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|Join Revolution Books presents Uzma Aslam Khan, author of "The Geometry of God"|
|Date||Tuesday October 12|
|Time||12:00 PM - 12:00 PM|
|Import this event into your personal calendar.|
2425 Channing Way(in the Sather Gate Parking Mall off of Telegraph Avenue).Wheelchair accessible,donations accepted.
|revolutionbooks [at] sbcglobal.net|
|Address||2425 Channing Way off of Telegraph Avenue|
Uzma Aslam Khan makes a rare, San Francisco Bay Area appearance. She will discuss her recent novel The Geometry of God. Khan also has an article in the upcoming issue of Granta Magazine issue devoted toPakistan, and will be appearing to talk about this at LitQuake while she is in the area.
About the Geometry of God:
Amal: the practical sister who digs up the “diamond key” that unlocks the mystery of Pakicetus, a whale-dog creature who once swam the ancient seas that are now Pakistan.
Mehwish: the blind younger sister, who moves with the sun and music inside her and thinks in “cup lits not fully legal.”
Zahoor: their heretical grandfather, a scientist who loves variation and “vim zee” and his two granddaughters most of all.
Noman: the young man who steps into a lecture hall, decides “their triangle needs a fourth point,” and changes all their lives.
These are the four shifting chambers who make the heart of The Geometry of God, the new novel from lauded Pakistani writer Uzma Aslam Khan. Through these vivid, contradictory, and original characters, Khan celebrates the complexities of familial and erotic love, the tug of curiosity and duty, the intersections of faith and longing. Her exuberant language draws from Urdu and Punjabi and invents one of its own for Mehwish, whose fractured English divides and slows and reveals.
The Geometry of God is a novel one can read greedily, following these characters as their lives unfold against the backdrop of General Zia’sPakistan, where religious fundamentalism gains ground and the mujaheddin is funded by gem sales and the Americans. Or one can savor, as the sisters show us: digging as Amal does toward the novel’s deepest questions about love and knowledge and faith, moving as Mehwish does to the rhythms of an abundant and original language.