Midnight’s Children is not at all a fast read; it actually walks the line of being unpleasantly the opposite. The prose is dense and initially frustrating in a way that seems almost deliberate, with repeated instances of the narrator rambling ahead to a point that he feels is important-but then, before revealing anything of importance, deciding that things ought to come in their proper order. This use of digressions(or, better put, quarter-digressions) can either be attributed to a charmingly distractable narrator or a vehicle for(perhaps cheaply) tantalizing the reader. or both.
I’ll admit that at first I didn’t appreciate being so persistently manipulated. Many times in the first few chapters I found myself closing the book in anger, thinking to myself "If the story is worth it, this tactic is utterly unnecessary."
The tactic, it turns out, is unnecessary. The book-the story-is stunning. It’s stunning enough that the frustrating aspects of the telling are forgivable and actually retrospectively satisfying(which I suspect is what the author wanted). While the fractional digressions, on the one hand, can have you groping around for a lighter-they, on the other hand, work to accustom you to the novel’s epically meandering pace. Also, they effectively allow you to feel a certain urgency near the end of the book, as the narrator "runs out of time."
The imagery is lush; the characters are curiously, magically lopsided; the language is complicated and beautiful; the chapters are nicely portioned despite the initial plodding pace; the narrative is deliberately allegorical, which perhaps suggests an enhanced enjoyment of the work after studying a bit of Indian history. Elements of the story’s frame(the narrator writing in a pickle factory with sweet Padma reading along) are particularly amusing, and the chapter entitled "In the Sundarbans" is nothing short of breathtaking.
The book will go slow in the beginning; the book means to; give it patience-it’s worth it, I think