Zimbabwean writer Ian Holding, a school teacher in Harare, is a white settler who has decided to stay in Zimbabwe, a country riven with violence for many years. Robert Mugabe, a leader of Zimbabwe’s liberation movement against the British, was elected to power in 1980 and remains in power to this day, supported by his army. Over the past thirty years, the economic situation in Zimbabwe has worsened. In this novel Holding writes two parallel stories, divided into four parts, which intersect at the end and provide a kind of conclusion, though not necessarily resolution. The first part is a dramatic, horrifying, and immensely sad story of a post-apocalyptic “society” in which a few survivors try to stay alive in a bombed out and completely devastated city. In Part Two, the scene shifts to the journal of Ian, a schoolteacher whose family has lived on a farm in the highland for decades before emigrating – the parents to Australia, one brother to London, and one to Canada. Only Ian remains behind, and he, too, is thinking of leaving. Dramatic, horrifying, and filled with vibrant language which swirls around, creating word pictures which the reader will often find difficult to accept, this novel is a heartfelt cry for understanding in a place where it appears to be rare.
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Setting this novel in Cairo in the early to middle part of the twentieth century, Naguib Mahfouz creates a variety of characters who depict the many manifestations of love. Simple in approach, uncomplicated in its depictions of personalities, and firmly rooted in the social structure that Mahfouz himself knew and grew up in, the author provides insights into the love between parent and child, the passionate and totally committed love between a man and woman, thwarted love and the obsession it breeds, the love between friends, and the love of home, neighborhood, and country. Here he recreates the lives of neighborhood people of the middle and upper class, some of them wealthy and some of them much poorer (especially the widows), with all of them firmly entrenched in their own social classes in which few have visions of a future which extends beyond the neighborhood and social milieu they already know. Mahfouz shows that love pays little attention either to social class or to the traditions which govern marriage and courtship. As the novel unfolds, the course of true love is a rocky, even dangerous, proposition filled with universal predicaments similar to those of modern novels set in different places and times.
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Setting his latest novel on the Oronsay, a passenger ship going between Colombo, Ceylon (now Sri Lanka), and London in 1954, Michael Ondaatje writes his most accessible, and, in many ways, most enjoyable novel ever. Having grown up in Ceylon, from which he himself was sent to England to be educated as a boy, the author certainly understands what it feels like to be a child on a ship for three weeks, like his main character here, but author Ondaatje says that all the characters in the book are fictional, including the main character. The novel has such a ring of truth and Ondaatje’s depiction of the characters is so true to the perceptions of an eleven-year-old traveling on his own, however, that it is difficult to remember that the boy in the book is imagined and not real. Since the boy grows up and becomes an author like Ondaatje, his adult conclusions as he looks back on the importance of these events and what they have meant in the grand scheme of his life become even more vivid.
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Utu, winner of multiple prizes and set in New Zealand, is dark and full of violence, and depends on the internal conflicts within a country for their dramatic impact and plot. Longstanding resentments between an upper ruling class, and the dispossessed original residents of the country, the Maori, who were conquered during the colonial period, dominate the plot which involves many characters, both white and Maori. The plot becomes so complex that at several points in the novel, the author actually backs up and has a character go over the details so far, to remind himself and the reader about what is happening. Though the novel may be considered by some to be powerful and dramatic, it gains its power largely through its shock value, through the over-the-top reactions of presumably civilized people, well connected to the Auckland mainstream, who are intent on gaining what they want when they want it. While some may consider main character Paul Osborne to be an “anti-hero” (and his actions to represent mainstream “noir”), my own feeling is that there is a difference between the “unsentimental depiction of violence,” one of the main characteristics of noir, and violence for its own sake, which is what I saw here.
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Matt King, who is a descendant of a Hawaiian princess and the haole who married her and inherited her land, could “sit back and watch as the past unfurls millions into [his] lap,” but he prefers to live on his own salary as a lawyer. The primary beneficiary of the family land trust, Matt is now trying to decide what to do with the land on behalf of his cousins and family, since the trust is in debt and the demand for prime land in Hawaii is enormous. His wife lies dying after a boating accident, and his daughters are out of control. The author’s insights into Matt’s conflicts and his self-examination during his long vigil over a wife on life support, along with his daughters’ understandable tumult, provide some emotional resonance, even as moments of dark humor provide some respite from the tension. The subplots are well developed, and the conclusion is satisfying, if thin. Just released as a big film starring George Clooney.
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