Voyage in the Dark by Jean Rhys #ReadingRhys

voyage-in-the-dark

Voyage in the Dark is one of Jean Rhys’s early novels, about Anna, a young woman, who like the novelist, finds herself suddenly uprooted from her island home in Dominica, whisked off by her stepmother Hester, after the sudden and premature death of her father. There is little left to support her and so she must find her own way in London.

‘He was a planter my father. He had a big estate when he first went out there; then he sold it when he married Hester and we lived in town for another four years and then he bought Morgan’s Rest – a much smaller place.’

Hester, her stepmother is a woman who feels hard done by, she married Anna’s father and lived for a while in Dominica, clearly under certain conditions and was quick to return to England after his death, resettling herself in the North, sending Anna south to find a job to support herself, effectively abandoning her.

Not only did she not understand how that place and the way of its people were an intrinsic part of Anna, she openly disapproved of her contact with the black servant girl Francine and would act to remove her influence, the one person who had made Anna feel safe, happy and more at home than anyone else, a woman she could relate to but never be like. All that, now but a memory from her past.

I knew that of course she disliked me too because I was white; and that I would never be able to explain to her that I hated being white. Being white and getting like Hester, and all the things you get – old and sad and everything. I kept thinking, ‘No. … No. …No. …’ And I knew that day that I’d started to grow old and nothing could stop it.

She finds a job as a chorus girl in a travelling theatre and while staying in a seaside town, she and a friend meet two men, one of them Walter, stays in touch, they embark on an affair and for a while he supports her financially – another relationship with conditions, though one she adapts to and finds favourable.

However it prevents her from pursuing employment, she spends days not leaving her room, waiting to hear from him, descending into melancholy and depression, having left the joy, warmth and colour that had been in her life on the island for a dismal English existence far from the expectations of the mother country she had dreamed of from afar.

‘I’m sure it’s beautiful,’ Walter said, ‘but I don’t like hot places much. I prefer cold places. The tropics would be altogether too lush for me, I think.’
‘But it isn’t lush,’ I said. ‘You’re quite wrong. It’s wild, and a bit sad sometimes. You might as well say the sun’s lush.’
Sometimes the earth trembles; sometimes you can feel it breathe. The colours are red, purple, blue, gold, all shades of green. The colours here are black, brown, grey, dim-green, pale blue, the white of people’s faces – like woodlice.

Voyage in the Dark is a melancholy read, it’s a kind of coming-of-age that happens to people not because they have attained a certain age, but as a result of living outside the familiar, whether it’s moving from the countryside to the city or from one country to another and Anna suffers perhaps even more than many migrants, because she looks and almost sounds like she comes from within the English culture, yet is indeed a foreigner and completely alone, without a community or family to commiserate with. She wouldn’t fit in, even if she were to find others born in Dominica, because there too, they had lived in a rapidly disappearing world, a post colonial community without a purpose. While young and living on the island, she experienced little of the world’s (or England’s) perception of them, something hinted at in the way her friends would laugh at her, without her understanding why. Her slow acceptance that she will never fit in, leads to complacency, a lack of care for consequences, hopelessness, helplessness.

I have read a few books by authors coming from the islands and they remain some of my favourite books; Jamaica Kincaid’s The Autobiography of My Mother, Maryse Conde’s Tales From the Heart: True Stories from My Childhood, Simone Schwartz Bart’s The Bridge of Beyond, however they differ significantly from the work of Jean Rhys, because there is a much stronger sense of belonging, acceptance and inevitability in their storytelling. They aren’t a product of white colonialism, they have been affected by it, but they know where home is, that is where they stay and live and learn and struggle, their isolation is only ever temporary, for they are part of a community whether they want it or not.

Jean Rhys through her character Anna, feels and understands what it might be like to be those women who belong and wanted to be part of it, yet she also aspired to live an English dream, only to discover it was an illusion, that she must lower her expectations, make sacrifices and rely on talents never dreamed of in her previous life, to secure her position, one that exists at a lower class than she’d imagined being part of.

