In my mind, one of the finest novels ever written – a sensitive, humane yet deeply political commentary on the India of the 1970s during the government-declared State of Emergency along with the accompanying levels of corruption and abuses of power. Sobering, devastating yet deeply haunting, A Fine Balance may be a fiction, but it’s not made up.
Central to Mistry’s narrative are four individuals whose lives become deeply entwined, all poor and surviving (just) on the edges. It is through Dina, Maneck, Ishvar and his nephew, Om, in both their current connected lives and separate backstories that the panoramic sweep of the decade moves forward.
Their histories are all tragic yet seemingly commonplace in a desperately poor country of close on half a billion people.
Having escaped her overbearing and expectant brother and married for love, Dina finds herself widowed after just three years. Only the common sense of retaining the tiny, dingy, rent-controlled apartment in central Bombay prevents her from returning to a life of benevolent slavery to Nawaz, his wife and two young sons.
Struggling financially over the years, she takes to renting out her bedroom to Maneck, a student and son of a former school friend. His family has fallen on hard times. Living in the Himalayan foothills, owning extensive lands, the stroke of a British colonial pen placed the family holdings on the wrong side of a border. Only the General Store remains. The advent of tarmacked new roads, tourism and multinationals are the death-knell for small family-run businesses: his father pushes Maneck into looking beyond the shop for his future.
But the saddest histories belong to Ishvar and Om, victims of a caste system deeply rooted in social inequity and injustice. Untouchables in their village, the two are forced into a life of destitution following the public murder of their extended family at the hands of the local head honcho.
The four become unlikely companions and friends as they eventually find themselves living in the Bombay flat.
Initially, Dina employs Ishvar and Om as tailors. But their frequent unexplained absences make her suspicious of their commitment and motivation: it’s only a quiet word here and there from Maneck that balances her sentiment and prejudice. Yet it is in these moments of ‘absence’ that the true horrors of the State of Emergency are revealed – the rounding up of beggars and enforced slave labour schemes, the demolition of shantytowns through the Beautification Scheme, the rampant corruption at all levels. And it is those at that bottom that suffer every time.
Ishvar and Om are constant victims – they lose their mud and corrugated iron shantytown home: they’re forced to attend a prime ministerial rally with hundreds of thousands of others on the edge of town: they find themselves enslaved in a quarry for ‘food’ and lodging. They have no choices – the two are simply in the wrong place at the wrong time. They’re two of the millions born poor and therefore voiceless.
Yet, at times, in spite of the trials and travails, the four also manage to find some happiness. It takes a while in coming – similar in age, Maneck and Om become firm friends: Ishvar is a benevolent, indulgent uncle. A panicked Dina, desperate to avoid turning to her brother, is the thorn in the side. But her loneliness and exposure to others’ sufferings soften Dina’s attitude towards her employees.
But the horrors of injustice are never far away and A Fine Balance is full of apprehension – nothing good lasts forever (or, here, for very long). The narrative continues unabated.
Names may not be named (even Bombay is only ever referred to as the City by the Sea) but the corruption of Indira Gandhi’s power-hungry regime and the inexplicable actions carried out in her name are captured in Mistry’s second novel. It’s 600 plus pages of the ugliness of human behaviour when power is presented or provided. But it’s also 600 pages of a deeply humane story of enduring and surviving, living or dying, of human endurance. A fine balance. And one of the finest novels ever written.
Inexplicably, whilst shortlisted for the 1996 Booker Prize, it lost out to Graham Swift’s good but not as memorable Last Orders.