Give me Mo(re). I was transported to early 1950s Hong Kong by TM's 1978 debut. I know this coincides with Mo's own infancy, as he spent his first ten years in the colony before moving to the UK in the early 1960s. British Asian experience would be the subject of his sophomore, 'Sour Sweet', which had a harder gritty comic-drama clash of flavours. In 'The Monkey King' it's a lighter joy sauce, laced with umami of savory observational realism.
Few authors in the 1970s and 1980s can surely have matched Mo's early hit rate with the prize committees. He won the Geoffrey Faber Prize at the first attempt ('The Monkey King'); 'Sour Sweet' almost made it a triple by winning the Whitbread Prize and by winning the Hawthornden Prize. It only just missed after it also made the final six for the Booker Prize. Remarkably, Mo's third (much longer) novel ('An Insular Possession') yet again made the Booker Shortlist in 1986. I picked up the last of these today, and am looking forward to diving in.
I've not quite managed to give top marks to Mo yet, but can understand why he garnered such acclaim. 'Sour Sweet' was just too brutal to be entirely my cup of tea. 'The Monkey King' was more offbeat for these occidental eyes, but it charmed me for the first half. Section One was genuinely funny, while it furnished me with a new perspective on the hierarchies, familial dynamics, loyalties and circumvented etiquette that might be found in families coexisting through custom. Sections 2 and 3 lost some of the humour and became more disjointedly picaresque (usually not my favourite), but this was several leagues more entertaining for me than Cervantes or even Naipaul's 'Mr Biswas' (it felt especially similar in some ways to the latter).
Mo's subsequent output would prove more sparing than some, with four year intervals between his next two novels. Based on the first two, it's quality over quantity.