Abandon : A Romance

Where this reader finds problems is the attempt to create a Romance novel that illustrates the mysticism of Sufism. Iyer writes very well, but his creation of Camilla Jensen, the love interest of the narrator John McMillan as he writes his dissertation on Rumi, is hardly successful. The character is a whining, dissociative, frightened creature who rarely assumes a countenance that would be able to attract ANYONE - inside or outside the novel. She is a selfconscious, chronically late, afraid little bore. Iyer paints some lovely encounters that have all the atmostphere to accompany a love song, but it is difficult to understand why he becomes so obsessed with her.

But despite the shortcomings as a romance novel, ABANDON is a book that deserves a wide audience for its introduction to Eastern religion in a format accessible to the American audience. And that is far more important than yet another mindless love story.........

Just returning from India, John is caught in the web of intrigue surrounding Camilla Jensen, a young woman of contradictory traits, whom he meets when delivering a package to her. He is romantically involved with a woman in London, but chooses to ignore this reality as he spends more time with Camilla. The insipid Camilla is more the product of a male-dominated culture than the authors "New-Age" description indicates. Her behavior both attracts and repels Macmillan. Against his better judgment, he is drawn to Camillas fragile unpredictability and the glimpses of passion she exhibits. In point of fact, she is dependent, childish and singularly unattractive. The romance is hopelessly pedestrian.

Iyer writes with confidence about foreign countries, Islam, Rumi and the shadowy Sufis as Macmillan does Professor Sefhadis bidding; the professor is, after all, his mentor and necessary to the completion of the thesis. At the professors request, Macmillan travels to India, Spain and Iran, where he has conversations about manuscripts that may or may not be in circulation. Yet everything in this book is vague, indirect; conversations are purposefully ambiguous, correspondence filled with inconsistencies, as though Macmillan thrives on misdirection. I find myself discomfited, as though I cant trust the author to be truthful. The relationship between Camilla and John may serve as a metaphor for Macmillans search for the essence of Sufism, the letting go of self, "being" the experience. But it is unclear whether Macmillan is the professors pawn, Camillas fool or a man more comfortable with mystery than with answers.

Altough not as impressive as the ubiquitous Rumi, common usage would suggest that "water seeks its own level". Simple, perhaps, but in this case, appropriate. Sacrificing himself on the altar of dysfunction, Macmillan is not grasping Heaven with his new lover; rather he is dancing merrily along the precipice of Hell. Luan Gaines/2004.