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“On that morning of October 3, 1940, Hettie Quin knew she was lucky to be there, at the docks of Belfast, assisting with the elephant’s arrival….A young elephant [was] being maneuvered through the air.  A crane and a system of chains and pulleys elevated the animal from the deck of the moored steamship.  The elephant’s trunk coiled up and then unfurled like an opening fist.”

cover elephant belfastWatching the arrival of Violet, a young, three-year-old elephant from Ceylon, purchased for the Bellevue Zoo in Belfast, 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 zeroes 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.  Hettie has tended or cared for penguins, bears, a sea lion, polar bears, monkeys, lemurs, camels, and birds, on some level, but Mr. Christie, the owner of the zoo, refuses to consider her for the role of zookeeper for the elephants, or for Violet, in particular.  She is anxious to improve her status at the zoo for several reasons, among them the fact that she is anxious to earn a higher wage so that she can find a room in a boardinghouse downtown and move out of her mother’s house.  Her family is breaking apart, with her father gone most of the time and her mother suffering from “the miseries,” and Hettie has no interest in becoming involved in all the drama at home.

Belfast Zoo, built in 1934 at the Bellevue Gardens. The Grand Staircase leads up the hill from the gardens to the zoo.

Belfast Zoo, built in 1934 at the Bellevue Gardens. The Grand Staircase leads up the hill from the gardens to the zoo.

As author S. Kirk Walsh sets the immediate scene in 1940, she also creates a past history for Hettie, who does not have a boyfriend, though she has many male friends.  At the same time, she also creates a past history for Protestant Belfast.  Hettie’s sister Anna, a Protestant, had married a Catholic, Liam Keegan, and Anna had died just three months ago giving birth to their child. Though Hettie has continued to stay in touch with her widowed brother-in-law, his family, and her new niece Maeve, visiting the Catholic neighborhoods is difficult for her, as the IRA, of which Liam is a member, is still active and their hatred of the Protestant British rulers of Northern Ireland is palpable.  With war going on in Europe and the Germans regularly bombing England, shortages of supplies have become noticeable in Belfast,  food for the animals in the zoo is becoming scarce, and the possibilities of attacks there are becoming more and more likely.  A few weeks after her arrival, Violet seems scrawnier to Hettie, and Edward, Violet’s young zookeeper, has told Hettie that Mr. Wright, the head zookeeper, has told him to reduce Violet’s food to only half a bale of hay a day, instead of a whole bale.  Other animals also are having their food reduced.  When the young male zookeepers get drafted for service in the war which threatens to break out in Northern Ireland soon, Hettie eventually gets her full-time assignment as a zookeeper, and it includes care of Violet.

Floral Hall at the Bellevue Gardens, where young people enjoyed dancing and concerts.

Floral Hall at the Bellevue Gardens, where young people enjoyed dancing and concerts.

Even with all the political and social complications affecting the lives of the young people of Belfast, they still manage to have some fun.  Dances at the Floral Hall, on the same site as the zoo, and concerts featuring favorite singers provide some fun and social life.  Naive Hettie soon finds herself sought after by at least two young men, but she has little experience in dating and in judging motives.  And when one date, making unwanted moves in the presence of Violet, finds himself under attack by both Violet and Hettie, all three of them resort to physical confrontation, with Hettie showing her aggression against someone trying to get his own way with her at all costs.  Violet actively protects her zookeeper, and the “suitor” is forced to give up the leather crop he’d threatened to use against Violet, resorting to insults against Hettie.

