Tag Archives: colonialism

Revenge Tragedy: After the War

06 Monday Jan 2020

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , , ,

Review: After the War, by Hervé Le Corre
Translated from the French by Sam Taylor
Europa, 2019. 533 pp. $19

A man sits, tied up, being tortured to divulge who killed a certain figure from the Bordeaux crime world. This figure, like most of his brethren during the late 1950s — like the police beating him up — collaborated with the Germans during the recent world war and profited from it. In fact, few profited as handsomely as Albert Darlac, the commissaire de police, and the man leading the interrogation. Jewels, art, and furniture taken from dispossessed Jews made him rich, and without a trace of compunction or remorse, he can say that his department would cease to exist if such activities disqualified a man from serving the law.

Maurice Poupon, member of the Legion of Honor and illustrious politician in the Gaullist government, 1967. As a Bordeaux police official during World War II, he had arranged for the deportation of more than 1600 Jews; during the Algerian War for independence, he allegedly tortured rebel prisoners (courtesy Archives municipales de Toulouse via Wikimedia Commons; public domain)

Meanwhile, Daniel, a twenty-year-old garage mechanic who lost his parents at Auschwitz, has terrible trouble understanding the ache inside him. His adoptive parents, former Resistance members who rescued him from a rooftop the day his biological parents were arrested, have protected him and given him a warm home. Their daughter, Irène, also adopted, is the only person to whom Daniel can show any vulnerability. But Daniel fears that this happy life — happy, considering his circumstances — will soon end. He’s due to receive his draft notice and fight in Algeria, in a colonial war his friends and family staunchly oppose.

Darlac and Daniel, victim and perpetrator, don’t meet for quite a while. The contrasts between them provide the context and the moral theme of this extraordinary, exceedingly violent narrative. Darlac scorns everything remotely resembling compassion or kindness as weakness that deserves to be crushed. As one old-time acquaintance says, “Other people die and you’re the one that smells like a rotting carcass.” Daniel, however, wishes he could make himself more accessible emotionally — not that he entirely realizes this, a superb stroke of characterization — and often hides inside movie images, which he’s constantly imagining in his daily life. But you know that once he reaches Algeria, his struggles to become fully human will only get more desperate.

Connecting the two, a figure from their pasts has come to Bordeaux to settle old scores. How Darlac reacts in particular provides much of the story, and a searing one it is. Any author can follow Raymond Chandler’s advice and have a man with a gun enter the scene to prevent tension from flagging. Le Corre has plenty of men with guns, but he doesn’t have to worry about the tension. It’s not just that stuff happens, because if it were only that, a hyperactive plot would do as well. No; he grounds every scene so thoroughly in the physical that you can’t help feeling that his narrative is happening all around you, and that you’re involved by turning the pages. Whether it’s the Bordeaux docks or the Algerian desert, Le Corre knows every inch of his territory, and how it feels to be there, so you do too.

But even that wouldn’t work if he didn’t also put you firmly in his narrators’ heads, as with this introduction to Daniel, which also happens to portray the port of Bordeaux:

He stops suddenly in front of the gates of the port, his bicycle between his legs, and remains there, stunned. With his balaclava and his sheepskin coat with the collar turned up and the mittens on his hands gripping the handle bars, only his eyes are visible. He observes the blaring traffic of cars and trucks, intoxicated by the din they make, grinding his teeth as axles groan and bodies shake over the large cobblestones… He feels the dull rumble in his legs as a train trundles slowly past endless rows of warehouses, accompanied on foot by a man swinging a lantern in his hand. The city buzzes and trembles in his flesh.

Many people will find After the War a bloody business — and so it is, because the title’s ironic. Wars merge, so that there’s no apparent space between one and the next, no aftermath, because even if the calendar says that a few years have passed, in men’s minds, they haven’t. Darlac is also a complete monster, so he’s hard to take. But it was that kind of monster who made the French portion of the Holocaust possible, a fact conveniently ignored in France. Rather, I’m more troubled by the way female characters seem to exist largely in a man’s perception, not necessarily as sex objects, though in Darlac’s case, that’s all they are, but without readily definable aspirations of their own. They’re invariably the kindest characters, but they’re not fully rendered, not like the men.

Nevertheless, if you like noir, After the War is as noir as it gets, a first-rate thriller by an author who understands how to put it all together.

Disclaimer: I obtained my reading copy of this book from the public library.

Colonial Thinking: The Moment Before Drowning

13 Monday Aug 2018

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , ,

Review: The Moment Before Drowning, by James Brydon
Akashic, 2018. 224 pp. $26

When Captain Jacques le Garrec returns to his native Brittany in December 1959, his arrival creates a stir, as a former Resistance hero and police detective, a local boy who made good. But the wrong kind of notoriety trails him too, because he’s been brought back to France to face accusations regarding his interrogations of suspected terrorists in the colonial war in Algeria. In the days preceding his legal hearing, a local lycée teacher has asked him to investigate the death and mutilation of a brilliant girl, a student of his. This is a distraction for le Garrec, to be sure, but that’s what he needs.

It’s a small town, where everybody knows everything about everyone else, or thinks they do, so it’s somewhat surprising that the police haven’t solved the crime. However, they haven’t tried hard, a mystery in itself. Another puzzle is why le Garrec has returned in apparent disgrace. Did he torture one too many civilians, and is that really considered a crime by the French forces pursuing this increasingly savage, unwinnable war? Or is his crime something different?

