Much as I’d like to review books in advance of their release dates, that doesn’t seem to be how things are going this year. I hope readers will find it useful to learn about recent releases they might have missed.
This month I’m featuring a fictionalized immigration story from the Dominican Republic and a collection of autobiographical comics by a New Zealander.
Dominicana by Angie Cruz
(Published by John Murray on the 23rd)
It’s easy to assume that all the immigration (or Holocaust, or WWI; whatever) stories have been told. This is proof that that is not true; it felt completely fresh to me. Ana Canción is 11 when Juan Ruiz first proposes to her in 1961 – the same year dictator Rafael Trujillo is assassinated, throwing their native Dominican Republic into chaos. The Ruiz brothers are admired for their entrepreneurial spirit; they jet back and forth to New York City to earn money they plan to invest in a restaurant back home. To Ana’s parents, pairing their daughter with a man with such good prospects makes financial sense, so though Ana doesn’t love him and knows nothing about sex, she finds herself married to Juan at age 15. With fake papers that claim she’s 19, she arrives in New York on the first day of 1965 to start a new life.
It is not the idyll she expected. Ana often feels confused and isolated in their tiny apartment, and the political unrest in NYC (e.g. the assassination of Malcolm X) and in DR mirrors the turbulence of her marriage. Juan is violent and unfaithful, and although Ana dreams of leaving him she soon learns that she is pregnant and has to think of her duty to her family, who expect to join her in America. The content of the novel could have felt like heavy going, but Ana is such a plucky and confiding narrator that you’re drawn into her world and cheer for her as she comes up with ways to earn money of her own (such as selling pastelitos to homesick factory workers and at the World’s Fair) and figures out what she wants from life.
This allowed me to imagine what it would be like to have an arranged marriage and arrive in a country not knowing a word of the language. Cruz based the story on her mother’s experience, even though her mother thought her life was too common and boring to interest anyone. The literary style – short chapters with no speech marks – could be offputting for some but worked for me, and I loved the tongue-in-cheek references to I Love Lucy. Had I only managed to read this in December, it would have been on my Best of 2019 list – it was first published in September by Flatiron Books, USA.
Let Me Be Frank by Sarah Laing
(Published by Lightning Books on the 16th)
Laing is a novelist and comics artist from New Zealand known for her previous graphic memoir, Mansfield and Me, about her obsession with acclaimed NZ writer Katherine Mansfield. This collection brings together the autobiographical comics that originally appeared on Laing’s blog of the same title in 2010‒19. She started posting the comics when she was writer-in-residence at the Frank Sargeson Centre in Auckland. (I know the name Sargeson because he helped Janet Frame when she was early in her career.)
So what is the book about? All of life, really: growing up with type 1 diabetes, having boyfriends, being part of a family, the constant niggle of body issues, struggling as a writer, and trying to be a good mother. Other specific topics include her teenage obsession with music (especially Morrissey) and her run-ins with various animals (a surprising number of dead possums!). She ruminates about the times when she hasn’t done enough to help people who were in trouble. She also admits her confusion about fashion: she is always looking for, but never finding, ‘her look’. And is she modeling a proper female identity for her children? “I feel like I’m betraying feminism, buying my daughter a fairy princess dress,” she frets.
But even as she expresses these worries, she wonders how genuine she can be since they form the basis of her art. Is she just “publically performing my neuroses”? The work/life divide is especially tricksy when your life inspires your work.
I took half a month to read these comics on screen, usually just a few pages a day. It’s a tough book to assess as a whole because there is such a difference between the full-color segments and the sketch-like black-and-white ones. There is also a ‘warts-and-all’ approach here, with typos and cross-outs kept in. (Two that made me laugh were “aesophegus” [for oesophagus] and “Diana Anthill”!) Overall, though, I think this is a relatable and fun book that would suit fans of Alison Bechdel and Roz Chast but should also draw in readers new to the graphic novel format.
