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All of Us in Our Own Lives

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All of Us in Our Own Lives

Auteur(s): Manjushree Thapa
Narrateur(s): Robin Miles
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À propos de cet audio

All of Us in Our Own Lives is the story of an encounter between strangers who shape each others' lives in fateful ways.

Ava Berriden, a Canadian lawyer, quits her corporate law firm in Toronto, leaves her passionless marriage, and moves to Nepal, from where she was adopted as a baby. In Kathmandu, she struggles to launch a new career in international AI and to forge a connection with the country of her birth.

Ava's work brings her into contact with Indira Sharma, a leading gender expert in Kathmandu. It also takes her to a small village where bright young Sapana Karki dreams of progress for herself, her community, and her country. Sapana's world-weary half-brother, Gyanu, who works in Dubai, is back to settle his sister's future after their father's death.

Each person is on a journey of his or her own. These journeys intersect with a chance meeting between Ava and Gyanu. In the aftermath, her decisions alter the lives of the others.

The novel delves into the cynical, monied world of international aid and reflects on recent events in Nepal, including the devastating earthquake of 2015 and the subsequent drafting of a new constitution. It is ultimately a story about human interconnectedness and the unexpected ways in which strangers come to relate to one another.

©2018 Manjushree Thapa (P)2018 Audible, Inc. Fiction de genre Fiction littéraire Fiction Népal
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All of Us in Our Own Lives fails as a novel because it prioritizes message over meaning, delivering a hollow, patronizing narrative dressed up in progressive buzzwords. Characters like Indira, who agonizes over spending ₹9,000 on Parisian face cream, come off as shallow attempts at depth, while Ava’s world is filled with NGO jargon and sealed offices described as “hermetically closed… to keep Nepal out,” reducing the story to a blur of donor meetings and bureaucratic speak. Worse still, Thapa resorts to lazy caricatures—like Indira’s mother-in-law, casually and repeatedly called a “witch”—instead of exploring real interpersonal tension. The political and cultural claims made by the characters are often built on logical fallacies, idealizing Western aid and feminist activism while conveniently ignoring the corruption, inefficiency, and unintended harm that plague the very institutions they revere. Rather than confront these complexities, the novel offers moral oversimplification and smug virtue-signaling. What could have been a nuanced exploration of aid work and identity devolves into a condescending, emotionally barren, and ultimately inaccurate portrayal of global justice.

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