Brydon handles both narratives with skill and an elegant simplicity I admire. The whodunit part, the standard, expected tale, remains tense to the end, though the number of suspects is small, and the evidence is in plain sight. But the greater pleasure of this fine debut novel derives from the parallel narratives of the torture cells in Algeria and the murder investigation, a terrific juxtaposition that asks what purpose law and its enforcement actually serve. And that’s why le Garrec’s in trouble, because he dared pose that question in Algeria.

Consequently, the conflict occurs in le Garrec’s head, as his memories of Algeria deny him sleep, and in his investigation. Not only does the dead Breton girl recall a young woman he interrogated (the event prompting the charges against him); the police inspector, a brutal bigot, reminds him of his superior in Algeria. Lafourgue, the inspector, is a well-drawn character, and as a petty ego inflated with barely repressed rage and unsatisfied desire, he makes a good foil for le Garrec. The contempt that Lafourgue expresses for the murder victim shocks le Garrec and perhaps explains why the inspector has felt no particular urgency to find the killer. But Brydon’s accomplishing much more than thematic development here. He’s linked his protagonist’s inner and outer journeys, a winning combination every time, if done right.

And Brydon does a lot right, starting with the vivid prose:

As I walk from the bus stop along familiar, deserted streets the sky seems enormous, bloated, and infinite, billowing over everything. I lose myself in swirls of gray; great, bulbous streaks of darkness; every possible permutation of impending rain. After two years in Algeria I feel the Breton damp seeping into my body, chilling me, and the ice carried on the wind settling in my blood. Out by the sea, which I can perceive only as a howl frustrated by the rocks, the beam of the lighthouse flashes its warning into the encroaching dark: a fragile blade of light that swings away and is lost, only to return each time and abide in the blindness of the night.

Where he goes wrong, I think, is to rush. Sometimes, the characters don’t speak so much as they expound, which sounds canned, intended to reveal essential information or a person’s trait in a single passage. I notice this especially in the beginning and whenever le Garrec interviews witnesses for the first time. What’s the hurry? Engage the reader emotionally, and you can write at Tolstoyan length. What creates tension isn’t information about le Garrec but who and what he loves, his feelings about himself and his situation, his struggle to redeem himself. Brydon conveys that, of course; if he didn’t, his novel could be half the size it is, yet not work. It seems like a lack of trust (or poor editorial advice) that has led him to sprint through emotional changes as if the words were on fire, which then requires him to move on to what comes next to put it out. But those are actually the moments in which the reader wants to insert him- or herself into the narrative and ask what he or she would do under the same circumstances. End that connection abruptly, and the novelist breaks the mood, yanking the reader out of the narrative.

Nevertheless, I think that The Moment Before Drowning is well worth reading (with the caveat that there are many scenes of torture, so be warned). I look forward to seeing what the author can do once he gains more confidence in his readers and, perhaps, himself.

Disclaimer: I obtained my reading copy of this book from the publisher via Historical Novels Review, where this post first appeared in shorter, different form.

Less Talk, More Mystery: The Widows of Malabar Hill

26 Monday Feb 2018

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , , ,

Review: The Widows of Malabar Hill, by Sujata Massey
Soho, 2018. 375 pp. $27

Some books I want to like because their themes speak to my principles, and their premises and storylines promise to teach me something. That’s why I was eager to read The Widows of Malabar Hill, but I wish I could say the novel is anything other than a disappointment.

The year is 1921, and Oxford-educated Perveen Mistry is the first female lawyer in Bombay, and one of the few in India. Since she hasn’t been admitted to the bar, a result of sexism rather than ability, she may not argue cases in court as a barrister but only take depositions and process legal papers as a solicitor. In this capacity, she serves her father’s law firm, and though Perveen wishes she could do more exciting work than read contracts and wills, she’s resigned to it — more or less.

A Zoroastrian fire temple in Udwada, India (courtesy Wikimedia Commons)

However, a well-to-do client of her father’s, a Muslim textile-mill owner, has just died, and there are issues concerning the inheritance due his three wives. It looks to Perveen as if a swindle is going on, so someone must talk to the widows. But not only are they in severe mourning, they live in purdah, or seclusion, never leaving the house and certainly not speaking to men. At best, Perveen’s father might obtain a group audience through a grille, but he could never see their faces to gauge whether they were telling the truth or speak to them alone. So Perveen goes in his stead. And what she finds is not only a swindle but conflicting interests within and without the house that will lead to murder.

What’s wrong with this? Nothing. It’s where Massey takes her premise — and how she gets it there — that’s the problem. First of all, the mystery doesn’t really start until page 70 or so, which slows the pace considerably. The rest is back story about Perveen’s romantic history. Though her past explains her intense commitment to justice for women, her parents are actually more interested in seeing her graduate law school than in finding her a husband. Consequently, there’s no push that Perveen must contest, no contrast here to justify the back story, no barrier to overcome. The two plots intersect, but barely, and had Massey dropped the romance, the mystery would have remained intact. Though Perveen’s life experience provides a different cultural context from her legal sleuthing, the theme of women struggling against sexism is already evident, so the romance adds nothing new there.