Dominica

Dominica

It is ironic, that she will experience the subservient, misogynistic role of the mistress, a metaphor perhaps for the role her own family and the generations before them inflicted upon the local population of the islands they inhabited. She will feel and experience that discontent that sits alongside silent acceptance of the role of the lesser, the disempowered, as women to men, as slave to master.

Interestingly, many of the reviews focus on the feelings evoked in her first love affair, for me the stronger, more poignant feelings portrayed, were the loss of her childhood innocence, her home, her family – the affair was something she fell into, exploitative on both parts, and sad in that it didn’t follow the path of new, young love, she falls straight into a pattern she will likely repeat, dependence on the experienced, older man, who wants a pretty plaything not a mate.

Written in a simple, easy reading style, the story seeps into your skin and leaves the reader somewhat bereft and disillusioned by the inevitability of it all, knowing that while Anna’s story ends at the beginning of her life in England, some will already know that Jean Rhys’s life continued in a similar vein and that she would rarely if ever find contentedness in her continuous search for a place and a person that could make her feel loved and at home like Dominica and Francine did for her invented character. Not surprisingly, it is when Anna remembers and invokes the past, using all the senses that Rhys’s prose really sings, leaning more towards that incantatory prose from the Caribbean that I have so fallen for.

“I would never be part of anything. I would never really belong anywhere, and I knew it, and all my life would be the same, trying to belong, and failing. Always something would go wrong. I am a stranger and I always will be, and after all I didn’t really care.” ― Jean Rhys, Smile Please: An Unfinished Autobiography

jeanrhysJean Rhys was born in the Caribbean island of Dominica in 1890, the daughter of a Welsh doctor and a third generation white Creole mother of Scots origin (‘Creole’ was broadly used to refer to any person born on the island, whether of white or mixed blood). When she was sixteen she was sent to England to school, mocked due to her accent, left  and became a chorus girl. After a disastrous affair and disillusioned by events, she began to write, fictionalising many of her experiences and thanks to finding a mentor in Ford Maddox Ford, found moderate success.

She disappeared for some years only to make a comeback with her best-known novel Wide Sargasso Sea (1966), written as a prequel to Charlotte Brontë’s Jane Eyre, a novel inspired by her indignation at the treatment of Bertha, the first Mrs Rochester, portrayed as the madwoman in the attic,  a woman who like Jean Rhys, had been brought to England from the Caribbean – it was written to give Bertha an opportunity to tell her story and to discredit Rochester’s overbearing, superior perspective.

What If THIS is Heaven? How Our Cultural Myths Prevent Us From Experiencing Heaven on Earth by Anita Moorjani

anita-moorjani-heavenAnita Moorjani wrote her first book Dying to Be Me: My Journey from Cancer, to Near Death, to True Healing after being tracked down by the late Wayne Dyer, who’d come across her story on the internet and wanted to know more about what she had experienced on the day she had been expected to die but miraculously returned from stage four cancer to heal totally and live.

Prior to Wayne Dyer’s intervention and guidance Anita hadn’t really wanted to share her story anymore after she came under the intense focus of doctors and the medical community all trying to understand the science behind how she recovered – because it wasn’t attributed to any medical intervention and defied all medical logic. She found these engagements emotionally stressful, and energetically draining – all she could really tell them was what she had felt and experienced – something not one of those medical experts had ever experienced themselves, yet despite the proof of her living self in front of them, they seemed to not want to accept it, because they had no paradigm within which to explain it. So she stopped sharing the story and refused all further invitations.

