Seems like a great debut novel.
Majumdar marshals a much smaller cast of speakers than Faulkner did, and her spare plot moves with arrowlike determination. It begins with a crime, continues with a false charge and imprisonment, and ends with a trial. The book has some of the elements of a thriller or a police procedural, but one shouldn’t mistake its extraordinary directness and openness to life with the formulaic accelerations of genre: Majumdar’s novel is compelling, yet its compulsions have to do with an immersive present rather than with a skidding sequence. Her characters start telling us about their lives, and those lives are suddenly palpable, vital, voiced. I can’t remember when I last read a novel that so quickly dismantled the ordinary skepticism that attends the reading of made-up stories. Early Naipaul comes to mind as a precursor, and perhaps Akhil Sharma’s stupendously vivid novel “Family Life.” Sharma has spoken of how he avoided using “sticky” words—words involving touch and taste and smell—so as to enable a natural velocity; Majumdar finds her own way of achieving the effect.