My thanks to Eye/Lightning Books for sending me an e-book to review.
What recent releases can you recommend?
Through a giveaway on Eric’s blog, I won tickets to see Bernardine Evaristo and Jennifer Nansubuga Makumbi speak about their latest books at the London Literature Festival (this year’s theme: “Once Upon Our Times”) at the Southbank Centre yesterday. It was great to meet up with fellow bloggers Eric and Eleanor to hear these two black women writers read from their recent work and discuss feminism, the political landscape for writers of African descent, and their experiments with form.
Frustrated by the lack of black women in British literature, Evaristo started writing Girl, Woman, Other in 2013. She began with Carole (Anglo-Nigerian, like herself), who has to change to fit in, first at Oxford and then as a City banker. Next she moved on to the stories of Carole’s mother and school friend, and the book grew from there. All told, there are four mother–daughter pairs. Evaristo believes her background as an actress (in her twenties) allowed her to almost become these characters and write them from the inside, so that even though the chapters are written in the third person they feel like first-person narratives. The 12 flawed, complex main characters are “equal protagonists,” she insisted. Her aim was “to explore multiplicity to address our invisibility.” She characterizes the book’s style as “fusion fiction”: an accessible take on the experimental novel, with unorthodox, free-flowing language that allows readers to move easily between the different characters’ storylines.
Both Evaristo and Makumbi admitted to having a complicated relationship with feminism, Evaristo because the feminism of the 1980s did not seem to include black women and Makumbi because the fight for equality is still ongoing in patriarchal African societies like her native Uganda’s. Evaristo feels that feminism is now more inclusive and, also thanks to the #MeToo movement, there has been a place for her book that may not have been there five or 10 years ago. (The same goes for Makumbi, who has only now found a publisher for her very feminist first novel, which was rejected in the 2000s.) Both authors spoke of the ways in which people are made to feel “Other”: through sex, race and class. Makumbi pointed out that Africans experience a specific racism separate from other blacks in Britain. “I’m not racist, but I draw the line at Africans” is how she caricatured this view.
Makumbi’s novel Kintu is a sprawling family saga that has been compared to Roots, but she has recently released a collection of short stories that focus on Ugandan immigration to Britain between the 1950s and today. She envisioned Manchester Happened as “a letter back home” to tell people what it’s really like to settle in a new country, as well as a chance to reflect on the underrepresented East African immigration experience. Much of the book is drawn from her life, such as working as an airport security officer to fund her creative writing degree. Her mentor recommended that she start writing stories as a way to counterbalance the intensity of Kintu – a chance to see the beginning, middle and end as a simple arc. She assumed short stories would be easier than a novel, yet her first story took her four years to write. It is as if she can only look into her past for brief moments, anyway, she explained, so the story form has been perfect. She has deliberately avoided the negativity of many migration narratives, she said: Things have in fact gone well for her, and we’ve heard about things going wrong many times before.
I’m over halfway through Girl, Woman, Other now, and enjoying it very much – but wondering if its breadth sacrifices some depth. Evaristo acknowledged that she felt a bit less attached to these characters than she has in novels where she followed just one or two characters all the way through. Still, she feels that she knows and understands these women, even if she doesn’t like or approve of all of them. She read excerpts from the sections about Yazz, a feisty and opinionated young woman waiting for her mother’s play to start, and Hattie, a strong-willed 93-year-old from a Northumberland farming family. Makumbi read from two stories, one about a Ugandan couple arriving in Manchester in 1950 and the other set in the airport security area. In the latter the protagonist confiscates a whip from a priest, a funny moment that seems to represent Makumbi’s style – moderator Irenosen Okojie, a Nigerian author, mentioned another notable story from the perspective of a Ugandan street dog newly pampered in Britain.
I hope to read Manchester Happened soon, and should be featuring an extract from it next week as part of the Ake Book Festival blog tour. I’ll also finish the Evaristo this week and expect it to be on my Best of 2019 fiction list.