She wrote one description of what happened to her and posted it with just her first name on the internet and went back to her life. Some long time after, a friend asked her to speak at an event for people interested in healing and she explained again the reasons why she had to say no. Within those reasons, lay the very essence of what this friend wanted her to share with the group and with a little persuasion, albeit reluctantly, she agreed. She went to the event and was surprised at the difference in the reception, a very different group of people and energy, those who had some inkling of what she had experienced and were open and eager to hear about it without judgement. The day after she opened up to this welcoming group Wayne Dyer’s assistant contacted her and that became the beginning of her sharing her story more widely and led to the publication of that first book mentioned above.

I haven’t read her first book, I came across her after listening to a one hour conversation between her and Colette Baron-Reid (one of my favourite intuitives to listen to). Colette has a book coming out at the end of September Uncharted: The Journey through Uncertainty to Infinite Possibility which I’ve pre-ordered and can’t wait to read and in the lead up to her publication, she recorded 12 conversations with very interesting and enlightened people working in the spiritual/quantum physics world, in a ‘real and raw’ series of unplanned conversations. After listening to Anita Moorjani talk, I decided to get this, her new book, What if This is Heaven to read more about how what had happened to her had changed her life in this second phase – after the focus on her NDE (near death experience) had cooled and how the things she learned have continued to manifest and inform her life today.

And it’s brilliant – it reads like just the beginning of the gifts she has been given in terms of insights into how reality really is and how she is called to respond to them, because the reality is that she is back living in the material world, where we perceive little of the other dimensions that exist but aren’t able to be perceived with the 5 senses of the physical self – and our 6th sense, intuition (or as some call it – the 1st sense) while well-developed at birth and during childhood has often by adulthood been drowned out by culture, system, society, parental direction, media, politics, Fear + noise.

The most significant truth she experienced in that state between life and death was the connectedness of everything and everyone and the great power of unconditional love, a phrase that is often used and little understood, but one that by the end of this book, we understand better than ever and in particular the importance of first applying it to ourselves, before we are ever able to apply it to others.

You can’t love another unconditionally until you love yourself unconditionally, and when you truly do that achieve that, you will never allow anyone to use you or abuse you.

Here she takes just a few of what she calls myths and offers an alternative truth through first describing her own experience or an encounter she has had with someone who highlighted that truth. The myths, which we have learned or been conditioned by in our society/culture/family that she explores are:

Anita Moorjani

Anita Moorjani

‘You get what you deserve.’
‘Loving Yourself is Selfish.’
‘Real Love Means Anything Goes.’
‘I’m not Ok, You’re Not Ok.’
‘It’s Just a Coincidence.’
‘We Pay for Our Sins at Death.’
‘Spiritual People Don’t Have Egos.’
‘Women Are the Weaker Sex’
‘We Must Always Be Positive.’

Ultimately, she is a woman who doesn’t set out or even believe she is here to inspire, she is following her heart and attempting to live an authentic life and through sharing her story and the things she has learned, does inspire people and help make us see things we feel intuitively but may not practise in our lives.

Authentic unconditional love means wanting for another what that person wants for themselves and allowing that person to be who they truly are – even if it requires setting them free – instead of expecting them to change to fit our ideas of who we want them to be.

Highly recommended.

A Brief History of Seven Killings by Marlon James #ManBookerPrize

Brief HistoryMarlon James novel A Brief History of Seven Killings was the winner of the Man Booker Prize in 2015, a year that saw an exceptionally diverse array of novels long listed.

As a reminder, since it was nearly a year ago that this book won the prize, this was what Michael Wood, Chair of the judges, had to say about it:

‘This book is startling in its range of voices and registers, running from the patois of the street posse to The Book of Revelation. It is a representation of political times and places, from the CIA intervention in Jamaica to the early years of crack gangs in New York and Miami.

‘It is a crime novel that moves beyond the world of crime and takes us deep into a recent history we know far too little about. It moves at a terrific pace and will come to be seen as a classic of our times.’

It is a novel that was hailed as being exceptional in itself, much of it written in that Jamaican patois mentioned, via a litany of voices from the ganglands of the Jamaican ghetto.

