logo
Book Review: The Great Big Beautiful Life is steeped in mystery but soggy on romance

Book Review: The Great Big Beautiful Life is steeped in mystery but soggy on romance

Hindustan Times02-06-2025

Sometimes you get yourself a big, fat, shiny book and decide you're going to love it. But a quarter of the way through your reading marathon, you realise that your interest may not necessarily be waning, but... is this really what you signed up for?
Author Emily Henry's Great Big Beautiful Life has the grandiose, the twists and the trappings. But if you pick up this book in the hopes of flipping through a nemeses-to-lovers trope, alert: you're going to be left high and dry.
Past the point of the falsely-packaged 'romance', Great Big Beautiful Life offers just about enough to have the Kindle-bound Sherlocks make it through to the end — a reclusive heiress, ironclad NDAs and a dance-off, albeit of words — Emily knows her craft well enough to have you not abandon the read halfway through. But the final payoff comes not from the mind-bending exhilaration you expect from a mystery read, but more like the self-assuring 'ah' at the end of a fairly predictable slow burn.
One thing Emily aces in, is in her attempt of character building and painting the choicest picture, she uses words that aide her narrative. Alice brings the spark and her Pulitzer-winning opponent Hayden brings some empty depth. Yet anything around them, let alone between them, is drowned in the winding, spotlight-hogging lore of Margaret Ives' family.
More than anything, what the book falls short on is expectations. You walk in expecting Emily to deliver a subtly racy romance against the backdrop of warring words and blue oceans. You get instead are both, along with ample visual reprieve, but their merit stands robbed owing to the hollow, almost forced spot that Alice and Hayden are put in.
The crescendo of a good romance novel – though this isn't really what that is – is the big realisation of having fallen head over heels. But here's the thing, more than Alice herself, you will be confused as to how she got there!
If you walk into this novel dismissing any expectations of a slow burn romance then it will be a fairly engaging read. But, if a slew of stolen glances and fluttering tension is what you're really after then you're better off without it. Either which way, this book stands best defined by its lost potential.
Title: Great Big Beautiful Life
Author: Emily Henry
Publisher: Penguin Random House India
Price: ₹899

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

America's Team: The Gambler and His Cowboys OTT Release Date - When and where to watch rise of an NFL dynasty
America's Team: The Gambler and His Cowboys OTT Release Date - When and where to watch rise of an NFL dynasty

Time of India

time2 hours ago

  • Time of India

America's Team: The Gambler and His Cowboys OTT Release Date - When and where to watch rise of an NFL dynasty

America's Team: The Gambler and His Cowboys OTT Release Date - The Dallas Cowboys weren't always the world's most valuable sports franchise. But one man's bold bet changed everything. America's Team: The Gambler and His Cowboys, an upcoming sports documentary series, will unpack how oil tycoon Jerry Jones turned a struggling football team into a multi-billion-dollar dynasty. The series drops on August 19, 2025, on Netflix. What is America's Team: The Gambler and His Cowboys all about? At its core, America's Team is about ambition, power, ego, and the relentless pursuit of greatness. This is a layered look at the 1990s Dallas Cowboys, a team that dominated the NFL, shaped American pop culture, and redefined how sports franchises operate. It all began in 1989, when Jerry Jones, a businessman with zero experience running an NFL team, purchased the Dallas Cowboys for $150 million. What followed was a chaotic, controversial, and ultimately historic journey that led to three Super Bowl victories (1992, 1993, and 1995) and a global fanbase. Cast of real-life characters This docuseries is stacked with first-hand interviews and never-before-seen footage. You'll hear directly from the people who built and sometimes broke the dynasty: Jerry Jones – The owner, president, and general manager who bet it all. Troy Aikman – The cool-headed quarterback who became the face of the franchise. Emmitt Smith – The league's all-time leading rusher, who powered the offence. Michael Irvin – The fiery wide receiver who brought unmatched intensity. Deion Sanders – The flashy, two-sport superstar who brought swagger to the team. Jimmy Johnson – The no-nonsense coach who clashed with Jones, then delivered titles. Barry Switzer – The college coaching legend who kept the winning streak alive. George W. Bush – Former U.S. President and longtime Cowboys fan, offering a personal perspective. Phil Knight – Nike co-founder, discussing the Cowboys' brand power and cultural rise. America's Team: The Gambler and His Cowboys comes from the Emmy-winning directors Chapman and Maclain Way, best known for Netflix hits like Wild Wild Country and Untold.