S. Kirk Walsh, debut author of this book. Photo by Erich Schlegel.

S. Kirk Walsh, debut author of this book. Photo by Erich Schlegel.

Author Walsh soon expands the focus to the world at large, and the issue of what to do with the dangerous animals at the zoo if the zoo is hit by bombs becomes critical. The owner of the zoo reluctantly instructs the head zookeeper to put down all dangerous animals.  He plans to send Violet to Sweden, if he can organize it.  The onset of the bombing affects all aspects of life in Belfast and lasts for two days with hundreds of people killed, and massive destruction taking place.  Desperate to protect Violet, Hettie takes personal action to protect her by hiding her somewhere in Belfast where she will not be found – at least until the issue of her deportation can be settled. With Belfast now an inferno, the story of the escape of Violet from the zoo to a hidden sanctuary becomes breathtakingly dramatic, and readers will race through these pages to follow the action, which involves one shocking betrayal and one surprising act of support for Hettie and Violet.  Ultimately, author Walsh resolves the action in surprising ways, and readers, some of whom will be symbolically out of breath from the speed of the last fifty pages, will be able to sit back and contemplate the resolutions, signs of hope, dreams of peace, and a recognition of the universal love and connection which can sometimes exist between humans and the animals they love.

Sheila, the "real" elephant of Belfast, with her real caretaker and her mother, during difficult nights.

Sheila, the “real” elephant of Belfast, with her real caretaker and her mother, both of whom cared for Sheila during difficult nights.

As wonderful as this story is as fiction – and author S. Kirk Walsh makes it a gem – it rises to another whole level when one considers the fact that the crux of this story is not fiction.  In the zoo archives in 2009, a researcher found some surprising photos of a woman in her back yard with a young elephant.  Anxious to find out who the “elephant angel” was, researchers began a search to find her identity.  Eventually, she was identified as Denise Weston Austin, who lived in N. Belfast, a woman who had died in 1997.  Like Hettie, she gave the zoo’s young elephant (named “Sheila” in real life) a place to stay at night during the war, then walked her back to the zoo each morning. The story went on to become a BBC special, an opera, and a feature film called “Zoo.”  Though the film differs widely from this book, and, perhaps, real life, a link to the trailer is available in the last sentence of  the article in The Zoo, a newsletter from the Belfast Zoological Gardens, the link for which is given at the end of the Photo Credits below.  Additional real-life photos of Sheila the elephant are also shown.  If you liked this book, you will not want to miss them.

PHOTOS.  The entrance to the Belfast Gardens, created as a public park in 1895.  The zoo was added in 1934. http://www.belfastzoo.co.uk

Floral Hall, where the young people could go to concerts and dances.  http://lordbelmontinnorthernireland.blogspot.com

Author S.  Kirk Walsh.  Photo by Erich Schlegel.  https://www.counterpointpress.com

The “real” elephant of Belfast, part of a feature story for a film,about the elephant, Sheila, and her caretaker Denise on nights during the war.  Photos taken at the home of Denise Weston Austin, in Belfast may be found here:  http://www.belfastzoo.co.uk  Scroll to the end of the article for the trailer of a 2018 film based loosely on the story of Violet (Sheila) or click on this link:  http://www.belfastzoo.co.uk/about-us/zoo-history/zoo-the-movie.aspx

THE ELEPHANT OF BELFAST
REVIEW. PHOTOS. Book Club Suggestions, Historical, Ireland and Northern Ireland, Social and Political Issues
Written by: S. Kirk Walsh
Published by: Counterpoint Press
Date Published: 04/06/2021
ISBN: 978-1640094000
Available in: Ebook Hardcover

“She wasn’t worthy of finding happiness.  That was what she felt, day after day, while she listlessly carried out her household chores, or played with the children at her part-time job at the children’s center.  Like a wound healing – naturally, slowly.”

cover kashimadaWinner 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.  Taking a close look at Natsuko, the wife of Taichi, a 36-year-old man diagnosed with a neurological disorder a year after their marriage, the author shows her trying to support them both on the salary she earns working part-time at a child care center.

Bullet Train

Bullet Train

For eight years Natsuko has been Taichi’s sole care-giver throughout his seizures, surgeries, hospitalizations, and accidents, to the point that she now believes that she herself “wasn’t worthy of finding happiness.” She does not believe that there is anything special about living for someone else’s sake, “but if it were for anyone else’s sake but his, there would be no need for her to exist [at all].”  Natsuko, however, runs a frugal household, and finally saves enough money for a surprise two-day visit for her and Taichi at a formerly elegant hotel which is now offering a “health retreat.”  Years ago, she visited that hotel for pleasure with her wealthy grandparents, her parents, and brother, but times and finances have changed dramatically.  She and Taichi are able to survive with careful planning, while her mother and brother, constantly trying to cadge money from her, haughtily ignore Taichi, mocking his background and criticizing Natsuko for marrying him.  Boarding the bullet train for their getaway, Natsuko and Taichi head for the retreat, where Natsuko must deal with memories of all the changes from the past, at the same time that she is trying to create a pleasant memory and change of pace for herself and Taichi.

