13 minute read
TI AMO by Hanne Ørstavik; trans. by Martin Aitken
duchess. When she meets Jacopo, an apprentice to the painter commissioned to create her portrait, she finds a soul mate who perhaps offers a way out of her imprisoning marriage. Several grim scenes make clear the mortal consequences of any attempt to escape Alfonso’s clutches: Will Lucrezia take the risk? The rollbacks to earlier periods spark some impatience as Lucrezia’s 1561 dilemma becomes more pressing, but O’Farrell’s vivid portrait of a turbulent age and a vibrant heroine mostly compensate for an undue lengthening of suspense as Lucrezia struggles to defy her fate.
A compelling portrait of a young woman out of step with her times.
JOLLOF RICE AND OTHER REVOLUTIONS A Novel in Interlocking Stories
Ogunyemi, Omolola Ijeoma Amistad/HarperCollins (256 pp.) $27.99 | Sept. 13, 2022 978-0-06-311704-4
A novel in stories that orbits four girls who meet in boarding school in Nigeria. Remi, Nonso, Aisha, and Solape become fast friends as schoolgirls. The book’s title refers to an incident that occurs on campus in 1986 and changes their lives irrevocably. When an acrimonious principal fires several teachers beloved by their pupils, students revolt. Some girls participate in the protest and some don’t, but they all experience lasting consequences from the choices they make in this single moment of their childhoods. The first of the book’s connected stories takes place long before the uprising and centers a grandmother of one of the girls in an origin story of sorts that demonstrates this writer’s capacious vision. The stories that follow trace the trajectories of the girls’ lives as they grow into ambitious, cosmopolitan, globe-trotting women and introduce others who populate their worlds. One story, narrated by Remi’s college sweetheart, takes place in the Bronx; a story narrated by Solape’s mother and another by Nonso’s housekeeper are set in Nigeria nine years apart. In this way Ogunyemi widens the aperture beyond the tight-knit friendship among the central characters to address family dynamics, race relations, changing political landscapes in the United States and Nigeria, and the ways in which women and girls adapt, endure, and thrive. These stories both collapse and reconstruct the coming-of-age arc in a refreshing way. The final story shines brightest in imagining a near future for the elders the girls become, and for the U.S. and Nigeria, that exceeds Aristotle’s maxim that a good ending be surprising yet inevitable. Ogunyemi explores myriad themes, from religion and fundamentalism to grief and resilience, capitalism and corruption, with aplomb.
This kaleidoscopic narrative features engaging sociopolitical drama alongside a charismatic cast of characters.
TOUCH
Olafsson, Olaf Ecco/HarperCollins (272 pp.) $28.99 | Aug. 16, 2022 978-0-06-322698-2
A pandemic novel reunites an Icelandic man and a Japanese woman who had lost contact for a half-century after a brief but significant romance. There is a lot going on in the mind of 75-year-old Kristófer, which is where most of this novel takes place. He has decided to close his successful restaurant, with Covid intensifying and no end to the lockdown in sight. He’s lost his wife to an unspecified illness, and tension remains with his stepdaughter. A friend with whom he had been to school in London has just died. His brother both depends on him and nags him. And his doctor has ordered a brain scan, suspecting some cognitive issues. He tends to avoid what he would rather not confront and isn’t much for acknowledging his feelings, even to himself. As the first-person narrator, he is not the most reliable. Out of the blue he receives a Facebook message from Miko, the Japanese woman with whom he had fallen in love in London 50 years ago and who changed the course of his life before leaving him after a few months with no explanation or warning. Now she has the virus and is not sure she will survive it. In a novel that is a little too reliant on coincidence—that the death of Kristófer’s friend from London and the reconnection with his girlfriend from London should happen concurrently—Kristófer decides without telling Miko that he will go see her in Japan, a journey that requires a stopover in London. It is there that he revisits his memories and recounts how he had forsaken his education, changed his life and his values during the radical late 1960s, and found his path forward after working at a restaurant with Miko that was owned by her father. They had identified with John and Yoko and explored the darker undercurrents of Hiroshima. Then she had left England, with her father, leaving no forwarding address. Why had she left? Why has she contacted him now? Will they have a future after 50 years apart?
A ruminative novel that’s propelled by the narrator’s psychological reflections.
TI AMO
Ørstavik, Hanne Trans. by Martin Aitken Archipelago (200 pp.) $18.00 paper | Sept. 13, 2022 978-1-953861-44-3
A husband and wife living in Italy confront the man’s imminent death from cancer in a meditation on relationships, loss, and identity in every facet of existence.