Nevertheless, Perveen’s past includes some of the most compelling scenes in the book. She’s a Parsi, a descendent of Persian Zoroastrians who emigrated to India centuries before. Massey has much to say about Parsi customs, culture, and how a (relatively) liberated young woman like Perveen chafes under a tradition that puts men firmly in charge. For instance, under Parsi law at that time, a wife could obtain a divorce on the grounds of infidelity only if her husband had consorted with another married woman, whereas visiting a prostitute was his right. To her sorrow, Perveen learns that no redress exists for virtually any form of marital abuse, unless it threatens her life.

I could have gladly read more of this painful, poignant story of a young woman’s fight to preserve her individuality and freedom against insuperable odds. But even there, I would have liked a subtler narrative technique, the lack of which undoes The Widows of Malabar Hill. Massey has a great deal of information to impart, and I’m happy to learn it, but I prefer not to have it dumped. Too often, characters explain in dialogue what should be shown or implied through action, and though the subject matter and situations are new to me, I find that the stilted, undramatic presentation stifles the story. The rhythm of the plot involves bursts of action followed by lots of talk, and the latter feels heavy after a while.

The mystery therefore suffers, as characters race to and fro, only to stop and exchange information, important parts of which are privileged, conveniently discovered, or withheld from the reader altogether until a key moment. The seemingly obligatory scene in which Perveen confronts the criminal follows two formulas so ancient they’ve grown mold. The culprit not only confesses but does so more volubly than seems plausible. It’s too much talk yet again, the weight that sinks a novel that begins with so much promise.

Disclaimer: I obtained my reading copy of this book from the public library.

Making Modern Iran: The Gardens of Consolation

18 Monday Sep 2017

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , , , ,

Review: The Gardens of Consolation, by Parisa Reza
Translated from the French by Adriana Hunter
Europa, 2016. 260 pp. $16

This lovely, short novel has no premise to speak of, and yet it tells a story that will stay with me. Sardar and Talla, two Iranian children in the 1920s, marry out of faith, in God and each other, searching for a better life. Sardar wants to move up in the world, to see what lies beyond the mountains that frame the horizon. Talla wants to own her own home and escape her brutal father. These are modest desires, but humility comes naturally; after all, God punishes pride. Nevertheless, they also want to be treated decently, with respect, because they believe that God ordains that as well. And when they don’t find that tolerance, they keep searching for it.

In other words, Sardar and Talla are the salt of the earth, and their loving portrayal in The Gardens of Consolation takes them as they are. Neither ever learns to read or write, and superstition plays a key role in their outlook. For instance, when Sardar brings his twelve-year-old bride across the desert to their first home together, he explains mirages as the work of evil creatures that lure unsuspecting travelers into deadly wastelands. Talla, frightened out of her wits, spends the long hours plodding on their donkey in constant prayer.

Reza Shah Pahlavi, king of Iran, unknown photographer, 1930s (courtesy Wikimedia Commons)

Normally, she’s talkative and he’s silent, “contemplating the world from above like a solitary eagle,” because he thinks that’s how to understand the essence of life, without the bustle and chatter that get in the way. Illiterate he may be, and words don’t come easily, but he has abiding love for his wife and a realistic wisdom that serves him well. Similarly, by choice, not law, Talla wears the chador because no one can see her eyes, to know whether she feels sadness, anger, or fear. Beneath its cover, God is more powerful than the king, and that’s where she finds comfort, removing this shield only for Sardar in the privacy of their home.

Reza’s clearly a feminist, and she’s lived in Paris since the age of seventeen, but here, she challenges her readers’ Western assumptions. Especially during the second half of The Gardens of Consolation, she carefully describes how Iranian women have little power. But, she argues, the separation that the chador offers, however physically uncomfortable, can also provide a modicum of freedom.

Sardar and Talla have a son, Baram, whom she brings to Tehran for a religious pilgrimage, the first time she sees the capital:

Women in hats, high-heeled shoes, and silk stockings; headdresses in folded fabric, turbans of satin, of twisted velvet; hats decorated with feathers or freshly picked flowers. Other women go bareheaded. And men in homburgs, and collars and ties, some even have coats with fur collars. Over there a porter carrying buckets of yogurt piled up on his head. And suddenly a donkey nonchalantly crossing in front of the bus. And also some normal people like Talla, or Sardar: women in scarves and full robes over leggings and men in worn, ill-fitting jackets, pants that are too big or too short. . . .

Baram goes to school, where he excels at his studies, at drawing, and athletics. He represents the coming elite of the new Iran–brilliant, spoiled, patriotic, and narcissistic–and cut off from his parents. Not that he doesn’t love them; he does. But as he reaches his teenage years, he falls in love with Western movie images. Thinking more of seduction than marriage, he seeks young women from a higher social class as trophies, and since he’s handsome, charismatic, and intelligent, he has no trouble attracting them. To be sure, the seduction may go no further in physical terms than a glance, flirtatious words, or stolen kisses and a grope, yet the feelings evoked are all the more intense for being strictly controlled. But what Baram does with his success, as he views it, says a great deal about Iranian life, because he’s actually a failure. And it’s that failure that interests Reza, who derives political and cultural lessons from it.