I admit that it wasn’t exactly on my reading list, with its promise of violence, killing, drug related activities and dozens of characters, however the book was gifted to me by a visiting Professor, who had little to say about it, but was keen to know my thoughts. So I made it my #OneSummerChunkster and jumped right in, mind wide open.

It is difficult and almost seems inappropriate to rate this novel (I gave it 5 stars on Goodreads.com) in terms of appeal, as it is an incredibly written and unique work, with a huge amount of research that went into the writing and authenticity of its creation.

Marlon JamesI can’t say I loved it, it was a tough read in places and definitely not the kind of book I would normally choose nor the kind of film/TV series I would watch, but it is an awe-inspiring creation and for that I agree, it is indeed an amazing oeuvre and warrants the 5 stars, though as far as favourite books go or works I’d recommend, I hesitate and would say its not an experience I would choose to repeat often.

I was grateful for the list of characters up front, which I referred to often at the beginning of each chapter, as we are plunged straight into the multi-character narrative with its discordant musical tones, slice of life in the ghetto, the Singer (never referred to by name) not present, though always there in the greater awareness of them all. Life has little meaning and killing a mere rise above assault.

It must have been incredible to listen to the audio version as the individual character voices are so unique, it is the literary equivalent of reading a musical score for a symphony like you’ve never heard before, I am in awe that Marlon James succeeded in creating such a work, that balances so many threads of narrative, so many characters, the timeline, the Jamaican patois, the gangspeak, the violence, the framing of the story around the assassination attempt of that “Singer” who is never named, assumed to be Bob Marley. As Eileen Battersby, reviewer of The Irish Times put it so eloquently:

Reading Marlon’s prose is akin to injecting liquid fire into your brain.

It paints a dark, dangerous picture of ghetto life and the activities, interactions of drug dealers and their crews and the fear by those who are in any way touched or implicated in their actions. In a schizophrenic stream of consciousness narrative, gang members live their days in altered states of consciousness, paranoid, high, wanting to kill – in a frantic, dangerous other worldly horror.

Flicking between the narratives of CIA members, a young woman afraid of what she has witnessed, a journalist, all present leading up to the attempted shooting of the Singer. Surreal. It made me wonder at times if the author was in an altered state of consciousness while writing – it is some kind of trip!

I did have to push myself in parts to keep going, it’s brutal at times, and upon reaching halfway, I took the afternoon off to read The Rabbit House by Laura Alcoba.  But then the pace picked up again as Papa-Lo the don, and top members of a rival gang were about to be chucked into jail together in the hope they’d self destruct. James’s lulls never last and we are pulled back into the riveting storyline, following our favourites and steeling ourselves against spending time the company of those we know are going to detest.

Book of Night WomenI was left admiring the creation even if it wasn’t always a particularly enjoyable ride and as my comment made to another reader below shows, the beach was actually a great place to read it!

I feel like I’m reading a Jamaican symphony, a cacophony of words and sounds and emotions, not sure if it was the heat of the sun or the power of the book, but I had to keep putting it down to take a plunge into the cool ocean!

That said, I am intrigued and do intend to read Marlon James’s The Book of Night Women wondering how he handles a story with female characters.

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A Season in Rihata by Maryse Condé (Guadeloupe) tr. Richard Philcox #WITMonth

Marysé Conde is a Guadeloupean writer I came across in 2015 when she was nominated for the Man Booker International Prize, at a time when it was a two yearly prize for a lifetime’s work.

It has now evolved into an annual prize split between the author and translator for a book translated into English that year and in 2016 it was awarded to Han Kang (South Korea) and Deborah Smith (translator) for the novel The Vegetarian.

Maryse Condé didn’t win the prize back in 2015, but was the author on the list who most appealed to me.

Since reading about her at that time, I followed her own recommendations in terms of what to read to be introduced to her work, starting with a collection of vignettes in Tales from the Heart: True Stories from my Childhood, then Victoire: My Mother’s Mother and finally, the grand masterpiece and novel she is most well-known for, especially in academic circles, as it is widely studied and recognised as an important work of historical fiction set in the African Kingdom during a significant period of change: Segu.

