“Stott fills holes in written history with magic, mythic resonance, and 21st-century wish fulfillment.” dark earth
Sarah. Commentators quickly break out the hashtags (#SaraswatiShame) and liken her to Rachel Dolezal, the White college instructor who presented herself as Black. But Saraswati doesn’t retreat. She insists that race, much like gender, can be fluid and that her leaning into racial issues represents a noble rejection of Whiteness. “So it’s okay to transcend your gender, but a category as obviously made-up as race should be more fixed and inflexible than sex?” she asks Nivedita, and the narrative is thick with such questions. Sanyal mocks Saraswati’s privilege and sanctimony but takes her perspective seriously; the book refers often to writers on race, gender, and postcolonialism, from Frantz Fanon to bell hooks to Zadie Smith. Though the novel is effectively a long series of conversations in an apartment among Saraswati, Nivedita, and other interlocutors, it has a surprising liveliness thanks to Sanyal’s knack for sending up academia and social media pile-ons and her canny interweaving of Hindu mythology. (The goddess Kali provides an extended metaphor.) “What it means to be white must be allowed to change and expand,” Saraswati insists, and the novel is an eyebrow-raising prompt to debate the matter. A deliberately over-the-top but sensitive take on multiple touchy subjects.
THE DEEPEST BLACK
Silvis, Randall Poisoned Pen (320 pp.) $16.99 paper | Aug. 2, 2022 978-1-72822-361-2
The latest mind-bending thriller from Silvis is “inspired by true events”— though provoked might be more exact. Sitting at a Chinese buffet minding his own business, the narrator, one Randall Silvis, is accosted by Thomas Kenneday, who, accurately categorizing Silvis as a veteran crime novelist, sits down unbidden, unfolds a wild story about potential connections between a triple murder and the discovery of an abandoned baby the following day, and invites Silvis to look into the case, or cases, himself. There doesn’t seem to be much mystery about the murders: Justin Cirillo, who broke into the home of Dianne Burchette with Jolene Mrozek and Eddie Hudack, has already confessed to shooting Dianne; her boyfriend, Barry Faye; and her 7-year-old daughter, Michelle Jordan. But nobody can identify Baby Doe or explain why she was abandoned in the woods near New Wilmington, Pennsylvania, with a concussion and a broken leg. Unable to find Kenneday after their initial meeting, Silvis approaches Eddie Hudack’s sister, Phoebe, a tenant in Dianne’s house, for the first of several maddeningly elliptical interviews about the facts behind Justin’s unexplained rampage. But his discoveries about the possible relationships among Justin, Dianne, and Baby Doe are rapidly overshadowed by a series of hints about the possible involvement of “men in black, Dan Aykroyd, UFOs, time-traveling cops, Hells Angels, child sexual abuse, disappearing police and prosecutors.” Dazzled and dazed by the otherworldly revelations visited on him, 32
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1 june 2022
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fiction
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kirkus.com
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Silvis can only conclude that “a war is being fought on this planet for the minds and souls of all of us.” A fearfully ambitious muddle whose most lucid feature is the appended Reading Group Guide.
DARK EARTH
Stott, Rebecca Random House (320 pp.) $27.00 | July 19, 2022 978-0-8129-8911-3 The author of In the Days of Rain (2017) and Darwin’s Ghosts (2012) returns to fiction with a mix of history and fantasy. “Dark earth” is the name geologists give to the layer of dirt—rich in organic matter, sometimes flecked with artifacts—that indicates a long period of human settlement. The narrative that Stott constructs here is built from an actual archaeological find—a Saxon brooch unearthed in the ruins of a bathhouse—and the figurative dark earth of the city once called Londinium. Beginning in the first century B.C.E., Britain was a Roman province for almost 400 years, and the historical record for the 500-year period after the occupiers withdrew is scant. Stott builds a rich world from fragments of fact and mythic imagining. Her central character, Isla, lives with her sister, Blue, and their father on an island in the Thames. A smith with the rare gift of making “firetongued” swords, Isla’s father is captive to Osric, Seax Lord of the South Lands; when he dies, Isla must deliver a sword to Osric without revealing that her father broke the taboo against teaching a woman his craft. Once she and Blue arrive at Osric’s court, they have to navigate complex politics after having been raised in isolation. Ultimately, they will have to flee for their lives into the “Ghost City” that has fallen into ruin since the “Sun Kings” disappeared. Stott presents a diverse Dark Ages. Isla and Blue are friends with—and protected by—Caius, descended from a line of African soldiers recruited by the Romans and now working for the Saxons who rule the south of Britain. There are Christian priests and Wiccans and a woman named Crowther who is a priest to Isis. In the Ghost City, Isla and Blue meet runaways from many lands. Most of them are women, and Isla falls in love with one of them. The conflict at the climax of this novel is not a clash of arms but a battle between brute power and cunning, between selfish greed and communal strength. Stott fills holes in written history with magic, mythic resonance, and 21st-century wish fulfillment.
