From Amazon
Award-winning novelist Philip Hensher announces a radical departure from his earlier books with
The Mulberry Empire, an extraordinarily ambitious, sprawling historical epic that deals with the route of the British from Afghanistan in the late 1830s. Hensher has established a reputation as a waspish commentator on contemporary English and European life in previous novels like
Pleasured, but in
The Mulberry Empire he draws on an earlier tradition of Kipling, Trollope, and Conrad to recreate the moment at which the early 19th century eyed Afghanistan as an addition to its growing Asian Empire.
The novel begins in Kabul with the arrival of Burnes, an ambitious young Scot, eager to open up the country to the English. News of his arrival soon reaches the Amir, for whom "the arrival of the new European in town was like the dropping of a rock into the opaque pool of water which was the city, ruffling the surface immediately in ordinary and predictable ways, but disturbing the substance and mass beneath in a manner which could not be seen, or predicted." Hensher then weaves his story between Burnes's return to London, his romance with the daughter of an opium-addicted hero of Trafalgar, the Amir's court, encounters with Carlyle and Palmerston, and the bloody "Great Game" of imperial politics that catapults the novel into the murderous events with which its culminates. Hensher's novel takes on added significance following the events of September 11, but ultimately he is unable to control the vastness of his historical canvas. At times the book unwittingly reads like a parody of the purple colonial prose of Rider Haggard, and many of its descriptions of Afghanistan and its people are painfully exotic and orientalist. Hensher should be applauded for extending his novelist range, but not for the results. --Jerry Brotton
From Publishers Weekly
Hensher's ambitious new novel (his first to be published in the United States) concerns a lesser-known chapter of Afghan history the British occupation of Kabul in 1839. In the mid-1830s, Alexander Burnes, a British officer, became the London sensation du jour after publishing a book on his adventures in the East, including his encounters with the Afghan prince, Amir Dost Mohammed Khan. His book roused British interest in Afghanistan, a possible new colony and market. Fearing that the Russians might take Kabul first, the British marched into the city, ousted the Amir, and replaced him with one favored by their ally, the Punjabi king. Though the British troops succeeded and remained encamped outside Kabul for three years, the Afghanis at last attacked and sent 16,000 British troops retreating through the valley of their death: they were ambushed, and only one survived. Adopting a part timeless, part ironic storytelling voice, Hensher follows several characters in this vast tapestry: Burnes, of course, and the Amir, but also Bella Garraway, the woman the Amir courts during his year in London; Charles Masson, a British deserter who finds refuge in Kabul; and Vitkevich, a Wilde-like Russian emissary, among many others. Mastering the light touch necessary for a complex history, Hensher moves easily from realm to realm, though he best captures the vanities of society whether of Britain's "upper few thousand" or Moscow's salons. The shifting focus weakens the drama, but what Hensher loses in tension he makes up for in information. Thus the reader learns Persian has six words for mulberry a holy fruit of Islam and Pushto, uncountable. For the post-modern, post-empire reader, ironies abound, and gently as Hensher tells it, the tale is cautionary: any nation should think twice before unseating a foreign prince.
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