From Publishers Weekly
This second nonfiction book from the author of the acclaimed novel The God of Small Things returns to the subject she first explored in The Cost of Living: what she sees as the iniquity of globalization and the dangers of privatization, particularly in dam construction. In this slim yet meandering volume of three essays, Roy also criticizes an American energy company and the Indian government for allowing big business to make money privatizing electricity in a country where hundreds of millions lack any electricity. Roy's activism against the construction of dams that displace hundreds of thousands, especially the poor and low-caste, earned her a contempt of court citation from India's Supreme Court. She includes here her response, "On the Writer's Freedom of Imagination," but little context or explanation is given to help readers situate it. Likewise, Roy's other two short essays, ostensibly about the role of the writer (or "writer-activist," as she puts it) in society, criticize development, trade and global finance. Although her passion and agitation on these issues is commendable, her writing lacks analysis, and her generalized outrage and hyperbole make much of her criticism wooden. She tends to switch between issues of trade and her fame, losing the reader. The three pieces seem thrown together haphazardly, with no editorial explanation of how they originated (all are available on the Web) or in what context. Copyright 2001 Cahners Business Information, Inc.
Book Description
Arundhati Roy, the author of The God of Small Things, explores the politics of writing and the price of "development" driven by profit. Roy challenges the idea that only "experts" can speak out on such urgent matters as nuclear war, the human costs of the privatization of India's power supply by U.S.-based energy companies, and the construction of monumental dams in India. Includes new essays written since September 11.
About the Author
Arundhati Roy is the author of The God of Small Things, which won the prestigious Booker Prize and has become an internationally acclaimed best-seller and The Cost of Living, called "brilliant reportage with a passionate, no-holds-barred commentary" (Salman Rushdie). Born in 1961 in Bengal, Arundhati Roy grew up in Kerala and trained as an architect.
Power Politics FROM THE PUBLISHER
In Power Politics, Arundhati Roy challenges the idea that only "experts" can speak out on such urgent matters as the globalization of the world economy, the privatization of India's power supply by U.S.-based energy companies, and the construction of monumental dams that will dislocate hundreds of thousands of people. Roy takes us to the frontlines of struggles for social justice and a humane, democratic future.
FROM THE CRITICS
Publishers Weekly
This second nonfiction book from the author of the acclaimed novel The God of Small Things returns to the subject she first explored in The Cost of Living: what she sees as the iniquity of globalization and the dangers of privatization, particularly in dam construction. In this slim yet meandering volume of three essays, Roy also criticizes an American energy company and the Indian government for allowing big business to make money privatizing electricity in a country where hundreds of millions lack any electricity. Roy's activism against the construction of dams that displace hundreds of thousands, especially the poor and low-caste, earned her a contempt of court citation from India's Supreme Court. She includes here her response, "On the Writer's Freedom of Imagination," but little context or explanation is given to help readers situate it. Likewise, Roy's other two short essays, ostensibly about the role of the writer (or "writer-activist," as she puts it) in society, criticize development, trade and global finance. Although her passion and agitation on these issues is commendable, her writing lacks analysis, and her generalized outrage and hyperbole make much of her criticism wooden. She tends to switch between issues of trade and her fame, losing the reader. The three pieces seem thrown together haphazardly, with no editorial explanation of how they originated (all are available on the Web) or in what context. (Sept.) Copyright 2001 Cahners Business Information.
Art & Photography
Book Info