Public foot-bath beside a street.

Public foot-bath beside a street.

During their “escape,” Taichi is excited by a trip to an art museum and spends much time examining and thoroughly enjoying the paintings.  Time at the beach, which follows, adds more pleasure.  Seeing Taichi’s reactions allows Natsuko to start to move out of her broken shell and begin, too, to think about “sharing.” A trip to a foot-bath in front of the bus station adds even more delight to Taichi’s day, eventually inspiring Natsuko to hope she can do something even more special for him, and giving her some real insights into his life.  When he asks what he can do that would be special to her,  she comes to her biggest realization of all.   This novella captures the deep, sometimes hidden, feelings of characters who become very real here, as author Kashimada alternates the lives of Natsuko and Taichi in the present with elements of the past which have prevented Natsuko from learning to treasure what she has.  The novella has become, in the course of the narrative, a belated coming-of-age story for a good woman who has finally begun to understand who she really is and how she can lead a new kind of life.

Azalea Festival, Nezo Shrine

Azalea Festival, Nezo Shrine

“Ninety-Nine Kisses,” the second novella here, features a larger cast in which a family of four sisters, all unmarried, face changes in their relationships with each other when a young man named S enters their lives at the Azalea Festival at the Nezu Shrine.  The narrator, Nanako, is the youngest of the four sisters, identified as a college student, but she appears much younger in some scenes and in flashbacks. As the sisters talk, it becomes clear that all three of the older sisters are attracted to S.  One day Nanako sees S at a bus stop, where he is staring at a sign in front of a feminist literary society.  Suddenly, he kisses the sign, and Nanako is the only one who sees him. Confused about why he would do this, she ponders the idea that “If he tried to kiss me, I might not be able to stop myself just with slapping him.  No, I would kiss him back.”

Taiyaki, a sweet dessert which S gives to Mieko, upsetting her sister.

Taiyaki, a sweet dessert which S gives to Mieko, upsetting her sister.

All the sisters seem preoccupied with sex, its anatomy, and its graphic details. They ask their mother about what it was like having sex with their father before she broke up with him.  They describe the behavior of one sister displaying her body to a ten-year-old boy who has wandered into the ladies’ bathhouse.  The sisters’ casual lusting over each other;   the physical, sexual pleasure they get from each other;   and the self-pleasuring they enjoy so much when alone are other aspects celebrated here.  Two of the sisters show that they have had some attention from S, with one, Meiko, receiving a fresh taiyaki  from him.  Later Yoko receives even more attention and contemplates the possibility of marriage.  The effects on the sisters’ relationships with each other, soon become dramatic, but they know they will always treasure each other, not some “good-for-nothing man who might one day show up from somewhere far away.”

Author Maki Kashimada

Author Maki Kashimada

With these two novellas, author Maki Kashimada lives up to her reputation of challenging the status quo and taking an avant-garde approach to writing and, in some ways, to life itself.  “Ninety-Nine Kisses,” however, is “thinner,” less thoughtful, and less involving than “Touring the Land of the Dead.”  Though “Ninety-Nine Kisses”  is supposed to have been modeled on Junichiro Tanizaki’s The Makioka Sisters, the overall atmosphere,  mood, and thematic focus remain very different.  I enjoyed Kashimada’s thoughtful, beautifully realized, and original approach to “Touring the Land of the Dead,” but “Ninety-Nine Kisses” does not compare to anything I have ever read by Tanizaki.

