A well-turned dramatization of spiritual and social culture clashes.
A girl with the ability to fly disrupts the pieties of those around her.
When we first meet Ijeoma, the mute hero of Nwoka’s fablelike first novel, she’s an adventurous 9-year-old in a tight-knit rural community. When she demonstrates an ability to levitate, everybody is awestruck, and, in short order, terrified. Her father, Ofodile, worries that she’s possessed and has upset the order among rival gods. That concern intensifies when Ijeoma conducts other heterodox acts: surreptitiously feeding an infant that’s been left alone in a forest, thus intervening in a ritual attempt to cleanse it of evil spirits; or consorting with an “osu,” or spiritual outcast. Soon the crisis expands beyond the community, as Ijeoma is claimed by hard-line Christian pastor Innocent, who sees her as one of a handful of blasphemers in need of imprisonment and correction. In terms of theme and conflict, as well as references to Nigerian folklore, the novel owes a debt to Chinua Achebe’s Things Fall Apart, revising that novel's message for the recent past. (Interstitial diary entries by Ijeoma are written circa 2000.) And though the novel feels overlong considering its narrow scope, it has a pair of distinctive qualities that makes Nwoka worth continued attention. First is their command of different rhetorical modes. Within Ijeoma’s family and community, the prose is rhythmic and stylish; within Innocent’s world, it’s stentorian and shaped by cold logic. Second is an earned note of optimism that highlights Ijeoma’s indomitability in the face of tragedy. Oppression and fear are constants both within Ijeoma’s family and outside her enclave, but Nwoka also suggests the possibility of escape.
A well-turned dramatization of spiritual and social culture clashes.Pub Date: Nov. 2, 2021
ISBN: 978-1-662-60083-8
Page Count: 304
Publisher: Astra House
Review Posted Online: Sept. 14, 2021
Kirkus Reviews Issue: Oct. 1, 2021
An angry, powerful book seething with love and outrage for a community too often stereotyped or ignored.
Inspired by David Copperfield, Kingsolver crafts a 21st-century coming-of-age story set in America’s hard-pressed rural South.
It’s not necessary to have read Dickens’ famous novel to appreciate Kingsolver’s absorbing tale, but those who have will savor the tough-minded changes she rings on his Victorian sentimentality while affirming his stinging critique of a heartless society. Our soon-to-be orphaned narrator’s mother is a substance-abusing teenage single mom who checks out via OD on his 11th birthday, and Demon’s cynical, wised-up voice is light-years removed from David Copperfield’s earnest tone. Yet readers also see the yearning for love and wells of compassion hidden beneath his self-protective exterior. Like pretty much everyone else in Lee County, Virginia, hollowed out economically by the coal and tobacco industries, he sees himself as someone with no prospects and little worth. One of Kingsolver’s major themes, hit a little too insistently, is the contempt felt by participants in the modern capitalist economy for those rooted in older ways of life. More nuanced and emotionally engaging is Demon’s fierce attachment to his home ground, a place where he is known and supported, tested to the breaking point as the opiate epidemic engulfs it. Kingsolver’s ferocious indictment of the pharmaceutical industry, angrily stated by a local girl who has become a nurse, is in the best Dickensian tradition, and Demon gives a harrowing account of his descent into addiction with his beloved Dori (as naïve as Dickens’ Dora in her own screwed-up way). Does knowledge offer a way out of this sinkhole? A committed teacher tries to enlighten Demon’s seventh grade class about how the resource-rich countryside was pillaged and abandoned, but Kingsolver doesn’t air-brush his students’ dismissal of this history or the prejudice encountered by this African American outsider and his White wife. She is an art teacher who guides Demon toward self-expression, just as his friend Tommy provokes his dawning understanding of how their world has been shaped by outside forces and what he might be able to do about it.
An angry, powerful book seething with love and outrage for a community too often stereotyped or ignored.Pub Date: Oct. 18, 2022
ISBN: 978-0-06-325-1922
Page Count: 560
Publisher: Harper/HarperCollins
Review Posted Online: July 13, 2022
Kirkus Reviews Issue: Aug. 1, 2022
SEEN & HEARD
PERSPECTIVES
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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