Nazneen, a young bride married at sixteen to a 40-year-old man, is wrenched from the only life she has ever known in the countryside of Bangladesh and conveyed to England, where her new husband, Chanu, has a job. Taught from the day of her birth that “fighting against one’s Fate can weaken the blood,” or even be fatal, she accepts the miserably lonely existence fate has bestowed on her in a London council flat. Though there are others from Bangladesh living there, Chanu believes the other immigrants to be uneducated, illiterate, and uncultured, and he discourages any reaching out Nazneen might do to these people who are “below” them. Author Ali shows Nazneen’s world in all its earthy details. Ali’s depiction of a woman’s coming of age through the process of acculturation is striking in its level of detail. Decisions which many of us take for granted assume new meanings when they are made by Nazneen.
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Writing one of the must unusual and imaginative books I’ve read in a long time, Tasmania native Richard Flanagan presents a multi-leveled novel which is full of wry, sometimes hilarious, observations about people and history. At the same time, it is a scathing indictment of colonialism’s cruelties and its prison system, in particular. Almost schizophrenic in its approach, the novel jerks the reader back and forth from delighted amusement to horrified revulsion in a series of episodes that clearly parallel the unstable inner life of main character William Buelow Gould, who lives in “a world that demanded reality imitate fiction.” Sentenced to life imprisonment on an island off the coast of Tasmania, Gould cleverly plays the survival game, ingratiating himself with the authorities through his willingness to paint whatever they want–species of fish for the surgeon, fake Constable landscapes for the turnkey Pobjoy, murals for the Commandant’s great Mah-jong Hall, and backdrops for his railroad to nowhere.
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Feeling utterly betrayed by their leaders, twenty-six women from all over Bosnia meet with Swanee Hunt, former US Ambassador to Austria and Chair of Women Waging Peace, a global policy initiative. In their own words, they describe the war which ravaged their country and reduced it to rubble. As they make clear from the outset, this war was not a result of age-old ethnic antagonisms in the Balkans, where city after city had been peacefully multi-ethnic and where most families had loyalties to more than one group. It was the direct result, they believe, of the nationalism fomented by unscrupulous politicians, especially Slobodan Milosevic and Radovan Karadzic, as they seized power and wealth in the vacuum which existed following the death of Marshall Tito. The twenty-six speakers are Serbs, Croats, Muslims, Catholics, Eastern Orthodox, atheists (former Communists), and Jews, all bright, articulate women who are, and have been, working to heal their society.
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Whether she is WALKING WITH THE GREAT APES, which features the work of Jane Goodall, Dian Fossey, and Birute Galdikas; canoeing the Sundarbans for man-eating tigers in SPELL OF THE TIGER; or, in this case, exploring Cambodia, Thailand, and Laos seeking the golden moon bear, Sy Montgomery single-mindedly seeks out rare animals, refusing to limit her searches to “safe” areas. Facing land-mines in Cambodia, warring tribes on the Thai border with Myanmar (Burma), poachers in Laos, and a poverty-stricken Laotian society in which people eat virtually all insect and animal life, Montgomery attempts to track down a golden bear with Mickey-Mouse-type ears and a black mane, thought to be a variety of moon bear, and unlike any other bear known to science, possibly “the scientific finding of a lifetime.”
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Recreating the traumas that Third World citizens face every day, Djaout offers vivid pictures of their complex but fragile lives. Here, in an unnamed country, presumably Algeria, government bureaucrats are concerned only with protecting themselves, their jobs, and their kickbacks, their fear of change so ingrained that any hope of modernization and real progress is squelched. The average citizen tries to remain anonymous, making do in a society which does not reward excellence. As one bureaucrat explains, “…the words ‘creation’ and ‘invention’ are sometimes condemned because they are perceived as heresy, a questioning of what exists already…of the faith and the prevailing order.”
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