Kind of the epitome of a three-star book. The Jacaranda Tree concerns British expats in Burma during WWII who are forced to evacuate when word comes of the Japanese invasion. A group of eleven people depart in two cars, on roads that are slow going, not least as they're shared by countless Burmese also evacuating, whether on foot, on carts, or pack animals. Their various petty grievances and prejudices slowly drive the group apart. Some will die, some will decide to go back to the village hospital and hold out there. The group is led by Paterson, the manager of a rice plantation, and includes two Burmese, a girl who is his mistress (which of course scandalizes the other Brits) and her younger brother.
This is well written and full of incident, and the characters mostly avoid becoming stereotypes. The best character arc is that of Mrs. Betteson, cowed by a domineering husband and mostly mocked by the other expats as "batty"--not without reason, as she does seem to be a few scones short of afternoon tea. But halfway into the book one of the cars, well, negotiates a cliff rather badly, and Mrs. Betteson finds an inner reserve to just get on with it. She doesn't become McGyver but just accepts what's happened and rationally sets about the task of staying alive. It's a surprising turn and great stuff.
The book never astonishes but remains engaging throughout. Bates has a genuine knack for sensory detail, in particular the colors and oppressive heat of Burma. Death is realistic, heroics never exaggerated, sentiment kept in check. The one nagging thing I couldn't shake concerns Paterson and the Burmese brother and sister. (Ages aren't specified but the girl is clearly a teenager and the boy probably around 12.) On the one hard Paterson is a good person--a minor flaw of the book is he sometimes appears too much Mr. Ideal Protagonist--and the only Brit who is never racist toward the Burmese. (His mistress being a teenager is never commented on, which is realistic though will land differently now than in 1949). But he calls the girl Nadia and the boy Tuesday (yes, I know). These are not their names. In addition they are given no inner life; the girl remains a cipher, and though you get passages from the boy's point of view, this rarely goes beyond hero worship of Paterson. I don't want to engage in twitter-thread-level moralizing, but the thing is there is genuine affection between these three characters. That's fine. But given that, wouldn't the brother and sister at some point say, Excuse me, my name isn't Nadia, it's X; my name isn't Tuesday, it's Y. But they never do. It's a blind spot on the part of Bates.