An interview in Helter Skelter:

The first thing that struck me when reading The Comeback is that it feels like it takes place at a distance from where the quote unquote “action” is. I found that such an interesting choice, where we’re hearing about things from a distance, and we’re not on the stage itself. What made you want to set it at that distance? 

That’s interesting you pick up on that. It was not done consciously, but I think one of the reasons I wrote the book at all was that I felt like I was at a distance from everything. I was missing theatre. I wasn’t writing theatre anymore, I wasn’t even watching too much professional theatre. It came out of my own sense of feeling like I was missing out on something and wanting to be at the centre of things, but at the same time, being in a smaller place and recognising that being at the centre of things doesn’t necessarily mean being in a big city. Sometimes you can be in a big city and still have serious F.O.M.O. because all the cool things are happening somewhere else, you know? 

Also, a little bit consciously, I was thinking about our commitments to big cities in the arts. I think it’s unconscious and we can’t always control it, because we go where the money is, and we go where the big industries are. Writers tend to congregate around places where the publishing hub is, [actors] to where the film scene is. But at the same time, I think that we also are then controlled by the big scene. It’s a trade-off, and we trade our own sensibility. The other possibility that is traded in is of actually having control over what you want to do, setting up your own thing in your own social context. So I think it comes a little bit from there, the sense of wanting and not wanting to be in the thick of things.

Link to the full interview: https://helterskelter.in/2025/03/interview-annie-zaidi-the-comeback/

New reviews for the newest book

'Zaidi gently unfurls several interlocked questions about art, friendship, and the perpetually ugly business of making a living. Is "true" or "honest" art necessarily decoupled from the needs of the marketplace? Is the converse true, then, especially in a vastly inequitable country like India? What does "performance" even mean for someone pathologically incapable of being honest with themselves and their closest friends?... This is an accomplished, compulsively readable short novel that may force you to take a good look at your own dormant friendships.'

- Aditya Mani Jha in the Mint 

Link to review:

https://www.livemint.com/mint-lounge/art-and-culture/book-review-annie-zaidi-the-comeback-friendship-stagecraft-11740722742207.html

'The book grapples a lot with the worlds of theatre, cinema, and television; and through this, triggers contemplation on an interesting hierarchy that's right in front of us but never paid heed to - that of the politics of where a play should be performed.'

- Garima Sadhwani in the Financial Express

Link: https://www.financialexpress.com/life/lifestyle/the-comeback-by-annie-zaidi-review-returning-to-your-roots/3778064/

'At its core, The Comeback is a meditation on lost dreams, fractured relationships, and the possibility of redemption. With a narrative that is both intimate and expansive, Zaidi masterfully captures the emotional turmoil of betrayal, the quiet resilience of those left behind, and the unexpected ways in which life circles back.'

- Anjali Chauhan in the Deccan Herald

Link: https://www.deccanherald.com/features/books/meditation-on-broken-bonds-and-lost-dreams-3456598

'The author’s own training in theatre is evident in how the novel is structured. She sketches the backdrop with an enviable economy of words, then allows the characters to take over. The dialogue is crisp, the characters (including the supporting characters) are well-developed, and the plot moves forward at just the right pace.

- Natasha Ramarathnam in Youth ki Awaaz

Link: https://www.youthkiawaaz.com/2025/02/a-story-of-friendship-and-betrayal-set-in-the-theatre-world/ 

'What follows, thereafter, is a tale of soured friendships, bruised egos, fluctuating fortunes, starting from scratch, and, of course, drama in every which way. An award-winning dramatist, Zaidi has seen the world of theatre, up-close and up-front, and is clearly partial to it. Her descriptions of rehearsals, the shoe-string budgets, the uncompromising determination to stage quality stuff, make for inspiring reading.

This is a book that many from the world of grease-paint and arc lights will identify with. Others will enjoy a story, well-told.'

- Alpana Chowdhury in The Free Press Journal

Link: https://www.freepressjournal.in/lifestyle/book-review-the-comeback-by-annie-zaidi-a-captivating-story-of-ambition-friendship-and-betrayal

'Asghar’s journey, from brokenness to renewal, is rendered with a sensitivity that avoids clichés, making his evolution not just compelling but deeply affecting. His rediscovery of theatre serves as both an artistic and personal revival, showcasing his resilience. The supporting characters—family, friends, and the theatre troupe—enrich the narrative...'

- Namrata in Kitaab

Link: https://kitaab.org/2025/03/27/book-review-the-comeback-a-novel-by-annie-zaidi/