Sunjeev Sahota’s fourth book delivers a politically charged narrative, a notable achievement from an author who has twice been nominated for the Booker Prize for his earlier works, The Year of the Runaways and China Room. The novel showcases the captivating tale of Nayan Olak, a staunch advocate for workers’ rights, who is in the pursuit to become the general secretary of the UK’s leading trade union.
The protagonist, Nayan, who has experienced the loss of his mother and infant son in a catastrophic fire leading to the collapse of his marriage, is deeply engrossed and committed to his professional obligations. His life takes an unexpected turn when he finds himself drawn to Helen, a woman of mysterious past who recently returned to her hometown, and her son, Brandon. Nayan’s growing attachment to Helen and Brandon may initially seem like a surrogate replacement for his lost family, but this aspect breeds intriguing narrative twists as the story progresses.
Nayan’s political ideology serves as his core driving force; His professional rivalry with a fellow worker, Megha Sharma, paints a thought-provoking picture of the distinct experiences faced by non-white, working-class individuals in Britain. Nayan dismisses race as relevant, whereas Megha insists on its crucial role in the fight for financial fairness.
An immensely captivating political debate near the climax delineates the wide chasm between the opposing viewpoints of the two candidates. Despite their stark differences, their arguments are finely crafted and grounded in logic, encouraging the reader to acknowledge the harsh reality that without personal experiences of racial bias, one cannot truly comprehend how to eradicate it.
One of the more peculiar elements of Sahota’s storytelling is the narrative voice, which is narrated by a writer returning home to unfurl Nayan’s story. While the shift between the first and the third person can be considered Sahota’s interesting narrative experiment, it takes away from the core essence of the novel. The sporadic appearances of this narrator, who allegedly witnesses intimate moments between the characters, might also leave the readers wondering.
Regardless of this minor narrative flaw, Sahota’s commitment to narrating a compelling story addressing serious social issues from various perspectives is praiseworthy, and it significantly outweighs this minor criticism.