Once you enter the world of Trevor Comerford, you will not re-emerge unscathed. Formerly employed in Dublin at the Central Remedial Clinic, Trevor was empathetic and anxious to help his students in his English classes there, creating firm bonds of friendship with them by making them laugh at his vulgarity, by refusing to recognize their physical challenges as “limitations,” and by taking them on day-trips (which became shoplifting expeditions to the local shops). His departure from Dublin for a new life in New York City was made in full knowledge of the challenges he would have dealing with the chaos of that city’s street life, which, in many ways parallels the chaos in his own life. An ad Trevor finds in the Village Voice requests a companion for Ed, an extremely bright teenager with muscular dystrophy who has little time left to live, and Trevor, upon investigation, quickly learns that the typical “companion” for Ed lasts only a week. Thoughtful and often hilarious.
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Tunisian author Habib Selmi, who has criticized the Arab novel in general because it “overwhelmingly emphasizes the social aspect,”* takes the opposite tack in his own novel, creating an intimate portrait of a years-long relationship between a French woman and a Tunisian man, seven years her senior. Selmi believes that “the novel should be a novel of the self as it intersects with its surroundings….[It] is not a sack full of occurrences and changes.”* Not surprisingly, then, his own novel deals almost exclusively with the thoughts of one of the partners in the relationship–Mahfouth, who has a doctorate in Arabic literature and who is currently working in a Parisian hotel and working part-time as a university lecturer. His lover, Marie-Claire, is a devoted but somewhat more free-wheeling partner who loved college but now works at the post office. Everything we learn of Marie-Claire, we discover through Mahfouth’s point of view, and when, after the initial bloom of love wears off, he becomes annoyed with her for doing or saying something he does not like, readers will have no problem understanding why she becomes annoyed with him in turn.
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Nobel Prize winner J. M. G. Le Clezio here creates an adventure story which is also a coming-of-age story and an exploration of culture. Set in Mauritius, where his French family has deep roots and where he now has a home, the novel is unique—filled with lush descriptions and vibrant characters who appeal to the romantic in all of us while simultaneously evoking the violence and horror which mar their lives and make a mockery of “civilization.” The novel’s exotic setting inspires dreams of lost worlds, mysteries, and lives tied to nature and its beauties. At the same time, however, the author is exploring the damage wrought by foreigners whose sole purpose is to tame the land and use it for commercial purposes. The novel often resembles an allegory in that every phase of the action over thirty years teaches a particular lesson or emphasizes a theme, to which the author calls attention. Readers interested in becoming acquainted with Le Clezio’s writing may find this novel an ideal starting place.
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The last novella written by acclaimed Italian author Romano Bilenchi before his death in 1989, The Chill, written in 1982, is a coming-of-age story so universal that it could just as easily have been written in 1902 or 2002. Set in the mid-1920s, in the hill towns between Siena and Florence, the novella recreates the story of an unnamed narrator dealing with the pangs of adolescence so skillfully that the reader can easily associate it with the author’s own childhood—and though the setting is dramatically different from that of J. D. Sallinger’s Catcher in the Rye, or L. P. Hartley’s The Go-Between, or any of the other coming-of-age novels one might recall, the issues are similar, if not identical in many respects. With its focus on family history, death, friendship, love, betrayal, and revenge, this novella deals with the most important of life’s issues.
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Written in 1958, when the author was only twenty-three, this debut novel is stunning for its depiction of two societies–the society of peasant villagers who live in a remote and nearly inaccessible mountain village, and a society created by young delinquents when they are abandoned and blockaded inside this small village. Away from normal society, the boys are free to express their own emotions, and the narrator and others quickly show their inner humanity. The narrator’s much younger brother, an innocent, depends upon the narrator, who is protective and warm towards him, with several people protecting also the young daughter of the woman who died from plague, a girl who was abandoned when the villagers evacuated and left all the “undesirables” behind. As the boys help each other, the author creates a real sense of pathos about their sad predicaments. Passages of great beauty–especially the morning in which they discover snow–contrast with the misery of their attempts at survival. Five days later, everything changes.
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