Humaydan’s newest novel is an engaging, if sometimes-clunky, portrait of life in one battered corner of the Middle East.
A suitcase found in an old Beirut building changes one woman’s understanding of her city, her life, and the world at large.
The fourth novel by Humaydan (B as in Beirut, 2007, etc.) alternates between the war-ridden Beirut of the late 1970s and the same city some 20 years later, now beset by reconstruction crews. As in her earlier works, Humaydan is concerned here with the lives of women: their losses, struggles, and victories. She interweaves the stories of a few women separated by time and circumstance. She begins with Maya, a writer and maker of documentary films, who has recently moved back to Beirut after years spent in Paris. In the midst of researching a film about Beirut’s ongoing reconstruction, Maya comes across a suitcase hidden in an old, abandoned, bombed-out house. Inside the suitcase she discovers the diaries of a woman named Noura Abu Sawwan, a journalist who apparently died in a car bombing in 1978. Tucked in with the diaries are letters from Noura’s lover, Kemal, as well as photographs and other documents. Maya becomes obsessed with the cache, piecing together Noura’s story by way of the various documents. She even finds one of Noura’s old friends, Sabah, still living in Beirut, and goes to interview her. Through these three women, Humaydan is able to present a kind of mosaic of women’s lives in Beirut as well as in Damascus and a small Turkish village from which Noura and Sabah emigrated. She shows the various degrees to which these women have and have not escaped oppression. Her portraits are sensitive and frequently moving. Unfortunately, Humaydan can also be heavy-handed, prolix when her meaning was already implicit. Her handling of the narrative is sometimes-clumsy, with chapters that seem to lurch open and closed. A little more finesse, or at least fine-toothed editing, could have improved the pacing of the prose. The end is rushed. Still, Humaydan writes incisively about her characters and their fears, frustrations, and, most importantly, their hopes.
Humaydan’s newest novel is an engaging, if sometimes-clunky, portrait of life in one battered corner of the Middle East.Pub Date: Nov. 29, 2016
ISBN: 978-1-56656-055-9
Page Count: 240
Publisher: Interlink
Review Posted Online: Sept. 6, 2016
Kirkus Reviews Issue: Sept. 15, 2016
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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