A rich collection full of work of accomplishment and great promise alike.
Annual installment of the prize volume honoring short stories by African writers.
Established in 2000, the Caine Prize recognizes short stories of distinction published by African writers, which is to say, a native or citizen of an African nation or someone who has a parent of African birth or nationality. The present volume includes the five stories shortlisted for the prize, three of them by Nigerian writers this year, as well as a dozen stories by developing writers written at the Caine Prize Writers' Workshop. Several pieces speak to the experience of African immigrants in the U.S. The story “Departure,” by the Cameroonian writer Nsah Mala, is a case in point, one that opens on a note of foreboding: “It wasn’t the first night sleep had divorced her.” Nangeh has visions, one of which comes to her as she drops a bucket into a well: She is returning on a plane from America, with piles of cash and “big suitcases of American products.” Indeed, she’s won a green card lottery, but now she needs the money to get there. Alas, says the District Officer, whom she approaches for help, the only way she’ll get there is to marry his son—and never mind the fact that Nangeh is already married. It’s a story that does not end well, for all the promise of a new world. Just so, Rwandan writer Caroline Numuhire recounts the travails of a young woman who finds herself, improbably, in Tulsa, Oklahoma, caught up in just such a web. She frees herself, returning home alone: “Had it been beauty, intelligence, money, charm or any other woman, it might have been a battle I could have won. But my rival’s name was America." Dreams abound in this collection, as does some wonderful poetry, as when Ethiopian writer Heran Abate writes: “The clouds are pink and orange in a way that Mititi thinks is magical. She points up to them and starts blowing air in their direction as if to move them along faster.”
A rich collection full of work of accomplishment and great promise alike.Pub Date: Nov. 9, 2018
ISBN: 978-1-62371-970-8
Page Count: 256
Publisher: Interlink
Review Posted Online: Sept. 1, 2018
Kirkus Reviews Issue: Sept. 15, 2018
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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