Divided into very short chapters that recount bits of Iranian life over several decades, the narrative tells more than shows, perhaps in the style of a fable. Nevertheless, Reza has paid attention to her characters’ inner lives and linked them to the story of her native country. The Gardens of Consolation would be worth reading even if it were less accomplished, because we hear so little of what Iran is like from the inside. But this novel is memorable for other reasons, and I recommend it.

Disclaimer: I obtained my reading copy of this book from the public library.

Two Young Men: Valiant Gentlemen

08 Monday May 2017

Posted by in Reviews and Columns

≈ 1 Comment

Tags

, , , , , , , , , , , , , , ,

Review: Valiant Gentlemen, by Sabina Murray
Grove, 2016. 489 pp. $27

This superb, engrossing novel derives much of its considerable charm from a rare feat. Valiant Gentlemen explores utterly serious subjects with insight and compassion, yet the author doesn’t take herself too seriously, nor do her characters. And this must be intentional, because when one character begins to look too hard at his reflection in later life, this shift marks his downfall.

The three stars in Murray’s constellation are Roger Casement, Herbert Ward, and Ward’s wife, Sarita. All three were historical figures, and Casement is particularly significant, a man who campaigned against colonial abuses in Africa and for Irish independence. If you’ve heard of him, you’ll almost certainly know his tragic end; but in this book, the journey counts more than the destination, so don’t let that deter you. (That said, skip the jacket flap, a hodgepodge that accomplishes nothing except to blab what should be withheld and hide what should be revealed.)

Herbert Ward, left, and Roger Casement, as young adventurers in the Congo in the late 1880s (courtesy Wikimedia Commons)

The journey here begins in the Congo in 1886, where young Casement and Ward meet. Both are looking for gainful employment and adventure, but since the work pays little, adventure keeps them going. At first, they toil for King Leopold of Belgium and his so-called International Association of the Congo, but then for British trade interests, both of which carry political consequences. However, at this point, those considerations still percolate below the surface. Ward, a former circus acrobat, seasoned traveler, dead shot, and gifted sketch artist, is at heart a deeply lonely man who wants to make good. Casement, a skilled linguist, brilliant organizer, charismatic, and possessed of boundless energy, is lonely too, but for a different reason. He’s homosexual, a fact he must conceal, and he’s hopelessly attracted to Ward.

I find Valiant Gentlemen irresistible, the African scenes especially, because I’ve lived in Central Africa and researched Leopold, his hireling Henry Stanley, and the colonial plunder of that region. So it’s a particular pleasure to run across names of peoples, places, and historical figures I haven’t seen in years, more so that Murray captures their essence. For instance, when Ward remarks of Stanley’s latest book that it’s full of bravado, Casement ascribes that to the “typical writing style of short, ill-tempered men.” Touché. And when Murray describes the weather, and its “usual blanket of heat,” she re-creates what it feels like to be in that place:

Casement might welcome rain, but that would transform the path into a river, which would, in turn, give way to a mud track. And the brief relief from the insect population that happens in the wake of these torrential downpours would only offer up the intense humidity that mosquitoes love so well. One discomfort merely exchanged for another, which makes the absence of choice about such things almost tolerable. Or at least promotes a philosophical stance regarding his lack of control.

The two men’s paths diverge, as each gets what he’s been looking for. Casement sets his sights on becoming British consul in one African colony or other, and Ward leaves Africa and gets married. His bride is an Argentinian-American heiress, so you may well ask how a penniless, erstwhile acrobat manages to attract her and earn her father’s consent. But I won’t tell you, except to note that Sarita Sanford is a woman ahead of her time and says what she thinks. When two such irrepressible spirits meet, the results are bound to be hilarious.

The marriage gives Ward what he’s always wanted, respectability. But, unlike Sarita, he calls that an end in itself, the mirror-gazing I referred to above. She’s less conventional than he, perhaps because she recalls her early girlhood, and what it was like to be poor, differently from how Ward holds onto his past and a father who had only contempt for him. So he doesn’t quite know what to make of Casement the muckraker, who earns fame publicizing Leopold’s brutalities, a gripping subject that Murray handles with skillful economy yet raw power. Ward’s always happy to see Casement and drink with him–and the Ward children love their Uncle Roddie–but you sense the growing rift between the two old friends, and a betrayal in the wind. Sarita, meanwhile, understands Casement perhaps better than her husband, though the two men have a bond she can’t share. The First World War brings matters to a head.

Murray dazzles you without being self-conscious; it just seems natural. So it’s startling to come across phrases like “tipping point” or “I’m fine with that,” which I doubt were current in 1910, or careless errors, like council when the text implies counsel. All the same, I’m fine with unbridled zest and a bubbling, potent narrative; Valiant Gentlemen is a brilliant, magical book.

Disclaimer: I obtained my reading copy of this book from the public library.

South African Tragedy: Who Killed Piet Barol?

17 Monday Apr 2017

Posted by in Uncategorized

≈ Leave a comment

Tags

, , , , , , , , , , , , , ,

Review: Who Killed Piet Barol?, by Richard Mason
Knopf, 2016. 362 pp. $28

Despite the title, this remarkable novel is no whodunit, unless you take the death implied in the title as a more symbolic accusation, in which case we’re all guilty.