Photos.  The bullet train may be found on https://pixabay.com

A public foot-bath beside a street appears on https://www.kusatsu-onsen.ne.jp

The Azalea Festival at Nezu Shrine is from https://thegate12.com

Taiyaki, a sweet dessert, is shown on https://www.pinterest.com

The author’s photo may be found on https://asianreviewofbooks.com

 

TOURING THE LAND OF THE DEAD
REVIEW. PHOTOS. Coming-of-age, Experimental, Japan, Literary, Psychological study, Social and Political Issues
Written by: Maki Kashimada
Published by: Europa
Date Published: 04/06/2021
ISBN: 978-1609456511
Available in: Ebook Paperback

“I crawled out of the bush away from the window and I began to run.  My only safety lay in flight.  If I had stopped I’d howl.  I knew I must not stop.  The thing was in my gut.  In my parched, in my constricted throat.  Humped raw cringing wounded to death.  I’d howl into the night.  Affrighting these houses.  These well kept lawns.  These softly polished pianos.” – Asher

cover end of meIn this 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 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, his parting shot to his wife being that he turns on every light inside and outside the house. “The house blazed.  It was utterly illuminated.”  And when the taxi arrives to take him to the airport, he is waiting “in the blazing house [which] I left glaring there among all the dark or the quietly lit houses in the neighborhood….I was alone.  I had abandoned everything,” though the fully lighted house certainly made a statement to the neighbors.

tom moody burial

“The Burial of Tom Moody,” an engraving by Christian Rosenberg, 1831. To see full picture, click on photo.

That night, in the suite he has secured at a hotel near Central Park, he notes an English hunting print on the wall, and it is here that the author shows some of his own film experience, recreating a brief but vivid portrait of Tom Moody, the “Whipper-In” of a hunt club who has just died, a scene of burial stimulated by a print by Christian Rosenberg in 1831, which is hanging on the wall of the narrator’s hotel room.  Here the speaker/narrator illustrates unmistakable parallels between himself and the characters in the print as Tom, the hunter, is buried.  The narrator, whom we later learn is named Asher, describes the print in detail, noting that six “earthstoppers” dressed in green are the pallbearers, that the man’s white horse features the tail of the last fox Tom Moody hunted, displayed above its head, and that Tom Moody’s whip, cap and boots are bound to his horse in display.  One of his dogs straggles behind the horse, and a woman weeps.  He wonders if Tom Moody had ever “Fled?  Hidden?” Or felt “finished,” and if he had ever crouched at a window and seen a lover unhook the “silvan brassiere?” of the woman he once loved.  Slowly taking heart at being in New York, the narrator observes that he has given this city thirty-five years of his life and “Surely, what was broken in me, the crippled sense of myself, would be restored. I’d heal among these brutal angles….“I’d convalesce in her indifferent arms.”

A darbuka, used at the performance by bellydancers, is played by a seated performer.

A darbouka, used at the performance by bellydancers, is played from the lap of a seated performer when Asher, Michael, and Aurora go to dinner.

The remainder of the novel takes place in New York, as he walks around his old neighborhood, notes all the changes that have taken place – the buildings razed, the excavation going on – and he thinks about the number of people he knew there who have died.  Then he visits his Aunt Dora, and the real narrative begins.  The speaker, eventually identified as “Asher,” is a screenwriter who no longer finds work in Hollywood, but Aunt Dora does not know that, still regarding him as “their famous man,” with his picture on display.  He does not disabuse her of that as she brings him up to date on the family, and he quickly learns that Dora’s daughter, who is fifty -one, like him, is not around much now.  Her son Michael Bey, now twenty-six, is very much present, and he wants to be a writer.  Aunt Dora encourages Asher to offer Michael some help.

This oud, may be the "fretless lute" to which Asher refers at the bellydance.

The “blind lute,” a fretless stringed instrument used at the bellydancing, may have referred to an oud.

When Asher and Michael visit, however, the meeting is a disaster, with Asher deciding that Michael is defiant and showily ambitious, with “flat jeering looks,” and Michael treating Asher with contempt.  A second visit, in which Asher feels more comfortable, begins with Michael bringing a girl, Aurora D’Amore, with him, a girl who lives on the “old East Side, the old smelly East Side.” Beginning with dinner at a Japanese restaurant, they later go, at Aurora’s suggestion, to see belly-dancers in a dilapidated building, a clip joint, in which even the potted palms are fakes. Soraya of Istanbul, the star, lures Asher into giving her a kiss on her jeweled belly, and he recognizes that she is making a fool of him but does not back off.

