.
I was looking forward to learn more about the real life of Minnette de Silva. Instead, author used her story to express her own hateful views towards Sri Lankan politics and Buddhism. Disappointed to see Minette de Silva’s story forgotten again.
I was looking forward to learn more about the real life of Minnette de Silva. Instead, author used her story to express her own hateful views towards Sri Lankan politics and Buddhism. Disappointed to see Minette de Silva’s story forgotten again.
March 21, 2021
It would have been really easy for such a rich book, spread over so many years and locations, to lose its way. Instead, the throughline of the relationship between the principal characters gives it life even in moments of loss.
July 23, 2019
Fascinating and important novel that that is superbly written. A story encompassing unrequited love, modernist architecture and political unrest. Wonderful.
May 14, 2020
Was so looking forward to this, but it was too boring to finish.
July 12, 2020
An eye opener for me . I wish there were more pictures. Excellent
June 28, 2022
2.5 - didn’t finish
April 22, 2024
Not at all an accurate depiction of Minette de Silva. Borderline insulting to her work and career that is already unbeknownst to many.
March 1, 2025
Like - well written, but also, let's maybe decenter men?
Displaying 1 - 19 of 19 reviews