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Praise for Uzma Aslam Khan’s

The Geometry of God

“[F]uses the romantic, the spiritual and the political… the characters, the poetry and the philosophical questions she raises are rendered with a power and beauty that make this novel linger in the mind and heart.”

—Kirkus, starred review

“Elegant, sensuous and fiercely intelligent, The Geometry of God takes an argument that is in danger of becoming stale—that of fundamentalism vs. free thinking among Muslims—and animates it in a wonderfully inventive story that pits science against politics and the freedom of women against the insecurities of men.”

—Kamila Shamsie

“Uzma Aslam Khan, a fearless young Pakistani novelist, writes about what lies beneath the surface—ancient fossils embedded in desert hillsides, truths hidden inside the language of everyday life… Khan's urgent defense of free thought and action—often galvanized by strong-minded, sensuous women—courses through every page of this gorgeously complex book; but what really draws the reader in is the way Mehwish taste-tests the words she hears, as if they were pieces of fruit, and probes the meaning of human connection in a culture of intolerance, but also of stubborn hope.”

—Cathleen Medwick, O magazine

“The Geometry of God is a novel that you don’t just read; you listen to it. It can be irreverent, perverse. It can speak with a whole, fluid beauty. It can be curious, wondrous, noncompliant, like the English in Mehwish’s head… Mehwish is the zauq of the book, the sensory pulse of the novel, who pulls you into a world of her own making. Expect a simultaneous rush that has funniness, absurdity, shock, tenderness… [and] great sex.”

—First City, India

“Such wonderful and persuasive writing. No one writes like her about the body, about the senses, about the physical world. Uzma Aslam Khan is the writer whose new novel I look forward to the most.”

—Nadeem Aslam

“Uzma Aslam Khan has boldly tapped uncharted themes in her latest book, The Geometry of God. She carves a sublime story of new and old with contemporary panache, in which people are real and their fears are prevalent and believable. Khan weaves a complex story whose narrative has a casual energy to it: each voice telling his or her story. Khan is not afraid to say anything.”

—Dawn, Pakistan

“Throughout this complex narrative, Khan writes with unfailing intelligence and linguistic magic. For Westerners, she unlocks doors and windows onto Pakistan and its Islamic culture.”

—Claire Hopley, The Washington Times

“[V]ivid and rich. The reader is rewarded with new viewpoints, a welcome change from the sensationalized and often macabre portrayals of Pakistani people and the country they fight so hard to preserve.”

—Story Circle Book Reviews

“Uzma Aslam Khan's novel is an eloquent rebuttal to its own character's claim about modern Islam's single-mindedness. Skipping across eras and registers of culture—and showing devotion to pleasures as diverse as Elvis Presley and the Mu'tazilites, Aflatoon (the Arabic name for Plato) and evolutionary biology—it is both an example of and an argument for the essential hybridity of every society.”

—Ploughshares

“Uzma Aslam Khan comes from a younger generation of Pakistani authors born and raised in the disrupted decades of the 1980s and 90s whose fiction looks back to those earlier times... As in her previous work, Aslam Khan deploys several narrators, both male and female... but it is the abstract perspectives offered by Mehwish, a character who sees the world with her inner eye, tastes its truths and tells them ‘slant’, that are the most original and captivating... we become attuned to her quietly anarchic voice... complex... inventive... ”

—Times Literary Supplement