I’ve wanted to read more of her work, so tracked down a couple more books that have been translated into English and was fortunate enough to have listened to her speak at our local library earlier this year – though she lived in France for many years, she is now retired and has returned to her native Guadeloupe to live, though still active in literary circles.

A Season in Rihata – reviewSeason in Rihata

Zek and his Guadeloupean wife Marie-Hélène live in a small fictitious African town of Rihata, with their six children and another due any day. It is far from Paris where they met and lived in very different way and far removed from the kind of life Marie-Hélène’s remembers on the island home of her childhood.

Like all men of his ethnic group, Zek had been brought up with a kind of fear and contempt of woman – malevolent creatures whose dark instincts had to be mastered. Love had taken him by surprise. He had difficulty accepting the power Marie-Hélène held over him and was convinced that no other man except him had undergone such humiliation.

Neither are happy; Zek has never been able to get over the feeling of being looked down on by his father, even though he is long dead, and remains resentful of his younger brother Madou, who found favour without having to do anything and who was the cause of him having to relocate his family due to the unwanted attentions of his brother towards his wife.

Influenced by a father who made no pretence of his preferences, Madou had soon considered Zek as a person of limited ability and in all ways inferior; although this did not exclude a certain brotherly affection.

Now Madou is coming to Rihata, he is a political Minister coming to conduct negotiations, his presence causing many to feel uneasy, a disruption in the sleepy town where not much usually happens.

It is a novel of discontent, of the effects of selfish behaviour, which none are immune to or able to rise above. Contentedness is within their reach, but so is temptation and the effect of indulging it ricochets through all members of the extended family and the rulers of the country.

While it doesn’t reach the heights of her other work I’ve read, it’s a worthy contribution to her body of literature and I look forward to reading more.

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The Days of Abandonment by Elena Ferrante (Italy) tr. Ann Goldstein #WITMonth

ItalyOn the day when the nation is shocked and grieving after a devastating earthquake, that has destroyed entire villages and resulted in a significant loss of life, I don’t know how appropriate it is to share their literature, perhaps in the case of this particular novel, it serves to put things in perspective.

For while the protagonist of this novel may have felt her world was coming to an end, knowing how quickly and without warning life and home can be snatched away, might prompt us get over the more indulgent grievances of the heart.

Days of AbandonmentA national bestseller for almost an entire year, The Days of Abandonment shocked and captivated its Italian public when first published.

“One April afternoon, right after lunch, my husband announced that he wanted to leave me.”

Like an orchestrated composition that begins with a quiet, solo voice and rises to a crescendo with the addition of more instruments, Ferrante’s novel and its female character move from reasonable, melodic harmony to loud, discordant cacophony.

“I listened to him attentively, I contradicted him calmly, I didn’t ask him questions of any kind nor did I dictate ultimatums, I tried only to convince him that he could always count on me. But I have to admit that, behind that appearance, a wave of anguish and rage was growing that frightened me.”

Like the stages of grief, The Days of Abandonment charts the stages of decline following a lost love, beginning with the irony of a love more fierce than it was when it was present, then the deterioration, as the realisation and reality of life without it comes to pass for this mother of two children, cooped up in her apartment one hot August, with only the sad figure of a morose cellist living downstairs to observe her descent.

The abandoned woman acts terribly reasonably, only to deteriorate into desperate disillusionment. Like madness descending, the loss of love and the feeling of abandonment rages through the various emotions like a tempest, no person or animal immune to its violent, destructive force.

“The circle of an empty day is brutal and at night it tightens around your neck like a noose.”

It is shocking in how far the madness delves and astounding as it reaches a turning point and she is able slowly to perceive herself and the illusion of what she thought she had, for what it really was.

“It was really true, there was no longer anything about him that could interest me. He wasn’t even a fragment of the past, he was only a stain, like the print of a hand left years ago on a wall.”