Beyond Heart Lamp's success: Are translators getting the credit that's due?
Beyond Heart Lamp's success: Are translators getting the credit that's due?

The Hindu

time3 hours ago

  • The Hindu

Beyond Heart Lamp's success: Are translators getting the credit that's due?

'Against Italics' - Deepa Bhasthi's translator's note for Heart Lamp, which won the International Booker Prize 2025, made headlines. The translator's note section, which is usually skipped, drew attention this time. 'Setting aside the futile debate of what is lost and found in translation', Ms. Bhasthi talks about her deliberate choice to not use italics for the Kannada, Urdu, and Arabic words that remain untranslated in English. Ms. Bhasthi ends the translator's note saying, 'Italics serve to not only distract visually, but more importantly, they announce words as imported from another language, exoticising them and keeping them alien to English. By not italicising them, I hope the reader can come to these words without interference, and in the process of reading with the flow, perhaps even learn a new word or two in another language. Same goes for footnotes – there are none'. While talking to The Hindu, Ms. Bhasthi says this translator's note has been met with a lot of love and care, and attention by readers as well. One of the reasons why words are italicised in translated texts is that there may be no exact equivalent in the target language of translation ~ seen as untranslatability. Until some years ago, this idea of untranslatability was the prominent discourse in translated literature, viewed negatively. Conversations about translated texts have, however, become more nuanced now, and translation is coming to be seen as a creative process as much as writing. As translators claim creative agency and push back against conventions like italicisation, the way a translator's role is perceived is evolving. From what's lost to what's found Ms. Bhasthi prefers the term writer-translator over just translator, which reduces the translator's job to one less than the writer. She says translation is as much a creative practice as writing, and autonomy in translation is important, as without it, her job would be no different than ChatGPT. 'That said, of course, if the author is living, it is always nice to be in conversation with them about their stories and, you know, get insights', she says. Moutushi Mukherjee, Commissioning Editor at Penguin Random House India, states that translators are now able to talk more about the tremendous impact a translation can have on expanding a literary heritage to wider audiences. She notes that there is a growing number of enthusiastic and resourceful translators in the country, which she sees as a very positive development. Ms. Mukherjee adds that the translators themselves are now more vocal about their role, putting themselves out there, so to speak, and emphasizing their contributions. According to Ms. Mukherjee, wins like Tomb of Sand (for Daisy Rockwell) and Heart Lamp (for Deepa Bhasthi) have also, obviously, changed the way readers perceive the translator. Translator visibility on book covers The book cover for Heart Lamp, published by Penguin, features an artwork at the top, followed by the book title and subtitle in red and sky blue-colored fonts, respectively. The next prominent feature is the author's name, Banu Mushtaq, spaced across the centre of the cover. It is then followed by Ms. Bhasthi's name in a smaller font, highlighting her 'Winner of the English PEN Translates Award 2024' achievement. A similar pattern of book covers is visible in the Perennial translation series by Harper Collins, and their back covers provide a brief introduction to both the author and the translator. This wasn't always the norm. Ms. Bhasthi says this visibility on the book cover is much better than until a few years ago, as translators' names would be somewhere inside the book and not on the cover. But now nearly all publishers put the translator's name on the cover. In a 2016 opinion piece for The Hindu, translator S. Krishnamurthy writes, 'Except on the title page and the cover, nowhere else will you see your name or any other details about you (translator). If your name is an ubiquitous sort, as is mine, nobody will even know you are the translator, unless you tell them'. Ms. Bhasthi says there still needs to be a lot of awareness about this, and it needs to start with the media. She states that there is an attitude that continues to persist in the media, especially, where somehow it is enough to just name the writer of the original work and not name the writer-translator who has brought the work into English or whatever other language. Ms. Bhasthi says we have certainly come a long way, but she thinks we still have a very long way to go before writer-translators are also seen on an equal footing with the writers in the original languages as well. Stepping aside from India, the research paper, 'Examining Intersemiotic translation of book covers as a medium of culture transfer,' was published in 2018. Among other aspects, it attempts to concentrate on the elements and criteria that are directly related to the visibility of translators. It takes into account five translations of Ernest Hemingway's, 'The Old Man and the Sea', in Iran, one of the most translated books in the country. The research paper finds that the title is designed with the biggest font, and then the name of the author in a quite smaller font, and lastly, the name of the translator is printed in the smallest font. 