One game played by Michael and Aurora involves putting together an anatomical model of a woman.

One game played by Michael and Aurora involves putting together an anatomical model of a woman.

The next day Asher meets with Michael and hires Michael to take him on a walking tour of his youthful past in New York, hoping, perhaps, to make some real connection to Michael, and, as the style shifts into stream of consciousness and free verse, Asher remembers some of his female conquests from the past.  Michael shifts the balance of the relationship when he gives Asher a packet of his own poems to read. Asher is far from impressed by the erotic content, which “seemed to be the one elementary good in [Michael’s] uncontrollable world,” and when, in response to Michael’s question the next day on how he liked the poems, his response is that he found them “interesting.” The scene is effectively set for what follows, a close-up study of Asher, Aurora, and Michael, what they stand for, how they behave, the games that they play (real and psychological), and what the future bodes for each.

Author Alfred Hayes (1911-1985)

Author Alfred Hayes (1911-1985)

A closer look at Asher’s marriage and breakup with his wife evolves in the later part of the novel, and the reader and Michael and Aurora begin to become more familiar with him.  Always, however, the reader’s perception of others comes from Asher himself.  He has had little experience dealing with devious people; screenwriting and filming follow predictable protocols.  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.

ALSO by Alfred Hayes:  THE GIRL ON THE VIA FLAMINIA (1949),     IN LOVE (1953),      MY FACE FOR THE WORLD TO SEE (1958)

Photos.  The “Burial of Tom Moody,” engraved by Christian Rosenberg, fascinated the speaker when he saw it in his NY hotel room shortly after leaving Hollywood.  To enlarge for detail, click here:  https://www.britishmuseum.org/collection/object/P_1939-0714-14

The darbouka played at the belly dance the speaker attends with Michael and Aurora may have resembled this one.  https://www.dreamstime.com

The “blind lute,” a fretless stringed instrument, may have referred to an oud:  https://www.muzikkon.com

“The Visible Woman,” a 1960s anatomical game played by Michael and Aurora, is from https://www.etsy.com

The author’s photo appears on https://www.nuvol.com

THE END OF ME
REVIEW. PHOTOS. Classic Novel, Literary, Psychological Study, Social Issues, United States.
Written by: Alfred Hayes
Published by: NYRB Classics
Date Published: 06/09/2020
ISBN: 978-1681374338
Available in: Ebook Paperback Hardcover

“When I was a girl, I was told that if I misbehaved, the man with the sack would come for me.  All disobedient children disappeared into that wicked old man’s bottomless dark sack.  But rather than frighten me, the story piqued my curiosity.  I secretly wanted to meet the man, open his sack climb into it, see the disappeared children, and get to the heart of the terrible mystery.”

The nacover twilight zonerrator of The Twilight Zone, Nona Fernández’s latest novel, admits to having been transfixed as a child by a man who was a soldier, torturer, murderer, and willing supporter of a military regime that repressed all dissent. She had seen his picture on the cover of the magazine Cauce on August 27, 1984, when she was thirteen, a magazine that “belonged to everybody, passed from hand to hand among my classmates.”  The testimonies of victims and their families were accompanied by diagrams and drawings that “looked like something out of a book from the Middle Ages,” and the speaker admits that she often dreamed about this soldier-murderer, haunted and perplexed by his story of making people disappear.  An intelligence agent for the Chilean military during the presidency of Augusto Pinochet (1974 – 1990), the soldier finally reached his breaking point, unable to withstand the horrors of his job any longer.  Presenting himself to a reporter for Cauce, he told his story in “pages and pages of details about what he had done, including names, descriptions of torture methods, and accounts of his many missions.”  To the thirteen-year-old narrator, “He didn’t seem like a monster or an evil giant, or some psychopath…The man who tortured people could have been anybody.  Even our teacher.”

Augusto Pinochet, ruler of Chile from 1974 - 1990.

Augusto Pinochet, ruler of Chile from 1974 – 1990.