Now that I’ve confused you thoroughly, let me explain. Piet Barol, last seen in The History of a Pleasure Seeker making his way in Amsterdam through roguish charm, has broadened his horizons and his debts. Styling himself a French viscount, he’s living large in Cape Town with his American wife, Stacey, a former opera singer blessed with charm and diplomatic cunning more than equal to his own. But the Barols’ furniture business is failing, partly because Piet can’t bring himself to collect what he’s owed, but mostly because they spend money they don’t have to keep up appearances. Things look desperate, especially as the year is 1914, and Europe plunges into war, which puts Piet in a bind. Had he represented himself truthfully from the get-go as a Dutch national, he’d be in the clear, since the Netherlands remains neutral. But as a French aristocrat, surely he should be fighting for la patrie?

The South African Native National Congress delegation to the British Parliament in 1914 tried unsuccessfully to reverse colonial land policy (courtesy historywiz.com)

So it’s altogether convenient that he disappear for awhile, and when he hears that there’s a forest full of high-quality wood available for the taking, he sees how he can restart his furniture business with practically no overhead. However, to find the wood and remove it, he must hire two Xhosa men, Luvo and Ntsina; and therein hangs a tale.

First of all, this is no ordinary forest, but one dating from the time of Jesus, fecund in its density:

The grove was almost a single being, so bound were its member trees to one another, and yet each was wholly individual. They had grown together from saplings and forged a union without conflict, free from betrayal and viciousness. In their crowns were gardens of fertile soil, several inches deep, dropped over centuries by passing birds. In these gardens earthworms wriggled, grown distinct from those that churned the forest floor. Their branches began thirty feet above the ground, and this refuge from predators made them desirable residences for all sorts of creatures that relished distance from the great cats.

The forest represents a society of interdependence, in other words, a metaphor for that which white colonists have set about destroying among the Bantu peoples whose land they have stolen. More specifically, the noblest trees serve a religious purpose for the Xhosa, who believe their ancestors reside within them, whereas Piet doesn’t even know that the trunks are as old as Christianity.

But Mason, who managed to make Piet a sympathetic character as an Amsterdam imposter, does so here as well. Not only does Piet befriend Luvo and Ntsina in a true sense and grow to trust them, he lets himself see things from their perspective and corrects his behavior accordingly. He also entrusts his young son, Arthur, to them so that the boy can learn the ways of the forest, which Piet correctly judges will help him grow into a man. That said, Piet nevertheless sets out to take the Ancestor Trees, and though he fully intends to compensate Ntsina and Luvo for the loss, he’s a plunderer. And his failure to stand up to Stacey, especially where his African associates are concerned, makes him a weakling.

Then again, the degree to which he comes to love and understand life in the wild frees him from many prejudices. It also releases the artist in him, so that the furniture he carves adopts African themes and is absolutely gorgeous. Morever, Mason takes care to show the village politics among the Xhosa, many of whom, in their own way, are just as rapacious as the colonials.

But in the end, you know that all this will go wrong, that the scale of destruction the white men wreak will be far greater than that of the black, and that only one side will profit. That systematic destruction answers the question of the title, and that’s why I said we’re all guilty for condoning or participating in the crime. But how Mason arrives at this conclusion makes a fine tale, and that he renders the Xhosa in ways that ring true is no accident. For a year, he lived among them in a tent, learning their language and culture, and establishing a center for green farming. Who Killed Piet Barol? is a worthy result, a wide-ranging discussion of morals and racial tensions, and a pretty good yarn besides.

Disclaimer: I obtained my reading copy of this book from the public library.

East African Gothic: Leopard at the Door

06 Monday Mar 2017

Posted by in Reviews and Columns

≈ 2 Comments

Tags

, , , , , , , , , , , , ,

Review: Leopard at the Door, by Jennifer McVeigh
Putnam, 2016. 385 pp. $26

Ever since her mother died, and her father sent her to live with her grandparents in England, Rachel Fullsmith has dreamed of returning to Kenya, where she was born. Now, at age eighteen, against her father’s advice, she has spent her meager savings for her passage to Mombasa. As Rachel quickly learns, she finds hostility rather than fond memories of what she loved as a child.

That hostility comes in two forms, personal and political. The year is 1952, and the independence movement known as Mau Mau has been gathering force. Thus far, the Mau Mau have refrained from attacking white residents, though they have murdered and mutilated Africans who refuse to swear their loyalty oath. But as the violence and British countermeasures ratchet up, Rachel will have excruciating choices to make.

A detachment of the King's African Rifles, on patrol against Mau Mau forces, ca. 1952-56 (courtesy Imperial War Museum, London, via Wikimedia Commons; public domain)

A detachment of the King’s African Rifles, on patrol against Mau Mau forces, ca. 1952-56 (courtesy Imperial War Museum, London, via Wikimedia Commons; public domain)

As the opening scenes make clear, the instincts her mother taught her stress compassion toward fellow humans over race loyalty and its inherent prejudice. Right off the boat, she’s delighted to realize that she still speaks good Swahili, and that the port of Mombasa looks and feels like heaven, despite the filth and bad smells. Her father’s Kikuyu foreman, who meets her and drives her upcountry, calls her Aleela (“she cries”), a pet name she had as a child, which touches her. But her father hasn’t come to greet her, and when Rachel reaches the farm, she sees another woman there, Sara, whom he never mentioned in his letters. It takes no time for Sara to let Rachel know that she shares her father’s bed, runs everything (including him), and plans to marry him. And rather than ease the shock, Sara takes the first chance to ask Rachel privately, “Why did you come?” Aleela will be doing a lot of crying, it seems.

