Set in Sweden in 1990, Henning Mankell’s first Kurt Wallander mystery begins with a dramatic, Raymond Chandler-esque scene. An elderly farmer from Lannarp, an “insignificant farming village” in southern Sweden, awakens at 4:45 a.m. with a sense of unease: “Something is different. Something has changed.” As the farmer gazes at the farm next door, he begins to notice a series of homely, seemingly insignificant details, and he and the reader slowly conclude that he is not overreacting in his growing alarm. Kurt Wallander, substituting for the absent police chief of Ystad, some distance away, answers the farmer’s panicked call for help and investigates the “methodical violence” of a bloody crime scene. The press quickly concludes that the crime may have been committed by foreigners. Public threats are made against the foreigners by extremists, and Wallander knows that “The [threats] had to be taken seriously. It is in the examination of these attitudes that this novel is different from the typical whodunit.
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Posted in 9c-2009 Reviews, Argentina, Austria, Experimental, Germany, Literary, Mexico, Mystery, Thriller, Noir on Jan 16th, 2011
Mexican author Ignacio Padilla creates characters who move like pawns, as if they were pieces in the chess games which are at the heart of the action here–they are often being overtaken by events and supplanted by other men as part of the grand, overall “game” of life. Padilla raises thought-provoking questions about the nature of selfhood here, as men appropriate each other’s names, accept or reject the past which is connected with those names, and hope, ultimately, to change their destinies by living someone else’s life. The reader must constantly question whether each character is who he says he is, and whether he really is who we think he is. The tight story line maintains its tension, and the author’s ingenuity in manipulating characters and historical events provides constant surprises. The novel is very much an intellectual chess match between author and reader, and in this case, both turn out to be winners.
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May Flynn, the daughter of actor Errol Flynn and a beautiful Jamaican girl, has always wondered about her roots. Brought up by her mother and grandfather, and, for four years, a foster family, May is clever and tough from a young age. Always an outsider, she could pass for white, though she is not part of the white world of her father and maternal grandfather. Not part of the black world, either, though she considers herself “colored,” she is often mocked by her dark Jamaican peers. Frequently alone, she enjoys keeping journals, filling them with stories of pirates, inspired by the films she sees at the local cinema and starring Errol Flynn. As May discovers more about her mother and her mother’s life before, during, and after her birth, she creates the story of her own life, which ultimately becomes this novel. Filled with colorful characters, the patina of Hollywood, and the violence of political change, the novel is a fast-paced melodrama and family saga. The author’s style is clean and simple as she traces lives across generations, providing enough description to enable the reader to create vibrant pictures of the action without bogging down the narrative.
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Always focusing on aspects of Egyptian social and political history in his novels, Nobel Prize-winning author Naguib Mahfouz here depicts three generations of one family as they try to survive the socially tumultuous period between the Six Day War with Israel in 1967 and the assassination of Anwar Sadat in 1981. The loss of the Six Day War in 1967 was a national humiliation for Egypt, which lost the Sinai Peninsula and the Gaza Strip, as a result. Following the death of President Gamal Abdel Nasser in 1970, his successor President Anwar Sadat tried to regain the lost territories with a surprise attack that initiated the Yom Kippur War in 1973, but again Egypt failed to win a strong military victory. This tumultuous period was not only a period in which the nation suffered blows to its national self-image, both at home and among its neighboring Arab states, because of its military losses, but also a period of enormous economic hardships. Alternating points of view among his characters, Mahfouz creates a novel which shows the domestic difficulties faced by educated Egyptian city-dwellers as they try to live their lives under the less structured new economic system, which has replaced the system with which they have long been familiar.
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In a narrative so hard-hitting that the viewer actually feels battered by the time it reaches its conclusion, a Maori family with five children must deal with urban violence, poverty, drugs, alcoholism, unemployment, gang warfare, rape, physical and mental abuse, suicide, and a host of other horrific family problems, all depicted graphically. Beth and Jake Heke and their five children, along with numerous other Maori families, live in an urban ghetto of government-supported housing, isolated from the rest of society and isolated, too, from their old rural culture, which once gave pride and a sense of identity to Maori families. Here in the city the prevailing “culture” centers around bars, rather than the ancient meeting houses.
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