Elena Ferrante observes the minutiae of human emotion and suffering, the obstinacy of a grasping, possessive love, the effect of our behaviour on those around us and the resilience of the human spirit.

Exhausting, terrifying, ferocious, we are both beast and beauty.

Elena Ferrante is the pseudonym of an Italian novelist, whose true identity remains a mystery, author of the four novels in the Neapolitan tetralogy My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay and The Story of the Lost Child. The Days of Abandonment was the first of her novels to be translated into English by Europa Editions in 2005.

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Woman at Point Zero by Nawal El Saadawi (Egypt) tr.Sherif Hetata #WITMonth

Author Nawal El Saadawi

Author Nawal El Saadawi

Nawal El Saadawi is an internationally renowned feminist writer, activist, physician and psychiatrist. Born outside Cairo, Egypt in 1931, she has published nearly 50 plays, novels and short story collections, translated into over 40 languages worldwide. Many of her works are taught in universities around the world.

While practising as a psychiatrist in the 1970’s she had the opportunity while conducting research into the causes of women suffering from neurosis, to meet with a woman who had been imprisoned for killing a man, a woman who was due to be executed. The woman had refused to speak to anyone until that point, and she had also refused to sign an appeal by the prison Doctor to the President so that her sentence might be commuted to life imprisonment.

The idea of ‘prison’ had always exercised a special attraction for me. I often wondered what prison life was like, especially for women. Perhaps this was because I lived in a country where many prominent intellectuals around me had spent various periods of time in prison for ‘political offences’. My husband had been imprisoned for thirteen years as a ‘political detainee’.

After days of refusal, just as El Saadawi was leaving the prison for the last time, the Doctor told her the woman had agreed to meet her. They spent as many hours as were left of that day together, the woman recounting her the story of her life that had led to that moment.

El Saadawi left at the end of that day, never to see her again. She would be executed by hanging, her story absorbed by El Saadawi who would eventually put it to paper, in this telling of Firdaus or Woman at Point Zero, originally published in 1973.

FirdausFrom her early days, Firdaus was a child who was noticed, though rarely looked out for, instances of cruelty and neglect made up the patchwork of her childhood. “Rescued” by an Uncle who’d already crossed filial boundaries, her one respite was to have been sent by him to school, his new wife further insisting she live there, perhaps the only paradisiacal period of her life, the one time she was left alone to flourish, to evolve, gaining her secondary school certificate, her sole prized possession.

Finding no place for her in her Uncle’s home on leaving school, still a teenager she is forced to marry the more than 60-year-old Uncle of her Aunt, eventually runs from him and is taken in by another only to suffer worse abuse, a fate she seems destined to continue to live through until she meets Sharifa, who takes her in and teaches her how to recognise and extract her value, a turning point in her awareness which will change her fate.

‘How is it possible to live? Life is so hard?’
‘You must be harder than life, Firdaus. Life is very hard. The only people who really live are those who are harder than life itself.’
‘But you are not hard, Sharifa, so how do you manage to live?’
‘I am hard, terribly hard, Firdaus.’
‘No, you are gentle and soft.’
‘My skin is soft, but my heart is cruel, and my bite deadly.’
‘Like a snake?’
‘Yes, exactly like a snake. Life is a snake. They are the same, Firdaus. If the snake realises you are not a snake, it will bite you. And if life knows you have no sting, it will devour you.’

She would learn the value of her flesh, of her person and how to ensure she was rewarded for it, she would find a measure of independence, and wished never to be beholden to man. She became an employee and discovered a world where women were held in even lower esteem, in many ways more a slave than a prostitute.

At various moments in her life, she experienced a feeling that might have been love, experienced like a poetic symptom, ‘two circles of intense black surrounded by two rings of pure white, expanding before my eyes’ but each time it fades to illusion, leaving a dark shadow on her heart.

