In this magnificent collection of short stories, Edwidge Danticat always goes straight to the point, but she does so with grace and an honesty that leads each reader to come to new recognitions about life and death, hope and despair, and love and marriage. As individuals and families face their lives both separately and together, Danticat’s stories cast an almost hypnotic power over her readers as the characters share their lives while they make decisions about who they are, how much responsibility they have for their own difficulties, and what kind of future they may be creating for themselves and others. There is no easy sentimentality here: Danticat’s tough characters have learned from their experiences that life is hard, and that any sweet memories they have must be treasured for what they are – partly the result of their own behavior and commitments, and partly the result of fate – inescapable, changeable, and often cruel. Set in New York, Miami’s Little Haiti, and the island of Haiti, the author creates a vibrant picture of the issues faced by first and second generation immigrants and their long-lasting connections to their heritage.
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While I cannot speak to the experiences of others, I found SCHRÖDINGER’S DOG to be one of the best and most insightful debut novels I have read in years. Reading it in two sittings, I was completely engaged both emotionally and intellectually, and I still cannot stop thinking about it, coming to new realizations each time I reflect on its themes of perception, reality, time, and death and their interrelationships. Except for the novel’s title, in which a dog is substituted for “Schrödinger’s cat,” a “thought experiment devised by Austrian physicist Erwin Schrödinger in 1935, the physics principles that make this story so hypnotic and its conclusion so satisfyingly elusive are hidden within, just as Schrödinger’s cat or dog, hidden within its box, is both alive and dead. Although this may seem like an odd and highly esoteric principle around which to mold such a sensitive and emotion-filled novel about a man and his dying son, debut novelist Martin Dumont uses it as the unobtrusive crux of his story and part of its dramatic conclusion. In doing so, he achieves a kind of originality I myself have never before encountered in literary fiction.
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Author Anne Enright, the Irish author of this novel about fictional actress Katherine O’Dell, recreates the “life” that Katherine led publicly as opposed the “real” life she is said to have kept hidden. Enright, a superbly controlled author, faced a daunting task in creating the lives of her characters here without resorting to the sensationalism her main character/author Norah scorns. Throughout her career, Enright has specialized in showing the values and attitudes at play within complex but intimate family dynamics, varying her points of view and time frames to allow the reader to draw conclusions about one character because of events which reflect the lives of other characters in other generations and times. She is often so subtle that readers become lulled into sharing the lives of her characters before they have a chance to evaluate who and what the characters are doing and saying and what this means about life and their attitudes toward it. In Actress, Anne Enright is especially concerned with the fictions people create for their own reasons, including fame. Three generations, reflecting different times and points of view, make this novel a complex study of how people often recreate their own memories to make them more palatable, while drawing conclusions, often false, about the realities of other people
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In a novel about the French intellectual elite who live confidently and proudly at the very margins of society in the early twentieth century, author Rupert Thomson explores the lives and loves of two women who live on their own terms at the very margin of social acceptance. Avant-garde in their personal beliefs throughout their lives, they become close friends when they first meet in 1909 when Lucie Schwob is fourteen and Suzanne Malherbe is seventeen. Suzanne and Lucie are actually aided in the development of their relationship when Lucie’s father and her institutionalized mother divorce, and he marries Suzanne’s widowed mother. Now stepsisters, the two can to be together all the time, without causing gossip. Traveling frequently between Nantes, Paris, and the island of Jersey, off the coast of France, for summer vacations, they explore their new lives “as sisters.” As they grow up, they become part of the avant-garde artists and philosophers in Paris, eventually being forced to leave for the Channel Islands as World War II breaks out. Following their story from 1920 to 1970, Rupert Thomson creates a fascinating story of two very unusual women.
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Author Aravind Adiga, whose Indian family immigrated to Australia during his childhood, is well familiar with Australia’s social and economic conditions, and with its attitudes toward “brown”people, both legal and illegal. His sensitivity and empathy in his presentation of Danny as a kind, thoughtful, and honest main character make Danny’s problems as an illegal resident from Sri Lanka and his lack of options particularly vivid for the reader. When he arrives at work one morning, he finds a police van parked across the street and learns that there has been a murder across from where he is working – in a house which he himself has cleaned many times over the past two years. He knows the female owner, Radha, a married woman who is having an affair, and he is also a worker of the person who may have killed her. With the author’s stunning ability to present Danny’s hopes, his memories of beauty from the past, and his fully imagined dreams for the future, which he presents impressionistically, Danny comes fully to life – a real person with a real life and personality – and not simply a character who is illustrating social conditions, themes, and ethical problems. Danny must decide whether to help the police with much-needed information and risk deportation, or keep quiet and let events take their course. Outstanding!
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