Noted Norwegian writer Ørstavik’s new, novella-length work hints at autobiography, introducing an unnamed narrator
best of friends
who is a Norwegian novelist relocated to Milan, as the author has done, with an oeuvre that includes Love, one of Ørstavik’s own books. The narrator is deferring her next novel to write this penetrating chronicle of her partner’s decline. When did his cancer begin, she wonders, tracing their four years together, the trips, the timing of his proposal (after his diagnosis), and settling on spring 2018 when “the energy went out of you.” Now, in 2020, he is dealing with rapidly advancing illness and extreme pain while she is tending him, writing (her way of existing), and confronting their differences at a crucial junction. Why does he choose not to discuss his death, less than 12 months away? How much strength is he using to avoid knowing? Throughout the brief text, the statement “I love you/Ti amo” is repeated and exchanged like a tolling bell as the couple both unites and divides in the face of inevitable extremis. Meanwhile, Ørstavik maintains a brutally tender, hyperprecise gaze: “For a long time just looking at you was painful to me, I couldn’t look at you without the knowledge that you’re going to die….And even though it’s not that acute anymore, it still won’t pass, now it’s quieter in a way, normal almost, death has become an attendant presence.” Yet, dark though its central topic undeniably is, the novel shares a compassionate vision, bridging the gulf between the one who will go on and the one who will not: “What I’ve been writing is the most truthful way I’ve been able to be with you, with all that cannot be said between us in our days together.”
A remarkably frank and finely sieved account of two people approaching the ultimate parting of the ways.
BLOWBACK
Patterson, James & Brendan DuBois Little, Brown (512 pp.) $28.00 | Sept. 12, 2022 978-0-316-49963-7
A rogue president schemes to start, and end, a cyberwar with China. It feels almost like business as usual to CIA field operative Benjamin Lucas when the defection of his Stanford schoolmate Chin Lin from the Chinese Ministry of State Security goes pear-shaped: Masked men storm the meeting in which Chin is handing over supersecret information, Chin gets shot, Ben gets abducted and imprisoned. But Chin’s imperious boss, Xi Dejiang, is the least of their problems, or their nations’. Shuttling back and forth to reveal a constantly widening panorama, Patterson and DuBois focus on deputy CIA director Hannah Abrams’ stalled nomination as director, inoffensive finance officer Donna Otterson’s suicide when she’s arrested for passing CIA secrets to the Chinese, and the mysterious poisoning that’s sent Vice President Laura Hernandez into a coma. The spider at the center of all this skulduggery is President Keegan Barrett, who’s ordered CIA operatives Liam Grey and Noa Himel to assemble secret teams to terminate with extreme prejudice any Chinese espionage operations they can find inside or outside the U.S. Convinced that he’s been ordained to rend China’s digital infrastructure from top to bottom, Barrett has insulated himself from second-guessing by surrounding himself with yes men and neutralizing any dissenting voices by canceling their communications capabilities or having them assassinated. Echoing Fletcher Knebel’s Night of Camp David, which they acknowledge, and Fail-Safe and Dr. Strangelove, which they don’t, the authors set their rousing tale of a few good citizens determined to wrestle the country back from a delusional paranoiac in a world that’s at once absolutely menacing and deeply nostalgic.
The perfect beach read for political junkies willing to change the frequency for a few hours.
BEST OF FRIENDS
Shamsie, Kamila Riverhead (320 pp.) $27.00 | Sept. 27, 2022 978-0-593-42182-6
Two young women navigate their friendship in Karachi, then again decades later in London. “Zahra had once looked up from a dictionary to inform Maryam that what the two of them had with each other was friendship, and what they had with the other six girls and twenty-two boys in class was merely ‘propinquity.’ ” Much of Shamsie’s latest novel is concerned with this distinction, as Zahra and Maryam grapple with the force that binds them together, something more meaningful and mysterious than physical closeness. In the first half, the two are 14-year-olds living in Karachi in the weeks surrounding the death of dictator Gen. Zia in 1988. Studious Zahra is the daughter of a deeply principled TV cricket-show anchor. Confident, privileged Maryam expects to inherit her ruthless grandfather’s leather company. While the dictatorship they live under (and are subsequently freed from) colors their daily experiences, they are before all else two young girls concerned with their changing bodies, their futures, high-stakes exams, and—in particular— their growing awareness of their vulnerability as women. “It’s not just fear,”Maryam tells Zahra, “it’s girlfear.”This portion of the novel is sophisticated and poignant and crescendos to a pivotal scene in a car that is suspenseful, chilling, and masterfully executed. The second half fast-forwards to 2019, when the pair are living in London—Zahra Ali the director of the Center for Civil Liberties and Maryam Khan a powerful venture capitalist funding ethically dubious facial-tagging technologies. This portion of the novel is more scattered than the first. The maneuvering required for their powerful roles, while it allows Shamsie to touch on hot-button political issues, often lacks the exquisite nuance of her depiction of long-lasting friendship.
A quiet, moving portrait of two lifelong friends.
