SHORTLISTED FOR THE LOS ANGELES TIMES BOOK PRIZE FOR FICTION
NOMINATED FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR FICTION
One of Barack Obama's top ten books of 2017
The Times Top 10 Bestseller Guardian Top 10 Bestseller The New York Times Top 5 Bestseller
Longlisted for the Carnegie Medal 2018 and finalist for the Neustadt Prize 2018
2017 most anticipated books pick -- Guardian, Daily Telegraph, New York Times and many more...
'Spare, crystalline prose, mixing the real and the surreal and using old fairy-tale magic... An unnervingly dystopian portrait of what might lie down the road' Michiko Kakutani, New York Times
An extraordinary story of love and hope from the bestselling, Man Booker-shortlisted author of The Reluctant Fundamentalist
Nadia and Saeed are two ordinary young people, attempting to do an extraordinary thing - to fall in love - in a world turned upside down. Theirs will be a love story but also a story about how we live now and how we might live tomorrow, of a world in crisis and two human beings travelling through it.
Civil war has come to the city which Nadia and Saeed call home. Before long they will need to leave their motherland behind - when the streets are no longer useable and the unknown is safer than the known. They will join the great outpouring of people fleeing a collapsing city, hoping against hope, looking for their place in the world . . .
Writing in spare, crystalline prose, Hamid conveys the experience of living in a city under siege with sharp, stabbing immediacy Michiko Kakutani, The New York Times
Mohsin Hamid writes regularly for The New York Times, the Guardian and the New York Review of Books, and is the author of The Reluctant Fundamentalist, Moth Smoke, How to Get Filthy Rich in Rising Asia and Discontent and its Civilisations. Born and mostly raised in Lahore, he has since lived between Lahore, London and New York. His next novel, Exit West, will be published by Hamish Hamilton in spring 2017.
Was geschieht mit uns - wenn wir durch die schwarze Tür gehen ?
von einer Kundin/einem Kunden
Ein verstörendes Buch - noch als eine Fiktion geschrieben. Wird irgendwann unsere Welt so aufgeteilt sein, in die helle Welt, die alles hat und die dunkle Welt in der nur Menschen leben, die geflohen sind und in Ghettos eingesperrt werden? Krieg gegen die Menschen, die aus dem Krieg kommen...Ein verstörendes Buch - noch als eine Fiktion geschrieben. Wird irgendwann unsere Welt so aufgeteilt sein, in die helle Welt, die alles hat und die dunkle Welt in der nur Menschen leben, die geflohen sind und in Ghettos eingesperrt werden? Krieg gegen die Menschen, die aus dem Krieg kommen ? Verwirrend die Idee, die fiktiven Städte mit den Namen der großen Metropolen zu benennen, die schwarzen Türen die am Meer und in der Wüste oder in London enden.Eine nachdenkliche und nachvollziehbare Geschichte, weil die Protagonisten ein junges Paar mit Hoffnungen und Träumen sind, die nur ein "normales" Leben in Freiheit und Sicherheit wollen. Der Verzicht auf die Schilderung extremer Grausamkeiten macht das Buch noch intensiver, weil es die fast schon erreichte Normalität schildert und nicht nur Fiktion.
The city is already at war when Saeed first meets Nadia in an evening class. Yet, there is still something like an ordinary life. Both of them go to work, go shopping and spend time on the Internet. Their love is not passion at first sight, it develops slowly...The city is already at war when Saeed first meets Nadia in an evening class. Yet, there is still something like an ordinary life. Both of them go to work, go shopping and spend time on the Internet. Their love is not passion at first sight, it develops slowly and as they are falling in love, life becomes increasingly difficult and dangerous in their hometown. Violence becomes a normal factor in their lives and when the war finally arrives also in their quarter, they have to make a decision: do they want to spend the rest of their time together? When Saeed’s mother is killed, Nadia moves in with him and his father. But the situation becomes more and more complicated and so they finally decide to leave and follow thousands of others into a better life in the west.
Mohsin Hamid does not give any name to Saeed’s and Nadia’s hometown, from the information we can find in the novel, I gather it must be in Syria or one of the neighbouring countries. What I found quite impressive was, first of all, how everyday life can be arranged in times of war. People adapt to the situation, find ways of coping with limitations in their freedom of moving around when curfews are announced and can even organise their life around religious regulations ordered by the rulers. When food is limited and even their own flats are not secure anymore, they maintain at least the impression of normality.
The second aspect I especially appreciated was the character of Nadia. Even before the story begins, she is a free spirit, lives according to her own rules and does not let herself be dominated by the men in a man-dominated country. The fact that she as a single woman who lives alone is already impressive, but her real strength becomes only obvious when she and Saeed leave the country and have to rearrange their life in foreign places. In contrast to Saeed, she does not look back and search for familiar people who speak the same language and practise the same religion. Nadia can really adapt to new situations and show her intelligence and capacities of bonding with people. She is not afraid, she has already lost her home country, her family and gave up everything.
Exit West contributes to the current politically most discussed topic in Europe. Yet, it does not highlight the political dimension of the quasi exodus of a whole generation, but focuses on the personal perspective. With Saeed and Nadia, we have a loving couple who leave behind different lives and who struggle in very different ways with their role as refugees. How the citizens of London react to the newcomers could be interesting to look at more closely, just as the development of their relationship over the course of time. The role of men and women in the different countries is also worth another thought. Yet, everything cannot be mentioned in a review, particularly if a novel offers that much as Exit West does. It is also Hamid’s style of writing which contributes to making the novel stand out in the masses of new publications. With a plain, very direct way of narration, the author can hit the reader deeply and hinder anybody from just reading the novel, closing the book and forgetting about it.