Tilo misses Musa, but the battered angels in the graveyard that kept watch over their battered charges held open the doors between worlds (illegally, just a crack), so that the souls of the present and the departed could mingle, like guests at the same party. Roys scenes of violence are hallucinatory, like the chapters on the Bangladeshi independence movement in Salman Rushdies Midnights Children, or the union-busting at the banana plantation in Garca Mrquezs One Hundred Years of Solitude. Shes often said to have learned from Rushdie, and she may be a little tired of hearing that, because it is to Garca Mrquez (who surely influenced both of them) that she tips her hat, describing post-colonial India as Macondo madness. In fact, all three writers are practicing variant forms of magic realism, which, for each of them, is, among other things, a means of reporting on political horror without inducing tedium
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