The Swansea University International Dylan Thomas Prize recognizes the best published work in the English language written by an author aged 39 or under. All literary genres are eligible, so short stories and poetry sit alongside novels on this year’s longlist of 12 titles:
- Nana Kwame Adjei-Brenyah, Friday Black
- Michael Donkor, Hold
- Clare Fisher, How the Light Gets In
- Zoe Gilbert, Folk
- Emma Glass, Peach
- Guy Gunaratne, In Our Mad and Furious City
- Louisa Hall, Trinity
- Sarah Perry, Melmoth
- Sally Rooney, Normal People
- Richard Scott, Soho
- Novuyo Rosa Tshuma, House of Stone
- Jenny Xie, Eye Level
For this stop on the official blog tour, I’m featuring the debut poetry collection Eye Level by Jenny Xie (winner of the Walt Whitman Award of the Academy of American Poets), which was published by Graywolf Press in 2018 and was a National Book Award finalist in the USA last year. Xie, who was born in Hefei, China and grew up in New Jersey, now teaches at New York University. Her poems focus on the sense of displacement that goes hand in hand with immigration or just everyday travel, and on familial and evolutionary inheritance.
The opening sequence of poems is set in Vietnam, Cambodia and Corfu, with heat and rain as common experiences that also enter into the imagery: “See, counting’s hard in half-sleep, and the rain pulls a sheet // over the sugar palms and their untroubled leaves” and “The riled heat reaches the river shoal before it reaches the dark.” The tragic and the trivial get mixed up in ordinary sightseeing:
The tourists curate vacation stories,
days summed up in a few lines.
Killing fields tour, Sambo the elephant
in clotted street traffic,
dusky-complexioned children hesitant in their approach.
Seeing and being seen are a primary concern, with the “eye” of the title deliberately echoing the “I” that narrates most of the poems. I actually wondered if there was a bit too much first person in the book, which always complicates the question of whether the narrator equals the poet. One tends to assume that the story of a father going to study in the USA and the wife following, giving up her work as a doctor for a dining hall job, is autobiographical. The same goes for the experiences in “Naturalization” and “Exile.”
The metaphors Xie uses for places are particularly striking, often likening a city/country to a garment or a person’s appearance: “Seeing the collars of this city open / I wish for higher meaning and its histrionics to cease,” “The new country is ill fitting, lined / with cheap polyester, soiled at the sleeves,” and “Here’s to this new country: / bald and without center.”
The poet contemplates what she has absorbed from her family line and upbringing, and remembers the sting of feeling left behind when a romance ends:
I thought I owned my worries, but here I was only pulled along by the needle
of genetics, by my mother’s tendency to pry at openings in her life.
Love’s laws are simple. The leaving take the lead.
The left-for takes a knife to the knots of narrative.
Those last two lines are a good example of the collection’s reliance on alliteration, which, along with repetition, is used much more often than end rhymes and internal or slant rhymes. Speaking of which, this was my favorite pair of lines:
Slant rhyme of current thinking
and past thinking.
Meanwhile, my single favorite poem was “Hardwired,” about the tendency to dwell on the negative:
Though I didn’t always connect with Xie’s style – it can be slightly detached and formal in a way that is almost at odds with the fairly personal subject matter, and there were some pronouncements that seemed to me not as profound as they intended to be (it may well be that her work would be best read aloud) – there were occasional lines and images that pulled me up short and made me think, Yes, she gets it. What it’s like to be from one place but live in another; what it’s like to be fond but also fearful of the ways in which you resemble your parents. I expect this to be a strong contender for the Dylan Thomas Prize shortlist, which will be announced on April 2nd. The winner is then announced on May 16th.
My thanks to Midas PR for the free copy for review.
See below for details of where other reviews have appeared or will be appearing soon as part of the Dylan Thomas Prize blog tour.
