A young Kurdish boy, living in the Zagros Mountains in 1921, has always felt loved and protected, despite his family’s “poverty.” He enjoys “flying” from the roof of the family’s hut, experiencing the soaring feelings of earth and heaven at the same time, and identifying with the falcons. In gorgeous and poetic language, author Laleh Khadivi, recreates the “gloried ground” to which the boy is connected by birth and culture. Soon after his initiation into manhood, at age seven, he accompanies the village men to a mountain lookout, where they wait for the shah’s troops. In the ensuing massacre, the boy is orphaned, and he leaves the battlefield with the shah’s army, without a backward glance, ultimately consoled by the fact that he will be getting boots, a whole new “family,” and a new way of life. His eventual assignment to Kermanshah, a Kurdish city, in 1940, and his long residence there, bring his personal conflicts to a head.
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The Ventriloquist’s Tale opens and closes with addresses by a mysterious, third person ventriloquist/narrator, representing the old Amerindian culture of myth and magic of southern Guyana. This narrator indicates that he is not the hero of the book because, as he tells the reader, “Your heroes and heroines are slaves to time…. They’ve forgotten how to be playful and have no appetite for adventure.” As the narrator unfolds the stories of the McKinnon family, half Scottish and half Wapisiana, we see illustrated in their lives the conflicts (and occasional melding) of their ancient ways with western science, religion, and exploitation. The narrator and, one understands, the author come down strongly on the side of the ancients, as the Amerindian characters enchant, amuse, and play with us while they show us their struggle with European intruders, including, at one point, Evelyn Waugh in search of inspiration.
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This stimulating and thought-provoking murder mystery provides a unique insight into the waning days of the Nazi occupation of Prague. A vicious killer is stalking, torturing, and butchering women, and both the Gestapo and the local Prague police are searching for the killer. Both groups are also concerned with saving themselves, their country’s interests, and as many supporters as they can in the confusing days at the end of the war. This insightful, carefully wrought, and fast-paced action novel with its unique glimpses of a turbulent time and place will keep you reading well into the night
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Peter Hoeg’s first novel in ten years takes the reader on a trip through an almost psychedelic world of circus clowns, children with mystical abilities, powerful nuns, evil financiers, mysterious security agencies, and bizarre foundations. Kaspar Krone, a circus clown, has discovered that “SheAlmighty has tuned each person into a musical key,” and he is able to hear the music that SheAlmighty creates for each person. By tapping into the music of people’s psyches, he can understand their moods and thoughts. Often the music he hears emanating from those around him is that of Bach, the ebb and flow of a person’s inner spirit paralleling the changing moods of specific Bach masterpieces. Complex and sometimes mystifying, The Quiet Girl builds its non-linear “story” through impressionistic scenes, presented seemingly at random from the past, present, future, and even the imagination. It is up to the reader to create a narrative from the scenes presented as the characters overlap and as additional information is revealed.
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Cuba in 1992, the setting of this novel, is a “Special Period,” according to Fidel Castro. The Soviet Union, which has supported the island for years, has collapsed, and the country is starving. Gasoline is scarce, there are constant blackouts, meat and cheese have disappeared, and people have given up smoking so that they can go on eating. When they are lucky enough to find coffee, they dry and reuse the grounds four or five times. Still, there are principled young people like Dr. Manolo Rodriguez who believe in the Revolution and dedicate their lives to helping the poor. Though he has been offered a job which would pay him more money and provide him with some “perks,” he prefers to stay at the clinic he has set up for the poor in the basement of the building where he lives in a one-room attic apartment. Though the novel is gritty, it is no political screed. Arellano has chosen instead to provide a thoughtful look at a dark period, emphasizing the resilience of the Cuban people and their hopes for a better future.
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