Twenty-five years later, when the former student is working as a scriptwriter for a television series, she “re-enter[s] that dark zone.”  The people with whom she is working on a documentary have managed to secure an interview with “the man who tortured people” after he secretly reentered the country to appear in court and present evidence against himself and the rule of Augusto Pinochet, years earlier.  This move shocked the French ministers who had been guaranteeing his safety overseas during the intervening years, but he came anyway.  The speaker, now an adult, wants to know more about the torturer’s story, one that began over thirty years ago, and she is still wondering whose screams she hears in her head even now, where the images come from, and if there is a “fine line that separates collective dreams?”  Finally she imagines writing to him, announcing that she is a woman who wants to “look into the sack” and find out more about his life during Pinochet’s rule, learn how much of that life was forced upon him, and what, if anything, he did because he let himself be persuaded to do so.  Confused about whether she would have run away from all the killing if she had been in his place, she imagines him, gives him a face, and decides that he could actually have been her father, uncle, the corner grocer, the mechanic next door, or even her science teacher.   

Photo of Andrée Antonio Valenzuela Morales, which appeared on the cover of Cauce, magazine, August 27, 1984

Photo of Andrés Antonio Valenzuela Morales, which appeared on the cover of Cauce, magazine, August 27, 1984

From this point, the novel takes off, circling through time, revisiting long-buried events, recreating the people who lost their lives, and imagining the long-term effects of the crimes.  The author herself lived through these times, and it is clear from the feelings she reveals here that she herself knew people who were “disappeared” for their “crimes.”  She is also a consummate author, however, always conveying her response to the events from the point of view of the child – and later, teenager – she was at the time when the horrors were part of her daily life.  Now, a generation later, she is the mother of a young son, and she still hugs him tight when he leaves for school, “secretly panicked that I might never see him again.”  Through this point of view, she reconstructs the Weibel Barahona household of 1976.  José Weibel Barahona, a member of the Communist Party, knows he is being watched, and he and his wife are planning to escape from their house and move somewhere else.  On the day when they move, they are distracted and don’t see “the man who tortured people.”  That man, the soldier Andrés Antonio Valenzuela Morales, is sitting on a bus with them, with a hidden radio transmitter, communicating with vehicles following the bus.  When the bus stops, José disappears, one of the approximately three thousand citizens who suddenly vanish forever during this fraught time.

Twilight Zone Col. Adam Cook: Rod Serling’s “Probe 7, Over and Out” introduces us to Colonel Adam Cook, whose spacecraft has crashed into an unknown planet.

Twilight Zone Col. Adam Cook: Rod Serling’s “Probe 7, Over and Out” introduces us to Colonel Adam Cook, whose spacecraft has crashed into an unknown planet.

One way Fernández brings the young people and the times to plausible life is by including the television programs so popular with the narrator during the times of the horrors.  Rod Serling’s “Twilight Zone” is a particular favorite when the speaker is a child, and in her mind, the action on that TV program is as “normal” as the action in her everyday life. The Twilight Zone story of Colonel Cook, a space traveler, is a favorite.  Cook “has to make an emergency landing on an unknown planet a million miles from his point of departure.”  He has broken bones and cuts, and his spaceship is destroyed.  Messages sent home begging for rescue are useless.  No one can come save him, and he is alone, now facing the loneliness that makes the “twilight zone” a fearsome fate.  In another Twilight Zone episode, a man can change his face whenever he needs to.  For those in Chile in the 1970s, he might have been a municipal employee, a peasant, a policeman or a “savage agent,” willing to “torture or turn in his loved ones” – yet another parallel to the realities of life in those times.  Even the innocent Smurfs have their day within this highly charged atmosphere of torture and killing.

author Fernandez,_Nona_-FILSA_20181106_fRF11With the numbers of political horrors building slowly throughout, Nona Fernández creates an unforgettable story of characters who become real for the reader, at the same time that they exist within the context of the speaker’s own youthful life and its aftermath.  Much of this novel feels clearly autobiographical, the details of the speaker’s life often emphasizing the ironies in what is happening in the wider world, be it the TV shows from Twilight Zone and Brain Games, or music like the theme song from Ghostbusters, and the Billy Joel song, “We Didn’t Start the Fire.”  All but one of the major sections in the novel end with a poetic soliloquy by “the man who tortured people,” Andrés Valenzuela.  The last section, however, includes a dark, elegiac letter from the speaker to that man, a dramatic conclusion which suggests that perhaps the narrator, who often appears to be the author herself, is putting her own memories to rest, at last. Or not.

