The book A Lady Cyclist’s Guide to Kashgar promises an adventurous journey, but does it deliver? The premise, a woman writing a travel guide in a distant land, is intriguing. However, the execution, particularly the characters and plot, might leave readers wanting more.
The story follows two parallel narratives. One features Eva, an Englishwoman who accompanies her missionary sister to Kashgar with the intention of writing a travel guide. The other centers on Frieda, a modern-day woman tasked with sorting through the belongings of a deceased relative connected to Eva.
Eva’s journey is fraught with cultural misunderstandings and personal frustrations. Arriving in Kashgar, she immediately expresses discontent, questioning her presence in the desert. When a member of their mission faces trial due to a cultural misstep, the mission abandons them. Eva struggles to navigate the complex social dynamics, and her “guide” appears to take a backseat to her personal drama. In the end, she experiences a brief period of “travel” before returning to England, where her guide surprisingly gets published.
A lady cyclist navigating the vibrant Kashgar market, showcasing the potential adventure the book hints at.
Frieda’s storyline feels disconnected and somewhat contrived. She is given seven days to manage the belongings of a deceased woman linked to both Frieda and Eva. A chance encounter with Tayeb, an illegal immigrant from Yemen, leads them to explore the old woman’s apartment. Tayeb’s diverse skill set, from recognizing antique cameras to cooking oxtail soup, seems almost too convenient. He also discovers a photograph in the bible, further deepening the mystery of the deceased woman’s connection to the cyclist lady.
A vintage Leica camera, similar to one that might be discovered while exploring the belongings of a deceased relative.
The central issue lies in the characters’ portrayal and the plot’s execution. Eva comes across as whiny and unmotivated, while Frieda’s storyline lacks a clear purpose. The cultural representations feel superficial, and the connections between the two narratives are weak. The book introduces various cultures but fails to explore them in a meaningful or respectful way.
The title, A Lady Cyclist’s Guide to Kashgar, implies a focus on travel and exploration. However, the story deviates significantly from this premise. Eva’s journey is more about personal struggles than providing practical advice for cyclists in Kashgar. The guide’s eventual publication feels unearned, given Eva’s lack of engagement with the region.
A bicycle parked against a backdrop of traditional Uyghur architecture, symbolizing the fusion of travel and culture.
The ending attempts to resolve the plot threads, but the resolution feels rushed and unconvincing. Frieda’s symbolic moment at the seashore, where the foam washes away the unresolved plot lines, lacks emotional resonance. The book ultimately falls short of its potential, leaving readers with a sense of disappointment.
While A Lady Cyclist’s Guide to Kashgar presents an intriguing concept, its execution leaves much to be desired. The unlikable characters, disjointed plotlines, and superficial cultural representations detract from the overall reading experience.