Lisa Ko’s exceptional debut novel, The Leavers, was hand-picked by Barbara Kingsolver for the 2016 PEN/Bellwether Prize for Socially Engaged Fiction, was a finalist for the 2017 National Book Award for Fiction in the States, and is now the launch title for Little, Brown UK’s new imprint, Dialogue Books, which will feature “stories from illuminating voices often excluded from the mainstream,” specifically those “for, about and by readers from the LGBTQI+, disability, working class and BAME communities.” I highly recommend it to fans of Nathan Hill’s The Nix, Atticus Lish’s Preparation for the Next Life and Celeste Ng’s Little Fires Everywhere. It’s an ambitious and satisfying novel set in New York and China, with major themes of illegal immigration, searching for a mother and a sense of belonging, and deciding what to take with you from your past.
Eleven-year-old Deming Guo and his mother Peilan (nicknamed “Polly”), an undocumented immigrant, live in New York City with another Fuzhounese family: Leon, Polly’s boyfriend, works in a slaughterhouse, and they share an apartment with his sister Vivian and her son Michael. Deming gets back from school one day to find that his mother never came home from her job at a nail salon. She’d been talking about moving to Florida to work in a restaurant, but how could she just leave him behind with no warning?
Ten years later, Deming is Daniel Wilkinson, adopted and raised in upstate New York by a pair of white professors, Peter and Kay. He’s made a mess of his life with drinking and an addiction to online poker, and has been expelled from college. Now the guitar is his life, but even his best friend and bandmate Roland Fuentes isn’t willing to cut him any slack when he doesn’t show up for rehearsals and performances. Peter and Kay are pulling strings to get Daniel accepted into their college, but he keeps screwing up every chance he’s given. He can only hope his efforts to reconnect with his birth mother will be more successful.
The novel shifts fluidly between a third-person account of our protagonist then (Deming) and now (Daniel) and a first-person confession as Polly explains all: her upbringing in poverty in China, her pregnancy out of wedlock, her illegal entry to the United States, and why she had to leave Deming so suddenly. Polly and Deming/Daniel are vibrant characters, and I ached for their struggles. Both have the sense of being split between lives, of “juggling selves.” Their collective story is about figuring out who you are, what can be made right, and what to leave behind as you move forward in life. It’s such a beautiful novel, and an impressive debut from Lisa Ko.
The Leavers will be published in paperback by Dialogue Books on April 26th. My thanks to Little, Brown for the free copy for review.
The Line Becomes a River
Francisco Cantú was a U.S. Border Patrol agent in Arizona and Texas for four years. Agents tracked illegals using the same skills with which hunters stalk their prey. Once captured, the would-be immigrants were detained, processed and deported. Days in the field were full of smuggled drugs, cached belongings and corpses of those who’d tried to cross in inhospitable conditions. Even when Cantú was transferred to a desk job, he couldn’t escape news of Mexican drug cartels and ritual mutilation of traitors’ corpses. Dreams of wolves and of his teeth breaking and falling out revealed that this was a more stressful career than he ever realized. Cantú worried that he was becoming inured to the violence he encountered daily – was he using his position “as a tool for destruction or as one of safekeeping”?
Impressionistic rather than journalistic, the book is a loosely thematic scrapbook that uses no speech marks, so macho banter with colleagues blends into introspection, memories and stories. Cantú inserts snippets of U.S.–Mexico history, including the establishment of the border, and quotes from and discusses other primary and secondary texts. He also adds in fragments of his family’s history: His ancestors left Mexico during the Mexican Revolution of the 1910s, but there’s no doubt his Latino name and features made him a friendly face for illegal immigrants. He was often called upon to translate for those in custody. I felt that even if the overall policy was problematic, it was good to have someone compassionate in his job.