ALSO by Fernandez:  SPACE INVADERS

A red Chevy Chevette with a past history takes the speaker and some friends to school one day.

A red Chevy Chevette with a past history takes the speaker and some friends to school one day.

Photos: The photo of Augusto Pinochet, leader of Chile from 1974 – 1990, appears on https://ticotimes.net

Andrés Antonio Valenzuela Morales, “the man who tortured people,” gave his story of regrets to a reporter for Cauce magazine and appeared on the cover:  http://www.nerudanobel.info

A particularly memorable episode of Twilight Zone featured Col. Adam Cook:   Colonel Adam Cook, whose spacecraft has crashed into an unknown planet, leaving him stranded in space.  Rod Serling’s “Probe 7, Over and Out.”    http://mylifeintheshadowofthetwilightzone.blogspot.com

The author’s photo is from https://en.wikipedia.org

A red Chevy Chevette features briefly in Space Invaders and again in this novel, as the speaker finds herself riding to school in it with friends after it has been used to transport several people to their deaths. https://www.vwvortex.com

THE TWILIGHT ZONE
REVIEW. PHOTOS. Autobiography/Memoir, Historical, Literary, Psychological study, Social and Political Issues
Written by: Nona Fernandez
Published by: Graywolf Press
Date Published: 03/16/2021
ISBN: 978-1644450475
Available in: Ebook Paperback

Beatriz Bracher–ANTONIO

Note:  Beatriz Bracher has been WINNER of both the Sao Paulo Prize for Literature and the Rio Prize for Literature.

“This isn’t a beautifully intricate novel in which your mother is the hero and I’m the character who picks up the pieces of her broken love.  No, Benjamim, the story of our lives still isn’t finished, and it never will be.  Creating this space for your mother, this narrative for your father and your grandfather, as though nothing had transpired between one Benjamin and the next, or as though it had only been an echo, a gap, a void between lost love and its reencounter—that’s rather poor….We’re not literature, my dear.”—Raul, who refers to himself as a “professional plagiarist and ghostwriter.”

31Gqo-wyToL._SX323_BO1,204,203,200_In this complex and compressed experimental novel, Brazilian author Beatriz Bracher conveys the secrets and innermost connections of the Kremz family as they live their lives over the course of four generations.  Benjamim, addressed in the opening quotation, is the second member of his immediate family to have borne that name – the previous Benjamim, his uncle, having died under circumstances traumatic for the family.  Benjamim has never learned all the details of his uncle’s death.  All he knows is that it affected those he loved in major ways.  Since many of these family members have now passed away, Benjamim has decided to ask family friends who were close to the events and to the people involved to tell him the story of the other Benjamin, to help him understand how his own life might have been different if the lives of those closest to him had been different.  Helping him learn about the past and its effects on later events are Isabel, his grandmother, who is still active and important in much of this story; Haroldo, a lawyer, who was the best friend of his grandfather, Xavier; and Raul, a writer who was a classmate and friend of Teodoro, Benjamim’s father.  Each has a different slant on the events, the nature of the men who have dominated the action, and the questions in the younger Benjamim’s life.

This Butanta house may have been similar to the Xavier inherited from his parents.

This Butanta house may have been similar to the one Xavier inherited from his parents.

