Zimbabwean writer Ian Holding, a school teacher in Harare, is a white settler who has decided to stay in Zimbabwe, a country riven with violence for many years. Robert Mugabe, a leader of Zimbabwe’s liberation movement against the British, was elected to power in 1980 and remains in power to this day, supported by his army. Over the past thirty years, the economic situation in Zimbabwe has worsened. In this novel Holding writes two parallel stories, divided into four parts, which intersect at the end and provide a kind of conclusion, though not necessarily resolution. The first part is a dramatic, horrifying, and immensely sad story of a post-apocalyptic “society” in which a few survivors try to stay alive in a bombed out and completely devastated city. In Part Two, the scene shifts to the journal of Ian, a schoolteacher whose family has lived on a farm in the highland for decades before emigrating – the parents to Australia, one brother to London, and one to Canada. Only Ian remains behind, and he, too, is thinking of leaving. Dramatic, horrifying, and filled with vibrant language which swirls around, creating word pictures which the reader will often find difficult to accept, this novel is a heartfelt cry for understanding in a place where it appears to be rare.
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Set in Zimbabwe from the early 1980s through the late 1990s, Irene Sabatini’s debut novel focuses on the racial conflicts which underlie the history of Zimbabwe, formerly Rhodesia, which was under British rule for a hundred years before being granted independence in 1980. Using the love story of a white Rhodesian man and a mixed race, “colored” woman, over the course of almost twenty years, Sabatini traces the country’s deterioration economically, culturally, and socially, under President Robert “Bob” Mugabe, who is still president of Zimbabwe after more than thirty years. Ultimately, Sabatini creates a vibrant novel in which she explores the downward spiral of Zimbabwe over the past nearly-thirty years. The corruption, the intolerance, the sense of entitlement by soldiers and militias who have fought against the white establishment, the economic hardships, the violence of the army and police against those who oppose those currently in power, and the complications created by South Africa and other African countries who may fear the possible effects of a free Zimbabwe are all explored in detail, especially as they affect Lindiwe, Ian, and their friends.
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An unusual and often dark novel, Faith, Hope & Love is billed as an urban thriller, but it is far more the psychological study of an unusual anti-hero than it is a mystery. In fact, the biggest mystery of the book is why the main character is in prison in the first place, a question which does not get answered until late in the novel. The Prologue, entitled “The Beginning of the End,” raises additional questions concerning a car crash, which is described there, and the identities of the people in the car—again, issues which are not addressed again till late in the novel. In between the Prologue and the resolution of these questions, however, the novel is study of Alun Brady and his family, much more a sensitive domestic drama, set in Wales, than an action thriller, a study of identity and reality—personal, familial, cultural, and religious—as revealed through a series of unrelenting ironies in which God, fate, and free will do battle.
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Vietamese-born Linda Le, one of France’s most popular authors, moved to Paris in 1997 when she was fourteen, accompanying her mother, grandmother, and three sisters soon after the fall of Saigon. In this energetic, sometimes raucous, and always surprising novel, Le describes the lives of three other young Vietnamese women who are also living in France—now totally assimilated after twenty years of living there. Two sisters, known as Elder Cousin, or Potbelly, who is pregnant, and her younger sister, Long Legs, a “cutie” who is living with someone she hopes is a ticket to wealth, have decided to invite their estranged father, King Lear, to come from Saigon to Paris for a three-week visit. Potbelly will pay for the trip, since she is married to a wealthy French “Hardware Man” in the “nutsandbolts business” who will be away during the visit; Long Legs has no money, spending her small salary on clothes, makeup, and trinkets. The third member of the Three Fates, Southpaw, referred to at one point at Albatrocious, is their cousin, a young woman who has lost a hand. The sisters have few expectations regarding their reunion with King Lear, and Long Legs does not even remember the language, but they do plan to impress him with their financial and social success in France and show him how “French” they are.
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Luisa, a Madrid single mother, has written several successful mysteries starring her two detective heroes, psychoanalyst Carmen O’Inns and her partner Isaac Tonnu. Luisa, aged fifty-two and gifted with a “rampant imagination,” has just moved into a new apartment in Madrid with her eleven-year-old daughter Elba, named for the island where Luisa, then aged forty, conceived her while on a “mating trip.” The new apartment will allow Elba to attend the private English High School which Luisa attended as a child. What follows is an unusual variation of metafiction, in which Luisa simultaneously creates her over-the-top novel about the death of a child at a private school, describes the similar death of a child forty years ago when she herself was an eleven-year-old student at her private school, and then relates details about another remarkably similar death of a child at the same private school during the time that her daughter Elba is a student. Three young boys. Three deaths. Three mysteries.
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