The voice of Indian fiction, judging by these two books, does not clamour. It is not to be hurried by incident; it dwells obstinately on reflection and mood. The stories move at India's water-buffalo pace but do not reflect its vivid colours. Paradoxically, India is almost as exotic to the protagonists of these novels as to their western readers. Perhaps because Indian fiction has become something of a global industry since Arund-hati Roy's "The God of Small Things" won the Booker prize in 1997 and because India itself is globalising, it is preoccupied with the West.
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机译：从这两本书来看，印度小说的声音丝毫不夸张。不要因事发急。它固执地停留在反思和情绪上。这些故事以印度水牛城的步伐发展，但并未反映出鲜艳的色彩。矛盾的是，印度对这些小说的主人公和西方读者几乎都是异国情调。也许是因为自从阿隆·哈蒂·罗伊（Arund-hati Roy）的《小物之神》（The God of Small Things）1997年以来，印度的小说已经成为一种全球性的产业，并且由于印度本身正在全球化，所以它全神贯注于西方。
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