Telling Avgoustis’s story obliquely from several points of view, including that of Litsa, the true love of his life, whom he has abandoned in Greece, author Ioanna Karystiani creates a tender portrait of a proud man in thrall to the “swell,” with little to draw him home. It is only when the reader discovers (early in the novel) that Mitsos is actually blind, something that he has been able to keep secret from everyone, including his crew, that some of his deliberate self-isolation begins to make sense. He knows every foot of his ship, the Athos III, eats every meal alone in his cabin, stares at maps “from memory,” grows a beard so he will not need to shave, and lets his hair grow to shoulder length. He runs the ship by feel, through the “swell,” even bringing the ship safely through bad storms and equipment failures. As long as he does not return to Greece or be available to meet company representatives, they cannot force him to give up his ship.
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Mason’s newly published version of the Odyssey takes a post-modernist approach–casual, playful, earthy, and even scatological. At one point in Mason’s version of The Lost Books of the Odyssey, Odysseus muses about the fact that “I was ideally suited to be a bard, a profession fit only for villeins, wandering masterless men who live at the pleasure of their landed betters, as my father reminded me when I broached the idea. He and his men would say things like, ‘We are here to live the stories, not compose them!’” And then Odysseus imagines himself as bard, intoning “Sing, Muses, of the wrath of god-like shit-for-brains, hereditary lord of the mighty Coprophagoi [excrement eaters], who skewered a number of other men with his pig-sticker and valued himself highly for so doing,” an obvious, raw satire on the earlier, more poetic translations. Using the traditional story of the Odyssey as his starting point, Mason gives his own take on various episodes from that epic, jumping around in time and place, changing major aspects of the story, adding new episodes, and providing unique points of view.
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Author Danticat introduces her story of Haitian immigrants and the lives they have escaped in Haiti with the story of Ka, a young sculptress whose parents think of her as a “good angel,” her name also associated symbolically with the Egyptian Book of the Dead. Ka is in Florida with her father to deliver a powerfully rendered sculpture to a Haitian TV actress. Ka’s father, who served as the model for the sculpture, however, destroys it, confessing tearfully that he is not the man his daughter has always believed him to be, that he was a “hunter,” he says, and “not the prey,” one of the “dew breakers,” or torturers, who as part of the Tonton Macoutes, committed political assassinations and inflicted unimaginable tortures on orders of dictators Francois Duvalier and his son “Baby Doc” between 1957-86. In a series of episodes which resemble short stories more than a novel in form, Danticat illuminates the lives of approximately a dozen Haitian immigrants as they remember this traumatic period “back home.”
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Esteemed novelist Jane Gardam follows up on the success of Old Filth, her highly successful 2005 novel about the life of Sir Edward Feathers, with the companion story of Sir Edward’s wife, Betty. Each novel benefits from the other, and together they are a stunning study of a marriage–not ideal, but “workable.” Beginning with Old Filth allows the reader to set the story and see the marriage from the point of view of Sir Edward. That novel is sophisticated and subtle, much like Sir Edward himself, with a sly sense of humor which allows the reader to feel part of the scene. Betty, someone we really see for the first time in this novel, is also a product of the same time, place, and class. The sophisticated style of Old Filth, appropriate for a novel about Edward, yields in this novel to a more down-to-earth and overtly romantic style, more typical of Elisabeth, with coincidence and romantic intervention playing a part. The often hilarious (and ironic) dialogue combines with a wry satiric sense to produce a conclusion which is everything that such a novel deserves.
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Author Elizabeth Kostova’s unusual debut novel combines her ten years of scholarly research on Vlad Tepes, the Impaler of Wallachia, sometimes known as Drakulya, with the stories that have become part of local folklore in Bulgaria and Rumania, and the legends created and perpetuated by Bram Stoker (in his novel Dracula). A sadistic prince from the mid-fifteenth century who killed up to 15,000 of his own people, often impaling them on stakes and leaving them to die horrible deaths, Vlad terrified his enemies from the Ottoman Empire, though it was Stoker who created the belief that he was a vampire. Historians and scholars will be fascinated by the detailed information revealed in this novel as the three main characters uncover key information about Vlad/Drakulya. Though the story is often exciting—and has a conclusion which packs a wallop–the novel involves serious, scholarly research, and the “novel’s” characters themselves are undeveloped.
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