Eight-year-old Jessamy Harrison, the daughter of a Nigerian mother and a British father, has a particularly difficult time deciding who she is, and she seems to fit in nowhere. Significant emotional problems leave her unable to deal with the outside world, and she can spend five or more hours hiding in the family’s linen closet, attempting to find some sort of “fragile peace” in the tumult which she sees as her life. Given to uncontrollable screaming fits, both at home and at school, she also falls ill, sometimes with high fevers, has panic attacks, and often talks to herself. A psychological horror story, the novel provides plenty of intense scenes, somewhat reminiscent of Thomas Tryon’s The Other, and the battle for Jess’s soul is dramatic and action-packed. The conclusion feels somewhat artificial, since it relies on accident and is not the inevitable outgrowth of the actions of a rounded character, but Oyeyemi has created a page-turner that dares to be different.
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In what may be Nobel Prize winner Jose Saramago’s most playful—and, perhaps, popular—novel, Tertuliano Maximo Afonso, a secondary school history teacher, views a film given to him by a colleague and discovers in the film an actor who looks exactly like him in every respect. Though the film was made five years before and the actor was wearing a mustache, the two men are identical otherwise. Tertuliano, a somewhat gloomy, divorced man, has always liked the routine of his solitary life, and though he is a daydreamer, he has never before acted on those dreams. When he sees his double, he is stunned. “One of us is a mistake,” he declares, and as he begins, typically, to overanalyze the situation and chat with himself about the fact that “never before in the history of humanity have two identical people existed in the same place and time,” he finds himself wondering what it would be like to find and meet this double.
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In this warm and complex study of friendship, love, and roots, Kamila Shamsie focuses on the interrelationships of a group of vividly realized, upper-class residents of Karachi, particularly Raheen and Karim and their friends, only thirteen years old as the novel opens. Raheen has always regarded Karim, her one-time crib-companion and blood-brother, as her best friend, someone who knows her so well he can complete her sentences. Their parents, too, are close friends, and as the story evolves, we learn that Raheen’s father was once engaged to marry Karim’s mother, and that Raheen’s mother once pledged to marry Karim’s father. The story behind the exchange of fiancées, though revealed as an intimate personal story, has wider implications, since it is tied, obliquely, to the ethnic unrest of 1971, when civil war broke out between East and West Pakistan, and Bangladesh came into being.
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Focusing on the period between 1956 and 1958, Matthew Brzezinski recreates the Cold War atmosphere which began in the aftermath of World War II and culminated with the Russian launching of Sputnik in October, 1957. Both the United States and the Soviet Union, in their rush to occupy their post-war sectors of Germany, had wanted to acquire as much German technology as possible—rockets, missiles, and, of course, the German scientists who made it all possible. The US had all the advantages—finding a secret missile lab (hidden in a mountain with a concentration camp in front of it), removing dozens of advanced rockets and missiles to the US, and enticing key scientists to emigrate to the United States. Still, it was the Soviet Union, with far fewer spoils of war and much less developed missile programs, which succeeded in orbiting the first satellite. Brzezinski’s extensive research, detailed character analyses of the key players and their subordinates, and vivid recreations of the economic and political realities of both countries increase the tension in the lead-up to Sputnik.
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The motley assortment of characters who live at 44 Scotland Street in Edinburgh, familiar to fans of the series, solve one personal problem at a time in each novel, continuing their stories and life issues into the next novel. McCall Smith is so good at creating these characters and capturing the essence of their imperfect lives that readers unfamiliar with the series need not fear that they are missing key background information. The “plot” of each novel (and one uses the term loosely here) is really a series of episodes in the lives of several loosely connected characters, rather than a single complex (and artificial) scheme which ties every character to the same set of problems and complications. Real life is real people living their own lives and dealing with their own problems, and for McCall Smith and his millions of devoted readers, that’s plot enough.
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