'It is also worth mentioning that in two works, the name of the translator is not even printed on the front cover, i.e., Manzoori and Parsay translations. In other words, the mentioned pattern prioritises the importance of each item: first the work, then the author, and last the translator. These covers also don't provide specific information in the book for introducing the translator or his/her other translated works to the interested readers', the paper says. In the Indian publishing industry the scene has changed. Urvashi Butalia, publisher, teacher and activist, says, 'There is greater acknowledgement and this is evident in all the things such as larger fonts, better placement, and also in including translators in media events. By contrast, I've not seen many reviews that mention names of translators, although again I could be wrong'. Ms. Mukherjee says credit is very important. She states that a simple act of giving credit to the translator on the cover of the book, and yes, equal weightage inside the book, has gone a long way, in her personal experience. Ms. Mukherjee also says we should expand that credit in a broader sense: include the translator in all marketing and publicity details, retail campaigns, and general discussion about the book. She emphasizes giving the translator the visibility they deserve across festivals and awards. According to Ms. Mukherjee, if we want to give visibility to translators, we must do so collaboratively, across all stakeholders. Promoting translated literature Translators are being acknowledged as co-creators in the literary process and not as secondary personas. There is a drive for better visibility of translators through book publicity campaigns, panel discussions, and other media. 'However, broader industry support and consistent credit across marketing, media, and events are still needed. I do think it's not enough for a few publishers and award ceremonies to promote translation literature. We need more publishing groups, more juries, and certainly, more of the mainstream media, supporting and recognising the significance of literature in translation', says Dharini Bhaskar, Associate Publisher, Literary at HarperCollins India. It helps to keep translation central to all conversations to do with books and literature. For instance, on World Book Day, Harper Collins had a full translation panel—which included Mini Krishnan, Sheela Tomy, Jayasree Kalathil, and Ministhy—and they spoke about the challenges faced by translators and the space translation literature occupies in the literary firmament. On how they bridge this gap, Ms. Bhaskar says, 'For one, we give literature in translation as much prominence as the poems and novels, and non-fiction originally published in English. Translation literature not only gets equal editorial care and attention but also has the full support of both the sales and marketing teams. We promote our works of translation—and not just when they're nominated for awards—and back translator and author equally. For they're a team. The book belongs to both of them'. Ms. Mukherjee says their publicity campaigns include the translator along with the author; this is without exception, and they will never have it any other way. She states that they make it clear at the outset to the author as well as the agent that the translator is going to be equally involved in the editing process, in planning publicity, and even on decisions pertaining to the cover of the book. Ms. Mukherjee says the translator has equal space (and equal say) on the journey of the book, both during and after its publication. Zubaan recently began a translation collaboration with Ashoka University called Women Translate Women. Every event for the books in this series has had translators present. Ms. Butalia says, 'This is also the case with many other publishers – in fact, several mainstream publishers now employ editors whose main task is to source translated manuscripts. This is a very positive development'. Are readers more willing to buy translated books? Publishers say winning the International Booker does drive sales of translated works. Though publishing houses have been increasingly taking steps to highlight the work of the translator alongside the author, the media lags in giving translators due credit. Readers, too, are increasingly open to buying translations, though Western approval still influences Indian buying habits. Ms. Bhasthi says there has been a lot of love that the translation of Heart Lamp has received, apart from the stories, and she is very grateful for that. She highlights the importance of the International Booker Prize giving equal emphasis to both the writer-translators and the writers from the original language. 'So, I think that attention is very important for translations and writer translators as well', she says. Talking about the media coverage Heart Lamp received, Ms. Bhaskar says there is immediate media coverage once a book is longlisted or shortlisted for a prestigious award, and such coverage doubles if the book wins. She adds that this kind of visibility has a direct impact on sales. 'This, in turn, has a direct impact on sales', she says. Ms. Bhaskar says they have seen sales numbers of books spiralling the moment they win prestigious awards. She notes that the ripples spread far, and that major wins typically benefit all literature coming out in a certain language. She emphasizes that such recognition also helps literature in translation overall, and sometimes even specific genres like poetry or short fiction. It also bodes well for literature in translation (as a whole), and sometimes, it bodes well for certain genres. Ms. Bhaskar points out that very often, in India, readers look for approval abroad before buying a book published locally. She stresses the need for Indian readers to start recognising the wealth of literature already available in the country—in English, in translation, and in regional languages—and to start supporting these books without necessarily waiting for validation from the West. Ms. Butalia says readers are more willing to buy translated works in general, perhaps this is because translated books are also more visible now, both in offline and in online bookshops. And they are better marketed, as books in their own right and not as poor cousins of an original. Ms. Bhasthi says that compared to other literary fiction, translated fiction is still not as widely read as it should be in a diverse country like India. She expresses hope that readers show more interest in translated fiction, and specifically mentions Kannada as one of the more under-translated languages in South India. Ms. Bhasthi says'I hope more translators bring forth some of the extraordinary works that we have in my language.'

