It is difficult to know even where to begin in reviewing this novel, a novel so broad in its themes and scope and so sensitive to the details which make it come alive that other American readers, like me, will undoubtedly be waiting as impatiently as I am for the rest of the novels which make up the “Copenhagen Quartet.” Main character Bernardo (Nardo) Greene, an “ordinary” Chilean school teacher, was tortured for two years during the Pinochet government because he varied from the assigned curriculum in order to expand the minds of his students. Ostensibly a love story between Nardo, a widower whose wife and son were “desaparecido” during his incarceration and torture, and Michela Ibsen, a forty-year-old Danish woman whose ex-husband abused her and whose seventeen-year-old daughter committed suicide, the novel examines many themes related to love and death, freedom and forced confinement, and the worldly and the spiritual. (My favorite novel of 2010)
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Naturalist/writer Gerald Durrell, with a writer’s eye for the odd detail, a great sense of humor and absurdity, and an unquenchable enthusiasm for finding unusual animals and telling stories about them, recounts his third animal-collecting trip to the Cameroons in this 1960 memoir. Recently reprinted by Penguin Books, the book is a classic of nature-writing, filled with amusing anecdotes about the animals, the discoveries made about them, and, especially, about the people whose interactions with them often led to hilarious escapades. Durrell is a lively writer with a commitment to conservation and a tremendous sense of fun. Giving the flavor of the whole trip, not just the academic details, he provides a sense of realism at the same time that he displays his own irrepressible humor, much of it directed at himself. Durrell’s zoo on Jersey has now celebrated its 50th anniversary.
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Eleven years after the publication of Fugitive Pieces, her only other novel (and winner of the Orange Prize), Anne Michaels has published a monumental philosophical novel which is also exciting to read for its characters and their conflicts. Complex and fully integrated themes form the superstructure of the novel in which seemingly ordinary people deal with issues of life and death, love and death, the primacy of memory, the search for spiritual solace, and the integrity of man’s relationships with the earth and the water that makes the earth habitable. The first part deals with the excavation of Abu Simbel and its relocation above the cliffs when Lake Nasser was created. The second with the St. Lawrence Seaway and the dispossessions that caused as a new lake was formed, and the third with the rebuilding of Warsaw after World War II. Michaels’s talent as a poet is obvious in her gorgeous ruminations about the meaning of love and life, and in her evocative, unique imagery, but the beauty of the language is matched by the richness of the novel’s underlying concepts, which give depth and significance to this challenging and satisfying novel.
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Author Ha Jin, who was born in the People’s Republic and lived there until he left to attend college in the United States in 1985, offers a unique perspective on Chinese culture, different from that which appears in most “Chinese” novels written for an American audience. Setting this novel primarily in a POW camp in South Korea, where Chinese and North Korean troops, captured by US and South Korean soldiers, have been separately interned during the 1950s war, Ha Jin focuses on the different attitudes each group has toward home, country, and each other. Through Yu Yuan, a young soldier from the Chinese Communist army, Ha Jin shows how differently Yuan evaluates his life and his obligations but how similarly he holds to ideals of friendship, justice, honor, and love.
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Setting this monumental family saga in Gaomi, in northeast China, where he grew up, Mo Yan, a member of the People’s Liberation Army who studied writing at their art academy, presents a realistic, rather than glorified, picture of life in China. Vividly portraying political and historical events—most of them bloody—over the course of the twentieth century, he portrays family life in rural China from the Boxer Rebellion to the Communist Revolution, the Japanese invasion, the Cultural Revolution, and the death of Mao. Shangguan Lu’s early marriage and domestic life unfolds through flashbacks. Through the developing stories of the eight daughters, their marriages, and their careers, the history of China from 1939 to the 1990s unfolds. Mo Yan’s novel is big, and it is important, the first really thorough portrait of rural life in China during the major historical movements of the twentieth century. His style, while often exciting is also brutally realistic and graphic in its violence. Though the author includes legends and cultural traditions as part of his picture of family life, the Shangguan family comes alive primarily through minute details.
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