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THE ART OF JOY

Though long and sometimes slow moving, the book has considerable merit, particularly for students of women’s literature of...

An epic tale of Italian life in the 20th century, as seen through the eyes of an indomitable woman.

Modesta is born into a land of heat and dust at the very dawn of that century: “The mountains always turn black as her hair when the heat lets up,” she recalls, “but when the heat intensifies they turn blue, like the Sunday dress that Mama is sewing for Tina.” It being rural Sicily, a land beyond the pale even of Carlo Levi’s Christ Stopped at Eboli, Modesta is brutalized before she is even of school age; the youngest, she does not even stand to receive hand-me-downs. When she’s packed off to a convent school where she’ll at least eat, she’s hardened for battle, but instead she finds—well, love of the sort that dare not speak its name. Modesta grows, becoming increasingly ungovernable even as Italy falls under the sway of fascism, unafraid to declare herself a socialist and resist the regime; with the passing years, she experiences all the normal loves and losses, compounded by her lack of interest in formal definitions of gender or institutions. It’s said that this long novel, which sometimes drifts into the politically doctrinaire (“The way you’re acting, you’re not merely showing respect for the Catholic electorate, you’re meeting it fully and distorting the very roots of our struggle”), is a definitive roman à clef recounting its author’s life, save that Sapienza enjoyed perhaps less success in her life than does Modesta, who enjoys a considerable reversal of fortune; for one thing, Sapienza, who died in 1996 and whose father was a devout anti-fascist, could not find a publisher for the book in her lifetime, and it appeared in Italy only in 2005. Readers without a grounding in Italian history will perhaps not appreciate fully the depth of Modesta’s struggle, while those who are familiar may find in the book a sort of worm’s-eye rejoinder to Giuseppe Tomasi di Lampedusa’s The Leopard, narrated from the point of view of one not born to privilege.

Though long and sometimes slow moving, the book has considerable merit, particularly for students of women’s literature of the past century.

Pub Date: July 30, 2013

ISBN: 978-0-374-10614-0

Page Count: 704

Publisher: Farrar, Straus and Giroux

Review Posted Online: July 6, 2013

Kirkus Reviews Issue: July 15, 2013

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THINGS FALL APART

This book sings with the terrible silence of dead civilizations in which once there was valor.

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Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.

Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.

This book sings with the terrible silence of dead civilizations in which once there was valor.

Pub Date: Jan. 23, 1958

ISBN: 0385474547

Page Count: 207

Publisher: McDowell, Obolensky

Review Posted Online: April 23, 2013

Kirkus Reviews Issue: Jan. 1, 1958

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THE BLUEST EYE

"This soil," concludes the young narrator of this quiet chronicle of garrotted innocence, "is bad for all kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear." And among the exclusions of white rural Ohio, echoed by black respectability, is ugly, black, loveless, twelve-year-old Pecola. But in a world where blue-eyed gifts are clucked over and admired, and the Pecolas are simply not seen, there is always the possibility of the dream and wish—for blue eyes. Born of a mother who adjusted her life to the clarity and serenity of white households and "acquired virtues that were easy to maintain" and a father, Cholly, stunted by early rejections and humiliations, Pecola just might have been loved—for in raping his daughter Cholly did at least touch her. But "Love is never better than the lover," and with the death of her baby, the child herself, accepting absolutely the gift of blue eyes from a faith healer (whose perverse interest in little girls does not preclude understanding), inches over into madness. A skillful understated tribute to the fall of a sparrow for whose small tragedy there was no watching eye.

Pub Date: Oct. 29, 1970

ISBN: 0375411550

Page Count: -

Publisher: Holt Rinehart & Winston

Review Posted Online: Sept. 30, 2011

Kirkus Reviews Issue: Oct. 1, 1970

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