Bad Bunny Asks Fans To Lower Their Expectation For His Tour: ‘I'm Not Taylor Swift'
Bad Bunny Asks Fans To Lower Their Expectation For His Tour: ‘I'm Not Taylor Swift'

News18

time3 hours ago

  • News18

Bad Bunny Asks Fans To Lower Their Expectation For His Tour: ‘I'm Not Taylor Swift'

Last Updated: Unlike Taylor Swift's Eras Tour, Bad Bunny will not pay tribute to all of his albums in his upcoming tour. Bad Bunny is gearing up to kick off his much-awaited world tour in November this year. Following the release of his sixth album, Debi Tirar Mas Fotos, the Puerto Rican singer is going on an all-stadium world tour. Before welcoming his fans, the singer compared himself with Taylor Swift and asked fans to keep their expectations low. During an interview with Variety, Bad Bunny referred to the Eras Tour and stated that unlike Taylor Swift, he would not be able to pay tribute to all of his albums. He further revealed that his tour would not be as organised as the Grammy-winning singers. 'First of all, I'm not Taylor Swift," the singer stated, asking his fans to not expect a tour like Taylor's Eras Tour. 'It's not going to be organised that way. It's very much a tour for Debi, with some older songs sprinkled in." The 31-year-old singer further clarified that there would be no concert films like the Eras Tour Movie, but they would shoot the concert solely for the memories, as the singer's main aim is to create memories and share emotions with the fans. Bad Bunny's highly anticipated world tour is on its way to breaking records as he sold tickets worth 2.6 million USD across shows in Latin America, Europe and Australia. His upcoming world tour is set to kick off on November 21 in the Dominican Republic, and after that he will make stops in Costa Rica and Mexico in December before resuming in January in Latin American countries. By the end of February, the singer is expected to conclude his shows in Brazil and Australia for the first time ever and make his concert debut in Japan by the end of March. Between May and July, the singer is expected to tour Europe, making stops in Portugal, Spain, Germany, France and other countries. Before embarking on his extensive world tour, Bad Bunny is set to perform a 30-date residency in Puerto Rico. The performance at the Coliseo de Puerto Rico Jose Miguel Agrelot is expected to draw an estimated 250,000 fans to the island. First Published:

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store