OTHER NAMES FOR LOVE
Soomro, Taymour Farrar, Straus and Giroux (256 pp.) $26.00 | July 12, 2022 978-0-3746-0464-6
A Pakistani boy is riven by duty and legacy and by his own desires. At 16, Fahad is a bookish, sensitive boy who can’t seem to evade the critical eye of his tyrannical father, Rafik, in their home in Karachi. His hopes to spend the summer holidays in London with his doting mother are dashed when Rafik demands that the boy join him at the family’s rural estate in Abad. Just as he’s attempting to cultivate the lush jungle into farmland, Rafik intends to subdue his son’s softer tendencies, to make “a man” of him, so that eventually the boy may grow up to assume power over the family estate himself. To accomplish this, Rafik introduces Fahad to local boy Ali, who appears, at first, to be his foil: tough, brooding, and dutiful. However, as the summer advances and the boys grow closer, Fahad finds himself attracted to Ali, a seductive spell that overflows into an admiration for the overgrown jungle that his father is attempting to tame at all costs. As the relationship between the two boys blossoms, Rafik’s abuses of power take new extremes as he enlists his workers in building a dam whose construction is not only costly and ambitious, but places all of their lives at risk. A couple of decades later, Fahad has managed to effectively escape his father’s grip. A successful writer, he has made a comfortable life for himself in London with his partner. However, a phone call from his mother threatens the stability and ease he has finally achieved: His parents are on the verge of losing their home in Karachi, and his presence is required to manage the estate in Abad. Back in Abad, Fahad observes his once-despotic father’s descent into dementia as his own mind is deluged with memories of his romance with Ali. In third-person chapters that alternate between Rafik’s and Fahad’s points of view, the novel deftly captures the way the past—both memories and inheritances—informs the present and the future. Despite its concern for the past though, the narrative never feels stalled, moving forward with urgent and emotionally resonant prose.
A deft examination of sexuality, history, and father-son relationships.
CONCERNING THOSE WHO HAVE FALLEN ASLEEP Ghost Stories
Soto, Adam Astra House (272 pp.) $17.00 paper | Sept. 27, 2022 978-1-662-60135-4
A collection of ghost stories in which the ghosts are imagined, metaphorical, and sometimes even real.
In “Wren & Riley,” a group of friends reunite after one of them kills her abusive husband in self-defense. But when they spend the night at her isolated home in Wyoming, they discover that death wasn’t enough to keep him away. In “Immanuel,” an enslaved Black boy grows up intertwined in an intense friendship with the White boy whose family holds him captive, but as the Civil War drags on, all illusions about the true nature of their relationship fall away. In “Sleepy Things,” Magdalena worries about her adult son’s relationship with his comatose girlfriend, when suddenly the girlfriend starts visiting Magdalena in her dreams. Soto’s new collection, as suggested by its subtitle, explores ghosts. Or, rather, hauntings, which may or may not involve literal ghosts. In “Death on Mars,” for instance, after a person dies, their personal AI starts to carry on in their place, a haunting that doesn’t feel very different than a ghost simply because it’s carried out by a computer. Similarly, in “The Prize,” two writers plan to use a dead man’s identity to publish their own work but find it makes them feel less real themselves. Sometimes Soto drifts a bit too far into metaphorical territory in those more realistic stories or waits until the very end to provide clarity. But where there is a more direct approach, as in “Immanuel,” “Sleepy Things,” and the title story (which does feature literal ghosts), his well-drawn characters with their nuanced battles with grief and hope shine brighter.
Haunting and complex if uneven.
THE BAD ANGEL BROTHERS
Theroux, Paul Mariner Books (352 pp.) $28.99 | Sept. 6, 2022 978-0-35-871689-1
A festering sibling rivalry turns toxic. Brothers Frank and Cal Belanger are as mismatched as the halves of Frank’s visage that give him “the contradictory face you see in some Greek masks.” A lawyer in their hometown of Littleford, Massachusetts, Frank has accumulated wealth and power through his undeniable skill at manipulating people, while his adventurous younger brother, a geologist, has roamed the world mining precious gems. Now in their 50s, the brothers’ longtime rivalry boils over into escalating, if asymmetrical, psychological warfare when Cal returns from one of his frequent lengthy international sojourns for an extended stay in Littleford with his wife, a crusader against child labor, and son. Whether he’s simply gaslighting or unleashing every weapon in his legal arsenal, Frank marshals a set of emotional and professional tools honed over a lifetime to destroy the successful career and family life Cal has built. Cal, who narrates the novel, describes his mounting sense of helplessness as Frank turns his strengths into weaknesses and exploits his every misstep. Eventually, Cal’s frustration turns to thoughts of mayhem, as he imagines ending his torment by dispatching his brother without leaving a trace. In Cal’s telling, Frank is the embodiment of pure evil, while Cal has at least enough insight to describe some of his own moral failings with a minimum of self-justification. All of this offers a