The chapters alternate among the three narrators, with the time periods and the locations also changing as Benjamim seeks answers.  As the novel opens, Raul, his father Teo’s friend and one of the narrators, is describing a common statement of Teo, who, whenever asked how many siblings he has, always says, “There are five of us, but one died,” brushing off any further questions on the grounds that “the child died as a baby.”  Teo and Raul have been close during their childhood years and have had great fun playing in Teo’s family house in Butantã, a western area of São Paulo which had developed many modernist buildings during the era of his grandfather, a doctor,  from whom the family inherited the house.  Finances are something of a problem in Teo’s family, however.  Xavier, Teo’s father, is a journalist, and, over time, he seems to have exhausted his inheritance;  Isabel, Teo’s mother, works as a teacher to help out.  Still the house is deteriorating and is “sort of like a bunker.”  Life with Xavier, however, has been exciting, according to his wife:  “He could turn anything into a gag or a joke, including his own failures,” but eventually, he became “serious,” something that scared the children.  It is a confession of Xavier to his son Teo during one of those serious times that becomes a flash point, seeming to dominate much of Teo’s life, just as it did much of Xavier’s life.

As a teen, Teo chose to become a farm worker and move to the counryside.

As a teen, Teo chose to become a farm worker and move to the counryside.

Teo had once shared with Raul an important admission his father had made – that he, Xavier, “would always be – before all else – the father of this dead boy, his son Benjamim dos Santos Kremz,” the predecessor of Teo’s son, Benjamim.  Friend Raul, who became a writer, then learns that the first Benjamim was the baby of Xavier and Elenir, a fifteen-year-old, not Teo’s grandmother Isabel, and that the birth and death of the infant Benjamim was actually “the story of [his father’s] rebirth, the birth of Xavier the adult, the real Xavier, a delivery in which Xavier the boy had to die.”  For Teo, the youngest son of the father’s later family, “It  was like we’d taken [baby] Benjamim’s place, without anybody ever saying his name in our home.  But in my father’s heart he loomed larger than us all…dead, but alive whenever my father looks at any of us, or at anyone else.”

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Ipê tree, where Teo had a special moment as a child.

Many other family surprises are in store for Benjamim, Teo, and the family as the novel progresses in its seemingly random order by time, and their relationships become clearer.  Xavier and Teo both have psychological problems, emphasized by their hospitalizations, even against their will, and some powerful episodes follow, including deaths of major characters.  Other well-developed episodes include Teo’s abandonment of his parents for a non-academic life as an agricultural worker in Cipó; his grandmother Isabel’s decision to go to college when her children by Xavier are still young; the beginning of the dictatorship in Brazil;  the story of the birth of the second Benjamim; and Teo’s relationship with Benjamim’s mother.  These fill the narrative and, in most cases, illustrate that  “the past [is] once more denied, erased.”  In a revelatory scene Teo sits under an ipê tree and remembers a scene from when he was a six-year-old school child, waiting for his mother come pick him up at school.  He is alone except for a a woman sweeping when he makes the “stupendous” discovery that “It’s not only a difference of perception….things remain the same without our presence.”

Author Beatriz Bracher

Author Beatriz Bracher

In a great, but understandable, irony, author Beatriz Bracher entitles this novel Antonio, honoring the unborn child expected by Benjamim, and marking the beginning of a new generation.  Antonio is the only member of the family who has no past, a clean slate on which his father Benjamim will have an effect. Mentioned casually by Isabel at the not-quite halfway point of the novel, Antonio remains undeveloped as a character.  Isabel has learned the hard way that one can never predict how an individual will behave over his lifetime, given that every individual is always subject to his/her past, and the past is always different for each of the participants, even when they share the same events.  Author Beatrtiz Bracher has written a complex narrative of relationships, not just on the personal level, but also on the level of family, generations, class, and history.

Photos.  Paolo Mendes da Rocha, one of Brazil”s great architects of the 1950 – 1970 era and onward built this Butanta house in 1964, and it may have resembled that of the Kremz family when Teo and Raul were children.  https://www.pinterest.com

Teo disappeared into the rural fields of Cipó when he was a late teenager, working as a farm worker:  https://www.alamy.com

Teo has a revelatory moment as a child sitting under an ipê tree outside his school. http://tropical.theferns.info

The author’s photo appears on https://filmow.com/beatriz-bracher

ANTONIO
REVIEW. PHOTOS. Literary, Experimental, Psychological Study, Social and Political Issues.
Written by: Beatriz Bracher
Published by: New Directions
Date Published: 03/02/2021
ISBN: 978-0811227384
Available in: Ebook Paperback

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