The "composite novel" form is unusual, although not exactly new (think Arthurian legends, for instance). Bridging the gap between short story collection and "normal" novel in chapters, it consists of a number of stories, linking into a coherent overall narrative, but with each story being strong enough and well enough structured to stand independently. The recent outstanding example was "
Olive Kitteridge: A Novel in Stories" by Elizabeth Strout, and Roshi Fernando has much in common with Strout's quiet, unassuming narrative voice. Fernando's writing can also be reminiscent of the best contemporary short story writers: Alice Munro, or William Trevor, capable of power and emotion (and sudden changes of pace) in natural, unpretentious language. Stevie Davies has referred to Fernando's writing as "virtuoso" - high praise from one who knows.
This book revolves around a group of people with Sri Lankan heritage who are well established in the UK. The experience of the first post-war wave of non-white Commonwealth immigrants has become something of its own sub-genre, but the sense of displacement (or assured cultural belonging) decades later, and for these people's children, is new and fascinating territory in literature. This is a thoroughly contemporary, complex subject, spanning Britain and Sri Lanka, numerous religions, social classes and ways of life.
And so the range of "Homesick" is quite extraordinary: in its 200 pages you encounter (among other things) a crime caper, an old lady's ill-judged erotic lunge, a terrorist meeting someone on a bus, a traumatic coming of age in a leafy suburb, a silent boy who experiences life through Charlie Chaplin, realpolitik in the aftermath of civil war, a sudden insight into the human condition broadcast on Radio 1, a garden labourer's life destroyed by his proximity to a child's murder. There is humour, high drama, domesticity, pathos and intimacy. Each story is linked by the theme of cultural displacement and the broad post-immigration community, but this is never overt. The cast of characters is so intricately drawn that they come to life independent of the fictional scenario, and as they reappear in a second or third story, it is as though the face of an old friend flashes before you.
I read this book alongside the 2010 Booker long list, and only Lisa Moore's "February" compares for the deftness of touch, breadth of emotion, and ability to draw the reader into its world. Thoroughly recommended to anyone who enjoys fine, thoughtful writing.