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Category Archive for 'COUNTRIES REPRESENTED'

In 1874, the island of Tasmania, one hundred fifty miles off the southeast coast of Australia, is boiling with rage. Once a penal colony filled with the hardest criminals, and the site of almost total genocide of the original aboriginal inhabitants by the British, Tasmania, in 1874, is a seething cauldron of hungry men and the toughest of women, many of them homeless, trying to survive the only way they know – by using whatever weapons they have at hand to gain what they need to stay alive. The action and points of view alternate among William Toosey, age twelve, and the life he is leading after his mother’s death; Thomas Toosey, his estranged father, who is trying to reach his son William from another part of the island so he can help him; Fitheal Flynn and a “hooded man” who are trying to get back the money that Toosey has stolen from them; and Beatty and Webster, the local constables who are trying to capture any and all of them. Additional connections between Toosey and Fitheal Flynn and his hooded accomplice explain why Flynn’s hatred of Toosey is so visceral and unyielding and why he is willing to fight Toosey to the death. One more character, Jane Eleanor Hall, whose head is shaved and is thought, at first, to be a man, adds to the complexities and mysterious identities when she finds Flynn and his companion hiding in her house and offers to help them find Toosey if they pay her for her help. As in other gothic novels, the action here comes fast and furious, with elaborate descriptions bringing it alive, and violence the usual result of interactions of characters. Interestingly, the “hero” here, young William Toosey, and the anti-hero, Thomas Toosey, are from the same family and have some love for each other, adding a humanizing, if not sentimental, touch.

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Escaping the Great Famine in Ireland, Thomas McNulty, a boy in his mid-teens and the only survivor of his family, hopes for a new start in a new world. Sneaking onto a boat for Canada with other starving Irish, many of whom die on board, he discovers, upon his arrival, that “Canada was a-feared of us…We were only rats of people. Hunger takes away what you are.” Seeing no future there, he travels, eventually, to the US, working his way to Missouri, where he then meets John Cole, another orphan boy of his own age, whose great-grandmother was an Indian. They connect instantly, and “for the first time I felt like a human person.” Realizing that they have a better chance of surviving together than they would have separately, they figure out a way to keep working until they are old enough to enlist in the U.S. Army. Once in the Army, they end up in northern California, where recent settlers have been having trouble with the Yurok Indians, native to those lands. After fighting in the Indian Wars, they end up fighting in the Civil War. Sebastian Barry, a writer with almost unparalleled ability to control his characters, his story line, his style, and the peaks and valleys of the changing moods of his novel, succeeds brilliantly in this novel, already the winner of the Costa Award in the UK, and likely to be winner of several more major prizes, as well. Barry makes everything real in a novel which Kazuo Ishiguro describes as “the most fascinating line-by-line first-person narration I’ve come across in years,” and which Donal Ryan calls “a beautiful, savage, tender, searing work of art. Sentence after perfect sentence, it grips and does not let go.” #1 on my Favorites List for 2017.

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You may have read many novels in which the two main characters hate each other, but how many have you read in which the main characters, two professional women, are in their eighties and next-door neighbors? Yewande Omotoso’s The Woman Next Door, will appeal to readers looking for an escape from some of the doom and gloom of contemporary life without escaping into mindlessness, a story with some realistic grit. Setting the novel in Cape Town, South Africa, Omotoso depicts an upscale enclave in which these two women, one black and one white, must deal with some big issues, some of them racial. Though apartheid is outlawed and the neighbors may pretend that the problems are solved, the feelings are not yet gone. This is not a “message novel,” however. For Omotoso, the story and its characters come first, her themes being revealed through their conflicts and the empathy she creates among her readers. Fun and often funny, with unique characters, and strong insights into the racial tensions of South Africa.

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South Korean author Han Kang recreates May, 1980, as students and others rebel against military rule following the assassination of dictator Park Chung-hee. Developing a circular narrative of six overlapping chapters, she depicts vibrant, realistic characters who participate in the rebellion and overlap and reappear in each other’s narratives, revealing different points of view of the action they have observed. Han’s prodigious descriptive skills are more than equal to the task of describing the one-sided warfare between naïve young men and their heavily armed opponents, but she also sees this action in broad thematic terms taking it beyond the themes of her previous novel, The Vegetarian. Here she delves deeply into the questions raised in the review’s opening quotation on whether human beings are fundamentally cruel and whether cruelty, with its damage and degradation, is the only thing we share with each other as a species. Is cruelty, in fact, the “essential fate” of mankind and is it inevitable, she asks. Han’s work takes an emotional toll, but every detail works, and no detail is gratuitous. Ultimately, she recreates the turmoil and human cost of more than two decades of Korean history, and she does it in a mere two hundred pages.

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Having given up his thesis on “Jewish Views of Jesus,” young Israeli student Shmuel Ash needs a job and a place to live. On the college bulletin board, he finds a notice advertising a job for a Humanities student willing to spend five hours each evening chatting with a seventy-year-old invalid who craves company. The notice indicates that the employer will provide housing for the person who accepts this job, but the new employee will have to agree to have no visitors and to keep confidential everything he learns about his employers. With nothing to lose, Shmuel accepts the job. As Oz develops the stories of these mysterious people and how they are connected, he also establishes deep-seated theological and historical conflicts which continue to plague the world, especially the Middle East, to the present day. What begins as a highly descriptive novel of the real world quickly blossoms into a grand exploration of the ideas and theological beliefs which are the bedrock of Christianity and Judaism, their history and cultures – a novel “writ large” in the best possible meaning of those words. Though the book is dense, it is also enlivening, and for an American audience, it provides historical context for some of the issues between the US and Israel in the present. The religious subject matter, new to me, was stunning, and the connections between desire and error, and betrayal and vengeance, seen throughout, have never seemed so small.

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