I love McVeigh’s premise and the way she sets it up, with potent economy and subtlety. She knows how to spin a riveting narrative so that the tension never flags, and she devotes this skill to advance her political themes, embodied in Sara, who grew up in Nairobi, hates rural Kenya, which she calls “barren,” and holds herself distant from and superior to anything African. That makes her as different as she could be from Rachel’s mother, and the young woman pays the price, both in what she’s lost and her putative stepmother’s authoritarian regime. Sara forbids her to spend so much time outdoors on the land, urges her to dress in a more “feminine” way, and openly questions whether Rachel’s absence of fear or hatred for Africans means she’s been spoiled or tainted. McVeigh wants you to see that colonialism exists because of people like Sara.

Since I’ve spent time in Africa myself, though never had the good fortune to visit Kenya, I was delighted to read descriptions like this, of Rachel’s impressions of Mombasa:

Bougainvillea tumble over white walls, purple, orange, crimson red, amidst the trumpets of white datura flowers and clusters of pink hibiscus. Dhow captains spread their intricately woven carpets on the street for sale, beating out the dust in thick clouds. Porters in bare feet and white lunghis pad across the hot cobbles between piles of old newspaper and fish bones, past the Arab men dressed in white robes, who sit on low wooden stools drinking tea.

Despite all this brilliance, however, the characters ring false. Sara has no redeeming qualities whatsoever; at one point, Rachel even wonders why her father would have her around and ascribes it to sexual power. But that’s never developed enough to seem real. Moreover, making such a hateful, disagreeable person the mouthpiece for colonialism undermines takes the low road to simplicity and undermines what the author’s trying to say.

Ditto Steven Lockhart, the corrupt, abusive district officer who likes torturing Africans and warns Rachel that he’ll rape her one day. Of both Sara and Steven, I kept thinking, “They’re not really going to say or do that, will they?” only to slap my head when they really do. What’s more, for these characters to be as vicious as they are and get away with it requires Rachel and her father to be as passive as bricks. Not only don’t I believe that–each has taken bold steps in life–I find passivity uninteresting as a literary device.

What that means is that Leopard at the Door must sustain the tension via melodrama. I won’t go into the perils that McVeigh unleashes, which are truly terrifying. Even so, the novel’s Gothic aspects make it less powerful than it should be. That’s a terrible shame. As McVeigh notes in a postscript (and contrary to widely held belief), the facts suggest that the colonial administration wielded far more terror than the Mau Mau did, and in a manner flagrantly belying the rule of law the British pretended to uphold as a “civilizing” mission. I only wish this book had set the record straight in a more nuanced, three-dimensional manner.

Disclaimer: I obtained my reading copy of this book from the public library.

Cultural Borrowing: The Last Brother

10 Thursday Nov 2016

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , ,

Review: The Last Brother, by Natacha Appanah
Graywolf, 2010. 164 pp. $14

Do authors have the right to tell stories from a culture to which they don’t belong? That question has roiled the literary world recently, though I’m not sure why it should. I believe in freedom of expression, which includes not having to ask permission to tell a story that nobody owns anyway. Condemning any work out of hand, especially on cultural grounds, sounds like an attempt to muzzle a voice with which you fear you may disagree, but to which others, less erudite or correct than yourself, may fall prey. It’s as if the old saw, “write what you know,” has assumed the force of literary law, which one breaks at his or her peril, and that there’s only one way to know anything: by direct experience.

Port Louis, capital and largest city of Mauritius, 2011 (courtesy Peter Kuchar, via Wikimedia Commons)

Port Louis, capital and largest city of Mauritius, 2011 (courtesy Peter Kuchar, via Wikimedia Commons)

Fie, I say. And yet, I also believe that if you’re going to write about anything, whether you’ve lived it or not, you’d better do your homework. That’s why The Last Brother, an otherwise accomplished novel in two important respects, leaves me shaking my head.

The premise, seemingly utterly improbable, actually isn’t. It’s 1944, and Raj, a young Mauritian boy, learns that a nearby prison contains white people, which would be strange enough, except that these prisoners seem too beaten-down and harmless to be criminals. What the reader understands, but Raj doesn’t, is that the prison serves as a displaced persons camp, and the inmates are Jews, though how they got there remains a mystery until the end.

Raj’s father, a terrifying brute, works at the camp as a servant. One day he beats the boy so badly that he must be hospitalized, and the camp possesses the only facilities. While there, Raj befriends David, a refugee from Prague his own age, the first friend he’s ever had. It’s a clever conceit, since both boys have lost everything. David’s whole family have been killed, whereas Raj’s two brothers both died in a mud slide, a tragedy that shadows him constantly. Understandably, Raj believes that meeting David gives him the chance at having another brother, hence the title.

So there’s a story here worth reading, and Appanah’s prose sings it:

For here, at Mapou, the glistening rain which falls from heaven, fine and gentle, almost like a caress, the rain that refreshes and for which one thanks heaven, such a manna did not exist. At Mapou the rain was a monster. We could see it gathering strength, hugging the mountain like an army rallying before an assault, hear the orders for battle and slaughter being given. . . We would raise our eyes toward the mountain while the dust granted us a respite, and the sighs of our elders would prepare us for the worst.

