THE word fiction could be interpreted as discourse which is imaginary, abstract, or one that depicts facts amalgamated with imagination in a well thought-out, artistic manner. In the current era, the latter part of this flawed definition seems to have struck a chord with most fiction writers as numerous books can be found on subjects ranging from wars to secret societies to international politics. All credit to the author Lara Zuberi, then, for daring to weave a story around a plot that comprises events that are solely based on imagination, delivering a story that is as poignant as it is realistic.

The Lost Pearl focuses on the linear progression and development of the book’s central character, Sana Shah. The novel has a captivating beginning — right at the outset a grave tragedy befalls Shah’s family, the repercussions of which are felt throughout the book’s narrative. A number of interesting offshoot plots emerge closer to the story’s climax as the protagonists become trapped in an emotional struggle, and find it difficult to cope with the hurdles that fate dishes out. What at the inception seems to be a straightforward series of events with a predictable conclusion turns into high drama as the writer creates twist after twist, leaving readers intrigued.

Zuberi employs simple narrative techniques: for instance, the story is told in the first person but it is her diction that is unusual as she uses Urdu words such as desi, roti, and dua etc., throughout the book. Readers who are familiar with Urdu will breeze through the text. Those who are expecting a novel written purely in English, however, will be challenged sporadically. In addition to that, since it is a story that takes readers from Pakistan to the United States and back, there are a number of social issues prevalent in both societies that have been highlighted.

Zuberi uses vivid and crisp expressions to support her imagery in an imaginative manner. In short, this one is for those who harbour a love of the language: “It had a strong smell of fresh paint, but strongest of all was the scent of unfamiliarity … Now I was bitter like the coffee that had been forgotten on the stove and brewed for too long.”

Just like any other piece of fiction, The Lost Pearl is also not without a few intense messages, and philosophy is well incorporated throughout the narrative. Along with the inclusion of much required comic relief — since the better part of the book builds on tragic incidents — Zuberi also includes elements that make readers ponder over critical issues: “Silence can be golden, but remember silence is as bad as a lie if it is used to hide the truth … these are things. Never cry over them, never fight with others for them. The happiness things bring does not last, and people think that when the happiness fades, they need more things, not realising that it’s not going to last either, because this kind of happiness doesn’t touch the soul.”

Arguably the novel’s most prominent feature and something that stands out from the rest of the story’s facets would be Zuberi’s characterisation: there are a number of characters in the novel and most of them happen to be flat — one does not have to be an avid fiction reader in order to predict their actions. However, they are there for a reason, and scaffold the various aspects of the overall story. What makes the characterisation unique, however, are her round characters — the unpredictable ones such as the protagonist and antagonist. Both are quite the same; their motives, actions, and the catharsis that they ultimately reach, is quite similar, if not identical, which leaves readers awestruck towards the end of the novel.

The Lost Pearl

(NOVEL)

By Lara Zuberi

ILQA Publications, Lahore

ISBN 978-9696400318

218pp.