A work of extraordinary richness, suffused with genuine mythic power: comparable to the recently discovered fiction of Moses...
A brilliant central metaphor ties together several gripping stories in this compact epic novel (winner of a recent Commonwealth Fiction prize) from the South African author of Ways of Dying (below).
The western coastal village of Qolorha is where Camugu, a 40ish former resident of Johannesburg, comes after several years of chosen “exile” in America, where he became a “communications specialist.” Communication is precisely what’s lacking in Qolorha past and present, as Camugu discovers when his insistent sex drive thrusts him into various romantic and political rivalries and intrigues. For the village—and, by extension, the “new Africa” itself (upon the point of the death of apartheid)—is defined by a conflict that reaches back nearly 150 years: to the story of the amaXhosa tribe, who were persuaded by a teenaged seer named Nonquawuse to slaughter their cattle as a sacrifice to their gods, after which the amaXhosas’ ancestors would arise from their graves and dispel the British invaders who had subjugated their people. This resonant story (also told in John Edgar Wideman’s The Cattle Killing [1996]) of folly and self-destruction hovers over the present-day village, where descendants of “Believers” (who followed the seer’s instructions) and “Unbelievers” (who resisted), led by rival patriarchs Zim and Bhonco, carryon a “war” that provokes them to disagree in every imaginable situation. Mda explores both the comic and the tragic consequences of this contention to marvelous effect, in a fascinating dual narrative that contrasts the story of believer (Zim’s son) Twin’s ill-fated love for Bhonco’s Western-educated, “progressive” daughter Xoliswa with Camugu’s various pursuits of an elusive amaXhosa woman (NomaRussia), “educating” his retrograde homeland, and rediscovering his own “redness” (i.e., his ethnic identity—compromised and lost during his years in America).
A work of extraordinary richness, suffused with genuine mythic power: comparable to the recently discovered fiction of Moses Izegawa and Emmanuel Dongala—and not unworthy of comparison with the masterpieces of Chinua Achebe.Pub Date: Aug. 1, 2002
ISBN: 0-374-52834-9
Page Count: 288
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2002
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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
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BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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