How, then, can things go wrong for The Last Brother? First (and I hate playing a familiar tune, but it’s unfortunately apt), the author chooses to tell the whole story in retrospect, starting with a prologue that falls absolutely flat. Not only does the opening give away what Raj has become and, to an extent, how, it reveals that David dies at age ten. Right away, that undercuts the tension, but it’s to serve a purpose, one I don’t agree with, but more of that in a moment. The older Raj, looking back, feels such intense grief over David’s grave that it seems overwrought, because the context only comes much later. I suspect that Appanah does this because she wanted to close with the story of how these Jews wound up interned on Mauritius, as though that were the climax, and so she turns the narrative on its head.

As for revealing straight out that David dies, I further suppose that she wants to underline what the older Raj says later. Toward the end, he observes that he coopted David as a replacement brother, completely ignoring whatever his friend must have gone through, as if the other boy existed only for him. This seems too authorial for me, interposing an adult thought in a scene narrated by a child. But that’s only half the problem.

The other half is that Appanah has borrowed the Holocaust without knowing a thing about Jews. The Holocaust gets thrown around quite a bit, and I wish it weren’t, but, as I said, I’ll defend Appanah’s use of it so long as she’s done her homework, and its evocation seems honest rather than cavalier. Unfortunately, I’m not convinced. The Jews are shadow figures at best, even David, of no significance other than their difference from anyone Raj has ever seen. The few details of dress or language ring false, and the crowd of prisoners might be anyone, as if they, like David for Raj, were a mere convenience, in this case, for the author’s purposes.

I never knew there were displaced Jews imprisoned on Mauritius, and I salute Appanah for recounting this story. I only wish she’d bothered to make them real.

Disclaimer: I obtained my reading copy of this book from the public library.

Self-Flagellation As an Art Form: The Photographer’s Wife

15 Monday Feb 2016

Posted by in Reviews and Columns

≈ Leave a comment

Tags

, , , , , , , , , , , ,

Review: The Photographer’s Wife, by Suzanne Joinson
Bloomsbury, 2016. 334 pp. $26

Eleven-year-old Prudence Ashton has been dragged by her self-absorbed father, Charles, to Jerusalem in 1920, with no thought to her happiness, formal education, safety, amusement, or social isolation. (Prue’s mother is somewhere back in England, perhaps institutionalized; Prue fondly remembers her storytelling, though also her brutalities.) But to Ashton, Prue’s a nuisance, an encumbrance. The only thing that matters is his lunatic scheme to remake the ancient city along British lines, blowing up whatever’s in the way, to create parks, green spaces–desert? What desert?–and orderly neighborhoods. His colonial nightmare might be funny, if people weren’t dying because they oppose the regime that dreamed it up.

British soldiers search Arabs during anti-Jewish pogroms, April 1920 (Courtesy Wikimedia Commons).

British soldiers search Arabs during anti-Jewish pogroms, April 1920 (Courtesy Wikimedia Commons).

Meanwhile, Prue roams the city almost at will, lonely but fascinated. Jerusalem’s sights, sounds, colors, smells, and myriad faces draw her in, and she understands the city better than any of the English trying to bulldoze it. Prue’s only companions are Ihsan, a kindly man who tutors her in Arabic (for which she has a knack), and Eleonora, a beautiful, severely depressed Englishwoman. Like Ihsan, Eleonora’s husband is an Arab nationalist, which pulls Prue into witnessing and unwittingly participating in underground political activity, for which people are being butchered like cattle.

A pilot shows up to work for Ashton, but his real motive is to pry Eleonora away from her “mixed-race” marriage, which to him is “wrong.” Like the other Englishmen in this novel, he’s completely out of touch, expecting Eleonora to agree and takes it hard when she doesn’t. On the other hand, her husband stays away from her for weeks at a time, photographing British brutalities. He wants a child, but she’s too scared to have one; her mother died giving birth to her.

If you’re thinking these people are a dreary, listless bunch, you’re right, and then some. What kept me going were Joinson’s terrific prose and her enviable gift for creating character. For instance, here’s the pilot, recalling his school days:

Willie had experienced a series of vivid fantasies in which a man, for some reason Italian, would magically arrive at helpful moments and offer to be his intermediario. This middle-man, a fixer or wizard, would plant himself between Willie and the rest of the world and sort everything out. He charmed the loathsome housemaster, tricked bullies, coaxed his father back from his ships, and then, when his father’s presence was altogether too much, cast him away again for four years and a day.

But, like Willie, I find nothing to hold onto in the world of this novel, much of which takes place in England in 1937, when Prue has her own child to ignore.

I sometimes believe that we are designed to betray the people we love, just as sometimes we hand everything over, like a bright unclipped purse, or a secret part of our body, to a stranger

I disagree with Prue. I don’t think her life illustrates betrayal. Rather, I see criminal neglect, sadism, manipulation, and craven silence, perpetrated by monsters with whom I can’t identify. As the chief victim, Prue’s a born masochist, which gets very tiresome–Say something, damn it–but of course, she doesn’t. Masochists don’t. But after a while, when all she gets is more and more punishment, to which her silences grow longer and longer, I want to scream. Philandering, abusive husband, jealous of her artistic success as a sculptor? Sure; why not? Government agents pursuing her for reasons they refuse to divulge, in ways that seem flagrantly illegal? Oh, all right.