But I expected something from love. With love I began to imagine I had become a human being…In love, I gave all: my capabilities, my efforts, my feelings, my deepest emotions. Like a saint, I gave everything I had without ever counting the cost. I wanted nothing, nothing at all, except perhaps one thing. To be saved through love from it all. To find myself again, to recover the self I had lost.To become a human being who was not looked upon with scorn, or despised, but respected, and cherished and made to feel whole.

Her story and those moments are narrated in spell-binding, lyrical prose with a compassionate sensitivity that underpins a tale of one woman’s life long oppression and desire to lift herself out of it, to put a stop to the cause of that injustice, to face the truth without fear, which she ultimately did so, through her fearlessness of death, in her absolute refusal to live.

Highly Recommended, a must read.

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Affections by Rodrigo Hasbún (Bolivia) tr. Sophie Hughes

AffectionsSelected in 2010 as one of The Best of Young Spanish Language Novelists by Granta, Bolivian author Rodrigo Hasbún’s Affections is his second novel and will be published in ten languages. It was the winner of an English PEN Award 2016.

The novel is less a story and more a set of loosely connected vignettes from the lives and perspectives of the three daughters of  Aurelia and Hans Ertl, a family who fled post-war Germany in the wake of their father’s position as a cameraman, (he had worked on several Nazi propaganda films), to live in exile in Bolivia.

One of his daughters Monika Ertl became involved with the survivors of Che Guevara’s guerrilla movement and was allegedly involved in the assassination of the Bolivian consul in Hamburg, a man said to have ordered the hands of Guevara be cut off and sent to La Paz.

Hasbún’s novel takes these threads and weaves a disparate narrative, that highlights different moments in the lives of all members of this family, whose life trajectory was dramatically altered by their geographic displacement.

No sooner have they arrived, than Hans, a climber, explorer, photographer, seeker of adventure announces he is quitting climbing and organising an expedition to find a lost Inca city named Paititi buried somewhere deep in the Amazon forest. Two of his daughters come with him, and for his eldest Monika, it becomes a first step towards a life of social activism, which will result in her involvement in revolutionary guerilla warfare.

With a father seeking adventure and a mother prone to melancholy, the girls find themselves in a place they can never truly call home, where they will always be viewed as outsiders and find it difficult to find solace even among their ex-pat community, which in a cruel twist of fate, view them similarly to the way they were regarded in post-war Germany, only now it seems futile to escape their fate.

“All that grind to end up back where I started,” he complained to me one day down the phone. He said he’d experienced something similar after the war, that they’d already made him feel like an outcast once before, that during that period they closed one door after another to him, but that this time he wouldn’t move an inch.

Also included in the narrative are what appear to be the responses to an interview or interrogation of one of Monika’s lovers Reinhard, who was her brother-in-law, probably in a follow-up to the assassination of the Bolivian consul.

//yes, she’s the only one who matters now, the misunderstood child, the chaotic, rebellious teenager, the woman who went on to lose all perspective and no longer knew where to stop and ended up hurting herself and others. //Yes, if you pressed me I would say this is the definition of her that sticks: the woman who went on to cause so much hurt.

Bolivian Author, Rodrigo Hasbún

Bolivian Author, Rodrigo Hasbún

It is a fragmentary novel that depicts a family set adrift, unable to remain united nor to be held together by their adopted community, the daughters seek to carve out a life of their own, struggling in isolation.

The piecemeal structure of the novel with its alternating narrators is symbolic of that disconnect and isolation, exile may have heralded adventure and discovery, however the expedition to discover a lost city, became the catalyst to the disintegration of all that once kept them together.

It’s not true that memory is a safe place. In there too, things get distorted and lost. In there, too, we end up turning away from the people we love the most.

Note: Thank you to the publisher Pushkin Press for a copy of this haunting novella.

Further Reading

The City and the Writer: In Cochabamba with Rodrigo Hasbún – an interview by Nathalie Handal.

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