Many readers will argue that this work is not a novel at all. Certainly it does not adhere to the traditional expectations of a novel, no matter how flexible the reader is with definitions. Begun at the end of the 1980s and still unfinished at the time of author Roberto Bolano’s death in 2003, at the age of fifty, The Woes of the True Policeman was always a work in progress, one on which the author continued to work for fifteen years. Many parts of it, including some of the characters, eventually found their way into other works by Bolano, specifically, The Savage Detectives and his monumental 2666. But though it is “an unfinished novel, [it is] not an incomplete one,” according to the author of the Prologue, “because what mattered to its author was working on it, not completing it…Reality as it was understood until the nineteenth century has been replaced as reference point [here] by a visionary, oneiric, fevered, fragmentary, and even provisional form of writing.” As one character discovers, “The Whole is impossible…Knowledge is the classification of fragments,” and Bolano leaves it to the reader – his “true policeman” of the title – to figure it all out.
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Though he has been celebrated by Roberto Bolano and many other Latin American authors, Guatemalan author Rodrigo Rey Rosa, has been a well-kept secret to most English-speaking readers. Of his almost two dozen works published to acclaim in Latin America, only four have been published in English, and three of those are translations into English by famed American expatriate author Paul Bowles, who was Rey Rosa’s literary mentor. Living in Morocco while he translated several of Paul Bowles’s novels into Spanish, Rey Rosa came to know the country well, finding life on the African shore of the Mediterranean markedly different from that of the European shore represented by France and Spain, both of which had claimed Morocco as a protectorate until after the mid-1950s. Rey Rosa reflects upon these changes as he presents three interrelated scenarios, in which three separate characters express their own points of view and live independent lives which sometimes overlap with other lives within the book. Rey Rosa composes these separate scenarios so carefully that each could stand alone as a short story or novella, and they are often so poetic and filled with lyrical details that critics have described them as “prose poems.” Elegantly written, The African Shore conveys much information about cultures, past and present, along with the people who straddle the worlds of Europe and Africa. The animism of the rural farmers, which infuses their lives with magical explanations; the Muslim culture, which provides comfort and identity to large numbers of people from all levels of society; and the criminality which seems to be filling a vacuum in the wake of the country’s independence from Spain and France, all play a role in the imagery and symbolism which connects the many facets of this marvelous work.
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He’s done it again! With over twenty million copies sold, and over a dozen Nordic prizes and nominations for crime writing under his belt, Norwegian author Jo Nesbo is certainly at the top of his game, and this novel, which fans will almost certainly agree is the best one yet, is sure to win him even greater recognition and even more readers. The dramatic and terrifying teasers at the end of this novel also guarantee that devoted readers will be waiting in line for the next novel in this Oslo based series, which centers on the troubled and alcoholic Inspector Harry Hole and those he has worked with in the Oslo Police Department. In Phantom, the preceding novel, Harry Hole suffers grievous injuries, and this novel begins where that one left off. Both Kripos and the Crime Squad are collaborating here on a series of cases in which a serial killer is murdering policemen who are have been unsuccessful in solving a sensational murder case at some time in the past. Each policeman or investigator is murdered on the anniversary of that unsolved murder, and usually in the same location as that murder. The first policeman dies a grisly death at a ski slope at night, and the similarities between this death and one that has remained unsolved from the past is immediately obvious to the investigators. Subsequent murders of police involve “sex, sadism, and the use of knives,” and frequently violence to the face with a blunt object. Author Nesbo plays a cat-and-mouse game with the reader in this one.
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Fay Weldon, author of thirty-four novels at the time this book was written, strikes such a fine balance as she alternates between narrative, perfect dialogue, and metafictional commentary, most of it very funny, that the reader cannot help but become involved on many levels. She makes her writing life sound so intriguing that I found myself playing along, imagining myself as the creator of the dysfunctional characters in “this tale of murder, adultery, incest, ghosts, redemption, and remorse.” Weldon focuses not just on four generations of one family, from seventy-seven-year-old Beverley, three times a widow but not averse to marrying again, to her estranged daughter Alice, her adult grand-daughters Cynara and Scarlett, and her teenage great-granddaughter Lola, along with all their many lovers and husbands. She also focuses on the invisible spirits which have come with Beverley to England from New Zealand, where she grew up (as did the author). These kehua are the Maori spirits of the wandering dead, “adrift from their ancestral home,” charged with “herding stray members of the whanau (extended family) back home so the living and dead can be back together in their spiritual habitation.” They are particularly concerned, in this case, with something that happened to Beverley when she was three years old. Walter, her father, killed Kitchie, her mother, in New Zealand, leaving Beverley an orphan. Despite the novel’s impressionistic structure and lack of predictable chronology, the story moves quickly, at the same time that it also presents a vivid portrait of the author at work. Filled with ironies and understatements, and often hilarious in its dialogue, this novel has something to say about people and their need for connection to the past, at the same time that it can (and should) be read for the pure fun of its characters and point of view. A new addition to my Favorites list. Highly recommended to lovers of literary fiction.
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If a reader were to base his/her whole opinion of this latest book on the “bliss” Paul Theroux experiences when he sees the Ku/’hoansi bush people, one might conclude that this book is a genuflection to simpler cultures living the hunter-gatherer lives of their forbears, a rare reaction by Theroux who is notoriously hard to please. That felicitous conclusion would be completely wrong, however, even in relation to his experience among the lovely Ju/’hoansi bush people who so impress him in Namibia. When he makes this statement, Theroux has already traveled through South Africa, spending significant time in Capetown and discovering that while the special townships created for the poor have improved in the last ten years, that new, even more desperate, poor are arriving from rural areas and making new, and even more primitive settlements in slums on the outskirts. His travel plans up the west coast, from Capetown to Timbuktu in Mali, along the south and west coasts of Africa, allow him to seize opportunities as he travels, make notes as he goes, and post his observations in ways similar to his observations of the Horn of Africa and the East Coast ten years ago. His visit with the Ju/’hoansi on Namibia has been the first sign of hope that he has had in his trip. Angola, his next stop, proves to be the turning point. One of the richest countries in the world in terms of its oil production and revenues, all of which end up in the pockets of politicians and businessmen, Angola becomes the centerpiece of the book in terms of the corruption at the heart of African life. Ultimately, Theroux must decide whether it makes sense to continue into increasingly devastated West African cities.
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