The Photographer’s Wife claims to be about politics, but I’m not sure what the message is. Part of my confusion comes from the narrative style, which chops the story into irritatingly unfinished bits set in different decades, so that it’s hard to get a coherent picture. Maybe Joinson adopted the mixed-up order to keep a secret, but if so, it’s a gimmick that doesn’t work. The secret seems decidedly weak and anticlimactic, yet the narrative uses it to take an unearned about-face. Even odder is that this turnabout has to do with German persecution of Jews in the late 1930s, when the novel fails to mention its Arab counterpart in 1920. But maybe the real problem politically is with Prue, who’s a total airhead about anything except art. Just as in 1920, she understood nothing of the dangerous currents wracking Palestine, in 1937, she neither knows nor cares what’s happening to the world–except she’s no longer a child, and so has no excuse.

Disclaimer: I obtained my reading copy of this book from the public library.

Killing the Bogeyman: The Strangler Vine

14 Monday Dec 2015

Posted by in Reviews and Columns

≈ 1 Comment

Tags

, , , , , , , , ,

Review: The Strangler Vine, by M. J. Carter
Putnam, 2014. 369 pp. $28

William Avery believes in the East India Company, which rules most of that immense land in 1837, but he knows the company doesn’t believe in him. A lowly ensign in Calcutta, Avery has little chance of promotion, but maybe that’s just as well, since he can’t stand India, which he considers savage. He would as soon resign his position and return to England, but he has no prospects there, either, and no money to pay the fare.

General Post Office, Calcutta, 1833 (Courtesy Wikiwand).

General Post Office, Calcutta, 1833 (Courtesy Wikiwand).

His last chance to make a name for himself comes in poisonous form, to second James Blake on a secret mission deep up-country. Avery rightly suspects that he’s unlikely to survive, which may be his superiors’ intention. Moreover, he can’t stand Blake, an extremely unpleasant, older man who threw away a promising career with the company and adopted indigenous ways. But all that takes second place when Avery’s only friend is murdered and his name slandered as a drunken, lecherous, debt-ridden schemer. With barely time to grieve, Avery must take his journey to what he thinks will be oblivion.

This is where The Strangler Vine excels, as a story of adventure and political intrigue. Blake refuses to take Avery into his confidence, or, often, even to talk to him; whenever possible, Blake scouts on his own, which leaves Avery feeling wounded in pride, frustrated, and, reasonably, wondering what purpose he serves. It also creates tension, because the reader, kept in the dark like Avery, has no idea whom or what to trust. Gradually, though, the younger man observes more of the land and people, and you sense his mind stretching to accommodate the new:

The road was not yet as busy as it would become once the rains stopped for good, but it was already a full day’s entertainment in itself. There were frenzied ash-smeared fakirs who gamboled grotesquely and stuck their palms out for money; women wrapped in layers of cottons–saffron, pink, blue–with babes on their hips and dull brass bracelets tinkling; small insolent boys chewing sugarcane. There were jugglers with families of monkeys in their turbans; wealthy Sikhs in yellow silk waistcoats with enormous beards and huge dastars [headgear], leading columns of camels and carts; wedding parties in red and silver, with painted elephants, encircled by the scent of jasmine; and carts of dull-eyed, ragged indentured servants.

More profoundly, Avery realizes that Blake, though stubbornly difficult, has put his keen observational and linguistic skills to serve a moral code, and that the older man has much to teach. Avery struggles mightily with the challenges to his certainty. Even so, he comes to similar conclusions: that the company has betrayed English ideals in pursuit of profit, and that whatever benefits it has brought have dearly cost the populace. Most particularly, the company has perpetuated myths about violent bandits to excuse military operations that expand the area under its control. Consequently, the company has created a monster that only it can slay, a corruption that will doom it in the long run (as would, in fact, happen twenty years later).

What an absorbing, provocative tale this is, remarkably well told for a first novel, and vivid in attitudes and scenery. I like Carter’s characterizations of Avery and Blake–the callow traditionalist versus the jaded radical–and many people they meet have their own complexities. I question, though, how quickly Avery loses any thought of his late friend, much maligned, only to have the death wrapped up just as quickly at the end. Further, Blake’s absolute silence about every conceivable detail seems too convenient. True, he doesn’t trust Avery’s judgment, but Blake carries this so far as to make me think it’s an authorial ploy to keep the reader guessing, a drawback of using a first-person narrative. Finally, since Avery is a crack shot, his sole visible talent, you can be sure that will come into play, which occasionally tips off where the narrative will go.

That said, The Strangler Vine has much going for it, not least its resonance with current issues. The East India Company, as Carter shows, provides an early example of corporate governance and the abuses that entails. Substitute terrorist for bandit, and the novel also offers a nineteenth-century take on an up-to-the-minute controversy. Did bandits exist in India? Yes. Were they as widespread and dangerous as the company claimed, and did their presence justify its policies? Those are the questions, then and now.

Disclaimer: I obtained my reading copy of this book from the public library.