A striking debut that reveals the breadth of emotional disconnection that prejudice can stoke within a family.
A tale of two French brothers of Syrian descent, one struggling as a rideshare driver, the other back in the Middle East on a (maybe) humanitarian mission.
Guven’s first book, winner of the 2017 Prix Goncourt for a debut novel, is a sharp prodigal-son tale about life on the margins outside of Paris. The “older brother” of the title has grown wise to the ways Muslims like himself are treated in a suburb he calls “the dump of France,” scraping out a living as an Uber driver and occasional police informant, roles that leave him feeling exploited; but his father, a widower and old-line taxi driver, feels that anything is better than his native Syria, which tends to stoke rants about civil war and religion. The “younger brother,” a hospital nurse, has disappeared to the Middle East, "likely right there with the lunatics, at war, on his way to death.” The younger brother weighs in on his fate in alternating chapters, explaining how his urge to make use of his medical skills brought him into, yes, Syria, where he works as a field medic supporting rebels against Bashar al-Assad’s regime. The younger brother is also disillusioned with France, where, despite the inclusive rhetoric after the Charlie Hebdo massacre, Muslims are “less-than-zeros in a society that teaches about equality and tolerance and respect,” and Guven’s novel is largely an exploration of how a shared fury at marginalization can play out in a variety of ways. Kover’s translation highlights the brothers’ differing temperaments: The older one’s street-wise, sarcastic, and jaded, the younger’s more naïve but spiritually righteous. The older brother suspects the younger has returned, prompting his concern that he’s been radicalized. Guven withholds whether that surmise is correct, giving the novel a thriller-ish vibe in its closing pages, but at heart it’s a contemplative story about what siblings owe each other.
A striking debut that reveals the breadth of emotional disconnection that prejudice can stoke within a family.Pub Date: Oct. 8, 2019
ISBN: 978-1-60945-549-1
Page Count: 256
Publisher: Europa Editions
Review Posted Online: July 14, 2019
Kirkus Reviews Issue: Aug. 1, 2019
In this vivid and moving book, Orange articulates the challenges and complexities not only of Native Americans, but also of...
Orange’s debut novel offers a kaleidoscopic look at Native American life in Oakland, California, through the experiences and perspectives of 12 characters.
An aspiring documentary filmmaker, a young man who has taught himself traditional dance by watching YouTube, another lost in the bulk of his enormous body—these are just a few of the point-of-view characters in this astonishingly wide-ranging book, which culminates with an event called the Big Oakland Powwow. Orange, who grew up in the East Bay and is an enrolled member of the Cheyenne and Arapaho Tribes of Oklahoma, knows the territory, but this is no work of social anthropology; rather, it is a deep dive into the fractured diaspora of a community that remains, in many ways, invisible to many outside of it. “We made powwows because we needed a place to be together,” he writes. “Something intertribal, something old, something to make us money, something we could work toward, for our jewelry, our songs, our dances, our drum.” The plot of the book is almost impossible to encapsulate, but that’s part of its power. At the same time, the narrative moves forward with propulsive force. The stakes are high: For Jacquie Red Feather, on her way to meet her three grandsons for the first time, there is nothing as conditional as sobriety: “She was sober again,” Orange tells us, “and ten days is the same as a year when you want to drink all the time.” For Daniel Gonzales, creating plastic guns on a 3-D printer, the only lifeline is his dead brother, Manny, to whom he writes at a ghostly Gmail account. In its portrayal of so-called “Urban Indians,” the novel recalls David Treuer’s The Hiawatha, but the range, the vision, is all its own. What Orange is saying is that, like all people, Native Americans don’t share a single identity; theirs is a multifaceted landscape, made more so by the sins, the weight, of history. That some of these sins belong to the characters alone should go without saying, a point Orange makes explicit in the novel’s stunning, brutal denouement. “People are trapped in history and history is trapped in them,” James Baldwin wrote in a line Orange borrows as an epigraph to one of the book’s sections; this is the inescapable fate of every individual here.
In this vivid and moving book, Orange articulates the challenges and complexities not only of Native Americans, but also of America itself.Pub Date: June 5, 2018
ISBN: 978-0-525-52037-5
Page Count: 304
Publisher: Knopf
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
BOOK REVIEW
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
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