In this newly reprinted Italian classic by Natalia Ginzburg, originally published in Italy in 1961, Elsa, an unmarried young woman of twenty-seven, becomes the primary narrator/commentator on her own life, the lives of her family, and the social scene which they all share in a small, unnamed town in Italy during and after World War II. As the only first person speaker in the novel, Elsa guides the action in three chapters, giving personal insights and a sense of honest reality to the day-to-day lives of which she is part. Four other chapters, concentrating on the points of view of other characters, emerge from her parents’ generation – their prewar lives illustrating where they have started and their postwar lives revealing the effects that fascism, socialism, communism, and the partisanship of wartime have made on their domestic lives, family, and friendships. Unusual to the point of being unique, or almost unique, Voices in the Evening deals with the growth of fascism in Italy, World War II, and the postwar conditions – big, complex subjects – but these issues become almost peripheral to the everyday gossip and personal stories on which the main characters and the community depend for their daily lives. The issue of moving from their local towns and cities for parts of the war and its aftermath is treated almost casually, with more attention paid to love stories and their complications, gossip, and personal tales than to the big subject of Italy during the war. By changing the focus so dramatically, the author is able to gain some dark humor while developing a creeping horror of the way in which these people allow their personal issues to camouflage the dramatic changes taking place in their lives and throughout the country.
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Masquerading as a family saga, The Promise is also a depiction of the various crises in the history of South Africa, especially in the past thirty years. The Swart family – Ma, Pa, Astrid, Anton, and Amor – are white descendants of the Dutch and Afrikaner Voortrekkers who settled in rural areas of South Africa in the mid-1800’s as an escape from the British control of the cities of colonial South Africa. Many created large farms in the relatively unpopulated rural areas and ran their farms as their own fiefdoms. The past hundred years have led to significant changes, however. The Promise straddles genres as it focuses on the emotional problems of the Swart siblings’ lives, some of them exacerbated by the behavior of their parents. It also focuses on the social and cultural milieu of South Africa from the mid-1980’s to the present, as it moves from a strongly white-dominated government to a more democratic one which recognizes the contributions of all cultures and their importance to peaceful society. The author recognizes that change is happening and that peace is possible, but he does not lecture the reader, preferring to present facts regarding the changes, letting the reader see some of the results, both good and bad, as they affect one white family struggling with personal problems of their own.
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Watching the arrival of Violet, a young, three-year-old elephant from Ceylon, purchased for the Bellevue Zoo in Belfast in 1940, Hettie Quin looks forward to getting to know this new star of the zoo. She “had never seen so many people at the docks: it was as if British royalty or a famous screen actress were among the steamer’s passengers arriving that morning.” A twenty-year-old with no interest in pursuing any of the traditional roles for women in 1940, Hettie has set her sights on becoming a zookeeper, and she quickly focuses in on Violet with her attentions. The elephant, who is relatively untrained and tense after her long voyage, will need some special help settling in. Not long after the elephant’s arrival, Belfast is bombed, and Hettie Quin takes it upon herself to save Violet by hiding her somewhere in Belfast where she cannot be found. In 2009, the zoo discovers the name of a real woman who took care of a real young elephant at the Zoo during nights of bombings in WW2. Links are also provided to the story of the real elephant and her savior.
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Winner of Japan’s prestigious Akutagawa Prize in 2012, “Touring the Land of the Dead,” a novella by Maki Kashimada, has now reached a large American audience for the first time. Regarded in Japan as an avant-garde writer, Kashimada rejects many of the cliches we think of when we regard books by Japanese women as quiet, elegant, formal, and “polite.” Here Kashimada, translated by Haydn Trowell, sees the world in realistic terms and does not hesitate to depict what she sees as the sad, meaningless lives some people accept as their “due,” showing their inner turmoil and even rebellion as they try to improve life for themselves and, often, their immediate families. “Touring the Land of the Dead,” the longer and more emotionally involving of the two novellas in this debut, takes a close look at a one family which, in successive generations, has become less and less successful, reflecting the damage and even bullying imposed on some members of the family by others who take advantage of them. A hardworking wife struggles to stay afloat and caring of her husband. “Ninety-Nine Kisses,” however, is “thinner,” less thoughtful, and less involving than “Touring the Land of the Dead.” Supposedly modeled on Junichiro Tanizaki’s The Makioka Sisters, the overall atmosphere, mood, and thematic focus of “Ninety-Nine Kisses” remain very different from the Tanizaki novel.
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In the opening sentence from the approximately three hundred words of the first episode of this 1968 classic, author Alfred Hayes, reveals his immense talents in creating characters and dramatic scenes in as few words as possible. A successful screenwriter, TV writer, novelist, and poet throughout the mid-twentieth century, Hayes establishes the current life circumstances of Asher, the as-yet-unnamed main character, going straight to the point regarding the state of the man’s marriage, his refusal to recognize that reality, his feelings of failure at work, and his fears of getting old, upon which he blames all his problems. Spying on his wife through the window of their house outside of Hollywood late at night, the man realizes, “I was finished.” The next day, when his wife is gone, he goes to the house, packs up everything he thinks he will need in New York, and leaves. There he reconnects with an aunt, who refers to him as Asher, and meets a young relative, Michael, who wants to be a writer, along with his girlfriend, Aurora, who is also attracted to Asher. He has had little experience dealing with devious people; screenwriting and filming being predictable protocols., but real life with two ambitious young people providing your “entertainment” is something else. Neither of them is who Asher thinks s/he is. Each quarrels with Asher at times and each plays games – both real and psychological. Ultimately, as Asher describes for the reader the exact nature of his breakup with his wife, the reader sees him still trying desperately to connect with Michael and Aurora. Ultimately, Asher belatedly reaches conclusions about himself – as does the reader of this dark and dramatic novel of a very late coming-of-age.
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