Told in beautifully evocative prose, a panoramic novel showing that the price of growing beyond one’s origins might be...
Nigerian writer Ehirim's audacious debut novel follows a teenager's quest for self-definition in a country in search of itself.
In a prologue set in 1992, the narrator, Ihechi, and his friends run into the famed Afrobeat musician Fela Kuti, who proceeds to get the foursome—which includes Mendaus, a pretentious bookworm; his stepsister, Zeenat, who doubles as Ihechi’s love interest; and a young Christian known only as Pastor’s son—drunk to the point of threatening a police officer. Ehirim then moves back to 1985 as he retraces the steps leading up to that fateful event, which encapsulates the generational and class intersections propelling the novel. Most of the adults here are fixed in their worldviews. Their children, too young to understand the circumstances that have led their parents to be so rigid, socialize with one another though they come from different backgrounds and differentiate themselves through pop culture. Zeenat communicates through movies, Pastor’s son through Scripture, and Mendaus through books. Ihechi, however, is constantly seeking meaning and remains distant due to his banker father’s business relationship with the government and his mother’s religious fanaticism. These poles gesture toward what Ihechi sees as the underpinnings of Nigerian society: corruption and traditionalism. Fela, a musician who encouraged traditional African lifestyles and religions while being arrested hundreds of times for criticizing the Nigerian government, develops into the perfect centerpiece to represent both the cross-cultural appeal of music and Ihechi’s emotional confusion as a child. The next time the foursome sees Fela, a military crackdown leaves Zeenat dead; Mendaus radicalized; and Ihechi’s mother fearful for her son’s impressionable spirit. She sends him away to live with his uncle and cousins, Pentecostals who look down on him—though it turns out that Ihechi’s cousin Tessy is sneaking out at night to work in a brothel. Through her connections, Ihechi winds up working for a major general in Nigeria’s army, setting the stage for a confrontation with his childhood friends that forces him to reckon with what both he and his country have become.
Told in beautifully evocative prose, a panoramic novel showing that the price of growing beyond one’s origins might be steeper than anticipated.Pub Date: April 2, 2019
ISBN: 978-1-64009-167-2
Page Count: 288
Publisher: Counterpoint
Review Posted Online: Jan. 29, 2019
Kirkus Reviews Issue: Feb. 15, 2019
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
bookshelf