The final third of the book represents a change of gears: Cantú left law enforcement to be a Fulbright scholar and then embarked on an MFA in creative writing at the University of Arizona. During those years of study he worked as a barista at a food court and every day he chatted and shared food with another worker, José Martínez from Oaxaca. When José went back to Mexico to visit his dying mother and settle her estate, he was refused reentry to the United States for not having the proper papers. Cantú drew on his contacts in Border Patrol to find out when José’s hearing would be, helped his wife to gather character witness letters, and took José’s sons to visit him in the detention center during his continuance and civil trial. There’s a particularly wrenching recreated monologue from José himself.
It is as if, for the first time, Cantú could see the human scale of U.S. immigration policy, what his mother, a former national park ranger, had described as “an institution with little regard for people.” No longer could he be blasé about the way things are. It was also, he recognized, an attempt to atone for the heartless deportations he had conducted as a Border agent. “All these years,” he said to his mother, “it’s like I’ve been circling beneath a giant, my gaze fixed upon its foot resting at the ground. But now, I said, it’s like I’m starting to crane my head upward, like I’m finally seeing the thing that crushes.” As he quotes from Holocaust historian Timothy Snyder, “It is for us as humanists to turn the numbers back into people.” That’s just what this remarkable memoir does. In giving faces to an abstract struggle, it passionately argues that people should not be divided by walls but united in common humanity.
The Line Becomes a River was published in the UK by Bodley Head on March 1st. My thanks to the publisher for the free copy for review.
On Smaller Dogs and Larger Life Questions
It was hard to resist such a great title, especially with my penchant for cancer memoirs. In nine chapters that are almost like linked essays, Kate Figes reflects on the changes that a diagnosis of triple-negative, metastasized breast cancer has wrought in her life. However, like Vesna Goldsworthy’s Chernobyl Strawberries, the book sets the cancer experience within a wider life story of trauma and displacement. In the first essay, as Figes, a freelance nonfiction writer, approached age 60, she delighted in Zeus, their miniature wire-haired dachshund puppy, but also resented the sense of obligation. Cancer quickly changed her perspective.
I appreciated the lack of bitterness; the book’s focus is generally on resilience and on the liberation of knowing that little is now expected of her: “when there is no need to rush just to be able to get through everything I had to achieve each day, there is a glorious sense of freedom, of empty space.” Two chapters go in-depth into Figes’s “arsenal” of cancer-fighting tools, everything from hyperbaric oxygen treatments to yoga. She gave up sugar and swears by cannabis oil, filtered water, supplements and fresh juices. Her embrace of complementary medicine and discussion of her limitations – it takes her an hour and a half to get dressed and have breakfast – will probably mean the most to others with a chronic illness.
As to the other essays, “Tennis” is an ode to a favorite hobby she had to give up; “Mediation” is about training as a family mediator. The psychological understanding she gained through this and through researching her books helped her work through childhood hurt over her parents’ divorce. “The Beach Hut” remembers recent ‘escapes’ to the seaside and contrasts them with her Jewish mother’s* escape from 1930s Germany. “Home,” my favorite essay, is about clearing out her mother’s flat and the memories and comfort a home retains, even decades later. “That’s the power I will leave behind too, the essence of having been really known. It will pervade every piece of crockery I have eaten off, … every chair I have sat on.”
Unfortunately, Figes frequently uses clichéd language – “Cancer can feel isolating” and “battle is the right word” – and seems to give credence to the damaging idea that unresolved emotional trauma caused her cancer. What with the typos and the slight repetition across the essays, this feels like a book that was put together in a hurry. A bit more time and editing could have made it more cohesive and fresh. But perhaps Figes does not have that time. Fellow cancer patients may well appreciate her dispatches from what she calls “Planet Cancer,” but it’s not a book that will particularly stand out for me in this crowded genre.
*Her mother was Eva Figes, an author in her own right.
On Smaller Dogs and Larger Life Questions was published by Virago on February 28th. My thanks to the publisher for the free copy for review.